[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-27":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":356},{"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":351,"matched_pages":352,"match_count":353,"two_pages":354,"show_text":355},24503,"Architecture & Everything Else 27","cosentino-architecture-and-everything-else-27","\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff0\u002Ff06a28309ae46806ec7a95a6b67e84-28f7a99e19.pdf","Cosentino",2482,"cosentino","252.1 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,91,95,99,103,107,111,115,119,123,127,131,135,138,142,146,150,154,158,162,166,170,174,177,181,185,189,193,197,200,204,208,212,216,220,224,228,232,236,240,244,247,251,255,258,262,266,270,274,278,282,286,290,293,297,301,305,309,313,317,321,325,329,333,337,340,343,346,349],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 27 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.3.png","c\ncontents\n20\n32\n42\n48\n60\n72\n  Architecture\n 06 Urban natUre  Cobe in Copenhagen\n \n La oficina danesa ha transformado una antigua isla industrial en un pequeño vergel urbano.     \n \n The Danish office has transformed an old industrial island into a small urban garden.\n 12 IndUstrIaL PaLImPsest  Productora in Mexico City\n \n el proyecto recupera una fábrica textil abandonada para alojar espacios de creación. \n \n The project recovers an abandoned textile factory to house spaces for creative work.\n \n Style\n 32 Food trUss  Espacio Tramo in Madrid\n \n La propuesta de selgascano y andreu Carulla se basa en los principios del ‘diseño consciente’.\n \n The proposal by Selgascano and Andreu Carulla is based on the principles of ‘conscious design.’ \n 36 essentIaL IndUCtIon  The Kitchen of the Future\n \n el producto de Gaggenau permite integrar las placas de inducción en las encimeras de dekton.\n \n The Gaggenau-designed product permits integrating induction cookers into Dekton countertops. \n \n Cosentino\n 42 dekton Home  Shell House by Super Assembly\n \n el dekton keon resultó la solución ideal para dar unidad a todos los elementos de esta vivienda.\n \n Dekton Keon was the ideal option to give all the elements in this dwelling a uniform image.\n \n Interior\n 48 Good LookInG  Project Lobster Boutiques\n \n el color y las texturas caracterizan los diseños de el departamento para la firma de gafas.\n \n Color and textures characterize the designs by El Departamento for the eyewear brand.\n 54 desIGnInG tHe voId  All AroundLab in Barcelona\n \n Los materiales de Cosentino protagonizan la reforma de esta compacta vivienda-estudio.\n \n The renovation project of this house-studio makes a prevalent use of Cosentino materials.\n  Interview\n 60 FarsHId moUssavI & benedetta taGLIabUe  In dialogue\n \n La madrileña ermita de san antonio de la Florida hace de telón de fondo de la conversación.\n \n The Madrid Chapel of St. Anthony of La Florida provides the backdrop for the conversation. \n  Travel\n 72 bILbao  Spain\n \n La ciudad norteña se ha convertido en un referente artístico y arquitectónico global.\n \n The northern city has become a global artistic and architectural referent.\n  Arts\n 20 Common beaUty  A Journey through Spanish Shops\n \n el libro traza un recorrido fotográfico y literario por tiendas populares de toda españa.\n \n The book offers a photographic and literary journey through old shops across Spain.\n 26 InsIde PomPeII  Luigi Spina\n \n el artista italiano aprovechó la pandemia para retratar espacios nunca vistos de Pompeya.\n \n The pandemic gave the Italian artist the chance to photograph unseen spaces of Pompeii.\n06\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.4.png","Depósito Legal: m-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nshell House, super assembly \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\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.5.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\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.7.png","Architecture\nUrban Nature\nCobe in Copenhagen\nIndustrial Palimpsest\nProductora in Mexico City\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.8.png","6 C 27\nArchitecture\nLandscape\n1\nAfter a period during which the construction of new buildings \ndid nothing but increase, the city of Copenhagen now faces a \nsignificant reduction of its green spaces. To adapt to these trends, \nthe studio founded by Dan Stubbergaard proposed recovering an \nold industrial island, with a privileged location across from the \nnational Opera House, and transform it into a public park. In \nthis way, a plot with a long industrial past and left empty and \nabandoned for more than twenty years would have become a \nperfect spot to continue the developing frenzy, but instead it has \nbeen converted into a small but exuberant oasis in the historic \ncenter of the Danish capital, giving its people a space for escape \nfrom the busy city life.\nThe project starts from the usual elements found in historical and \nromantic gardens to provide solutions to the challenges of today; \nso, aside from sinuous paths and studied visual relationships, it \nincludes strategies to renaturalize the area or to make a responsible \nuse of water. Another of the essential factors in the design was the \nselection and arrangement of the vegetation, combinining a wide \nrange of species of different sizes and properties to create a small \nharborside scenography capable of offering very different experiences \ndepending on the season of the year. All this rich plant life is laid \nout over the six gardens with motifs from around the world, from \nNordic forests to the most exotic oriental species.\nUrban Nature \nCobe in Copenhagen\nTras una época en la que la construcción de nuevos edificios no \nhizo más que crecer, la ciudad de Copenhague se enfrenta ahora a \nla significativa reducción de sus espacios verdes. Para hacer fren-\nte a estas tendencias, el estudio fundado por Dan Stubbergaard \npropuso recuperar una antigua isla industrial, con una ubicación \nprivilegiada frente a la Ópera nacional, y convertirla en un parque \npúblico. De este modo, un solar que llevaba desocupado más de \nveinte años y era idóneo para continuar con las corrientes desa-\nrrollistas se ha transformado en un pequeño pero exuberante oasis \nen el centro histórico de la capital danesa, que permitirá a sus \nhabitantes escapar de una bulliciosa vida urbana.\nEl proyecto parte de las herramientas habituales en jardines his-\ntóricos y románticos para dar soluciones a los desafíos actuales; \npor lo que, además de sinuosos caminos o estudiadas relaciones vi-\nsuales, incluye estrategias para la renaturalización de la zona o una \ngestión responsable del agua. Otro de los factores fundamentales en \nel diseño fue la selección y disposición de la vegetación, combinan-\ndo multitud de especies de distintos tamaños y propiedades hasta \ncrear una pequeña escenografía frente al puerto capaz de ofrecer \nexperiencias muy diferentes según la estación del año. Toda esta \nrica flora se distribuye a lo largo de los seis jardines con motivos \nprovenientes de todo el mundo, desde los autóctonos bosques nór-\ndicos hasta las más exóticas especies orientales.\nProyecto Project \nThe Opera Park \nCopenhagen (Denmark) \nArquitectos Architects \nCobe Architects \nColaboradores Collaborators \nVita, Via Trafik, DBI and Lüchninger Meyer Hermansen \n(engineers); Hansson og Knudsen, Bauer, Redtz Glas og \nFaçade, HSM Industri, GK Danmark, Bravida, Danmark, \nHøyrup & Clemmesen, KONE, Phønix Tag, Jakon, Areo, \nTerrazzo.dk, Raadvad Maleren, Snedkerierne, OKNygaard, \nPalmproject Europe, Scanview Systems, Zurface, Retail \nReflexions, Vector (contractors) \nFotos Photos \nFrancisco Tirado\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.9.png","C 27 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.10.png","8 C 27\nUno de los tres puentes \nque unen la isla con la \nciudad corresponde a una \nconexión directa de la \nÓpera con el edificio, que \ncon sus vidrios curvos \ny cubierta ajardinada \nintegra la arquitectura \nen el paisaje natural.\nOne of the three bridges \njoining the island with \nthe city correspond to a \nconnection that is covered \nby the Opera building, \nwhose curved glass \nsurfaces and green roof \nblend the architecture \nwith the natural context.\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.11.png","C 27 9\nBiodiversity\nSmall niches\nOrganic design\nIntegrated wintergarden\nViewlines\nStaging\nHilly landscape\nVariability during seasons\nVariability during seasons\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.12.png","10 C 27\nAdemás de los jardines, \nel complejo cuenta con \nun invernadero central, \nconcebido como una \nestructura orgánica de \nvidrio con una cubierta \nflotante, que propiciará \nlas visitas incluso en los \nfríos meses invernales.\nAside from the gardens, \nthe complex also has \na central greenhouse, \nconceived as an organic \nstructure of glass  \nwith a floating roof, \nwhich will encourage \nvisits even during the \ncold winter months.\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.13.png","C 27 11\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.14.png","12 C 27\nArchitecture\nRenovation\n1\nLocated in the old Colonia Doctores, one of the first in Mexico \nCity, Laguna was raised as an old thread and textile factory in \nthe early 1920s. The project to recover the space is part of a \nbroader process of revitalization of the neighborhood that has \nbeen under way over the past years, redefinining Laguna as a \nmajor hub for creative companies. The complex had the typical \ncharacteristics of the industrial constructions of the time, such \nas the high clearance space or the spacious community areas. \nFor this reason, the starting point was to recover the original \narchitectural value, extending only two small areas, and fitting \nout the ensemble with the installations and systems necessary to \nfunction as a collaborative workspace. \nAll the exterior facades are hence preserved, and some of the \nrear ones and interior courtyards that had been removed in sub-\nsequent refurbishments are reinstated. Besides this strategy, other \nspecific interventions were proposed with the aim of enhancing \nthe qualities of the building and of fulfilling the requirements of \nthe new program. Furthermore, these operations extend the area \nof covered spaces and reorganize both the horizontal and vertical \ncirculations, creating a promenade throughout the whole complex. \nLastly, the green color present in some of the original elements, \nand usual in traditional textile machinery, was recovered here as \na means define the new identity of Laguna.\nIndustrial Palimpsest \nProductora in Mexico City\nUbicada en la antigua colonia Doctores, una de las primeras de la \nCiudad de México, Laguna se levantó como una antigua fábrica \nde hilos y textiles a principios de la década de 1920. El proyecto \npara recuperar el espacio se enmarca dentro del proceso de revi-\ntalización que está viviendo el barrio en los últimos años, conso-\nlidándose como un gran nodo de empresas creativas. El conjunto \ncontaba con las características propias de las construcciones fa-\nbriles del momento, como las grandes alturas libres o los genero-\nsos espacios comunes. Por ello, el punto de partida es recuperar \nel valor arquitectónico original, ampliando solo pequeñas áreas, \ny dotando al conjunto de las instalaciones para convertirse en un \nespacio colaborativo de trabajo. \nDe este modo, se conservan todas las fachadas exteriores y se \nrescatan algunas traseras y patios interiores que se habían perdido \nen las distintas reformas posteriores. Junto con esta estrategia, se \npropusieron algunas intervenciones puntuales que potenciasen las \ncualidades del edificio y diesen respuesta a las necesidades de los \nnuevos usos. Además, estas operaciones amplían la superficie de \nespacios cubiertos y reorganizan tanto las circulaciones horizontales \ncomo verticales, creando una promenade por todo el complejo. Por \núltimo, para definir la nueva identidad de Laguna se recuperó el \ncolor verde, presente en algunos elementos primigenios y habitual \nen las maquinarias textiles tradicionales. \nProyecto Project \nLaguna Collaborative Space \nMexico City (Mexico) \nArquitectos Architects  \nProductora \nEquipo Team \nCarlos Bedoya, Víctor Jaime, Wonne Ickx, \nAbel Perles (partners); Claudio Morales, \nDiana Jiménez, Nicolás Fueyo, Ruy \nBerumen, Rubén Flores, Diego Velázquez, \nFidel Fernandez, Pablo Manjarrez; \nMarqcret (contractor); Colinas De Buen \n(structure); T2M (engineering) \nFotos Photos \nC. Cossio (pp. 13, 14 top, 15, 16-17, 17); \nP. Manjarrez (pp. 14 bottom, 17 top)\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.15.png","C 27 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.16.png","14 C 27\nLa antigua fábrica textil \noperó hasta 2015, y desde \nentonces se ha buscado \nrecuperar las fachadas \noriginales y rescatar \nlos patios o traseras, \nasí como los espacios \ninteriores perdidos en las \ndistintas modificaciones.\nThe old textile factory \nwas up and running until \n2015, and since then \na reconversion process \nhas sought to recover \nthe original facades and \nreinstate the courtyard, \nrear facades, and \ninteriors lost over time.\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.17.png","C 27 15\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.18.png","16 C 27\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.19.png","C 27 17\nJunto a la rehabilitación, \nel proyecto propone la \nconstrucción de varias \npiezas de nueva planta, \nen un reconocible color \nverde, que adaptan el \ncomplejo a su nuevo \nprograma y organizan las \ncirculaciones interiores.\nAlong with refurbishment \nstrategies, the project \nproposes adding several \nnew volumes, in a \nrecognizable green  \ntone, which adapt the \nbuilding to its new \nprogram, and organize \nthe internal circulations.\n",19,{"image":89,"text":19,"number":90},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.20.png",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.21.png","Arts\nCommon Beauty\nA Journey through Spanish Shops\nInside Pompeii\nLuigi Spina\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.22.png","20 C 27\nArts\nPhotography\nWe are living a time when the main streets of our cities are lined \nwith franchises and department stores, where the easily recogniz-\nable corporate identity prevails and the traditional charm of the \nfamily business perishes. However, over the past years several \nmovements and actions have been launched (exhibitions, associa-\ntions, publications...) to claim that these small establishments are \na fundamental part of our collective history, and thus deserve to \nbe rescued from the wreck. While many of these initiatives have a \nmerely documentary purpose, this book proposes a particular visual \nand literary journey through shops across all the regions of Spain; \nshops whose traditional architecture and popular motifs come to \nsymbolize the so-called ‘common beauty.’\nThe publication collects the photographic work carried out by the \narchitect and painter Javier Sánchez Bellver during the late 1970s, \ncovering the whole country thanks to a scholarship of the Fundación \nMarch. After several attempts to put the book together, the task has \nfinally been completed now with the texts of Luis Fernández-Galiano, \ndirector of the magazine Arquitectura Viva. This rapport between \nimage and word allows understanding the variety of themes and \ntechniques used since the early 20th century, showing the imagina-\ntion and inventiveness of artisans and shop owners, who managed to \nconvey their commercial message with very scarce resources, giving \nthe cityscape a distinctive and unique character. \nHabitamos un tiempo en el que las principales calles de nuestras \nciudades se llenan de franquicias y grandes almacenes, donde pri-\nma la reconocible identidad corporativa y perece el encanto tra-\ndicional del comercio familiar. Sin embargo, en los últimos años \nproliferan corrientes —ya sean exposiciones, colectivos o libros— \nque defienden que estos pequeños establecimientos son parte fun-\ndamental de nuestra historia, y que por ello merecen salvarse del \nnaufragio en el que están sumidos. Si muchas de estas iniciati-\nvas tienen un mero carácter archivístico, este libro propone un \nparticular recorrido visual y literario por tiendas de toda España, \nque con sus arquitecturas tradicionales y motivos populares dan \nmuestra de la denominada ‘belleza común’.\nLa publicación surge del trabajo fotográfico que el arquitecto y \npintor Javier Sánchez Bellver desarrolló a finales de los años se-\ntenta, recorriendo gracias a una beca de la Fundación March toda \nla geografía del país. Tras varios intentos de armar un libro, esta \nlabor se completa ahora con los textos de Luis Fernández-Galiano, \ndirector de la revista Arquitectura Viva. Y esta sintonía entre ima-\ngen y palabra permite entender la variedad de temas y técnicas \nempleadas desde principios del siglo xx, mostrando la imaginación \ny el ingenio de artesanos y comerciantes, que conseguían trans-\nmitir sus mensajes publicitarios con medios precarios, y aportaban \ncarácter e interés al paisaje de las ciudades.\nThe book collects images \nof shops photographed \nby Javier Sánchez Bellver \nduring his travels across \nthe Spanish provinces, \nand which, along with \nLuis Fernández-Galiano’s \ntexts, portray an urban \nlandscape worth saving.\nEl libro recoge imágenes \nde tiendas tomadas por \nJavier Sánchez Bellver \nen sus viajes por las 50 \nprovincias españolas \nque, junto a los textos de \nLuis Fernández-Galiano, \nretratan un paisaje urbano \nque merece salvarse.\nCommon Beauty \nA Journey through Spanish Shops\n2\nCalle de Santa Clara, Gerona\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.23.png","C 27 21\nSafo, Festival Internacional de teatro clásico de Mérida, 2022, ©Jorge Armestar\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.24.png","22 C 27\nBetanzos, La Coruña\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.25.png","C 27 23\nLos escaparates captan la \natención del transeúnte \ncon efímeros bodegones, \nque recuerdan a pinturas \nde Sánchez Cotán, o con \nazarosas disposiciones \nde ropas deshabitadas, \nexpuestas como vitrinas de \nmuseo de historia natural.\nStorefronts attract \nshoppers with ephemeral \nstill life images evocative \nof paintings by Sánchez \nCotán, or with random \nlayouts of uninhabited \ngarments, exhibited as \nif in display cases of a \nnatural history museum.\nBetanzos, La Coruña\nCalle Correría, Vitoria, Álava\nCalle Carretería, Málaga\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.26.png","24 C 27\nLos dibujos y rótulos \nde las fachadas dan \ncuenta con sus motivos \ncerámicos e historiadas \ntipografías tanto de los \nproductos y servicios \nque se ofrecen, como de \nlas biografías e historias \nde sus vendedores.\nThe drawings and \nlettering of the facades, \nwith their ceramic \nmotifs and detailed \ntypographies, reflect  \nboth the products and \nservices offered, as  \nwell as the lives and \nstories of their owners.\nCarrer Gran de Gràcia, Barcelona\nRambla de San José, Barcelona\nCalle de Atocha, Madrid\nCalle del Ave María, Madrid\nMálaga\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.27.png","C 27 25\nLos frutos de la tierra o el \nmar y su elaboración se \nmuestran con la misma \npoesía ingenua de los \nazulejos que representan, \na través de figuras \nfemeninas, dos Españas \nquintaesenciales, la \nmeridional y la norteña.\nThe fruits of the earth \nor the sea and their \nelaboration are presented \nwith the same naive \npoetry of the tiles that \nrepresent, through \nfemale figures, two \nquintessential Spains, \nsouthern and northern. \nCalle de Don Ramón de la Cruz, Madrid\nCalle de Argensola, Madrid\nCalle de Zurita, Madrid\nAdra, Almería\nMérida, Badajoz\nCalle de Cea Bermúdez, Madrid\nEl Carpio, Jaén\nCalle del Doctor Esquerdo, Madrid\nCalle de Villalar, Madrid\nCalle de la Torrecilla del Leal, Madrid\nVigo, Pontevedra\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.28.png","26 C 27\nInsIde PomPeII \nLuigi Spina\nArts\nPhotography \n2\nDurante el confinamiento de 2020, Luigi \nSpina recorrió con libertad las ruinas de la \nciudad que quedó sepultada por el Vesubio \nen el año 79 d. C., incluidos algunos \nespacios que habían permanecido cerrados \npor motivos de conservación. Así se \nconstruyó Pompeya, un proyecto fotográfico \nen el que el artista italiano supera el medio \nmillar de instantáneas tomadas en más de \ncincuenta viviendas de esta ciudad histórica \ndesde una perspectiva recogida en contadas \nocasiones: decenas de domus vistas desde \nel interior en las que cada grieta, mella o \nnueva capa de pintura refleja las vicisitudes \ndel paso del tiempo en los propios edificios.\nDuring the lockdown of 2020 imposed \nby the pandemic, the archaeological \nphotographer Luigi Spina had the chance \nto roam the ruins of the polis that was \nburied by the Vesuvius in the year 79 \nAD, including visits to some of the spaces \nwhich remained closed. This is how Inside \nPompeii was put together, a photographic \nproject with more than five hundred \nphotographs taken in over fifty dwellings  \nof this historic city from a perspective that \nis rarely documented: dozens of ‘domus’ \nseen from the inside in which each crack, \ndent, and layer of paint reflects the effects \nof time on the buildings.\nSpina aprovechó el \nperiodo de aislamiento de \nla pandemia para residir \nen Pompeya, cerrada al \npúblico. La luz natural \nde las fotografías permite \ncapturar la esencia de los \nmosaicos y peristilos de \nmás de sesenta domus.\nSpina took the lockdown \nof the pandemic as an \nopportunity to live in \nPompeii, then closed \nto the public. He used \nnatural light to capture \nthe essence of mosaics and \nperistyles of more than \nsixty ‘domus’ interiors.\nCasa della Caccia antica VII\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.29.png","C 27 27\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.30.png","28 C 27\nLas imágenes recogen una \nsingular perspectiva del \ninterior de las viviendas \nde las clases elevadas\nde la ciudad antigua, y \nde las que hoy quedan \nlas trazas de subdivisiones \ny reconstrucciones de \nlos propios edificios.\nAll the photographs show \nan interior perspective of \nthe homes of the middle \nand upper classes of \nthe old city, which still \nreflect the traces of the \ndamages, subdivisions, \nreconstructions or fusions \nthe buildings underwent.\nIII\nII\nArriba: Casa dei Ceii; izq.: Casa del Labirinto VI; dcha.: Juvernes VIII\nCasa Amorini dorati VI\nJuvernes VIII\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.31.png","C 27 29\n",31,{"image":136,"text":19,"number":137},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.32.png",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.33.png","Style\nFood Truss \nEspacio Tramo in Madrid\nEssential Induction \nThe Kitchen of the Future\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.34.png","32 C 27\nEn el número 56 de la calle Eugenio Salazar, \nen pleno corazón del barrio de Prosperidad, \nuna nave de 466 metros cuadrados se ha \nconvertido en el espacio Tramo, el segundo \nrestaurante de la iniciativa Proyectos \nConscientes, creada en 2018, que busca \nredefinir el ocio en las ciudades. La clave de \nla rehabilitación ha sido limitar el número \nde intervenciones y elementos introducidos \npara no competir con la antigua estructura \nde la cubierta, formada por unas esbeltas \ncerchas de hormigón y cables de acero, \ntípica de la arquitectura madrileña durante \nlos años cincuenta y que hoy en día \nprácticamente ha desaparecido.\nOn number 56 of Eugenio Salazar \nstreet, in the heart of the Prosperidad \nneighborhood, a warehouse of 466 square \nmeters has been transformed into Espacio \nTramo, the second restaurant of the \nProyectos Conscientes initiative, launched \nin 2018, which seeks to redefine leisure \nin the cities. The key decision of the \nrefurbishment project has been to limit \nthe number of interventions and elements \nintroduced to avoid competing with the \nold roof structure, formed by slender \nconcrete trusses and steel cables, typical \nof Madrid’s architecture in the 1950s and \nwhich has practically disappeared today.\nArquitectos Architects  \nSelgascano, Andreu Carulla \nColaboradores Collaborators \nIsmael Caballero, Cristina \nFreire, Zimenta, Soulsight, \nRelajaelcoco \nFotos Photos \nJuan Baraja\nStyle\nRestaurant\n3\nFood Truss \nEspacio Tramo in Madrid\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.35.png","C 27 33\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.36.png","34 C 27\nGracias a su espesor, \ndimensión y facilidad \npara ser comprimido, \ntodo el material textil que \nsobró tras colocarlo como \naislante en la cubierta \nha sido reutilizado en \nel almohadillado de los \nbancos corridos.\nThanks to its thickness, \nsize, and ease of \ncompression, all the \ntextile material that  \nwas left over after \nplacing it as facade \ninsulation was reused \nin the cushioning of the \ncontinuous benches. \n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.37.png","C 27 35\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.38.png","36 C 27\nEssential es el producto \nde innovación más \nreciente de Gaggenau. \nLa placa de inducción \ny la encimera, dos \nelementos hasta ahora \nindependientes, se \nunifican en una única \npieza arquitectónica.\nEssential is the most \nrecent innovation \nproject of Gaggenau. \nIn this series, the \ninduction cooktop and \nworktop, two previously \nindependent elements, \nare unified in a single \narchitectural piece.\nStyle\nProduct\n3\nEssential \nInduction\nThe Kitchen of the Future\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.39.png","C 27 37\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.40.png","38 C 27\nEsta innovadora \nsuperficie de inducción \nadopta un diseño \nminimalista: su \nhomogeneidad, sin \nbarreras, marcos ni \nhuecos, facilita que se \nintegre en cualquier \nespacio habitable.\nThis innovative \ninduction surface adopts \na minimalist design: its \nuniform finish, with no \nbarriers, frames, or gaps, \nallows it to integrate  \ninto any living space, \noffering a high-quality \ncooking experience.\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.41.png","C 27 39\nGracias a las altas \nprestaciones y el \nbuen rendimiento del \nmaterial con el que \nestá fabricada la placa, \nGaggenau ha podido \ndiseñarla para que \nfuncione con la piedra \nultracompacta Dekton.\nThanks to brand’s \ntechnology and to the \nhigh performance of the \nmaterial with which the \ncooktop is manufactured, \nGaggenau has designed \nit to be combined with \na wide range of Dekton \nultracompact surfaces. \n",41,{"image":175,"text":19,"number":176},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.42.png",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.43.png","Cosentino\nDekton Home\nShell House by Super Assembly\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.44.png","42 C 27\nCosentino\nArchitecture\n4\nThe studio Super Assembly was faced with the challenge of build-\ning a residence for a family of three members on a triangular plot \ndelimited by two paths, with the added difficulty of having to tackle \nthe harsh climate conditions of Singapore, with its high tempera-\ntures and elevated humidity. Not only was it necessary to design a \nfunctional dwelling, but also one guaranteeing privacy, even though \nit is surrounded by industrial buildings. It also had to effectively \nmanage the strong morning sun coming in through the southeast \nfacade in order to keep a comfortable indoor temperature. The an-\nswer to all these requirements was Shell House, a home that takes \ninspiration from the form of seashells to provide shelter for the \nsmall family, and which is fully clad with Dekton Keon. \nThe Cosentino stone fulfills a double objective: on the one hand, \nas material for ventilated roofs and, on the other, as long-lasting \nfacade material that endures inclement weather. Its durability and \nresistance to heat and stains were particularly beneficial qualities \nin this type of climate, because the facade is constantly exposed \nto different weather patterns and environmental factors. The local \nstudio sought the effect of sloped terraces, and choosing Dekton \nallowed to create a continuous surface able to transition seam-\nlessly between roof and facade. The concrete-like appearance adds \na timeless and elegant touch, enhancing the design and adpating to \nthe demands of tropical climates. \nLa oficina Super Assembly se encontró con el reto de levantar una \nresidencia para una familia de tres personas en una parcela triangu-\nlar delimitada por dos caminos, con la dificultad añadida de tener \nque hacer frente a las duras condiciones climáticas de Singapur, sus \naltas temperaturas y elevada humedad. No solo había que crear una \nvivienda funcional; además, debía poseer la suficiente privacidad \npese a estar rodeada por edificios industriales. Y debía gestionar de \nforma eficaz el potente sol de la mañana que entraba por la fachada \nsureste para mantener una temperatura interior confortable. La res-\npuesta a todos estos desafíos fue Shell House, un hogar inspirado en \nlas formas de las conchas marinas, que brinda refugio a la pequeña \nfamilia y que está revestido con Dekton Keon.\nLa piedra de Cosentino cumple con un doble propósito: por un \nlado, como material para tejados ventilados y, por otro, como ma-\nterial de fachada duradero que resiste las inclemencias del tiem-\npo. Su durabilidad y resistencia a las manchas fueron cualidades \nparticularmente beneficiosas en este clima, ya que la fachada está \nconstantemente expuesta a diferentes patrones climáticos y factores \nambientales. El estudio local buscaba lograr un efecto de terrazas \ninclinadas, y el Dekton permitió crear una superficie continua que \ntransicionara de manera perfecta entre la cubierta y la fachada. Su \napariencia de hormigón añade un toque atemporal y elegante, real-\nzando el diseño y adaptándose a las exigencias del clima tropical.\ndekton HoMe\nShell House by Super Assembly\n©Fabian Ong\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.45.png","C 27 43\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.46.png","44 C 27\nUna de las principales \ncualidades del Dekton \nKeon, además de su \nestética atemporal, es \nsu resistencia frente \na los imperfectos que \npueden causar el sol, la \nhumedad o las lluvias \ntropicales de la ciudad.\nOne of the main  \nqualities of Dekton  \nKeon, aside from its \ntimeless aesthetic, is its \nhigh resistance to the \ndamage that the sun, \nhumidity, heat, and \ntropical rains can cause \non building surfaces.\nDekton Keon\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.47.png","C 27 45\n0\n+1\n",47,{"image":198,"text":19,"number":199},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.48.png",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.49.png","Interior\nGood Looking\nProject Lobster Boutiques\nDesigning the Void \nAll AroundLab in Barcelona\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.50.png","48 C 27\nInterior\nRetail\n5\nSince its launch in 2018, Project Lobster has revolutionzied the \nworld of optical shops and established its position both in its \nonline sales channel and in its physical stores, where they have \ncollaborated constantly with El Departamento. In the last year, \nthe Valencian studio led by Alberto Eltini (architect) and Marina \nMartín (creative director) have worked on a new concept that \nsprings naturally from the previous spaces, in which color, organic \nforms, and the different textures were the guiding thread for each \ndesign. This new family of shops is characterized by the creation \nof atmospheres that emphasize the different scales of the mate-\nrial. Clinical and sophisticated spaces that transmit technique and \ncare to the user. \nThis treatment of the material component, playing with scale \nand its definition, with the distances from which we observe, has \nserved as inspiration to design the first store of the second gen-\neration of the firm, in the Barcelona neighborhood of El Born. A \nconcept that matures with the second shop in Madrid and culmi-\nnates with another store on Muntaner street, again in Barcelona. \nThe attention to detail is reflected in every corner of the spaces \nthrough the custom-made furniture. The stools emerge as milli-\nmetric pieces that reflect in their simplicity the elegance of their \ndesign. The support table, present also in the optical shops of El \nBorn and Madrid, becomes the central element of the space.  \nDesde su nacimiento en 2018, Project Lobster ha revolucionado \nel mundo de las ópticas y se ha consolidado tanto en su canal de \nventa online como en sus tiendas físicas, en las que ha contado con \nla colaboración constante de El Departamento. En el último año, \nel estudio valenciano encabezado por Alberto Eltini (arquitecto) \ny Marina Martín (directora creativa) ha trabajado en un nuevo \nconcepto que nace como la evolución natural de sus anteriores \nespacios, en los que el color, las formas orgánicas y las distintas \ntexturas fueron el hilo conductor de cada diseño. En esta nueva \ngeneración se ha optado por crear ambientes que potencian las di-\nferentes escalas de la materia. Espacios clínicos y sofisticados que \ntransmiten al usuario técnica y cuidado.\nEste tratamiento del elemento material, donde se juega con la es-\ncala y su definición, con las distancias desde las que la miramos y \nsu esencia, ha servido de inspiración para diseñar la primera tienda \nde la segunda generación de la firma, en el barrio barcelonés de El \nBorn. Un concepto que madura con una segunda tienda en Madrid y \nculmina con otra tienda de la calle Muntaner, de nuevo en Barcelona. \nLa atención al detalle se refleja en cada rincón del espacio a través \ndel mobiliario diseñado a medida. Los taburetes aparecen como unas \nmilimétricas piezas que recogen en su sencillez la elegancia de su tra-\nzado. Por su parte, la mesa de apoyo presente también en las ópticas \nde El Born y de Madrid, se presenta como protagonista del espacio.\nProyecto Project:  \nProject Lobster Boutiques \nArquitectos Architects: \nEl Departamento \nAlberto Eltini, Marina Martín \nIluminación Lighting: \nIlumisa; Santa & Cole (Madrid); \nMarset (El Born, Barcelona) \nMobiliario Furniture: \nEl Departamento \nConstructora Constructor: \nReds (Madrid); HMY\u002FFORMA-WORK (El Born) \nTextiles Textiles: \nDeco & You \nFotos Photos: \nMiguel Fernández-Galiano (Madrid) \nJosé Hevia (Barcelona) \nGood Looking \nProject Lobster Boutiques\nPJ Lobster Muntaner, Barcelona\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.51.png","C 27 49\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.52.png","50 C 27\nThe interior combines \ndifferent atmospheres \nthanks to the varied \ntextures and materials:  \nmicrocement floors and \ncarpets create a clean \nand warm space, while \nthe furniture reflects \ninterest in high-tech. \nEl interior aúna distintas \natmósferas gracias a la \ncombinación de texturas y \nmateriales: los suelos de\nmicrocemento y moqueta \ncrean un ambiente pulcro \ny acogedor, pero en el \nmobiliario se aprecia el \ninterés por lo high-tech.\nPJ Lobster Born, Barcelona\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.53.png","C 27 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.54.png","52 C 27\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.55.png","C 27 53\nThe original structure  \nis concealed, but the \nspace maintains its \nclearance height of over \n4 meters. By glazing \nthe entire facade, the \ntraditional storefront  \nis transformed into a \nhuge window. \nLa estructura original se \noculta, pero el espacio \nconserva su altura libre \nsuperior a los 4 metros. \nAl acristalar por completo \nla fachada, el escaparate \nde tienda tradicional se \ntransforma en una enorme \n‘ventana indiscreta’.\nPJ Lobster Fernando vI, Madrid\n",55,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.56.png","54 C 27\nInterior\nRenovation\n5\ndesIgnIng the voId\nAll AroundLab in Barcelona\nEl barrio de Pablenou es conocido por ser una antigua zona fabril \na las afueras de Barcelona, convertida hoy en día en uno de los \nprincipales focos artísticos de la ciudad. Fernando Poo, la reforma de \nuna vivienda-estudio capaz de transformarse tanto a largo como a \ncorto plazo, se inscribe dentro de la investigación teórica y práctica \n‘proyectar el vacío’ que los arquitectos Noelia de la Red y Jordi Ribas \nllevan años desarrollando juntos en su estudio, All AroundLab. La \nparticularidad de esta propuesta es que la arquitectura se concibe \ncomo soporte, y es el vacío lo que garantiza su adaptabilidad.\nEl espacio previo a la rehabilitación era completamente diáfano \ny sin rastro de memorias pasadas, por lo que una de las primeras \ndecisiones de proyecto fue retirar todos los revestimientos superficiales \nde los muros para hacer visibles los materiales originales de la \nconstrucción y, al mismo tiempo, evitar la aparición de humedades al \nfavorecer la transpiración de la pared. En el proyecto se implementan \ndos estrategias ensayadas en propuestas anteriores: por un lado, el \nprograma funcional y el almacenaje se relegan al perímetro, liberando \nasí el resto de la superficie. Al mismo tiempo, se levanta un volumen \nexento que funciona como filtro entre las diferentes estancias, \nconteniendo el baño, parte de la cocina y los paneles móviles que \npermiten segregar el espacio según las necesidades cambiantes a \nlo largo del día. Todo conjugado con las superficies uniformes y \ntonalidades claras que ofrecen los materiales de Cosentino.\nThe Poblenou neighborhood is known to be an old industrial area \non the outskirts of Barcelona that has become one of the city’s \nprincipal artistic hubs. Fernando Poo, the renovation of a space \ninto a flat-cum-studio with the capacity to undergo transformation \nin both the long and the short run, is part of ‘designing the void,’ \na theoretical and practical study that the architects Noelia de la \nRed and Jordi Ribas have for years been working together on in \ntheir studio, All AroundLab. The peculiarity of this design lies in \nthat it conceives of architecture as the support, and the void as \nwhat guarantees its adaptability.\nBefore the revamp, the space was completely clear, with no \nobstructions and no trace of past memories, so an early decision \nin the project was to remove all superficial claddings, exposing the \noriginal building materials while preventing moisture by letting the \nwalls breathe better. Two strategies tested in previous schemes were \nimplemented. On the one hand, the functional and storage programs \nwere pushed to the perimeter, freeing up the center of the apartment. \nOn the other hand, an autonomous volume acts as a filter between \ndifferent spaces and contains the bathroom, part of the kitchen, \nand the movable panels that make it possible to segregate the space \nwhen and as needed, in accordance with changing requirements \nas the day goes by. Everything in combination with the uniform \nlight tones characteristic of Cosentino materials.\nArquitectos Architects:  \nNoelia de la Red, Jordi Ribas \nColaboradores Collaborators:\nMónica Piqué \nFotos Photos: José Hevia\n",56,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.57.png","C 27 55\n",57,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.58.png","56 C 27\n",58,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.59.png","C 27 57\nEl programa funcional \ny el almacenaje se \nacumulan en el perímetro \npara liberar el resto de \nla superficie. Al mismo \ntiempo, se levanta un \nvolumen exento que \nfunciona como filtro \nentre las estancias.\nThe functional program \nand the storage areas \nwere placed along the \nperimeter in order to  \nfree up the rest of \nthe flat, while an \nautonomous volume was \ninstalled to serve as a \nfilter between spaces.\n",59,{"image":245,"text":19,"number":246},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.60.png",60,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.61.png","Interview\nMoussavi & Tagliabue\nIn Dialogue\n",61,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.62.png","Interview\nConversation\n6\nFarshid Moussavi &  \nBenedetta Tagliabue \nin dialogue\n",62,{"image":256,"text":19,"number":257},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.63.png",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.64.png","62 C 27\nPhotos: Miguel Galiano \nLas arquitectas Farshid Moussavi (Shiraz, \n1965) y Benedetta Tagliabue (Milán, 1963) \naprovechan su paso por Madrid para dia-\nlogar sobre proyectos e influencias. El pri-\nvilegiado enclave —las inmediaciones de la \nErmita de San Antonio de la Florida— da pie \na una conversación en torno a los espacios \nde culto y la importancia del simbolismo. \nFarshid Moussavi: Aprovechando que \nnos encontramos junto a la Ermita de San \nAntonio de la Florida, me gustaría empezar \nla conversación con la iglesia que acabáis \nde terminar en Ferrara. Aunque realmente, \n¿es una iglesia o una parroquia?\nBenedetta Tagliabue: Bueno, es algo más \nque una iglesia, porque incluye también la \ncasa del párroco, algunas aulas para estu-\ndiantes… Podríamos definirlo como un com-\nplejo religioso. Es un proyecto con el que \nhemos disfrutado mucho, sobre todo porque \nha sido un ejercicio de estudio y compren-\nsión sobre qué emociones nos mueven en los \nespacios. Y, en realidad, ha sido un trabajo de \nprueba y error, siempre con la incertidumbre \nde si conseguiríamos transmitir esos senti-\nmientos. Así que, en resumen, el trabajo ha \nsido fundamentalmente una investigación.\nFM: Es verdad que en muchas ocasio-\nnes lo más interesante de diseñar edificios \ndestinados a una comunidad, que comparte \nuna fe concreta, o que simplemente se van \na dedicar a meditar o rezar, es la relación \nque se establece entre ese estado mental y \nel espacio. Normalmente se nos encargan \nedificios para los aspectos más prácticos de la \nvida, donde todo está perfectamente dimen-\nsionado, todo está estudiado y sistematizado. \nSin embargo, en proyectos como una ca-\npilla todas estas reglas desaparecen y el \ndiálogo entre la arquitectura y las personas \nes solo a través de la experiencia, y no tanto \na través de una actividad.\nBT: Para enfrentarme al proyecto de San \nGiacomo fue importante la experiencia de \nvivir en Venecia, que es una ciudad llena \nde iglesias. Pero no solo son templos, se \nconvierten en hitos, se pueden ir a visitar o \nsimplemente refugiarse un día caluroso, y \nsobre todo descubrir muchas obras de arte. \nAdemás, tienen una condición urbana muy \nimportante, crean parroquias o barrios en \ntorno a ellas, que de hecho adquieren su \nmismo nombre. Así que, en realidad, yo em-\npecé a disfrutar de las iglesias no tanto como \nun lugar de culto, sino como un lugar de \nbelleza, de estancia y de identidad para una \nparte de la ciudad. Pero sé que tú también \nestás haciendo un edificio religioso, y ade-\nmás para una cultura muy diferente. \nFM: Sí, estamos trabajando en el Centro \nIsmaili de Houston, con una sala para la \noración de hasta a mil doscientas personas. \nAunque no es una mezquita, y por tanto no \ntiene los requisitos arquitectónicos asocia-\ndos con la liturgia, sí necesitábamos infundir \nun sentido de espiritualidad y unión a la \nzona de rezo. Aga Khan inventó este tipo de \nedificio como una forma de dar a la comuni-\ndad ismaelita un lugar practicar su fe, para \nla introspección personal, y para reunirse \ncon los miembros de las comunidades en las \nque viven. Pero también acogen actividades \ncomo conferencias, conferencias y exposi-\nciones., Así que, al igual que tu iglesia, tiene \notros espacios complementarios.\nThe conversation took \nplace in front of the \nRoyal Chapel of St \nAnthony of La Florida, \ncommissioned to Felipe \nFontana by Charles \nIV and decorated \ninside with frescoes by \nFrancisco de Goya.\n«En una capilla el diálogo entre \nla arquitectura y las personas es \nsolo a través de la experiencia»\nLa conversación tiene \nlugar a los pies de la \nErmita de San Antonio \nde la Florida, encargada \nal arquitecto Felipe \nFontana por Carlos IV y \ndecorada en su interior \npor los frescos de \nFrancisco de Goya.\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.65.png","The architects Farshid Moussavi (Shiraz, \n1965) and Benedetta Tagliabue (Milan, 1963) \ncoincided in Madrid and took the opportunity \nto discuss projects and influences. A choice \nspot, the small garden in front of the Cha-\npel of St. Anthony of La Florida, triggered a \nconversation about places of worship and the \nimportance of symbolism.\nFarshid Moussavi: Since we’re here at the \nErmita, I would like to hear about the church \nthat you’ve just finished in Ferrara.  Is it a \nchurch or a chapel?\nBenedetta Tagliabue: It’s a chapel. Well, \nactually something more than a chapel. It’s \na parish church with facilities like the house \nof the priest, classrooms for students… So \nit’s a religious complex. It was a project \nthat was incredible to work on, I loved it, \nespecially because it was an opportunity to \nstudy and understand what emotions move \nyou in a space. A real work of trial and \nerror where you were never sure to succeed \nin conveying those sentiments. So it was \nessentially a research work.\nFM: I agree with you that very often, the \ninteresting thing about designing buildings in-\ntended to serve a community whose members \nshare a specific faith, and go there to medi-\ntate or pray, is the relationship established \nbetween their mental state and the space. \nNormally we architects are commissioned to \ndesign buildings for the practicalities of ev-\neryday life, where most of them have been \ndimensioned, studied, and systematized. But \nin projects such as a chapel, all these rules go \naway and the dialogue between architecture \nand people is through the experience of space, \nnot so much through any particular activity.\nBT: For the San Giacomo project it was \nimportant for me to live in Venice, a city \nwhere you find churches everywhere. But \nthey are not just temples. They become land-\nmarks, places where you stop. You can be \nvisiting them on purpose or simply be going \ninto a fresh place if it’s too hot, and you look \naround and find plenty of art. And they also \nhave a very important urban character. They \ncreate parishes and neighborhoods around \nthem, which in fact get their names. So I \nreally started to love churches, not so much \nas places of worship but as places for beauty, \nas places for stopping at, and also as places \nthat give identity to a piece of the city. But I \nknow you’re doing a religious building too, \nand for a very different culture.\nFM: Yes, it’s the Ismaili Center in Hous-\nton, with a prayer hall for 1,200 people. \nAlthough it’s not a mosque, and therefore it \ndoesn’t have all the architectural prescrip-\ntions that come with a liturgy, there is a large \nroom for prayer that we needed to infuse \nwith a sense of spirituality and togetherness. \nThe Aga Khan invented this type of build-\ning as a way to give the Ismaili community \na place to practice their faith for personal \nintrospection, and to gather together with \nmembers of the communities in which they \nlive for shared activities, such as lectures, \nconferences, and exhibitions. So, like your \nchurch, it has other, complementary spaces.\nBT: And what was your strategy in design-\ning this unique space?\nFM: You were just describing living in \nVenice, experiencing it firsthand. My case \nis different. I left Iran when I was only 14. \n“In a chapel, the dialogue \nbetween architecture and \npeople is through experience”\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.66.png","64 C 27\nBT: ¿Cuál fue la estrategia para diseñar \neste espacio tan singular?\nFM: Pues a diferencia de tu experiencia \ndirecta con Venecia, yo me fui de Irán cuan-\ndo tenía solo 14 años. En ese momento, no \ntenía interés por estudiar arquitectura, por \nlo que mi memoria sobre posibles referen-\ncias se ha desvanecido con el tiempo. Así \nque tuve que mirar más atrás, y empecé \nintentando sintetizar las características de \nla arquitectura de la civilización musulma-\nnas. No solo en Irán, sino de muchos lugares \ndiferentes. Pero, por supuesto, sobre todo \nme fijé en la persa, la más afín a mis raíces, \ndonde los edificios, por lo general, son muy \nsencillos en su exterior y muy complejos en \nel interior. Esta simplicidad externa hace que \nlos edificios parezcan grandiosos desde lejos, \npero cuando te acercas, se hace visible una \nornamentación más sutil  y de menor escala, \nsobre todo relacionada con la complejidad \nde los mosaicos de azulejos o  ladrillos. Por \nel contrario, el interior es exuberante y está \nricamente decorado con las estructuras vis-\ntas y patrones geométricos de azulejos. \nBT: Además, en contraste con los templos \ncristianos, la tradición del Islam evita todo \ntipo de simbolismo, por lo que las referencias \ncon las que se trabajan supongo que serán \nmuy diferentes, ¿no?\nFM: La idea de que una imagen repre-\nsenta la religión, no existe en el Islam. Así \nque tuvimos que conseguir esa sensación de \nsilencio y reflexión solo a través del espacio, \nla geometría, la estructura y la luz. Encontré \nque el Centro Ismaelita de Houston era una \noportunidad fantástica para pensar en la \nexperiencia de las personas, independiente-\nmente la función y los símbolos.\nBT: Bueno podríamos decir que tiene la \nfunción de congregar a las personas. Por \neso, es importante que el espacio no parezca \nmuy anodino o diferente, y la comunidad \npueda sentir que le pertenece. Esta línea es \nmuy fina, y es difícil encontrar el límite. \n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.67.png","C 27 65\n",67,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.68.png","66 C 27\n",68,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.69.png","C 27 67\nI had no interest in studying architecture at \nthat point and my memory faded over time \nin terms of the architectural references I had \nvisited as a child. This meant looking further \nback and thinking about the characteristics of \narchitecture of Muslim civilization. Not just \nin Iran but in many different places. But of \ncourse, above all, I looked at Persian archi-\ntecture because of my own background. There, \none finds buildings that are very simple on the \noutside and more complex inside. This exter-\nnal simplicity makes buildings appear grand \nfrom afar, but as you get closer, a smaller-\nscale, more subtle ornamentation becomes \nvisible, mostly to do with the intricacy of brick \nor mosaic tiling. In contrast, the inside is \nexuberant and richly decorated with exposed \nstructure and geometric tiling patterns. \nBT: Also, in contrast with Christian tem-\nples, Islamic tradition avoids all manner of \nsymbolism, so I suppose that the references \nyou work with are very different, right?\nFM: Exactly. Religious symbolism, the very \nidea that an image represents the religion, \ndoes not exist in Islam. So we had to gener-\nate the sense of silence and reflection using \nspace, geometry, structure, and light. I found \nthe Ismaili Center Houston to be a fantastic \nopportunity to think about the experience of \npeople, independent of function and symbols.\nBT: Well, we could say that this is about \ncongregating people. So there is a function. \nThat’s why it’s important that the space is not \ntoo anodyne or too odd. The community has to \nbe able to feel that the building is something \nthat belongs to them. It’s not easy, there’s a \nvery fine line. In the case of our church, for \nexample, most of those who go there are very \nhumble people, so the spaces and the art can-\nnot be too exclusionary. This became one of \nthe more interesting challenges of the project.\nFM: Symbolism is a highly complex sub-\nject. How did you tackle it?\nBT: We had a person with us who was \nan expert in theology. He was a liturgist, \nso he knew about the significance of the \nrituals, and he explained to us what ev-\nerything meant. For example, to get across \nto us what exactly it was that we had to \nachieve, there was this very simple example: \nif a child follows a stray football through \nthe church door and doesn’t stop, that is, \ndoesn’t immediately realize that he has en-\ntered a sacred space, it means that we have \nfailed. I think we achieved this in the end, \na special feel, because people stop as they \ncross the threshold. It’s like the church itself \nmakes you change your attitude. You realize \nyou’re in a special place. \nFM: We were fortunate to have the Aga \nKhan much involved in the design process. \nYou know, for every Ismaili Center he has \nintentionally gone to a different architect, to \npursue new paths, not repeat. As a result, \neach Ismaili Center has a different expression. \nBT: Was it difficult to have him as adviser \nand client at the same time?\nFM: Honestly, he was the perfect client \nbecause he was always pushing us to go \ndeeper and rework things. He asked a lot of \nquestions but they were never impositions. \nAnd it’s just the kind of person he is. The \nbiggest challenge was how to give the center \na unique architectural character based on \nprinciples of traditional Islamic building, but \nalso incorporating elements from Houston \nand contemporary building technology. Tra-\nditional Islamic buildings were, above all, \nworking with abstraction, so they were about \nachieving singular qualities of space using \ngeometry, structure, and craft, rather than \nimages. Over time, however, the Muslim world \nhas accumulated a vast history of significant \nbuildings and structures, and to continue that \nhistory, it has repeated features of it. But if \nyou look at the mosaic work in old mosques \nor palaces, they are never the same as any \nother building. They are unique creations, and \nthat is how they were supposed to be: unique \nworks of art. I think it is a contradiction that \nhow Islamic architecture is viewed today re-\nlates to patterns of the past being repeated \nand thought of as symbols. What we had to \nnavigate was how to bring the Ismaili com-\nmunity something that was in and of its own, \nunique, and yet it drew inspiration from the \narchitecture of the Muslim world. \nBT: How interesting! As for us, we too tried \nto go to the essential, reduce it to the elements \nof the primitive church. Those elements are \nalways the strongest, most expressive, and \nmost timeless. For example, we have a big \ncross flying in the space, made of beams we \nfound in an old palace nearby. They were \ndismantled and remounted like a beam. And \nI think this idea of reusing something that \nbelonged to the city did much for the project.\n“Those primitive elements are \nalways the strongest, most \nexpressive, and most timeless”\n",69,{"image":283,"text":284,"number":285},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.70.png","68 C 27\nPor ejemplo, en nuestro caso la gente que \nacude a esta iglesia es muy humilde, por lo \nque los espacios y el arte no pueden ser muy \nexcluyentes. Y esto se convirtió en uno de \nlos desafíos más interesantes. \nFM: El simbolismo es un tema muy com-\nplejo, ¿cómo lo abordasteis vosotros?\nBT: Trabajamos con un experto en teo-\nlogía, que nos explicaba el significado de \ncada uno de los rituales. Por ejemplo, para \nentender lo que teníamos que conseguir \nusábamos un ejemplo muy fácil: si un niño \nentraba en la iglesia persiguiendo una pelo-\nta, y no se daba cuenta de forma inmediata \nde que era un lugar sagrado, significaba que \nhabíamos fracasado. Pero al final creo que \nlogramos esa sensación de espacio único, \nporque la gente se para antes de entrar. \nDa la sensación de que la propia iglesia te \nobliga a cambiar tu actitud y a darte cuenta \nde que estás en un sitio especial. \nFM: Nosotros tenemos la suerte de que \nel Aga Khan esté muy implicado en todo el \nproceso de diseño. De hecho, su voluntad \nde cambiar de arquitectos para cada uno de \nlos centros tiene que ver con una idea de no \nrepetir estrategias, e involucrarse en la bús-\nqueda de nuevos caminos. Como resultado, \ncada Centro Ismaelita es muy diferente.\nBT: ¿Es complicado que sea consejero y \ncliente al mismo tiempo?\nFM: Honestamente, es el cliente perfecto \nporque nos empuja a profundizar y reela-\nborar las cosas. Hace muchas preguntas, \npero nunca imposiciones. El mayor desafío \nha sido, sin duda, cómo darle al centro un \ncarácter arquitectónico único que se base en \nlos principios de la construcción islámica \ntradicional, pero que también incorpore ele-\nmentos de Houston y la tecnología contem-\nporánea. Los edificios islámicos tradicionales \ntrabajaban, sobre todo, con la abstracción, \npor lo que se trataba de lograr cualidades \nsingulares del espacio utilizando la geome-\ntría, la estructura y la artesanía, en lugar  \nde imágenes. Sin embargo, a lo largo del \ntiempo el mundo musulmán ha acumulado \nuna vasta historia de edificios significativos, \ny para continuar esa historia ha repetido ca-\nracterísticas parecidas. Pero si nos fijamos en \nlos mosaicos de las  antiguas mezquitas o \npalacios, nunca son iguales. Son creaciones \núnicas, y así es como se supone que deben \nser: obras de arte únicas. Creo que es una \ncontradicción que la forma en que se ve la \narquitectura islámica hoy en día se relacione \ncon patrones del pasado que se repiten y se \npiensan como símbolos. Por eso teníamos \nque llevar a la comunidad algo que fuera \npropio, único, y que, sin embargo, se inspi-\nrara en la arquitectura del mundo musulmán.\nBT: ¡Qué interesante! En nuestro caso \ntambién buscamos lo esencial, reducirlo a lo \nmás primitivo. Pensamos que esos elementos \nson los más potentes, expresivos y atempo-\nrales. Por ejemplo, tenemos una gran cruz \nque vuela en el espacio, y que es una pieza \nrecuperada de un antiguo palacio cercano. \nFue desmantelada y reconstruida como si \nfuese una viga. Además, la idea de reutilizar \nalgo que pertenecía a la ciudad nos parecía \nque consolidaba mucho el proyecto.\n«Esos elementos primitivos \nson los más potentes, \nexpresivos y atemporales»\n",70,{"image":287,"text":288,"number":289},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.71.png","C 27 69\n",71,{"image":291,"text":19,"number":292},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.72.png",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.73.png","Travel\nBilbao\nSpain\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.74.png","72 C 27\nBilbao\nTravel\nSpain  \n7\n01\n02\nRiverwalk\nRía de Bilbao\nArt Museum \nGuggenheim Museum\nAlamy © Juanma Aparicio\n© Erika Ede\nAlong the Nervión River, \nthe Biscayan capital mixes \ntradition and gastronomy \nwith buildings by leading \ncontemporary architects.\nA lo largo del río Nervión \nla capital vizcaína conjuga \nsu tradición y gastronomía \ncon obras de los principales \narquitectos contemporáneos.\nIn the wake of a past \nmarked by intense \nindustrial activity, the \nestuary has transformed \ninto one of the city’s  \nbig attractions, with \nmajor architectural \nlandmarks concentrated \nalong its banks.\nDesde su inauguración en \nel año 1997 el escultórico \nmuseo diseñado por Frank \nGehry fue uno de los \nprincipales agentes en la \nregeneración urbana de \nla capital vizcaína, hasta \nconvertirse en uno de sus \niconos más reconocibles.\nWith its inauguration \nin 1997, the sculptural \nmuseum of titanium \ndesigned by Frank Gehry \nbecame a key catalyst for \nthe urban regeneration \nof the Basque city, and \neventually one of its most \nrecognizable icons.\nTras un pasado marcado \npor la fuerte actividad \nindustrial, hoy la ría \nse ha transformado \nen uno de los grandes \natractivos de la ciudad, \nconcentrando en sus \nmárgenes los principales \nhitos arquitectónicos.\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.75.png","C 27 73\n03\nPanoramic Views \nArtxanda Mendia\nMount Artxanda is the \nideal perch from which \nto relish panoramic \nviews of the city. A \nparticularly exciting way \nto reach the top is by \nriding the old funicular, \nwhich has operated since \nthe early 20th century.\ndepositphotos © giuseppemasci\nEl monte de Artxanda \nes el lugar idóneo para \ndisfrutar de unas vistas \npanorámicas sobre toda \nla ciudad. Una de las \nmejores maneras de llegar \nhasta allí es el histórico \nfunicular, activo desde \nprincipios de siglo xx.\n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.76.png","74 C 27\n07\n05\nTrain Station \nLa Concordia\nMain Square\nPlaza Nueva\n04\n \nReligious \nBasilica de Begoña\n08\nEclectic Style \nForal Palace\n06\n© Jose Luis Filpo Cabana\n© Björn S\n© josu.orbe\neuskadi.eus\nAlamy © Karol Kozlowski \nEncargado al arquitecto \nPaul Hankar, el singular \nedificio se sitúa en la \ncéntrica plaza Moyúa.\nA work of Paul Hankar, \nthe edifice stands at \nPlaza Moyúa, heart of \nBilbao’s extension.\nEclectic Style \nChávarri Palace\nConstruida en 1898 en \nestilo modernista, la \nestación era la cabecera \nde la ruta con Santander.\nRaised in 1898 in Art \nNouveau style, the train \nstation was a terminal of \nthe line with Santander.\nRealizada a mediados \ndel siglo xix según los \ndiseños de los arquitectos \nAvelino de Goicoechea, \nSilvestre Pérez y Antonio \nEchevarría, la plaza \nporticada es uno de los \ncentros neurálgicos del \nCasco Viejo de Bilbao.\nBuilt in the mid-19th \ncentury following \ndesigns by the architects \nAvelino de Goicoechea, \nSilvestre Pérez, and \nAntonio Echevarría, the \narcaded square is an \nimportant nerve center \nof Bilbao’s old quarter.\nEl santuario se levantó \nen lo alto de una colina \nde Begoña en honor a la \npatrona de Vizcaya.\nDedicated to Biscay’s \npatron saint, the church \nrises on a hill of the area \nnamed in her honor.\nLevantado en 1900 por \nLuis Aladrén Mendivil \nejemplifica el auge del \neclecticismo alfonsino.\nBuilt in 1900 by Luis \nAladrén Mendivil, it \nexemplifies the heyday of \nAlphonsine eclecticism.\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.77.png","C 27 75\nTheater\nTeatro Arriaga\nReligious\nChurch of San Antón\nReligious \nSantiago Cathedral\n11\n10\n09\ncatedralbilbao.com\u002F\n© Pedro J Pacheco\n© Zarateman\nProyectado en 1885 por \nJoaquín de Rucoba, el \ndiseño del teatro sigue \nlos modelos neobarrocos \nhabituales en Europa \na finales del siglo xix, \nadaptando la planta en \nherradura a la compleja \nforma del solar.\nEl templo construido en \nestilo gótico, aunque con \nañadidos renacentistas y \nbarrocos, es uno de los \nmás populares debido \na su ubicación junto al \nmercado de la Ribera, el \nAyuntamiento y a uno de \nlos puentes sobre la ría.\nUbicada en pleno Casco \nViejo, la actual catedral \nse empezó a construir a \nfinales del siglo xiv sobre \nlos restos de un templo \nanterior arrasado en un \nincendio. La fachada y \nla torre son frutos de la \nrenovación del siglo xix.\nThe theater building \nwas designed in 1985 \nby Joaquín de Rucoba \non neo-Baroque models \nhabitual in Europe at \nthe end of the 19th \ncentury, adapting the \nhorseshoe plan to the \nsite’s complex shape.\nErected in Gothic style \nbut showing Renaissance \nand Baroque additions, \nthis building is a popular \ndestination due to its \nlocation beside the \nRibera market, City Hall, \nand one of the bridges \nover the estuary.\nDeep in the old quarter \nstands this church which \nbegan to go up late in \nthe 14th century, over \nthe remains of a temple \nthat fire had destroyed. \nThe facade and the \ntower are fruits of a \n19th-century renovation.\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.78.png","76 C 27\n12\nOne of the crown projects \ncarried out in the region, \nMetro Bilbao is a major \npublic transportation \naxis for Greater Bilbao. \nNorman Foster’s design \nmade it a symbol of \nprogress for the Basque \nCountry at large.\n15\nJuan Coll-Barreu fue capaz \nde diseñar esta fachada \npoliédrica sin incumplir la \nestricta normativa urbana.\nThe architect was able \nto erect a multifaceted \nfacade without breaching \nstrict urban regulations.\nOffices \nHealth Department\nLibrary \nDeusto University\n13\nRafael Moneo decidió \norientar ligeramente la \nbiblioteca universitaria \nhacia el Museo \nGuggenheim, que se hace \npresente en el interior \nde las salas gracias a las \ngrandes hendiduras en\nla envolvente continua. \nRafael Moneo decided \nto slightly turn the \nuniversity library \ntoward the Guggenheim \nMuseum, which makes \nits presence felt inside \nthe halls thanks to huge \nfissures on the otherwise \ncontinuous skin. \nHousing\nIsozaki Atea\n14\nEl japonés Arata \nIsozaki, junto con Iñaki \nAurrekoetxea, proyectó \ndos torres gemelas de 83 \nmetros de altura y otros \ncinco edificios de 5 a 8 \nplantas que forman \neste emblemático \nconjunto residencial.\nThe Japanese architect \nArata Isozaki, working \nwith Iñaki Aurrekoetxea, \ndesigned 83-meter-tall \ntwin towers and another \nfive buildings rising \nbetween 5 and 8 floors, \nforming an emblematic \nresidential complex.\n© Hisao Suzuki\n© Roland Halbe\n© Alejo Bagué \n© Zarateman\nInfrastructure \nMetropolitan Railway\nMetro Bilbao es uno \nde los proyectos más \nemblemáticos de la \nregión, un gran eje de \ntransporte público para \nla ciudad. El diseño de \nNorman Foster lo ha \nconvertido en símbolo del \nprogreso del País Vasco.\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.79.png","C 27 77\nArt Museum\nMuseum of Fine Arts\n16\nEl Museo de Bellas Artes\nde Bilbao ofrece un \nrecorrido histórico desde \nel arte rómanico hasta \nlas primeras vanguardias \ny sus derivaciones \ncontemporáneas. Tras \nun concurso de ideas, su \nampliación está pendiente.\nThe Bilbao Fine Arts \nMuseum offers  \na historical journey \nfrom Romanesque art to \nthe early avant-gardes \nand their contemporary \nexpressions. An ideas \ncompetition was held for \nits extension. \nStadium\nSan Mamés\n19\n18\n17\nEl edificio diseñado por \nÁlvaro Siza se sitúa en \nuna de las zonas más \nemblemáticas de Bilbao, \ncon una forma de ‘L’, \nque se abre hacia la Ría \ny el Museo Guggenheim, \nen pleno centro de la \navenida de Abandoibarra.\nEl equipo de Soriano y \nPalacios diseñó este gran \ncomplejo multifuncional \ncomo si se tratara de un \nnavío en permanente \nconstrucción que emerge \ndel dique en el que \nestuvieron los Astilleros \nEuskalduna hasta 1988.\nConstruida en 1913 «La \nCatedral» fue uno de los \nestadios más antiguos \nde España. En 2004 el \nayuntamiento decidió \nreemplazarlo por una \ndotación más moderna \nque pisa sobre la huella \ndel primer San Mamés.\nThis Álvaro Siza work is \nlocated in one of Bilbao’s \nmost representative \nareas and forms an L \nshape opening out to the \nNervión estuary and the \nGuggenheim Museum, \nsmack in the middle of \nAvenida Abandoibarra.\nSoriano and Palacios \ndesigned this immense \nmultipurpose complex \nlike a ship permanently \nunder construction, \nemerging from the dike \nwhere the Astilleros \nEuskalduna shipyards \noperated until 1988.\nBuilt back in 1913,  \n“The Cathedral” of the \nfootball club Athletic \nBilbao was one of \nSpain’s oldest stadiums. \nIn 2004, the city council \ndecided to raise a more \nmodern San Mamés  \non the same spot.\n© César San Millán \n© César San Millán \n© Aitor Ortiz  \n© Duccio Malagamba\nAssembly Hall\nUPV Paraninfo\nConvention Center\nEuskalduna Palace\n",79,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.80.png","78 C 27\nAlhondiga of Bilbao\nAzkuna Zentroa\n20\nEl Centro de Sociedad y \nCultura Contemporánea \nde Bilbao se encuentra \nen lo que fue un antiguo \nalmacén de vino, hoy en \ndía reconvertido en un \nespacio que aúna todo \ntipo de actividades, como \nexposiciones o festivales.\nThe Bilbao Society and \nContemporary Culture \nCenter is housed in \nwhat used to be a wine \nstorage facility. It was \nturned into a space that \naccommodates a range \nof activities, including \nexhibitions and festivals.\n24\n22\n23\n21\nEste discreto local de \ncocina de temporada ha \nrecibido un año más la \nanhelada Estrella Michelín.\nEl chef donostiarra dirige \neste espacio en el Casco \nViejo de Bilbao, un lugar \npara disfrutar de \nsu milimétrica cocina.  \nSu más que reconocida \ntarta de queso encabeza \nuna oferta gastronómica \ntradicional y de calidad. \nConstruido durante la \nRevolución Industrial, fue \nel primer transbordador \nmetálico del mundo.\nThis discreet haven \nfor seasonal food has \nonce again capped the \ncoveted Michelin star.\nThe prize-winning chef \nfrom San Sebastián runs \nthis establishment in \nBilbao’s old town. \nIts superfamous \ncheesecake heads a \ntop-quality traditional \ngastronomic spread.\nBuilt during the \nIndustrial Revolution, \nit was the world’s first \nmetal transporter bridge.\nRestaurant \nMina\nRestaurant\nOla Martin Berasategui\nTraditional Pintxos \nLa Viña del Ensanche\nSuspension Bridge \nVizcaya Bridge\ndepositphotos © bepsimage\ndepositphotos © cribea\nlavinadelensanche.com\nbilbaoturismo.net\nrestaurantemina.es\n",80,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.81.png","C 27 79\nArt Gallery\nCarreras Múgica\n25\n Estudio Herreros se \nencargó de transformar \nel almacén de un antigua \npapelería industrial en \nla mayor galería de arte \ndel País Vasco, donde \nahora se reúnen obras de \nartistas como Eduardo \nChillida o Richard Serra.\nEstudio Herreros was \ntasked to convert an old \npaper manufacturer’s \nwarehouse into the \nBasque Country’s largest \nart gallery, where one \nfinds works by artists \nlike Eduardo Chillida \nand Richard Serra. \nEl interés de este espacio \nexpositivo es promover \nartistas emergentes de\ncualquier parte del mundo.\nThe pull of this space \nlies in its promotion of \nemerging artists from \nany part of the world.\nArt Gallery\nAldama Fabre\n26\nalbertodurana.blogspot.com\n© Mackedwars\nFood Market \nMercado de la Ribera\nBuilt in 1929 in the \nrationalist and Art Déco \nstyle, in an enclave \nlocated on the right \nbank of the Nervión once \noccupied by Plaza Vieja, \nthis food market is  \nthe world’s most  \ncomplete edibles fair.\nConstruido en 1929 en \nestilo racionalista y Art \nDecó, en un enclave \nen la orilla derecha del \nNervión que ocupaba la \ndesaparecida Plaza Vieja, \neste mercado municipal \nde abastos es el más \ncompleto del mundo.\n29\nLa familia Ortiz regenta \nel negocio desde 1975, \npero fue a partir de los \n90 cuando introdujeron \nsabores más originales \ncomo de chocolate \ncon guindilla o el ya \nreconocido helado de \nqueso Idiazábal.\nThe Ortiz family has run \nthe business since 1975, \nbut it was in the 1990s \nthat it incorporated \nmore original flavors, \nsuch as chocolate with \nchili and the now \nrenowned Idiazábal \ncheese ice-cream.\n27\nIce-Cream Shop  \nNossi-Bé\n28\nUrban Park \nParque de Doña Casilda\nEsta zona verde del siglo \nxx fusiona la estética \nromántica con el estilo \nde los jardines franceses.\nThis 20th-century green \nzone fuses the romantic \naesthetic with the style \nof French gardens.\ndepositphotos © Neirfys\n© Adrià Goula\n© José Luis Revuelta\n",81,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.82.png","80 C 27\n28\n16\n17\n21\n18\n13\nFederico Moyúa Plaza, 5, \nAbando\nMuseo Plaza, 2, Abando \nbilbaomuseoa.eus \n10:00-22:30 Mon-Fri \n(Sat unitl 15, Tue Closed)\nHeros Kalea, 2, Abando \ncarrerasmugica.com \n11:00-14:00, \n17:00-20:00 Mon-Fri \n11:00-14:00 Sat\nHiru Zutabe Pl., 7, Ibaiondo \naldamafabre.org \n17:00-20:00 Tue-Fri \n11:00-14:00 Sat\nNafarroa Kalea, 1, Abando \n15:00-21:00 Wed-Thu  \n15:00-23:00 Fri \n11:00-23:00 Sat \n12:00-22:00 Sun\nErribera Kalea, s\u002Fn, Ibaiondo \n8:00-16:00 Mon-Tue \n8:00-24:00 Wed-Sat\n11:00-24:00 Sun\nErribera Kalea, 13, Ibaiondo \nolamartinberasategui.com\n+34 944 652 066 \n13:30-15:00, 20:30-22:00 \nFri-Sat (Sun until 15)\nDiputazio Kalea, 10, Abando \nlavinadelensanche.com \n+34 944 155 615 \n10:00-22:30 Tue-Fri\n13:00-22:30 Sat\nMartzana Kaia, s\u002Fn, Ibaiondo \nrestaurantemina.es \n+34 944 795 938 \n14-18, 21-24 Wed-Sat \n(Tue unitl 17, Sun until 18)\nP.º Rafael Moreno ‘Pitxitxi’ \nsanmames.athletic-club.eus\nArriquíbar Plaza, 4, Abando \nazkunazentroa.eus \n9:00-21:00 Mon-Sun\nAbandoibarra Etorb., 4, \nAbando \n17:00-20:00 Tue-Fri\nAbandoibarra Etorb., 3, \nAbando; ehu.eus \n8:00-20:00 Mon-Fri \n10:00-14:00, 16:00-20:00 Sat \n10:00-14:00 Sun\nPuente de Vizcaya Zubia, \nGetxo\nmetrobilbao.eus\nRamón Rubial Kalea, 1 \nbiblioteca.deusto.es \n8:00-21:30 Mon-Fri \n8:00-14:45 Sat\nUribitarte Pasealekua, 9, \nAbando\nAlameda de Recalde, 39, \nAbando\nBegoñako Andra Maria \nKalea, 38\nbegona.org \n8:30-13:30, 17:00-22:00 \nMon-Sat\nDone Jakue Plazatxoa, 1 \ncatedralbilbao.com \n+34 944 153 627\nErribera Kalea, 24, Ibaiondo \ncatedralbilbao.com\n 01. Ría de Bilbao\n 07. Chávarri Palace\n 08. Basilica de Begoña\n 09. Santiago Cathedral\n 11. Teatro Arriaga\n 10. Church of San Antón\n 12. Metropolitan Railway\n 13. Deusto Library\n 14. Isozaki Atea\n 15. Health Department\n 16. Museum of Fine Arts\n 17. San Mamés\n 18. Euskalduna Palace\n 19. UPV Paraninfo\n 20. Azkuna Zentroa\n 21. Vizcaya Bridge\n 22. Ola Berasategui\n 23. La Viña del Ensanche\n 25. Carreras Múgica\n 26. Aldama Fabre\n 24. Mina\n 27. Nossi-Bé\n 28. Parque de Doña Casilda\n 29. Mercado de la Ribera\n 02. Guggenheim Museum\n 03. Artxanda Mendia\n 04. Plaza Nueva\n 05. La Concordia\nAbandoibarra Etorb., 2, Abando \nguggenheim-bilbao.eus \n10:00-19:00 Tue-Sun\nK. Barria, 14, Ibaiondo\nBailén Kalea, 2, Abando\nGran Vía de Don Diego \nLópez de Haro, 25, Abando\nArriaga Plaza, 1, Ibaiondo \nteatroarriaga.com\nBilbao\nLocalización y datos prácticos \nLocation and useful information  \n 06. Foral Palace\nCarretera Artxanda-Santo \nDomingo Errepidea, 27 \nfunicularartxanda.bilbao.eus \n7:15-22:00 Mon-Sat\n8:15-22:00 Sun\n",82,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fac\u002F565a26557429d0813efb4893025170-28f7aa1329.83.png","C 27 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