[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-02":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":388},{"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":383,"matched_pages":384,"match_count":385,"two_pages":386,"show_text":387},24469,"Architecture & Everything Else 02","cosentino-architecture-and-everything-else-02","\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F22\u002Fe70b62bc5fa94f91f8bf4727a8105b-28f76ff078.pdf","Cosentino",2482,"cosentino","51.5 MB",[14,17,21,25,29,33,37,41,45,48,52,56,60,64,67,71,75,79,82,86,90,94,98,101,104,108,111,115,118,122,125,129,133,136,140,143,146,150,154,157,161,165,169,173,177,181,185,189,193,196,200,204,208,212,216,219,223,227,231,235,238,242,246,249,253,256,259,263,267,270,273,277,280,284,288,291,295,299,303,306,309,313,316,320,324,328,332,336,340,344,348,352,356,360,364,368,371,374,378,381],{"image":7,"text":15,"number":16},"c \n02 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.2.png","Consentino_PORTADA-buena.indd   2\n03\u002F10\u002F2014   11:50:01\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.3.png","c\ncontents\n06\n30\n46\n60\n72\n84\n  Architecture\n 06 OMA IN CHINA, A RAISED PODIUM  Shenzhen Stock Exchange \n \n La torre para la Bolsa es el nuevo edificio emblemático de OMA en el país asiático.\n \n The Stock Exchange Building is the new landmark by OMA in the Asian country.\n 20 LIBESKIND’S SCULPTURES  Three works for Cosentino\n \n La colaboración entre el arquitecto y la compañía almeriense cristaliza escultóricamente.\n \n The collaboration between the architect and the Almería company gives sculptural results.\n \n Arts\n 30 ATMOSPHERES OF SILENCE  The architectural visions of José Manuel Ballester\n \n El fotógrafo muestra su versión más arquitectónica en dos exposiciones en España.\n \n The photographer offers his most architectural side in two exhibitions in Spain.  \n 38 THE FUNDAMENTALS OF REM KOOLHAAS  14th Venice Architecture Biennale\n \n El catálogo de elementos del holandés en la muestra veneciana de arquitectura.\n \n The Dutch architect presents a catalogue of building elements at the Venice Biennale.\n  Innovation\n 46 DIGITAL BUILDING  How robots change architecture\n \n Gramazio & Kohler presentan su investigación sobre construcción automatizada.\n \n Gramazio & Kohler describe their research on automated construction systems.\n  Travel\n 84 BERLIN  Germany\n \n La historia reciente de Europa a través de la arquitectura de la capital alemana.\n \n The recent history of Europe through the architecture of the German capital.\n 94 COSENTINO CENTERS  Network\n \n Expansión y representación de la marca española por todo el mundo.\n \n Expansion and representation of the Spanish brand around the world. \n 96 ON SITE New BBVA Headquarters by Herzog & de Meuron\n \n La nueva sede del banco BBVA en Madrid aspira a cambiar el perfil de la ciudad.\n \n The new BBVA headquarters in Madrid is bound to change the city skyline.\n \n Style\n 60 CRAFTED IN BANGLADESH  Eco-textiles by women\n \n Anna Heringer y Veronika Lena Lang explican su proyecto de reciclaje textil. \n \n Anna Heringer and Veronika Lena Lang explain their textile recycling project.\n  Interview\n 72 DOMINIQUE PERRAULT & PACHI MANGADO  In dialogue\n \n Los arquitectos conversan sobre paisaje y caballos en el valle de Ultzama.\n \n The architects talk about landscape and horses in Ultzama Valley.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.4.png","Director Director\nSantiago Alfonso Rodríguez\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nIrene Ezquerra, Laura Fernández, \nMiguel Fernández-Galiano, Cuca Flores,  \nLaura González, Andrea Lusquiños,  \nJorge Martín, Jesús Pascual,  \nEduardo Prieto, Claudia Satrústegui,  \nRaquel Vázquez, Jose Yuste\nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\nDepósito Legal: M-28226-2014\nISSN: 2341-3867 \nCubierta Cover\nJosé Manuel Ballester \nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.5.png","L\nA FAMILIA Martínez Cosentino ha te-\nnido siempre la vocación de su-\nperar los desafíos más ambiciosos. \nEn 2014, Cosentino quiere hacer una  \nnueva contribución al ámbito de la arqui-\ntectura, en esta ocasión desde el campo \nde la comunicación, con la difusión de las \nmejores innovaciones, diseños y proyectos \nque contribuyan a hacer el mundo más \nsostenible y bello. Tras la buena acogida \ndel primer número de la revista C, presen-\ntado en la inauguración de la 14ª Bienal de \nArquitectura de Venecia, en un evento ce-\nlebrado en el Palazzo Ducale en compañía \nde reputados arquitectos, sacamos a la luz \nel segundo, también dedicado al fomen-\nto de la arquitectura y otras áreas afines, \nesperando que agrade a nuestros lectores.\nT\nHE MARTÍNEZ COSENTINO family has al-\nways applied itself to meeting the most \nambitious challenges. In 2014, Cosentino \nintends to contribute anew to the world \nof architecture, this time from the field of \ncommunications, through information on \nthe best and latest innovations, designs, \nand projects that make for a more sus-\ntainable and more beautiful world. After \nthe warm welcome to the first issue of C \nmagazine, launched in the inauguration \nof the 14th Venice Architecture Biennale, \nat an event celebrated at the Palazzo Du-\ncale and attended by prominent architects, \nwe are now proud to present the second \nissue, that also seeks to promote archi-\ntecture and other related fields. We hope \nour readers like it.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.6.png","",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.7.png","architecture\nOMA in China, a Raised Podium\nShenzhen Stock Exchange\nLibeskind’s Sculptures\nThree works for Cosentino\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.8.png","6 C 02\nRiguroso paralelepípedo de oficinas apoyado en gran podio flotante \na 36 metros del suelo, la nueva sede de la Bolsa de Shenzhen evoca \nel carácter no menos flotante del capital financiero. Se trata de un \nedificio de 46 plantas y 254 metros de altura, con una superficie de \n265.000 metros cuadrados (de ellos, 85.000 bajo rasante), donde el \nreto técnico consistió en resolver de una manera económicamente \nviable el gran vuelo del podio (22 metros). Con este fin, se optó por \ncombinar la estructura del zócalo y de la torre en un único conjun-\nto. La planta tipo de la torre, de 45 x 45 metros, está formada por \nun doble anillo estructural —un tubo interior rígido, de hormigón \narmado; y otro perimetral, de pilares de acero— que continúa hasta \nla cimentación, atravesando el podio (100 x 160 metros) de manera \nque la estructura de grandes celosías de este pueda apoyarse en el \nnúcleo para formar un todo rígido y de brazos compensados. Esta \nsolución estructural se manifiesta al exterior en la trama estricta de \nla fachada, que evoca la mejor tradición de la arquitectura corpora-\ntiva. Mientras que la forma cuadrada genérica de la torre se funde \ncon los edificios homogéneos del entorno, la fachada se diferencia \ndel resto a través de su materialidad: una capa translúcida de vidrio \nenvuelve el edificio, conformando una imagen enigmática y a la vez \nrevelando la estructura que hay detrás. Este cerramiento se trans-\nforma continuamente con los cambios atmosféricos, convirtiéndose \nen un reflejo del paisaje que lo rodea.\nThe new Shenzhen Stock Exchange (SSE) building is a rigorous \nprism resting on a large podium that floats 36 meters above ground, \nevoking in this way the no less volatile character of financial capi-\ntal. The SSE rises 46 floors and is 254 meters high, with an area \nof 265,000 square meters (85,000 of them below ground), and \nthe main technical challenge was to offer an economically feasible \nsolution for the construction of the podium’s colossal overhang \n(22 meters). The solution was to combine the plinth structure and \nthe tower in a single group. The tower’s typical floor plan, of 45 \nx 45 meters, consists of a double structural ring – a rigid interior \ntube of reinforced concrete; and an outer one of steel pillars – that \ncontinues all the way to the foundation, crossing the podium (100 \nx 160 meters) so that the structure of large trusses rests on the \ncore to form a rigid whole with compensated arms. This structural \nsolution is exposed to the exterior in the strict facade grid, which \nevokes the finest tradition of corporate architecture. While the \ngeneric square shape of the tower blends with the homogeneous \nbuildings of the surroundings, the facade is differentiated from \nthe rest through its materiality: a translucid layer of glass wraps \nthe building, generating a mysterious image and at the same time \nrevealing the structure there is behind. This enclosure changes \ncontinuously with the weather, reacting to light and thus becoming \na reflection of the landscape around it.  \nOMA in China, \na Raised Podium\nShenzhen Stock Exchange\nArchitecture\nBuilding\n1\nLa nueva Bolsa de \nShenzhen se termina \nde construir en octubre \nde 2013 en el distrito \nfinanciero de la misma \nciudad. Es lo último  \nde OMA en China, \ndespués de la polémica \nsede para la CCTV.\nThe new Shenzhen \nStock Exchange was \ncompleted in 2013 in \nthe business district of \nthe same city. It is the \nlatest building designed \nby OMA in China, after \nthe controversial CCTV \nHeadquarters.\n",8,{"image":46,"text":35,"number":47},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.9.png",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.10.png","8 C 02\nEl enorme podio, elevado \n36 metros sobre el suelo, \ntiene varias funciones: \nademás de contener \nlas oficinas, protege un \ngeneroso espacio público, \nes una azotea ajardinada \ny distribuye los diferentes \nusos de la torre.\nThe colossal podium \nthat hovers 36 meters \nabove grade has several \nfunctions: aside from \nharboring the offices, \nit shelters a vast public \nspace, is a rooftop \ngarden, and organizes \nthe tower’s program.  \n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.11.png","C 02 9\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.12.png","10 C 02\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.13.png","C 02 11\n",13,{"image":65,"text":35,"number":66},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.14.png",14,{"image":68,"text":69,"number":70},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.15.png","C 02 13\nLa iluminación varía \nde color, adquiriendo \ntonalidades que se \nadaptan a su entorno, \nenfatizando las líneas \nde la estructura y \nexhibiendo una fachada \nsobria y elegante en  \nsu regularidad.\nThe lighting changes \nin color, taking on \nhues that adapt to the \nsurroundings, also \nemphasizing the lines \nof the structure and \nrevealing a sober and \nelegant facade marked \nby its uniform scheme. \n",15,{"image":72,"text":73,"number":74},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.16.png","El voladizo del podio \nse resuelve mediante \ngrandes celosías que \natraviesan de parte a \nparte el núcleo central de \nla torre, formado por un \ndoble anillo estructural de \nnúcleo rígido y pantalla \nperimetral de pilares.\nThe cantilever of the \npodium is dealt with \nthrough huge lattices \nthat cross the central \ncore of the tower, formed \nby a double structural \nring with a quite rigid  \nnucleus and a perimeter \nscreen of pillars.\n14 C 02\n",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.17.png","C 02 15\n",17,{"image":80,"text":35,"number":81},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.18.png",18,{"image":83,"text":84,"number":85},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.19.png","C 02 17\nEl juego cromático es \nprotagonista, no sólo en \nel exterior, sino también \nen el interior, donde \naparece un esfuerzo por \ndiferenciar los espacios a \ntravés de los materiales, \nlos colores y la gran \nvariedad de alturas.\nThe play of colors is not \nonly the most prominent \nelement of the building’s \nexterior, but also makes \nits way inside, where \nspaces are set apart \nby means of materials, \ncolors and the different \nfloor-to-ceiling heights.  \n",19,{"image":87,"text":88,"number":89},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.20.png","La utilización de \navanzadas herramientas \ninformáticas en \nel diseño y en la \nconstrucción hace \nposible la homogeneidad \ndel revestimiento \nexterior, de hormigón y \npoliéster reforzados con \nThe external cladding, \nrendered in concrete \nand polyester, \nboth reinforced \nwith fiberglass, is \nhomogenized through \nadvanced technical \nand computer tools \nused in design and \n",20,{"image":91,"text":92,"number":93},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.21.png","C 02 19\nCliente Client: Shenzhen Stock Exchange\nArquitectos Architects: Rem Koolhaas, David Gianotten \n(partners partners in charge), Ellen van Loon, Shohei \nShigematsu (colaboradores in collaboration with), Michael \nKokora (asociado responsable associate in charge)\nEquipo de obra On Site Team: Yang Yang, Wanyu He, Daan \nOoievaar, Joanna Gu, Vincent Kersten, Yun Zhang\nEquipo de diseño Design Team: Kunle Adeyemi, Ryann \nAoukar, Sebastian Appl, Laura Baird, Waichuen Chan, Jan \nDechow, Lukas Drasnar, Matthew Engele, Leo Ferretto, \nClarisa Garcia Fresco, Alasdair Graham, Jaitian Gu, Matthew \nHaseltine, João Ferreira Marques Jesus, Matthew Jull, Alex \nde Jong, Santiago Hierro Kennedy, Klaas Kresse, Miranda \nLee, Anna Little, Luxiang Liu, David Eugin Moon, Cristina \nMurphy, Se Yoon Park, Ferdjan Van der Pijl, Franscesca \nPortesine, Idrees Rasouli, Korbinian Schneider, Wolfgang \nSchwarzwalder,  Felix Schwimmer, Richard Sharam, Lukasz \nSkalec, Christine Svensson, Lukasz Szlachcic, Ken Yang Tan, \nMichela Tonus, Miroslav Vavrina, Na Wei, Xinyuan Wang, \nLeonie Wenz, Su Xia, Yunchao Xu, Yang Yang, Yun Zhang\nEquipo de concurso Competition Team: Konstantin August, \nAndrea Bertassi, João Bravo da Costa, Tieying Fang, Pei \nFeng, Katharina Gerlach, Carlos García González, Martti \nKalliala, Klaas Kresse, Anu Leinonen, Anna Little, Jason \nLong, Beatriz Mínguez de Molina, Daniel Ostrowski, \nYuanzhen Ou, Mauro Paraviccini, Mendel Robbers, Mariano \nSagasta, Bart Schoonderbeek, Hiromasa Shirai, Kengo \nSkorick, Hong Yong Sook, Christin Svensson, Xinyuan \nWang, Dongmei Yao\nAMO: Todd Reisz, Brendan McGetrick\nColaboradores Collaborators\nBertie van de Braak, Caroline Kaas, Renz van Luxemburg, \nTheo Rijmakers —DHV Building and Industry—(consultor \nacústico level acoustic), Petra Blaisse, Rosetta Elkin, Aura \nMelis, Jana Crepon with Laura Baird and Carmen Buitenhuis \n(paisajismo landscape), Michael Rock, Sung Joong Kim, Ji \nWon Lee, Evan Allen, Celine Fu —2x4— (señalética signage), \nLaw Hing Wai, Melody Huang —L&B— (aparejador quantity \nsurveyor), Michael Kwok, Rory McGowan, Nancy Huang, \nChas Pope, Kai-Sing Yung, Oliver Kwong —Arup— (consultor \nde ingeniería engineering consultant), Chas Pope, Goman \nHo, Xiaonian Duan, Chris Carroll, Robin Ching, Guo-Yi Cui, \nAndrew Grant, Yue Hao, Jonathan Kerry, Di Liu, Peng Liu, \nHui-yuan Long, Alex To, Fei Tong, Matthew Tsang, Yu-Bai \nZhong, FX Xie, Liang Xu, Ling Zhou (estructura structural \nengineering), Andy Lee, Gerald Hobday, Fanny Chan, \nRaymond Cheng, Kimi Shen\nFront: Richard Green, Marc Simmons —Arup— \n(fachada facade engineering), Mingchun Luo, Dagang Guo, \nLi-Li Ma, Feng Rui, Yan-dong Wang (protección contra \nel fuego fire engineering), Oliver Kwong, Kai-Sing Yung, \nKenneth Chong, Alba Xu, Li Shen, Johnson Chen, WH \nAu, Michael Bradbury, Kitman Chan, Johnson Chen, Yong \nGuan, Andrew Lerpiniere, Eddycol Li, Yong-qiao Luo, Yi \nRen, Lewis Shiu, Kenneth Sin, Julian Sutherland, Lu-peng \nWang, Qi Wang, Yue Wang, Chris Wong, Sabrina Wong, \nWilliam Wong, Tie-Jun Xiao, Dong Yan, Juliet Zhang, \nLi-ping Zhang, Lipy Zhang, Xue-li Zhu, Yue-Hui Zhu \n(instalaciones services engineering), Nancy Huang, Wei \nGao, Penny Liu, Jerry Zhang (interlocutor del cliente client \nliaison), Matthew Tang, Julian Olley (comunicación \nvertical vertical transportation), Vincent Cheng, Isaac Tang, \nRaymond Yau, Rumin Yin (física de la construcción building \nphysics), Patrick Leung, Michael Tomordy, Sam Tsoi, Henry \nChan, Mark Chen, Jacky Lo, Wing-Shan Mak, Edwin Wong \n(optimización de la construcción building intelligence), Mark \nChoi, Maggie Qing-Min Meng, Jason Ng, Wei-Guang Ruan \n(geotecnia geotechnical engineering), Steve Walker, Florence \nLam, Sacha Abizadeh, Francesco Anselmo, Katie Davies, \nJunko Inomoto, David Lakin, Melissa Mak, Siegrid Siderius, \nImke van Mil, Kevin Womack (iluminación lighting), Yuan \nChao, Jing Chen, Jun Chen, Wen Deng, Bo Hong, James \nHong, Zhen Hu, Ming Huang, Hanguo Li, Wenming Lin, \nZhenhai Lin, Chen Liu, Qiongxiang Liu, Jianlin Mao, Jianmin \nMeng, Zhijian Qiu, Xiaoheng Shen, Xingliang Shi, Luming \nShu, Nan Sun, Xiaohong Sun, Qiwen Wang, Yishan Wang, \nChao Wu, Fenghua Xiao, Chuangui Xie, Baozhen Yang, He \nYang, Hui Zhen, Wenxing Zhen —SADI— (instituto local de \ndiseño local design institute)\nFotos Photos\nIwan Baan (pp. 7, 12-13, 14 arriba top, 15, 18-19); Philippe \nRuault (pp. 8, 9, 10, 11, 14 abajo bottom); OMA (pp. 13, 16, 17).\n",21,{"image":95,"text":96,"number":97},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.22.png","20 C 02\nDaniel Libeskind y Cosentino afianzan su relación con una nueva \ncolaboración para la última Bienal de Arquitectura en Venecia \ncomisariada por el arquitecto y teórico holandés Rem Koolhaas. \nCon esta, son tres las piezas que el estadounidense ha diseñado \ny construido para la empresa española. La primera, Beyond the \nWall, es el resultado de la exposición de arquitectura y diseño en \nel Cortile d’Onore Seicentesco de la Universidad Estatal de Milán, \ndonde una enorme espiral policéntrica de ocho metros y medio \nde alto se recubre con una superficie de cuarzo Silestone, uno de \nlos productos más representativos del Grupo Cosentino. Fruto de \nesta colaboración nace la segunda escultura en Almería, con el \nmismo diseño y título que la primera, pero con un nuevo mate-\nrial: el Dekton. Tras lanzarlo al mercado en 2013 y después de \nmás de seis años de investigación y una importante inversión, el \nresultado derivado de la Tecnología de Sinterización de Partículas \n(TSP), es tan compacto y resistente que la marca está explorando \nsu utilización en todo tipo de superficies, especialmente las ex-\npuestas al exterior y la intemperie. Por último, el proyecto Sonnets \nin Babylon, realizado para el pabellón de Venecia de la Bienal, \nse ha construido también en Dekton, pero esta vez la escultura \ntoma forma de una cruz extruida e inclinada que invita a visitar \nla exposición interior, donde se recogen los más de cien dibujos \na pluma del arquitecto y diseñador. \nDaniel Libeskind and Cosentino consolidate their relationship \nwith a new collaboration for the 14th International Architecture \nExhibition of the Venice Biennale, curated by the Dutch architect \nand theorist Rem Koolhaas. With this commission, the American \narchitect sums three works designed and built for the Spanish \ncompany. The first, Beyond the Wall, is the result of the archi-\ntecture and design exhibition in Cortile d’Onore Seicentesco at \nthe Universitá Statale in Milan, where a huge polycentric spiral \nmeasuring eight and a half meters tall is clad with Silestone, \none of the most representative products of Cosentino Group. \nThis collaboration led to the second sculpture in Almería, with \nthe same design and title as the first, but using a new material: \nDekton. After its launch in 2013 and after more than six years \nof research and a sizable investment, the product derived from \nthe Technology of Sinterized Particles (TSP) is so compact and \nresistant that the firm is exploring its use for all kinds of sur-\nfaces, particularly those in the outdoors and exposed to the sun, \nwind and rain. Lastly, the project Sonnets in Babylon, designed \nfor the Venice Pavilion at the abovementioned Biennale, is again \nbuilt with Dekton, but this time the sculpture takes the shape of \nan extruded and tilted cross that invites visitors into the exhibi-\ntion space, where over one hundred hand-drawn sketches by the \narchitect and designer are displayed.  \nLibeskind’s Sculptures\nThree works for Cosentino\nArchitecture\nBuilding\n1\nLa relación entre el \nGrupo Cosentino y el \narquitecto cristaliza \nen tres piezas \nindependientes con \nlas que se explora la \ngeometría y resistencia \nde los materiales más \nreconocidos de la marca.\nThe relationship between \nCosentino Group and \nthe architect crystallizes \nin the form of three \nindependent pieces \nwhich explore the \ngeometry and resistance \nof the company’s most \nprominent materials. \n",22,{"image":99,"text":35,"number":100},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.23.png",23,{"image":102,"text":35,"number":103},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.24.png",24,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.25.png","El proyecto Beyond \nthe Wall. Permanent \nInstallation es la \nsegunda versión de la \nespiral diseñada para \nla exposición de Milán, \nconstruida en la entrada \nde las instalaciones de \nCosentino en Almería. \nThe project Beyond \nthe Wall. Permanent \nInstallation is the \nsecond version of the \nspiral designed for the \nexhibition in Milan, \nbuilt at the entrance to \nthe Cosentino Group \nheadquarters in Almería.\n© Fernando Alda\nC 02 23\n",25,{"image":109,"text":35,"number":110},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.26.png",26,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.27.png","El diseño original de \nesta espiral policéntrica \nde ocho metros y medio \nde alto se hizo en 2010. \nEstá revestida en cuarzo \nSilestone acabado mate \nSuede patentado por el \ndepartamento de I+D+i \nde la empresa española.\nThe original design of \nthis polycentric spiral \nrising eight and a half \nmeters high is of 2010. \nIt is clad in Silestone \nquartz with a Suede \nmatt finish patented by \nthe R & D department of \nthe Spanish company. \n",27,{"image":116,"text":35,"number":117},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.28.png",28,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.29.png","Sonnets in Babylon es \nla continuación del \nproyecto iniciado por  \nel arquitecto en 1985 \npara la Bienal de \nArquitectura de Venecia \nde ese año y por el que \nobtuvo el León de Oro  \nde la muestra.\nSonnets in Babylon \nis the extension of the \nproject the architect \nbegan in 1985 for that \nyear’s International \nArchitecture Exhibition \nin Venice, and for  \nwhich he then won the \nGolden Lion Award. \n",29,{"image":123,"text":35,"number":124},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.30.png",30,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.31.png","arts\nAtmospheres of Silence\nThe architectural visions of José Manuel Ballester\nThe Fundamentals of Rem Koolhaas \n14th Venice Architecture Biennale\n",31,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.32.png","30 C 02\nAtmospheres  \nof Silence \nThe architectural visions \nof José Manuel Ballester \nArts\nExhibition\n2\nJosé Manuel Ballester nace en Madrid en \n1960 y se licencia en 1984 en Bellas Artes \npor la Universidad Complutense de la \nmisma ciudad. Aunque se decantó por la \npintura en el principio de su carrera, pronto \nconjuga esta técnica con la fotografía, en \nla que destacará hasta el punto de recibir \nen 2010 el Premio Nacional de Fotografía. \nCabe resaltar la importante relación con \nla arquitectura de su trayectoria y sus \ninstantáneas, como demuestran sus dos \nexposiciones coetáneas: ‘Mapamundi’, \nen la Galería Rafael Ortiz de Sevilla, y \n‘Umbrales de silencio’, en el Museo de \nArte Contemporáneo Esteban Vicente de \nSegovia. En la primera, Ballester revisa su \narchivo para defender la importancia de \nviajar y el impacto que tiene en nuestras \nvidas, como él mismo se pregunta en la \nmemoria de la exposición: «¿qué habría \nsucedido si no hubiera desarrollado la \nnecesidad por conocer otros lugares, \nsus culturas y costumbres?». La segunda \nmuestra cuenta, entre otras, con cincuenta \ny dos obras realizadas ex profeso para \nla misma, en las que el artista fotografía \nescenas de la ciudad de Segovia en \nbúsqueda de su riqueza arquitectónica, \npictórica y natural oculta en los  \nlugares privados, a clausura o más \ninaccesibles de la capital.\nJosé Manuel Ballester was born in Madrid \nin 1960 and graduated in 1984 from the \nSchool of Fine Arts of the Universidad \nComplutense in the same city. Though \nhe chose to focus on painting early in \nhis career, he soon began combining \npainting with photography, a field in \nwhich he would excel and gradually \nbecome known, meriting the Spanish \nNational Photography Prize in 2010. \nArchitecture is also a prominent presence \nin his career and in his images, as \ntwo simultaneous exhibitions reflect: \n‘Mapamundi,’ in Galería Rafael Ortiz \nof Seville, and ‘Umbrales de silencio’ \n(Thresholds of Silence), at the Museo \nde Arte Contemporáneo Esteban Vicente \nin Segovia. In the first Ballester takes \nstock of his own archive, stressing the \nimportance of traveling and the impact \nit has on our lives, a matter he ponders \non in the exhibition’s presentation text \n(“What would have happened if I hadn’t \ndeveloped a need to know other places, \ntheir cultures and customs?”). The second \nexhibition includes fifty-two works carried \nout expressly for the occasion, where the \nartist photographs scenes of Segovia in \nsearch of the architectural, pictorial and \nnatural richness concealed in the city’s \nprivate, cloistered or inaccessible places. \nEl fotógrafo madrileño \nmuestra la inquietud \narquitectónica de su \nmirada, mezclando \nde forma impactante \nlo histórico con lo \ncontemporáneo, como en \nla instantánea del Coro \ndel Parral (derecha).\nThe Madrid photographer \nreflects the architectural \ncuriosity of his gaze, \nmixing the historic and \nthe contemporary in a \npowerful way, as the \nimage of the Santa María \ndel Parral Monastery \nshows (right).\n",32,{"image":134,"text":35,"number":135},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.33.png",33,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.34.png","The photograph  \nof the Rijksmuseum  \nin Amsterdam is  \none of the images \nincluded in the travel \ncollection of Ballester, \nand is featured in  \nthe ‘Mapamundi’ \nexhibition in Seville.\nLa biblioteca del \nRijksmuseum, en \nAmsterdam, es una \nde las fotografías que \nrecoge la exposición \n‘Mapamundi’ en Sevilla, \ny que forma parte de la \ncolección de escenas de \nviajes de Ballester.\n",34,{"image":141,"text":35,"number":142},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.35.png",35,{"image":144,"text":35,"number":145},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.36.png",36,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.37.png","C 02 35\nLa fotografía de la \ncolosal estructura de la \ncubierta del Alcázar de \nSegovia (izquierda) se \nmuestra en ‘Umbrales \nde silencio’, y Man \n18, un recuerdo de luz \ny reflejos (abajo), se \nincluye en ‘Mapamundi’.\nThe photograph of the \nspectacular roof structure \nof the Alcázar in Segovia \n(left) is included in \n‘Umbrales del Silencio,’ \nand Man 18 is a \nremembrance of light and \nreflections featured in \n‘Mapamundi’ (bottom). \n",37,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.38.png","36 C 02\nLa marcada verticalidad \nde Vista del Copán \n(izquierda) del edificio \nde São Paolo contrasta \ncon el nudo horizontal \nde las autopistas de \nToronto (derecha). Ambas \nfotografías están en la \nexposición ‘Mapamundi’.\nThe marked verticality \nof Vista del Copan (left) \nstrikes a contrast with \nthe horizontal knot of \nCanadian highways \nin Toronto (right). \nBoth photographs \nare displayed in the \n‘Mapamundi’ exhibition.\n",38,{"image":155,"text":35,"number":156},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.39.png",39,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.40.png","38 C 02\nThe Fundamentals  \nof Rem Koolhaas\n14th Venice  \nArchitecture Biennale \nArts\nExhibition\n2\nLa 14ª Bienal Internacional de Arquitectura \nde Venecia, titulada Fundamentals por \nsu comisario, el fundador de la oficina \nOMA, Rem Koolhaas (Rotterdam, 1944), \npersigue el objetivo de descubrir nuevos \ncaminos en la profesión revisitando sus \nelementos fundamentales. Para ello, y \nsegún describe el holandés, la muestra \n«debe ser sobre arquitectura, no sobre \narquitectos (...), debe concentrarse en las \nhistorias, en los elementos inevitables de \ntoda la arquitectura usados por cualquier \narquitecto, en cualquier sitio o en \ncualquier época». Parece natural entonces \nque la exposición dirigida por Koolhaas \nen los pabellones centrales de la bienal se \ntitule ‘Elementos de Arquitectura’, y que \nen ella se estudie pormenorizadamente \nlo que, a su entender, son las quince \npiezas clave de estudio: suelo, pared, \ntecho, tejado, puerta, ventana, fachada, \nbalcón, pasillo, hogar, retrete, escalera, \nescalera mecánica, ascensor y rampa. Esta \nexposición, que va acompañada de un \namplio catálogo dividido en quince libros, \ncada uno correspondiente a su elemento, \nes el resultado de una investigación de \nmás de dos años realizada conjuntamente \npor AMO (la rama de investigación de \nOMA), la Universidad de Harvard y \ndiferentes expertos y académicos. \nFor the 14th International Architecture \nExhibition of the Venice Biennale, its \ncurator Rem Koolhaas (Rotterdam, 1944) \nchose the title Fundamentals. Under this \nmotto, the objective is to discover new \npaths in architecture by revisiting its \nfundamental elements. To this end, the \nDutch architect and founder of OMA \n(Office for Metropolitan Architecture) \nexplained that the exhibition would be \n“about architecture, not architects (...),  \nFundamentals will focus on histories – on \nthe inevitable elements of all architecture \nused by any architect, anywhere, \nanytime.” It is no surprise thus that the \nexhibition curated by Koolhaas in the \ncentral pavilions of the Biennale should \nbe titled ‘Elements of Architecture,’ and \nthat it proposes an in-depth analysis \nof what he considers to be the fifteen \nkey elements out of which architecture \nis made: floor, wall, ceiling, roof, door, \nwindow, facade, balcony, corridor, \nfireplace, toilet, stair, escalator, elevator \nand ramp. This exhibition, complemented \nwith a catalogue organized in fifteen \nbooks, one devoted to each element, is \nthe result of a research of over two years \ndeveloped in collaboration with AMO \n(the research branch of OMA), Harvard \nUniversity and a number of experts.\nRem Koolhaas, premio \nPritzker en 2001, dirige \nla prestigiosa muestra \ncon cierta polémica, ya \nque centra la atención \nen los elementos que \ncomponen los edificios  \ny no en los arquitectos \nque los utilizan. \nRem Koolhaas, Pritzker \nPrize 2001, curates the \nprestigious exhibition \ncausing a certain stir \nbecause he focuses all \nthe attention on the \nelements that constitute \nbuildings and not on the \narchitects themselves. \n",40,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.41.png","C 02 39\n",41,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.42.png","40 C 02\nLa exposición se organiza \nen quince salas —cada \nuna dedicada a uno de \nlos elementos—, que se \ndistribuyen inspirándose \nen diferentes ambientes \n(archivo, museo, \nfábrica...) para dar una \nmayor heterogeneidad.\nThe exhibition is \norganized in fifteen rooms \n– each hall is devoted \nto one element –, and \ntheir layout is inspired \nby different types of \nspaces (archive, museum, \nfactory...) to achieve \ngreater heterogeneity.\n",42,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.43.png","C 02 41\n",43,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.44.png","42 C 02\n",44,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.45.png","C 02 43\nFotos Photos\nOMA (pp. 40, 43); Sergio de Grazia (pp. 41, 42-43); \nSergio Pirrone (pp. 38-39)\nEn el recorrido conviven \ncategorías tradicionales \ncomo el hogar, con otras \ncontemporáneas como \nla escalera mecánica. \nDe cada elemento se \nhace además un estudio \nno sólo tipológico sino \ntambién histórico.\nThe exhibition guides the \nBiennale visitors through \ntraditional categories like \nthe fireplace as well as \nthrough contemporary \nones like the escalator. A \ntypological and historical \nanalysis complements \neach element.\n",45,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.46.png","© Gramazio & Kohler, ETH Zurich\n",46,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.47.png","innovation\nDigital Building\nHow robots change architecture\n",47,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.48.png","46 C 02\nInnovation\nRobotics\n3\nDesde mediados del siglo XIX, el paso de los antiguos materiales \nde construcción a los nuevos productos surgidos de los procesos \nindustriales —acero, vidrio— comenzó a trastocar el discurso de la \narquitectura. En este contexto, un aspecto que hasta el momento \napenas se había tenido en cuenta comenzó a estar en el candelero: la \nestrecha relación entre la arquitectura y las características específicas \nde los materiales y su función estructural. Con su Der Stil in den \ntechnischen und tektonischen Künsten (‘El estilo en las artes técnicas \ny tectónicas’), publicado en 1860, Gottfried Semper entró de lleno \nen esta discusión. Inspirándose en las ciencias positivas de la época, \nSemper desarrolló una idea bastante ‘paramétrica’ de los materiales en \nla que no sólo se ponía el énfasis en cuestiones estilísticas y culturales \nDigital Building\n       How robots change architecture \nFrom the middle of the 19th century, the transition from the tradi-\ntional materials to steel, glass and machine production stirred the \narchitectural discourse. One aspect came into focus, one which up to \nthat point was rarely kept in mind: the close relation between archi-\ntecture and the specific conditions of materials and their structural \nemergence. This is when Gottfried Semper entered the discussion \nwith his book Der Stil (Style in the Technical and Tectonic Arts or \nPractical Aesthetics), published in 1860. Exchanging ideas with \nthe materialist sciences, he developed a rather ‘parametric’ idea of \nmaterial change and continuity. This not only put an emphasis on \nquestions of style and culture, but also on the complex phenomena \nof ‘materialization.’ Semper argued that the intrinsic nature and \n",48,{"image":194,"text":35,"number":195},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.49.png",49,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.50.png","48 C 02\n",50,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.51.png","C 02 49\nFlight Assembled \nArchitecture es la \nprimera instalación de \narquitectura construida \nexclusivamente con \ndrones. Estos siguen \nalgoritmos matemáticos \npara milimétricamente \ncolocar las 1.500 piezas.\nFlight Assembled \nArchitecture is the first \narchitectural installation \nbuilt exclusively \nwith drones. These \nfollow mathematical \nalgorithms to \nmillimetrically place  \nthe 1,500 pieces.\nmaterial forms of architecture cannot be simply invented, but here \nappears the relation between design, construction and the process \nof materialization. Semper particularly drew on the Greek temple. \nAccording to Semper, the elements of the stone temple recall con-\nstruction features of the wooden temple. Thus, in the transition \nfrom one material to another the ancient stone temple represents its \nstructural history and the prevailing cultural influences. This par-\nticularly becomes evident when Semper tried to show something that \nwas rather impossible to theorize: the transition from immateriality \nto materiality, from fluid correlations to differentiated structures. \nToday too, through computational design and digital fabrication, \nSemper’s materialist agenda becomes reconceptualized under the \nterm Gestalt, in the sense of ‘information’ on the matter.\nIndeed, today we deal with a variety of manifestations of a funda-\nmental change in the digital age of architecture. However, one point \nis certain: architectural design in the age of digital fabrication is no \nlonger restricted to superficial appearance and perceptive modes. \nIn fact, through new developments such as robotic fabrication, \narchitecture has begun to detach itself from paper and the virtual \nspace. Today, digital architectural design strives for materials and \nstructures. This is clearly evident in the research of Gramazio & \n",51,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.52.png","50 C 02\nsino que se incidía también en el complejo fenómeno constituido \npor la ‘materialización’ en sí misma. Semper argumentaba que ni \nla razón intrínseca de la naturaleza ni sus formas materiales podían \ninventarse sino que surgían más bien de la relación entre el diseño, \nla construcción y el propio proceso de materialización. Para Semper, \nel caso del templo griego resultaba paradigmático al respecto: los ele-\nmentos del templo podían considerarse como la transposición pétrea \nde las formas determinadas por los requerimientos constructivos del \nedificio original de madera. En esta mudanza de un material a otro, \nel templo antiguo daba cuenta de su propia historia estructural y de \nlas influencias culturales dominantes a las que había estado sometido. \nSemper hizo hincapié incluso en algo que resulta aún bastante difícil \nde teorizar: la transición desde la inmaterialidad a la materialidad, \ndesde las relaciones fluidas a las estructuras concretas. Esta agenda \nmaterialista de Semper puede actualizarse hoy mediante el diseño \ncomputacional y la fabricación digital, cobijándose bajo el término \nGestalt [cuyo significado habitual en castellano es ‘forma’ o ‘confi-\nguración’], en el sentido de ‘información’ sobre la materia.\nHoy es evidente la variedad de los cambios con que la nueva era di-\ngital se está manifestando en la arquitectura. Entre ellos, sin embargo, \nuno parece estar especialmente claro: en esta era de la fabricación di-\ngital el diseño arquitectónico no estará ya coartado ni por la apariencia \nde los objetos ni por los modos perceptivos con que se manifiestan. Por \nel contrario, gracias a innovaciones como la fabricación robotizada, la \narquitectura ha comenzado a romper los lazos con el papel y el espa-\ncio virtual, y a tender otros con los materiales y las estructuras. Esta \ntransformación es evidente, por ejemplo, en algunas investigaciones  \ndesarrolladas por el estudio zuriqués Gramazio & Kohler Architecture \nand Digital Fabrication sobre la fabricación aditiva robotizada de \nestructuras complejas, en las que el conocimiento artesanal de los \nmateriales se liga íntimamente a la pericia en el manejo de los pro-\nProyectos de investigación como The Sequential Wall (2008) o West \nFest Pavilion (2009) fueron posibles gracias a un robot que primero \ncortó listones comerciales de madera para apilarlos luego en un \norden exacto según el algoritmo programado. Este proceso evita \nusar elementos estandarizados, muy grandes y que después es nece-\nsario cortar para configurar estructuras más complejas, recurriendo \na un proceso aditivo por el cual se ensambla, a partir de la suma de \npequeñas partes, un todo de grandes dimensiones, sin necesidad de \nmalgastar el material. Además, la programación del montaje mediante \nalgoritmos hace posible una relación directa entre la construcción y \nla fabricación, de la cual pueden surgir nuevas soluciones arquitec-\nStructural Oscillations \nes una pared de ladrillo \nde 100 metros de \nlargo concebida para \nel pabellón suizo de \nla Bienal de Venecia \n(2008) y construida por \nla unidad de fabricación \nrobótica móvil R-O-B.\nStructural Oscillations is \na 100-meter-long brick \nwall designed for the \nSwiss Pavilion at the \nArchitecture Exhibition \nof the Venice Biennale \n(2008) and built by \nthe mobile robotic \nfabrication unit R-O-B. \ngramas informáticos. Esta estrategia implica el trabajo a escala 1\u002F1, \npues se entiende lo digital no sólo como una metáfora de un mundo \narquitectónico lleno de variaciones ilimitadas (virtuales) desplegadas \nen complejas simulaciones, sino como una herramienta capaz de pro-\nporcionar información real sobre la materia, abriendo posibilidades \ninsospechadas al diseño arquitectónico. Estas posibilidades pueden \nllevarse a cabo gracias al desarrollo de máquinas —robots industria-\nles— que construyen a escala arquitectónica estos procesos, poniendo \nasimismo todo el conocimiento tradicional sobre los distintos mate-\nriales a disposición del nuevo contexto tecnológico. \n«En esta era de la fabricación \ndigital el diseño arquitectónico \nno estará ya coartado ni por la \napariencia de los objetos ni por \nlos modos perceptivos con que \nse manifiestan»\n",52,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.53.png","Kohler Architecture and Digital Fabrication on additive robotic \nfabrication of complex timber structures, where the craft of timber \nconstruction design and the craft of computer programming are \ndirectly linked. This involves researching strategically at 1:1 scale, \nunderstanding the digital not only as a metaphor of an architectural \nworld of unlimited (virtual) possibilities resolved by complex simula-\ntions, but as information of matter where constructive and material \ncharacteristics offer unforeseen ventures in conceiving architectural \ndesigns. Such a synthesis develops its full potential in combination \nwith a manufacturing machine capable of physically carrying out \ndifferent materialization processes. An industrial robot meets this \nrequirement on an architectural building scale. It is a generic tool \nand not specialized for one specific activity. It enables to reach into \nthe conception of new material processes and puts the traditional \nresource wood into an entirely new technological context. For re-\nsearch projects such as The Sequential Wall (2008) or West Fest \nPavilion (2009) a process was designed in which such an industrial \nrobot first cut commercially available wooden slats to length and \nthen stacked them in a free arrangement. This permits increasing \nnot only the building components’ information level but those of \nthe joints as well. Unlike large elements of shaped timber which \nare normally milled in order to create complex timber structures, \nthe additive robotic fabrication enables to assemble a greater whole \nfrom small parts without subtracting material. This enables manu-\nfacturing highly articulated timber structures while also reducing \nmaterial waste. Through coding the assembly logic, the interrelation \nof construction and fabrication becomes possible and leads to new \narchitectural solutions, allowing to design with the specific charac-\n«In this age of digital \nfabrication, architectural \ndesign will not be constrained \nby the appearance of objects  \nor by the perceptive ways in \nwhich they are manifested»\nteristics of used material and at the same time shaping the process \nitself. In this regard, the architect can fully control the construction \nprocess down to the smallest detail whereas constructive, functional \nand formal criteria can be so tightly intertwined that they become \nmutually dependent.\nEven more interestingly, the Latin verb ‘computare’ means the \ngeneral function of bringing several things into correlation. Accord-\ningly, the synthesis of design, construction and fabrication would \n",53,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.54.png","52 C 02\ntónicas, permitiendo además que el arquitecto controle el proceso de \nconstrucción hasta el más mínimo detalle, toda vez que los criterios \nconstructivos, funcionales y formales se entrelazan de manera tan \nestrecha que pasan a depender unos de otros.\nEl verbo latino ‘computare’ significa ‘poner en relación entre sí \nvarios objetos diferentes mediante una función general’. De manera \nanáloga, la relación entre el diseño, la construcción y la fabricación \npodría hoy sintetizarse bajo el paraguas del término ‘fabricación \ndigital’. La arquitectura se convertiría así en la expresión directa de \nsu propio proceso de fabricación, eludiendo la tradicional distinción \ntectónica y estructural entre la construcción y la fabricación. Desde \nesta perspectiva, es posible siempre asociar elementos materiales \ndiscretos a cada uno de los requerimientos funcionales de un edificio, \npor mucho que éstos se incrementen. En este contexto, los sistemas \nde diseño algorítmico permiten una manipulación selectiva de los \ndatos de fabricación con los cuales el material puede llegar a confi-\ngurarse de acuerdo a sus propiedades o requerimientos funcionales, \nalgo que es muy necesario cuando se ensamblan una gran cantidad \nde pequeñas piezas en un todo más grande. Los elementos materiales \nindividuales pueden cualificarse así con información que puede mejo-\nrar su rendimiento, lo que se traduce en un diseño más complejo en el \nque la fabricación aditiva robotizada define y encripta las relaciones \nmateriales y estructurales que se dan entre los diferentes elementos, \noperando con conjuntos cada vez mayores de información. \nSin embargo, no todos los elementos de la artesanía tradicional —en \nlos casos arriba mencionados, los propios de la cultura constructiva \nsuiza— se pierden en este proceso. Muy al contrario, la artesanía \npuede actualizarse en una fabricación robotizada en la que pueden \nintegrarse los antiguos códigos —basados en sencillos principios de \nconexión—, pero evitando la expresión repetitiva y modular de los \nsistemas constructivos tradicionales.\nEste método permite el diseño variable pero eficiente de estruc-\nturas singulares con diferentes materiales, cuya ejecución se dis-\ntingue de los métodos de fabricación estandarizados, que resultan, \nen ocasiones, muy rígidos. Las investigaciones llevadas a cabo por \nGramazio & Kohler permiten la integración de un amplio rango \nde parámetros de diseño, adaptándose fácilmente a las diferen-\ntes geometrías y requerimientos constructivos. En esta estrategia \n—que se vincula con la semperiana Gestaltwerdung (‘proceso de \nconfiguración’)— el diseño tradicional se sustituye por una visión \nholística donde los datos técnicos, estructurales y materiales están \ninterrelacionados. Esta visión da cuenta de la fuerza transformadora \nque el giro digital (digital turn) podría suponer para la disciplina \narquitectónica. Por supuesto, esta nueva perspectiva no debe ser \nni una panacea unilateral ni una retórica ideológica, sino el ger-\nmen de una ‘materialidad digital’ concebida como una concepción \ncomprensiva de lo digital en la que el diseño, la construcción y la \nfabricación no formen parte del reino abstracto de la geometría y de \nla mera información sino de esa Gestaltwerdung a partir de la cual \nla propia materialidad de la arquitectura pueda transformarse. Las \nfronteras arquitectónicas entre la computación, la construcción y \nla fabricación podrían así empezar a disolverse, dando lugar a una \nnueva ‘cultura del diseño’ (Antoine Picon) donde podría cristalizar \nel potencial creativo de nuestra época.\nEl curso de la escuela \nETH de Zúrich Procedural \nLandscapes explora los \nprocesos de diseño y \nfabricación de paisajes. \nSe utilizan materiales \nsin forma como la arena \nconectados a máquinas \ncontroladas digitalmente.\nThe ETH Zurich \ncourse Procedural \nLandscapes explores \nthe design processes \nand the fabrication of \nlandscapes. Formless \nmaterials like sand are \nconnected to digitally \ncontrolled machines. \n",54,{"image":217,"text":35,"number":218},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.55.png",55,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.56.png","The Sequential \nStructure 1 (abajo) es \notra asignatura de la \nescuela de Zúrich. La \nenseñanza e implicación \nde los estudiantes es de \nvital importancia en la \ninvestigación digital de \nGramazio & Kohler.\nThe Sequential Structure \n1 (bottom) is another \ncourse at ETH Zurich. \nTeaching and the \ninvolvement of students \nare both essential \nelements in the digital \nresearch carried out by \nGramazio & Kohler. \n",56,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.57.png","C 02 55\nalready be implied within the term ‘digital fabrication.’ Conversely, \nthis means that architecture becomes the primary expression of its \nfabrication process, separating itself from the traditional differentia-\ntion between construction and fabrication. Even when the number \nof functional requirements of a building element increases it is \npossible to address them with simple material components. On that \nscope, algorithmic design systems enable the selective manipulation \nof fabrication data whereby material can be structured according \nto its properties and functional requirements – a necessity when \nassembling a large amount of small pieces to a greater whole. The \nsingular material elements are augmented with information that can \nenhance their performance. This results in more complex design and \nfabrication data where additive robotic fabrication makes it pos-\nsible to define and codify material and structural relationships of \nthe individual elements in order to operate in this ever increasing \nset of information.  \nHowever, by no means all elements of traditional craft – specific \nto Switzerland’s building culture – are switched off. Quite the con-\ntrary, traditional craft becomes radically catalyzed through additive \nrobotic fabrication, integrating ancient construction principles such \nas layering and cross-jointing into the digital manufacture. \nThis enables a variable yet efficient design and manufacturing \nprocess of individual timber structures. While industrial approaches \nare often rigidly coupled to standardized construction and fabrication \nmethods, the research on robotic fabrication conducted by Gramazio \n& Kohler allows integrating a wide range of design parameters, \nadapting easily to different geometries and individual building re-\nquirements. This not only connects to Semper’s Gestaltwerdung but \nalso redirects the attention from idealistic and particular design \nprocesses to a comprehensive interrelation of technical, structural \nand material data. Exactly in this regard, Gramazio & Kohler Ar-\nchitecture and Digital Fabrication addresses the dynamic force of \nsuch a fundamental change as the digital turn would imply for the \narchitectural discipline. Interestingly enough, this does not encapsu-\nlate unilateral strategies or ideological emphasis, but a so to speak \n‘digital materiality’ that acknowledges the fact that the performance \nof fabrication and therefore many constructive principles are both \nbound to their scale and could be applied to digital technology. As \na consequence, the research conducted trusts in an integral un-\nderstanding for digital coherence where design, construction and \nfabrication are not part of an abstract realm of geometry and data \nbut of a Gestaltwerdung where the very materiality of architecture \nis transformed. With recourse on this, the architectural borders be-\ntween computation, construction and fabrication begin to dissolve, \nleading to a new and future-orientated ‘culture of design’ (Antoine \nPicon) where central formative potentials of an age crystallize on.\n",57,{"image":228,"text":229,"number":230},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.58.png","La investigación \nen Remote Material \nDeposition Sitterwerk \nes la primera que \ndemuestra, a una escala \narquitectónica real, \nla viabilidad de esta \ninnovadora técnica de \nfabricación\u002Fconstrucción.\nThe research developed \nin Remote material \nDeposition Sitterwerk \nis the first that shows, \non a real architectural \nscale, the feasibility \nof this innovative \nfabrication\u002Fconstruction \ntechnique. \n",58,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.59.png","C 02 57\nCURVED FOLDING\nETH Zurich, 2011 (pp. 46-47)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: Gregory Epps, Robofold and Daniel Piker, \nSpaceSymmetryStructure\nColaboradores Collaborators: Michael Knauß (jefe de proyecto project lead), Ralph Bärtschi, Mike \nLyrenmann, Dominik Weber\nEstudiantes Students: Moritz Berchtold, Fabio Bernasconi, Miro Eichelberger, Ozan Enginsal, Raphael Fitz, \nPascal Genhart, Ricardo Joss, Michi Keller, Leo Kleine, Daniel Kostezer, Stefan Maier, Nathalie Pietrzko, \nChristian Rippstein, Jonas Ryser, Christian Schwizer, Maria Vrontissi, Jan Zachmann\nFLIGHT ASSEMBLED ARCHITECTURE \nFRAC Centre Orléans, 2011-2012 (pp. 48-49)\nArquitectos Architects: Gramazio & Kohler and Rafaello D’Andrea in cooperation with ETH Zurich\nEn colaboración con In collaboration with: Professorship Raffaelo D’Andrea, Institute for Dynamic \nSystems and Control, ETH Zurich\nCliente Client: FRAC Centre (Coproductor Co-Producer)\nColaboradores Collaborators: Andrea Kondziela (jefe de proyecto  project lead), Sarah Bridges, Tim Burton, \nThomas Cadalbert, Dr. Ralph Bärschi, Peter Heckeroth, Marion Ott, Tanja Pereira, Dominik Weber, Dr. Jan \nWillmann\nExpertos Selected experts: Chair of Building Physics Prof. Jan Carmeliet, ETH Zurich and Empa (pruebas \nen tunel de viento wind tunnel testing); Dr. Lüchinger and Meyer Bauingenieure AG (ingeniería estructural \ny de fachada structural and facade engineering); Amsteim and Walthert AG (consultoría energética energy \nconsulting)\nPatrocinadores Sponsors: Pro Helvetia Swiss Arts Council, Centre Culturel Suisse Paris, Platform, \nRegroupement des Fonds régionaux d’art contemporain, Vicon Motion Systems, ERCO Leuchten GmbH, JET \nSchaumstoff - Formteile GmbH\nSTRUCTURAL OSCILLATIONS\nVenice Architecture Biennale, 2007-2008 (pp. 50-51)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: Reto Geiser\nCliente Client: BAK- Bundesamt für Kultur\nColaboradores Collaborators: Michael Knauß (jefe de proyecto project lead), Ralph Bärtschi, Tobias \nBonwetsch, Nadine Jerchau, Mike Lyrenmann, Gregor Bieri, Michael Bühler, Hannes Oswald, Lukas Pauer\nMaquetas Model Making: Lukas Pauer, Hannes Oswald\nPatrocinadores Sponsors: Keller Ziegeleien AG, Kuka Switzerland AG, Sika Switzerland AG \nPROCEDURAL LANDSCAPES\nETH Zurich, 2011 (pp. 52-53)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: Prof. Girot, ILA and Yael Girot, Atelier Girot\nColaboradores Collaborators: Michael Knauß (jefe de proyecto project lead), Ralph Bärtschi, Ilmar \nHurkxkens, Dominik Weber\nEstudiantes Students: Tobias Abegg, Jonathan Banz, Mihir BBedekar, Daria Blaschkiewitz, Simon Cheung, \nDhara Dhara Sushil Surana, Hernan, Kaspar Helfrich, Pascal Hendrickx, Leyla Ilman, Malte Kloes, Jennifer \nKoschack, Caspar Lohner, Jitesh Mewada, Lukas Pauer, Sven Rickhoff, Martin Tessarz, Ho Kan Wong\nTHE SEQUENTIAL WALL\nETH Zurich, 2008 (p. 54 izquierda left)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nColaboradores Collaborators: Silvan Oesterle (jefe de proyecto project lead), Ralph Bärtschi, Mike \nLyrenmann\nEstudiantes Students: Michael Bühler, David Dalsass, Simon Filler, Milena Isler, Roman Kallweit, Morten \nKrog, Ellen Leuenberger, Jonas Nauwelaertz de Agé, Jonathan Roider, Steffen Samberger, Chantal Thomet, \nRafael Venetz, Nik Werenfels\nSocio industrial Industry partner: Häring Timber Engineering, Isoflock\nSTRATIFICATIONS\nLondon, 2011 (p. 54 derecha right)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: BLOCK Research Group: Assitant chair of Building Structure \nPhilippe Block\nCliente Client: Fabricate2011 \u002F UCL London\nColaboradores Collaborators: Michael Knauß (jefe de proyecto project lead), Ralph Bärtschi, Michael \nLyrenmann, Maria Vrontissi\nEstudiantes Students: Christian Aguayo, Edyta Augustynowicz, Jonas Epper, Sofia Georgakopoulou, Paul \nMarie Guillaume Gillet, Luis Gisler, Christian Hoene, Matthew Huber, Benz Hubler, Jonathan Kischkel, \nJessica Knobloch, Jeannette Kuo, Anna Golde Marschall, Teresa McWalters, Ge Men, Ingunn Nordlie, \nStephan Pfeiffer, Christopher Rofe, Jia Rujun, Samar Said, Manuela Sedlar, Tobias Tommila, Dominik \nZausinger\nTHE SEQUENTIAL STRUCTURE 1\nLondon, 2011, (p. 55)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: Bachmann Engineering AG, Zofingen\nCliente Client: Fabricate2011 \u002F UCL London\nColaboradores Collaborators: Andrea Kondziela (jefe de proyecto project lead),Volker Helm, Ralph \nBärtschi, Dominik Weber\nREMOTE MATERIAL DEPOSITION SITTERWERK\nSitterwerk, St. Gallen, 2014, (pp. 56-57)\nArquitectos Architects: Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich\nEn colaboración con In collaboration with: Felix Lehner (Sitterwerk Kunst und Produktion), Julia Lütolf, \nAriane Roth, Laurin Schaub\nColaboradores Collaborators: Sebastian Ernst (jefe de proyecto project lead), Kathrin Dörfier, Luka \nPiskorec\nEstudiantes Students: Ralph Benker, Bo Cheng, Roberto Naboni, Pascal Ruckstuhl, IVana Stiperski, Simone \nStünzi, Anna Szabo, Andreas Thoma, Martin Thoma, Alexander Nikolas Walzer, James Yeo\nPatrocinadores Sponsors: Fersto AG, Schweiz; Hans und Wilma Stutz Stiftung, Herisau; IKEA Stiftung, \nBasel (Schweiz)\nFotos Photos\n©Gramazio & Kohler, ETH Zurich\nRafael Fitz, Michi Keller, Leo Kleine, Nathalie Pietrzko, Christian Rippstein (p. 47); Daria Blaschkiewitz, \nLeyla Ilman, Jennifer Koschack (pp. 52-53); Michael Bühler, David Dalsass, Simon Filler, Roman \nKallweit, Jonathan Roider (p.54 izquierda left); Luis Gisler, Jonathan Kischkel (p. 54 arriba top); \nSofia Georgakoupoulou, Jeannette Kuo, Dominik Zusinger (p. 54 medio arriba middle top); Jessica \nKnobloch, Teresa McWalters (p. 54 medio abajo middle bottom); Christian Hoene, Stephan Pfeiffer (p. 54 \nabajo bottom); Ralph Benker, Bo Cheng, Roberto Naboni, Pascal Ruckstuhl, Ivana Stiperski, Simone Stünzi, \nAnna Szabo, Andreas Thoma, Martin Thoma, Alexander Nikolas Walzer, James Yeo (pp. 56-57)\n©Françpos Lauginie (pp. 48-49)\n©Alessandra Bello (p. 51)\n",59,{"image":236,"text":35,"number":237},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.60.png",60,{"image":239,"text":240,"number":241},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.61.png","Crafted in Bangladesh\nEco-textiles by women\nstyle\n",61,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.62.png","Style\nTradition\n4\nCRAFTED IN  \nBANGLADESH\nEco-textiles by women\n",62,{"image":247,"text":35,"number":248},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.63.png",63,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.64.png","62 C 02\nDidi Textiles es una iniciativa de la modista \nVeronika Lena Lang y la arquitecta Anna He-\nringer en colaboración con Dipshikha, una \norganización para el desarrollo de Bangla-\ndesh. El proyecto tiene como resultado una \nserie de prendas de vestir, hechas totalmente \na mano, y cosidas siguiendo sistemas textiles \ntradicionales del norte de Bangladesh, donde \nse encuentran los dos pueblos en los que se \nproducen estas piezas.\nMade in Bangladesh\nActualmente, 4,2 millones de personas, sobre \ntodo mujeres, viven de la fabricación de tex-\ntiles en el país. El objetivo que este sector \npersigue es el de alcanzar los estándares glo-\nbales de calidad y condiciones laborales o, en \notras palabras, el producir económicamente \nuna camiseta perfectamente estandarizada \nen condiciones seguras de trabajo. Este ob-\njetivo deja de lado, sin embargo, el valor \nartístico y cultural de los tejidos tradicio-\nnales, y la importancia del trabajo manual \ndel país, que probablemente desaparecerá \nen favor de las nuevas tecnologías en los \npróximos diez o quince años. Este proyecto, \nuna cooperación germano-bangladesí entre \nmujeres artesanas y diseñadoras y una ONG \npara el desarrollo de estos pueblos dedicados \nal textil, quiere demostrar la viabilidad de un \nmade in bangladesh alternativo: participa-\ntivo, sostenible, descentralizado, basado en \nlas tradiciones textiles locales y enfocado a \nla mejora de la calidad de vida de quien lo \nproduce.\nPatrones de familia\nEn la Bangladesh rural, cada mujer recibe de \nsu familia un sari cada año, conmemorando \nla principal fiesta musulmana o hindú. Una \nvez pasa la festividad, los saris se reciclan \npara convertirlos en mantas: hasta seis capas \nAnna Heringer, en \ncolaboración con \nVeronika Lena Lang y \nuna ONG de Bangladesh, \ndesarrollan un proyecto \npara mejorar la economía \ny calidad de vida de las \nmujeres trabajadoras de \nlas zonas rurales del país.\nAnna Heringer, teamed \nup with Veronika Lena \nLang and a Bangladeshi \nNGO, have launched a \nproject to improve the \neconomic situation and \nthe quality of life of \nworking women in rural \nareas of the country. \nde estos saris de algodón se cosen juntos a \nmano por las mujeres del pueblo (de esta \nhistoria nace el nombre del proyecto: «didi» \nsignifica hermana). Con el uso diario, al cabo \nde los años, las capas se van gastando dejan-\ndo entrever las telas interiores y mostrando \nuna textura vibrante y llena de color, textura \nque además relata la historia de la familia. \nCuando estas mantas están casi inservibles \nes cuando el proyecto comienza, convirtien-\ndo esos restos en nuevas prendas de vestir, \ncon un corte contemporáneo. \nEcología\nLos saris viejos que componen el material \ncrudo de la colección son recogidos en bi-\ncicleta y son lavados a mano con un jabón \necológico y agua calentada con colectores \nsolares. Todo el proceso prescinde de la elec-\ntricidad y se utilizan máquinas de coser de \npedal, muy extendidas en las zonas rurales \ndel país. \nAdemás, este proceso requiere una gran \ncantidad de trabajo manual. Se evita vo-\nluntariamente cualquier material sintético \ny cada paso de la producción (el suministro \nde materiales, el patronaje, la manufactura, \nel control de calidad final...) se hace local-\nmente. Para el transporte sólo se utilizan \nbicicletas y la única contaminación produ-\ncida es la que supone el envío a Alemania.  \nCada pieza individual es tan exclusiva \nque las prendas nunca se podrán adherir a \nlas modas efímeras, y podrán tener así una \nvigencia de años en lugar de semanas. La \n«4,2 millones de personas, \nsobre todo mujeres, viven \nde la fabricación de textiles \nen Bangladesh»\n",64,{"image":254,"text":35,"number":255},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.65.png",65,{"image":257,"text":35,"number":258},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.66.png",66,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.67.png","C 02 65\nDidi Textiles is an initiative promoted by \ndesigner Veronika Lena Lang – master tailor \nof the pieces –, and architect Anna Heringer, \nand is carried out in cooperation with the \nBangladeshi development organization Dip-\nshikha. The clothes from Didi Textiles are \nmade in two villages in the North of Ban-\ngladesh. They are tailored by hand and sewn \nfollowing the local textile traditions. Aiming \nat an improved quality of life, the process is \nas important as the product.\nMade in Bangladesh\n4.2 million people, women in particular, \nlive from the fabrication of textiles in Ban-\ngladesh. The objective of the textile sector \nmerely is to achieve the global standards \nregarding quality and labor conditions, or \nin other words, to cheaply produce a per-\nfect standardized t-shirt in safe working \nconditions. But the wonderful textile arts \nand cultures that Bangladesh has are not \nconsidered, nor are the global technological \ndevelopments, that with great probability \nwill replace manual labor in ten to fifteen \nyears. This project is a Bangladeshi-German \ncooperation between crafts(wo)men and de-\nsigners together with a Bangladeshi NGO \nfor village development. It comes to prove \nthe possibility of an alternative “made in \nBangladesh” production: participative, sus-\ntainable, decentralized, based on the local \ntextile traditions, and with the purpose of \nimproving the quality of life. \nFamily Patterns\nIn rural Bangladesh a woman gets one sari \nper year from her family on the occasion of \nthe main Muslim or Hindu festival. When the \nsaris are worn out, they are traditionally re-\ncycled into blankets: about six layers of those \ncotton saris are fixed together with hundreds \nof stitches made by hand by the women of \nthe village. The name of the project stems \nfrom this history: “didi” means “sister” in \nBangla. Over the years with everyday use, \nthe surface layers of the blankets peel off \nand the hidden layers appear. The vibrant \nand incredible colorful textured surface is an \nimprint of the blankets’ own little family cos-\nmos, documenting the traces of the family’s \nhistory. When the blankets are almost torn, \nour project begins: the blankets are hand-\ncrafted by women in and around the village \nof Rudrapur, and turned into contemporary \ndesigned clothes.\nEcology\nThe old sari blankets that form the raw mate-\nrial of our collection are gathered by bike or \nwith a rickshaw and are hand-washed with \nan ecological washing powder. The water \nused is heated with solar collectors. The \nentire production runs without electricity, \nusing feet-driven sewing machines that are \ncommonly spread in the villages of Bangla-\ndesh. In addition, this process requires a \ngood share of manual work like stitching. The \nproject consciously abstains from synthetic \nmaterials. Every step in the labor process, \nlike the supply of materials, the cutting, the \nmanufacturing and the final control is local. \nOnly the bike is used for transportation. The \nonly pollution caused is that of the shipment \nto Germany.\nThe individuality of the clothes is so unique \nthat they will not follow a short term fashion \ntrend. Thereby the pieces will be worn over \na long span of years rather than the usual \nfashion period of weeks. The transparence \nof the production as well as the emotional \nrelationship to the process will replace the \nidentification with the iconic brand.\nUrban intervention\nThe majority of Bangladeshis live in villages. \nWhile in cities the consumption gains more \nimportance, villages can produce a large share \nof their daily needs themselves. With this \nday-to-day creativity and culture the villages \nprove to be important culture carriers. Thanks \nto this economical subsistence their ecological \nfootprint is smaller than in the cities, but they \nlack paid job opportunities. \nThe outcome of this project is a spatial \nand urban intervention. The garment sector \n«4.2 million people, \nwomen in particular, \nlive from the \nfabrication of textiles \nin Bangladesh»\n",67,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.68.png","66 C 02\ntransparencia del proceso así como la impli-\ncación emocional de las mujeres reemplaza, \nen este caso, la identificación usual a través \nde la marca icónica. \nIntervención urbana\nMientras que en las ciudades de Bangladesh \nel consumismo va en aumento, en los pueblos \npueden autoproducir la mayoría de las nece-\nsidades diarias, lo que les convierte, gracias a \nesta creatividad del día a día, en importantes \ntransmisores culturales, revalidando la im-\nportancia de la tradición. Esta independencia \neconómica reduce la huella ecológica de las \ncomunidades rurales, mucho menor que la \nde las ciudades, pero aún están infinitamen-\nte lejos de poder igualar las oportunidades \nlaborales de las grandes urbes. \nEl fin del proyecto es espacial y urbano.  \nEl sector está arrastrando la mano de obra a \nlas ciudades, en concreto a la capital, Dhaka. \nAllí las mujeres trabajadoras dedicadas al \ntextil acaban  viviendo en unas condiciones \ninhumanas por las que normalmente tienen \nque pagar precios altísimos. Un sistema des-\ncentralizado de producción localizado en \nestos pueblos protegería las zonas rurales \ny podría regular la continua migración de \néstas hacia las ciudades. Además se fomen-\ntaría una economía mejor distribuida y más \nigualitaria, y una red de infraestructuras más \nextendida por toda la región. \nDe esta manera, las mujeres pueden per-\nmanecer con sus familias en sus pueblos, en \ncontacto con su red social, pudiendo hacer su \ntrabajo en casa o en una comunidad cono-\ncida donde no tienen que pagar por sanidad \nni agua. \nFuera de lo normal\nAdemás de reivindicar la belleza de los obje-\ntos usados y convencionales, y de fomentar \nel valor del reciclaje, el proyecto Didi Textiles \nsirve para garantizar la supervivencia de una \ncultura textil única. \n",68,{"image":268,"text":35,"number":269},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.69.png",69,{"image":271,"text":35,"number":272},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.70.png",70,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.71.png","C 02 69\nConcepto Concept: Anna Heringer \nDiseño textil Textile design: Veronika Lena, Anna Heringer \nColaborador local Local collaborator: Dipshikha, Shanti \nPartnerschaft Bangladesh. V.\nFotos Photos: Studio Anna Heringer (pp. 60-61, 62, 63, 65, \n66, 69), Michael Obex (pp. 64, 67, 68)\nis dragging labor forces from the villages \nall around the country to the urban centers, \nmainly to the capital Dhaka. There, the tex-\ntile workers, most of them women, end up \nliving in inhumane conditions for which \nthey often have to pay a high price. A de-\ncentralized manufacturing process directly \nin the villages can dam up the continuing \nmigration from rural to urban areas. It also \nenhances a more equally distributed eco-\nnomic and infrastructural development all \nover the country.\nBy setting up this project, women can stay \nwith their families in their villages, in the \nvicinity of their social network, being able \nto do their work in their own homes or in a \ncommunity space where they don`t have to \npay for water or sanitation. They get a fair \nsalary and their kids can play with marbles \nand goats in a healthy environment.\nOut of the Ordinary\nThe continuation of this unique textile cul-\nture will be facilitated by the appreciation \nthat will be revived through Didi Textiles. \nFor us in the industrialized countries these \ntextiles can become an inspiration and mo-\ntivation towards the art of recycling, as well \nas serving to strengthen the sensibility to \ndiscover the beauty in the used and ordinary.\n",71,{"image":278,"text":35,"number":279},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.72.png",72,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.73.png","interview\nDominique Perrault & Pachi Mangado \n in dialogue \n",73,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.74.png","Perrault\n& Mangado \nin dialogue\nEl francés y el \nnavarro conversan \nen Ultzama sobre \ncaballos y paisajes\nThe French and the \nNavarrese talk in \nUltzama about horses \nand landscapes.\nInterview\nConversation\n5\n",74,{"image":289,"text":35,"number":290},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.75.png",75,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.76.png","74 C 02\nDominique Perrault: El paisaje en la Ultza-\nma es verdaderamente magnífico...\nPachi Mangado: Sí, de ahí la dificultad \nde hacer un edificio aquí. Me interesaba \nmucho esta finca, porque tiene unas cua-\nlidades fantásticas. De hecho, la parte más \ncomplicada del proyecto fue la discusión \ncon el arquitecto del gobierno regional sobre \ncómo mantenerla: él quería que hiciese una \ncasa convencional e idéntica a las que se \nencuentran en el valle, de ladrillo rojo. Me \nllevó meses convencerle de que una de las \nprincipales características de este paisaje \narquitectónico era la densidad y cómo ma-\nnejarla respetuosamente. La arquitectura es \nparte del paisaje y no algo impuesto, y el \ncolor no es lo importante; lo que es impor-\ntante es la idea de compacidad.\nDP: Sí, yo estaba imaginándome algún \ntipo de arquitectura subterránea. Ahí tienes \nel bosque, ahí el río... y hay que saber cómo \nproteger el paisaje y cómo vivir en él. Es \npor eso que creo que uno puede adaptarse \nal paisaje y aprovechar la topografía, sin \ntocar nada. \nPM: Por ejemplo, una cuestión que es \nincreíble: aquí aprueban cualquier organi-\nzación urbana con pequeñas casas, con frag-\nmentación, simplemente porque son blancas \ny rojas. Eso es estúpido porque se destruye \nel paisaje. La idea es conservar la densi-\n«Aquí aprueban cualquier \norganización urbana \ncon pequeñas casas sólo \nporque son blancas y rojas, \ny eso es estúpido porque \ndestruye el paisaje»\ndad y la compactación. Este edificio tiene \nun programa de establos, pistas, la casa del \nguarda… si las hubiese compartimentado, \nsería un desastre. \nDP: Eso es lo importante de los volúmenes \ngrandes, en un volumen grande se debe com-\npartir, y esa es la clave: compartir. Es una \ncuestión ideológica y política. Si haces mu-\nParís, o el Grand Paris. Es un proyecto que \nva a dejar o ha dejado salir los problemas \nde identidad, de exclusión… es visionario. \nPM: Un nuevo barón Haussmann...\nDP: No, somos un ejército de pequeños \nbarones Haussmann. Ahora habrá que ver \nhasta dónde se pueden extender estas fron-\nteras, o incluso la necesidad de ellas, porque \nno podemos permitir que el Grand Paris se \nconvierta en otro círculo cerrado. En cual-\nquier caso, el tema de compartir es válido \npara la ciudad y para el campo. En un edi-\nficio grande uno entra, sale, trabaja, piensa, \ndescansa, cocina… Es la idea de la función \nmúltiple, como en la arquitectura tradicional \nen la que en el mismo volumen estaban los \nabuelos, los niños, los animales…\nPM: Efectivamente, pero los animales \ntampoco pueden estar en cualquier lugar. \nCuando veníamos hemos visto muchos ca-\nballos por el campo. En esta zona hay una \nrelación estricta entre el paisaje y los ani-\nmales. Yo no puedo imaginarlo sin ellos. Por \neso, durante seis años, he estado convencido \nde que éste era el espacio para tener los caba-\nllos. Y es que el paisaje no es sólo un paisaje \nnatural, es también un paisaje humano\nDP: Es una naturaleza construida, una na-\nturaleza artificial. Y nos encontramos con un \nproblema completamente contemporáneo, \nla idea de construir en la naturaleza: en la \nPhotos: Miguel Fernández-Galiano \nchos edificios pequeños: mi pequeña casa, \nmi pequeño coche…, no se comparte. Ahora, \nen París, tenemos el proyecto de unificar \ntoda la región, el Grand Paris. Evidentemen-\nte va a ser complicado porque siempre va a \nexistir la batalla entre la riqueza del oeste y \nla media más modesta del este de la ciudad. \nPero es verdaderamente una buena idea. De-\nbemos inventar o encontrar una estructura \npara hacer convivir a doce millones de ha-\nbitantes. No podemos vivir dos millones y \nmedio en París, y diez en los alrededores. Es \nuna cuestión de necesidad. Antes siempre se \ndecía «Paris et la banlieue», y ahora es sólo \nEl autor de la Biblioteca \nNacional de Francia y de \nla Caja Mágica madrileña \ndialoga con el navarro, \ncreador del Pabellón de \nEspaña de Zaragoza y el \nBaluarte de Pamplona, en \nel centro hípico de este \núltimo en Ultzama.\nPerrault, author of the \nNational Library of France \nand Madrid’s Caja Mágica, \nand Mangado, architect  \nof the Spanish Pavilion  \nat Expo Zaragoza 2008, \ntalk at the equestrian \ncenter of Ultzama,  \ndesigned by the latter. \n",76,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.77.png","Dominique Perrault: The landscape in Ult-\nzama is truly magnificent…\nPachi Mangado: Yes, that is why it is dif-\nficult to raise a building here. I was interested \nin this estate because it had wonderful quali-\nties. In fact, the most complicated part of the \nproject was the discussion with the architect \nof the regional government on how to main-\ntain it. He wanted me to build a conventional \nhouse identical to those in the valley, made \nof red brick. It took me months to convince \nhim of the fact that one of the main char-\nacteristics of the architectural landscape is \ndensity, and how to manage it respectfully. \nArchitecture is part of the landscape and not \nsomething imposed, and color is not what’s \nimportant; what’s important is the idea of \ncompactness.\nDP: Yes, I was imagining some kind of un-\n«Here they give the go-ahead \nto any urban arrangement \nwith small houses just because \nthey are white and red, and  \nthat is stupid because it \ndestroys the landscape»\nderground architecture. There’s the woods, \nthere’s the river… and we must know how to \nprotect the landscape and live in it. That is \nwhy I think one can adapt to the landscape \nand make the most of its topography. With-\nout touching anything. \nPM: There is one incredible thing though: \nhere they give the go-ahead to any urban \narrangement with small houses, fragmen-\ntation, just because they are white and \nred. That is stupid because it destroys the \nlandscape. The idea is to preserve density \nand compactness. This building has stables, \ntracks, the caretaker’s house… if I had com-\npartmentalized all of them it would have \nbeen a disaster. \nDP: That’s what’s important about large \nvolumes. In a large volume it’s important \nto share, and that is the key: sharing. It is \nan ideological and political matter. If you \nmake many small buildings: my small house, \nmy small car…, there’s no sharing. Now, in \nParis, we are developing the project to unify \nthe whole region, the Grand Paris. Evidently \nit will be complicated because there will al-\nways be a battle between the richer western \nareas and the more modest eastern sections \nof the city. But it is really a good idea. We \nmust invent or find a structure to let twelve \nmillion inhabitants coexist. It is a matter \n",77,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.78.png","76 C 02\n«Existe un error \ngeneralizado en  \npensar que la \narquitectura es \ndiferente del paisaje,  \ncuando en realidad  \nson la misma cosa»\nnaturaleza sí o no. La arquitectura es una \nconstrucción natural y se puede pensar que \nlos muros son los árboles, el sol es la tierra, \nlos forjados son el cielo… \nPM: Además existe un error generaliza-\ndo en pensar que la arquitectura es dife-\nrente del paisaje cuando en realidad son la \nmisma cosa. Por esta razón, muchas veces, \nlas regulaciones sobre la construcción en el \npaisaje están equivocadas porque el punto \nde partida es incorrecto.\nDP: En el paisaje está la naturaleza y la ar-\nquitectura, no la naturaleza o la arquitectura. \nPM: La cuestión de los caballos es un poco \ncomo la arquitectura. Nosotros compramos \nlos caballos con dos años y, durante ocho \naños los preparan para la competición. Es \ncomo cuando haces un proyecto: comienzas \ncon la idea, la dibujas, piensas la construc-\nción, te encuentras con problemas económi-\ncos, políticos… La posibilidad que tienes de \nque un proyecto falle es altísima, y con los \ncaballos ocurre igual. Necesitan ocho años \npara preparar los movimientos, los ritmos, la \nmúsica... nunca sabes si va a ser una buena \ninversión. Los proyectos, como los caballos,  \ntambién se ponen enfermos.\nDP: Nosotros también trabajamos en un \nconcurso para una hípica (Hipódromo de \nLongchamp en París); son unos caballos to-\ntalmente distintos. Es un proyecto muy gran-\nde, y lo que intentamos fue que en la misma \nsuperficie la intervención del arquitecto des-\napareciera. Como aquí, nuestra idea funda-\nmental era abrirse al paisaje e introducirlo en \nel edificio, más un jardín que un estadio. Es \nun proyecto muy horizontal, como una estan-\ntería. En las baldas se ve a la gente andando, \nbebiendo, descansando. Tiene dos capas, la \nprofesional y la pública: la planta baja es para \nlos animales y, por encima, unas pasarelas \ncomunican los distintos servicios. Paseas por \nencima de los caballos, pero siempre junto a \nellos que, al final, es lo importante.\n",78,{"image":304,"text":35,"number":305},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.79.png",79,{"image":307,"text":35,"number":308},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.80.png",80,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.81.png","C 02 79\n«It is a common  \nerror to think that \narchitecture is different \nfrom landscape, when \nthey are actually the \nsame thing»\nof necessity. Everyone used to say “Paris \net la banlieu,” and now it is only Paris, or \nGrand Paris. It is a project that will expose \nthe problems of identity, of exclusion… it is \na visionary plan. \nPM: A new Baron Haussmann...\nDP: No, we are an army of small Baron \nHaussmanns. Now we have to see how far \nthese frontiers can stretch, or see if they are \nnecessary at all, because we cannot let the \nGrand Paris become another closed circuit. \nIn any case, sharing is valid for both city and \ncountry. In a large building you go in and out, \nwork, think, rest, cook… That is the concept \nof multiple function, as in traditional ar-\nchitecture where the grandparents, children \nand animals were all in one same building. \nPM: That’s right, but animals can’t be \njust anywhere. On our way here we saw lots \nof horses in the fields. In this area there is \na strict relationship between landscape and  \nanimals. I can’t imagine the landscape with-\nout them. This is why over these six years \nI have never doubted that this was a space \nfor horses. This landscape is both natural \nand human. \nDP: It is a constructed nature, an artifi-\ncial nature. And we must face a completely \ncontemporary problem: should we or should \nwe not build in natural environments? Ar-\nchitecture is a natural construction and one \ncan think that the walls are trees, the sun \nis the land, the slabs are the sky. \nPM: It is a common error to think that ar-\nchitecture is different from landscape, when \nthey are actually the same thing. The regula-\ntions on building in the landscape are often \nmistaken because their point of departure \nis not right. \nDP: The landscape harbors nature and \narchitecture, not nature or architecture. \nPM: The subject of the horses is somewhat \nsimilar to that of architecture. We buy the \nhorses when they are two years old and, dur-\ning eight years they are trained for competi-\ntion. It is as if you were working on a project: \nyou start out with the idea, you define the \nproject, build it, encounter economic and \npolitical difficulties… There is a high chance \nthat a project can fail, and the same thing \ngoes for horses. It takes eight years to prepare \nthe movements, the rhythms, the music… you \nnever know if it will be a good investment. \nArchitectural projects, like horses, also be-\ncome ill. \nDP: We are also working on a competition \nfor a racetrack (New Longchamp Racecourse \nin Paris): the horses are completely different. \nIt is a big project, and we wanted to make \nthe architect’s intervention on the surface \ndisappear. As in this place, our basic goal \nwas to open up to the landscape and bring \nit into the building, a garden rather than a \nstadium. It is a very horizontal project, like a \nshelf where people walk, drink, rest… It has \ntwo layers: one professional and one public. \nThe ground level is for animals and, on top, \nfootbridges link the different services. You \nwalk above the horses, but always close to \nthem, which is what’s important really. \n",81,{"image":314,"text":35,"number":315},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.82.png",82,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.83.png","En un recorrido por el \nvalle, los arquitectos \nconversan sobre sus \ndiferentes obras en \ntorno a los caballos, \nenfatizando la \nimprescindible relación \nentre la arquitectura, el \npaisaje y los animales.\nDuring a walk through \nUltzama, the two \narchitects talk about \ntheir equestrian projects \nand about building in \nnature, stressing the \nessential relationship \nbetween architecture, \nlandscape and animals.\n",83,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.84.png","© Peter Fauland Photography \nwww.fauland-photography.com\n",84,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.85.png","Berlin \nGermany\ntravel\n",85,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.86.png","84 C 02\nBerlin\nTravel\nCity Guide\n6\nDividida por el muro \ndurante casi treinta años, \nla capital alemana es hoy \nun palimpsesto cultural y \narquitectónico.\nDivided by a wall for \nalmost thirty years, \nthe German capital is \ntoday a cultural and \narchitectural palimpsest.\n02\nNightclub \nBerghain\nConocida por su intensa \nvida nocturna, Berlín \nalberga una de las \nmejores discotecas del \nmundo, que ocupa parte \nde una central eléctrica \nabandonada; la sala abre \nininterrumpidamente de \nviernes a domingo.\nFamous for its busy \nnightlife, Berlin is \nthe home of one of \nthe world’s largest \ndiscotheques, located \nin an abandoned power \nstation. The place \nopens nonstop from \nFriday to Sunday.\n01\nMonument\nEast Side Gallery\nTras la caída del muro el \n9 de noviembre de 1989, \nun centenar de artistas \nde 21 países convirtieron \nun fragmento de 1,3 \nkilómetros en la mayor \ngalería al aire libre del \nmundo, y en un colorido \nsímbolo de la libertad. \nAfter the Fall of the \nWall in 1989, around \na hundred artists from \n21 countries turned a \nstretch of 1.3 kilometers \ninto the world’s largest \noutdoor gallery, and  \ninto a colorful symbol  \nof freedom. \n© pondjumperscroatia.com\n© residentadvisor.net\n",86,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.87.png","C 02 85\n03\nArchitecture\nReichstag Dome\nMuy afectado por los \navatares de la historia  \n—el incendio de 1933 \ny los daños sufridos en \nla II Guerra Mundial—, \nla sede del parlamento \nalemán fue reconstruida \npor Norman Foster en la \ndécada de 1990. \nSeverely affected by  \nthe ups and downs of \nhistory – the fire of \n1933 and the damages \nsuffered in World War  \nII – the seat of the \nGerman Parliament  \nwas rebuilt by Norman \nFoster in the 1990s. \n© Foster + Partners\n",87,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.88.png","86 C 02\n07\nLa que sería la última obra \nde Mies van der Rohe \nse inauguró en 1968 y \nrecoge una selección de \nobras de arte del siglo XX. \nSu diseño responde a la \npreocupación del maestro \nalemán por crear espacios \nfluidos y abiertos.\nThe building was the \nlast work by Mies van \nder Rohe. Inaugurated \nin 1968 and gathering a \nselection of 20th century \nart works, its design \nreflects the master’s \ninterest in creating free-\nflowing and open spaces.\nMuseum\nNeue Nationalgalerie\n© David L. Hirsch\n© Janericloebe\nPeter Behrens construyó \nen 1910 la nave de \nturbinas de AEG, uno de \nlos más emblemáticos \nprecursores del \nMovimiento Moderno.\nPeter Behrens built  \nin1910 the AEG turbine \nfactory, one of the  \nmost emblematic \nforerunners of the \nModern Movement. \n06\nFactory \nAEG\nAlvar Aalto, Oscar \nNiemeyer, Walter Gropius \no Arne Jacobsen son \nalgunos de los maestros \nque dejaron su huella \nen la reconstrucción del \nbarrio, destruido durante \nla II Guerra Mundial.\nAlvar Aalto, Oscar \nNiemeyer, Walter \nGropius or Arne \nJacobsen are a few  \nof the architects \nwho took part in the \nreconstruction of the city \nafter World War II. \n05\n04\nObra de Hans Scharoun \ne inaugurada en 1963, la \nfilarmónica cuenta con \nuna acústica excelente; \ncon capacidad para 2.440 \nespectadores, es una de las \nmás importantes salas de \nconciertos del mundo. \nBuilt by Hans Scharoun \nand inaugurated in \n1963, the Philharmonie \nhas excellent acoustics; \nwith capacity for 2,440 \nspectators, it is one of the \nmost important concert \nhalls in the world.\nMusic \nPhilharmonie\nNeighborhood \nHansaviertel\n© stadtentwicklung.berlin.de\n© Schirmer\n",88,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.89.png","C 02 87\n08\nMuseum\nBauhaus Archive\nDiseñado originalmente \npor Walter Gropius para \nDarmstadt, el museo fue \ninaugurado en 1978 y \nestá dedicado a la historia \nde la Bauhaus, una de \nlas escuelas de arte, \ndiseño y arquitectura más \ninfluyentes del siglo XX.\nOriginally designed \nby Walter Gropius for \nDarmstadt, the museum \nopened in 1978 and  \nis dedicated to the \nhistory of the Bauhaus, \none of most influential \nart, design and \narchitecture schools  \nof the 20th century. \n© Robert Herrmann\n© Álvaro Siza\n© Wüstenrot Stiftung\u002FPhilipp Lohöfener\n© rottenindenmark.wordpress.com\n11\nHousing\nUnité d’Habitation\nLe Corbusier fue invitado \nen 1956 a proyectar \nun bloque de viviendas \nen Hansaviertel para la \nExposición Internacional \nInterbau; finalmente, por \nsu extensión, el edificio fue \nerigido en Charlottenburg. \nIn 1956 Le Corbusier \nwas invited to design \na housing block in \nHansaviertel for the \nInterbau Exhibition; \nfinally, because of its \nsize, the building went \nup in Charlottenburg. \nEl bloque de vivienda \nsocial, primer edificio \nde Álvaro Siza fuera de \nPortugal, fue diseñado \npara la Exposición \nInternacional de \nArquitectura IBA’87, y \ndebe su nombre al grafiti \naparecido en la fachada.\nConstruido por Ludwig \nLeo en 1974, el tanque \nservía como laboratorio \nde construcción naval. \nThe social housing \nblock, the first building \nby Álvaro Siza outside \nPortugal, was designed \nfor the International \nBuilding Exhibition \nIBA’87, and owes its \nname to the graffiti that \nappeared on its facade. \nDesigned by Ludwig Leo \nin 1974, the tank was \na naval construction \nresearch laboratory. \n09\n10\nHousing \nBonjour Tristesse\nFactory \nUmlauftank\n",89,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.90.png","88 C 02\n© David Chipperfield Architects\nMuseum\nNeues Museum\nBritish architect David \nChipperfield has \nmeticulously restored the \nmuseum, damaged in the \nwar, following its original \nlayout. Reopened in \n2009, the museum halls \ncustody famous works \nlike the Nefertiti Bust.\nEl británico David \nChipperfield ha restaurado \nminuciosamente el \nmuseo —dañado durante \nla guerra—, siguiendo \nla disposición original; \nreabierto al público en \n2009, en sus salas se halla \nel célebre busto de Nefertiti. \n14\n© flickr\u002F123giorgio\nEmbassy\nNetherlands Embassy\n12\nClosely tied to its context \nby the River Spree and \nin the heart of Berlin-\nMitte, the embassy by \nRem Koolhaas won the \nBerlin Architecture Prize \nin 2003 and, two years \nlater, the Mies van der \nRohe Award.\nÍntimamente ligado a \nsu contexto junto al río \nSpree y en el corazón de \nBerlin-Mitte, la embajada \nde Rem Koolhaas ganó el \nPremio de Arquitectura \nde Berlín en 2003 y, dos \naños más tarde, obtuvo el  \nMies van der Rohe. \nLibeskind’s building \nwas inaugurated in \n2001, establishing a \nunique relationship \nbetween architecture and \nexhibition contents. It is \ntoday the main center \nfor the dissemination of \nJewish-German culture.\nCon una singular relación \nentre la arquitectura y \nel contenido expositivo, \nel edificio de Daniel \nLibeskind, inaugurado en \n2001, es hoy el principal \ncentro de difusión de \nla historia y la cultura \njudeoalemanas. \n13\nMuseum\nJewish Museum\n© Günther Schneider\n",90,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.91.png","C 02 89\n© Christian Richters\n© Christian Richters\n© Fritz Busam\nStadium \nOlympiastadion\nEmbassy \nSwiss Embassy\n16\nAlso designed by Diener \n& Diener, the Swiss \nEmbassy extension has \nattached a concrete prism \nto the east front of the \noriginal building, of \n1871; the opposite facade \nis decorated with a relief \nby Helmut Federle. \nObra también de Diener \n& Diener, la ampliación \nde la embajada suiza ha \nadosado un prisma de \nhormigón al testero este \ndel edificio original, de \n1871; la cara opuesta \nse ha decorado con un \nrelieve de Helmut Federle.\nMuseum\nNatural Science\n15\nExtended by the Swiss \nDiener & Diener, the \nmuseum displays the \nlargest complete dinosaur \nskeleton found up to date. \nBuilt by Werner March \nfor the Olympic Games \nof 1936, the stadium \nwas refurbished by  \nthe German firm GMP \nfor the FIFA World  \nCup of 2006.\nBuilt by Werner March \nfor the Olympic Games \nof 1936, the stadium \nwas refurbished by  \nthe German firm GMP \nfor the FIFA World  \nCup of 2006.\nConstruido por Werner \nMarch para los Juegos \nOlímpicos de 1936, el \nestadio fue rehabilitado \npor los alemanes GMP \ncon ocasión del Mundial \nde Fútbol 2006.\nConstruido por Werner \nMarch para los Juegos \nOlímpicos de 1936, el \nestadio fue rehabilitado \npor los alemanes GMP \ncon ocasión del Mundial \nde Fútbol 2006.\n17\n© Roland Halbe\nA work by American \narchitect Peter \nEisenman, the memorial \nis a labyrinth of 2,711 \nconcrete blocks of 2.38  \nx 0.95 meters that vary \nin height, generating  \nin those walking among \nthem a feeling of unease. \nObra del norteamericano \nPeter Eisenman, el \nmemorial es un laberinto \nde 2.711 bloques de \nhormigón de 2,38 x \n0,95 metros que varían \nen altura, creando en el \nvisitante una sensación \nde desasosiego. \nMemorial\nHolocaust\n18\nAmpliado por los suizos \nDiener & Diener, el museo \nalberga el mayor esqueleto \ncompleto de dinosaurio \nhallado hasta la fecha.\n",91,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.92.png","90 C 02\nUna piscina flotante, en un \nantiguo buque de 8 x 32 \nmetros, permite disfrutar \ndel baño en el Spree. \nAbierto en 1907, el mayor \ngran almacén de Europa \nes uno de los lugares más \nvisitados de la ciudad.\nEl concurrido mercadillo \ny el karaoke reúnen todos \nlos domingos a miles de \nberlineses y turistas. \nA floating public pool, \nin an old ship of 8 x 32 \nmeters, invites to enjoy a \nbath in the River Spree. \nOpen in 1907, the \nlargest store in Europe is \none of the most visited \nplaces in the country. \nThe busy street market \nand the karaoke attract \nthousands of Berliners \nand tourists on Sundays.\n21\n23\n22\nLa colina artificial, que \nsepulta una escuela militar \nnazi, ha sido estación de  \nski y base americana.\nThe artificial hill buries an \nold Nazi military school, \nand has been a ski station \nand an American base. \n24\nMilitary base \nTeufelsberg\nCon 210 hectáreas, es el \npulmón verde de la ciudad \ny un punto de encuentro y \nocio para los berlineses.\nWith 210 hectares, it is \nthe green lung of the city \nand a meeting and leisure \nplace for Berliners.\n20\nPark \nTiergarten\nSwimming pool\nBadeschiff\nShopping\nKaDeWe\nFlea market\nMauerpark\n19\nLa parte norte de la isla \ndel río Spree alberga \ncinco grandes museos \n—el Altes, el Neues, la \nAlte Nationalgalerie, el \nMuseo de Pérgamo y \nel Bode—; el conjunto \nes Patrimonio de la \nHumanidad desde 1999.\nThe north part of the \nisland of the River \nSpree has five major \nmuseums – Altes, Neues, \nAlte Nationalgalerie, \nPergamonmuseum and \nBode; the complex is on \nthe World Heritage list \nsince 1999. \nMuseum \nMuseumsinsel\n© cupon.es\n© cityguideberlin.dk\n© horstundedeltraut.com\n© pha.jhu.edu\n© viajes.elpais.com.uy\n© panoramastreetline.com\n",92,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.93.png","C 02 91\n26\nRestaurant\nGlass\nUn elegante restaurante en \nun antiguo gimnasio del \nbarrio de Charlottenburg \nes el primer proyecto \ndel chef israelí Gal Ben \nMoshe, formado junto a \nMarcus Wareing y Grant \nAchatz; la carta incluye \nun menú vegano. \nAn elegant restaurant in \nan old gymnasium of the \nCharlottenburg quarter  \nis the first project by \nIsraeli chef Gal Ben \nMoshe, set up with \nMarcus Wareing and \nGrant Achatz; the menu \nincludes a vegan section.\nCon dos estrellas Michelin, \nel restaurante del Hotel \nMandala ofrece las recetas \ndel chef Michael Kempf.\nWith two Michelin stars, \nThe Mandala Hotel’s \nrestaurant offers chef \nMichael Kempf’s cuisine. \n25\nRestaurant\nFacil\n© foodieinberlin.com\n© Lukas Roth\n© in2faces.de\n© welt.de\n© casacamper.com\nHotel\nCasa Camper\nCity life \nAlexanderplatz\n29\nLocated in east Berlin, \nafter the war the plaza \nbecame a showcase of \nsocialist architecture.\nSituada en Berlín oriental, \nla plaza se convirtió tras \nla guerra en escaparate de \nla arquitectura socialista. \nThe Mallorca \nshoemaking company \nhas extended its line  \nof business with hotels \nand restaurants, \nincluding a boutique \nhotel in Berlin-Mitte, \nwith the restaurant  \nDos Palillos.\nLa firma de calzado \nmallorquina ha ampliado \nsu negocio apostando \npor los mercados \nde la hostelería y la \nrestauración; el resultado \nes un innovador hotel en \nBerlín-Mitte que aloja el \nrestaurante Dos Palillos.\n27\nHotel \nGrand Hyatt\n28\nThe five-star hotel by \nRafael Moneo merges \nwith the architecture of \nPotsdamer Platz.\nObra de Rafael Moneo, el \nhotel de cinco estrellas se \nintegra en la arquitectura \nde la Potsdamer Platz. \n",93,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.94.png","92 C 01\n03\n04\n05\n06\n07\n07\n08\n10\n20\n16\n24\n18\n26\n11\n17\n25\n28\n15\n23\n",94,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.95.png","C 02 93\n 03. Reichstag Dome\nPlatz der Republik 1\n8am-midnight\n+49 30 22732152\ngoo.gl\u002F712MuX\n 04. Philharmonie\nHerbert-von-Karajan-Straße 1\n+49 30 254880\nberliner-philharmoniker.de\n 05. Hansaviertel\nU: Hansaplatz\nS: Berlin Bellevue\n 06. AEG\nHuttenstraße\nS: Berlin Beusselstraße\n 15. Natural Science Museum\nInvalidenstrasse 43\n9.30am-6pm Tue-Fri\n10am-6pm Sat-Sun\n+49 30 2093-8591\nnaturkundemuseum-berlin.de\n 16. Swiss Embassy\nOtto-von-Bismarck-Allee 4A \n+49 30 390 40 00 \neda.admin.ch\u002Fberlin\n 14. Neues Museum\nBodestraße 1-3\n9am-4pm Mon-Fri\n+49 30 266424242\nneues-museum.de\n 17. Olympiastadion\nOlympischer Platz 3\n+49 30 30688100\nolympiastadion-berlin.de\n 18. Holocaust Memorial\nCora-Berliner-Straße 1\n+49 30 26394336\nstiftung-denkmal.de\n 19. Museumsinsel\nU: Spittelmarkt\nmuseumsinsel-berlin.de\n 20. Tiergarten\nStraße des 17 Juni \nS: Berlin-Tiergarten \ngoo.gl\u002FHXc2Ke\n 22. Mauerpark\nBernauer Strasse 63-64\nflohmarktammauerpark.de\n 28. Hotel Grand Hyatt\nMarlene-Dietrich-Platz  \n+49 30 25531234 \nberlin.grand.hyatt.com \n 27. Hotel Casa Camper\nWeinmeisterstraße 1\n+49 30 20003410 \ncasacamper.com\u002Fberlin\n 26. Restaurant Glass \nUhlandstraße 195\n+49 30 54710861\nglassberlin.de\n 25. Restaurant Facil\nPotsdamer Straße 3 \n+49 30 590 05 1234\nfacil.de\n 10. Umlauftank\nMüller-Breslau Straße\nS: Berlin-Tiergarten\n 07. Neue Nationalgalerie\nPotsdamer Straße 50 \n+49 30 266424242\n10am-18pm Mon-Sun\nneue-nationalgalerie.de\n 12. Netherlands Embassy\nKlosterstraße 50\n+49 30 209560\ndeutschland.nlbotschaft.org\n 08. Bauhaus Archive\nKlingelhöferstraße 14\n10am-5pm Wed-Mon\n+49 30 2540020\nbauhaus.de\n 01. East Side Gallery\n 02. Berghain\nRüdersdorfer Str. 70\n+49 30 29351830\nberghain.de\nMühlenstraße, 10243\n+49 172 3918726 \neastsidegallery-berlin.de\nBerlin\nLocalización y datos prácticos \nLocation and useful information  \n 09. Bonjour Tristesse\n 11. Unité d’Habitation\n 21. Badeschiff\n 24. Teufelsberg\n 23. KaDeWe\n 13. Jewish Museum\nLindenstraße 9-14\n10am-8pm Mon-Sun \n+49 30 259 93 300\njmberlin.de\n 29. Alexanderplatz\nEichenstraße 4 \narena-berlin.de\nFlatowallee 16\n+49 30 30209833\ncorbusierhaus-berlin.de\nSchlesische Straße 8 \nU: Schlesisches Tor\nTeufelsseechaussee 10 \nberliner-teufelsberg.com\nTauentzienstraße 21-24\nkadewe.de\nS \u002F U: Alexanderplatz Hbf\n01\n02\n09\n14\n22\n12\n13\n21\n29\n19\n27\n",95,{"image":369,"text":35,"number":370},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.96.png",96,{"image":372,"text":35,"number":373},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.97.png",97,{"image":375,"text":376,"number":377},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.98.png","96 C 02\nLa nueva sede del BBVA \nen Madrid es conocida \npopularmente como ‘La \nVela’ por la silueta de su \ntorre. Este nuevo edificio \nde los suizos Herzog & de \nMeuron albergará a 6.000 \nempleados en sus 113.500 \nmetros cuadrados.\nThe new headquarters \nof BBVA in Madrid is \nnicknamed ‘La Vela’ \nfor the silhouette of \nits tower. Designed by \nHerzog & de Meuron,  \nits 113,500 square \nmeters will accommodate \na staff of 6,000. \nON\nSITE\n© BBVA\n",98,{"image":379,"text":19,"number":380},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.99.png",99,{"image":382,"text":35,"number":383},"\u002Fmedia\u002Fimages\u002F2e\u002Fc1208eb70bb1b671be8c89659532fe-28f77065da.100.png",100,[],0,false,true,{"success":387,"data":389,"meta":603,"count":604,"next":605,"previous":606,"results":638,"brand_chips":699},[390,402,414,427,437,450,462,472,482,491,501,513,523,533,542,552,565,574,584,594],{"id":391,"title":392,"slug":393,"image":394,"source":395,"brand_name":396,"brand":397,"brand_slug":398,"file_size":399,"pages":400,"pages_count":383,"matched_pages":401,"match_count":385,"two_pages":386,"show_text":387},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 MB",[],[],{"id":403,"title":404,"slug":405,"image":406,"source":407,"brand_name":408,"brand":409,"brand_slug":410,"file_size":411,"pages":412,"pages_count":188,"matched_pages":413,"match_count":385,"two_pages":386,"show_text":387},26598,"Second Life Contract 2026","slide-second-life-contract-2026","\u002Fmedia\u002Fimages\u002Ff3\u002F13dd76d3e357545fc9c73d1730cc16-296dd67b83.1.png","\u002Fprivate\u002Ffiles\u002F60\u002F2ed17461507e1c6defb90fc3af7f6b-296dd67b81.pdf","Slide",401,"slide","8.0 MB",[],[],{"id":415,"title":416,"slug":417,"image":418,"source":419,"brand_name":420,"brand":421,"brand_slug":422,"file_size":423,"pages":424,"pages_count":425,"matched_pages":426,"match_count":385,"two_pages":386,"show_text":387},26597,"General 2025","edition-bougainville-general-2025","\u002Fmedia\u002Fimages\u002F20\u002F9482f96b2ff16c3751dc0bf38106ee-296be38596.1.png","\u002Fprivate\u002Ffiles\u002Fc0\u002Fa8bc3710f63d3f9c918648acc349bf-296be38521.pdf","Edition Bougainville",2197,"edition-bougainville","1337.1 MB",[],326,[],{"id":428,"title":429,"slug":430,"image":431,"source":432,"brand_name":420,"brand":421,"brand_slug":422,"file_size":433,"pages":434,"pages_count":435,"matched_pages":436,"match_count":385,"two_pages":386,"show_text":387},26596,"General new 2026","edition-bougainville-general-new-2026","\u002Fmedia\u002Fimages\u002F70\u002Fd61873e1175db61f2e03ca6c34fbef-296be3853e.1.png","\u002Fprivate\u002Ffiles\u002Fe3\u002F31e29b6f8f4e9d6bf34b5e02b7af8b-296be38521.pdf","14.6 MB",[],109,[],{"id":438,"title":439,"slug":440,"image":441,"source":442,"brand_name":443,"brand":444,"brand_slug":445,"file_size":446,"pages":447,"pages_count":448,"matched_pages":449,"match_count":385,"two_pages":386,"show_text":387},26595,"Outdoor Decor 2026","ethimo-outdoor-decor-2026","\u002Fmedia\u002Fimages\u002F06\u002Fe01cc9faac107000b2d52f32269655-296bd1e75f.1.png","\u002Fprivate\u002Ffiles\u002F55\u002Fb1013d3410d0dab58c0b01c63c83d2-296bd1e759.pdf","Ethimo",1796,"ethimo","56.9 MB",[],324,[],{"id":451,"title":452,"slug":453,"image":454,"source":455,"brand_name":456,"brand":457,"brand_slug":458,"file_size":459,"pages":460,"pages_count":248,"matched_pages":461,"match_count":385,"two_pages":386,"show_text":387},26576,"Francesco Balzano 2026","giobagnara-francesco-balzano-2026","\u002Fmedia\u002Fimages\u002Fa3\u002F4b32a3ff2d18cecd6a14375150eeea-292d0fd09a.1.png","\u002Fprivate\u002Ffiles\u002F57\u002Fcfa9eaed024c0b9900e8fe56aad231-292d0f5b38.pdf","GioBagnara",2329,"giobagnara","40.4 MB",[],[],{"id":463,"title":464,"slug":465,"image":466,"source":467,"brand_name":456,"brand":457,"brand_slug":458,"file_size":468,"pages":469,"pages_count":470,"matched_pages":471,"match_count":385,"two_pages":386,"show_text":387},26577,"Rabitti1969 2026","giobagnara-rabitti1969-2026","\u002Fmedia\u002Fimages\u002Fc5\u002F704db07c2e74d60a1833dd93dc3967-292d146463.1.png","\u002Fprivate\u002Ffiles\u002Fcc\u002F74a628f430699a1576927d6a5c43f0-292d121a8c.pdf","106.6 MB",[],182,[],{"id":473,"title":474,"slug":475,"image":476,"source":477,"brand_name":456,"brand":457,"brand_slug":458,"file_size":478,"pages":479,"pages_count":480,"matched_pages":481,"match_count":385,"two_pages":386,"show_text":387},26578,"Stephane Parmentier 2026","giobagnara-stephane-parmentier-2026","\u002Fmedia\u002Fimages\u002Faa\u002F75a74fb0948097cf84e6c5693fc962-292d13ef2c.1.png","\u002Fprivate\u002Ffiles\u002Fb1\u002Fcc1cbee33e9c8c6513a907bd065ac5-292d121a97.pdf","191.0 MB",[],207,[],{"id":483,"title":484,"slug":485,"image":486,"source":487,"brand_name":456,"brand":457,"brand_slug":458,"file_size":488,"pages":489,"pages_count":172,"matched_pages":490,"match_count":385,"two_pages":386,"show_text":387},26579,"Kelly Wearstler 2026","giobagnara-kelly-wearstler-2026","\u002Fmedia\u002Fimages\u002F64\u002Fa1d46bc2d33136e7f1f59853d5b272-292d137a16.1.png","\u002Fprivate\u002Ffiles\u002F50\u002Ffbc23bd4891257c38e3a49f93fd0c6-292d121aaa.pdf","27.8 MB",[],[],{"id":492,"title":493,"slug":494,"image":495,"source":496,"brand_name":456,"brand":457,"brand_slug":458,"file_size":497,"pages":498,"pages_count":499,"matched_pages":500,"match_count":385,"two_pages":386,"show_text":387},26580,"Glenn Sestig 2026","giobagnara-glenn-sestig-2026","\u002Fmedia\u002Fimages\u002Fd3\u002F130de4d10ed29d4fd25cb84db70291-292d1304b6.1.png","\u002Fprivate\u002Ffiles\u002Fb9\u002Fc5c7c0b5ffb8e2ea735f61cd5fbdf6-292d121aae.pdf","91.8 MB",[],146,[],{"id":502,"title":503,"slug":504,"image":505,"source":506,"brand_name":507,"brand":508,"brand_slug":509,"file_size":510,"pages":511,"pages_count":78,"matched_pages":512,"match_count":385,"two_pages":386,"show_text":387},26581,"Inspiring Excellence 2025","roberto-giovannini-inspiring-excellence-2025","\u002Fmedia\u002Fimages\u002F71\u002F318a1f5e60ccc5acfdcc1ae5be5060-292d128f9c.1.png","\u002Fprivate\u002Ffiles\u002F87\u002F5e0b076f595f5160ca7a5f7458849b-292d121abb.pdf","Roberto Giovannini",1388,"roberto-giovannini","8.1 MB",[],[],{"id":514,"title":515,"slug":516,"image":517,"source":518,"brand_name":456,"brand":457,"brand_slug":458,"file_size":519,"pages":520,"pages_count":521,"matched_pages":522,"match_count":385,"two_pages":386,"show_text":387},26582,"Elie Saab 2026","giobagnara-elie-saab-2026","\u002Fmedia\u002Fimages\u002F6b\u002F81da6c9cdf7b4edff952a62ef7b9ca-292d16ae2e.1.png","\u002Fprivate\u002Ffiles\u002F79\u002Fcb5cd133e6f07379794938ed005de3-292d14d9af.pdf","58.4 MB",[],101,[],{"id":524,"title":525,"slug":526,"image":527,"source":528,"brand_name":456,"brand":457,"brand_slug":458,"file_size":529,"pages":530,"pages_count":531,"matched_pages":532,"match_count":385,"two_pages":386,"show_text":387},26583,"Pigment France 2026","giobagnara-pigment-france-2026","\u002Fmedia\u002Fimages\u002F00\u002F394bcaf5adfa23d7243aa512a0dd67-292d16393c.1.png","\u002Fprivate\u002Ffiles\u002Fc4\u002F485c540ca42207213690262e6468a2-292d14d9b5.pdf","127.5 MB",[],151,[],{"id":534,"title":535,"slug":536,"image":537,"source":538,"brand_name":456,"brand":457,"brand_slug":458,"file_size":539,"pages":540,"pages_count":480,"matched_pages":541,"match_count":385,"two_pages":386,"show_text":387},26584,"Rudi 2026","giobagnara-rudi-2026","\u002Fmedia\u002Fimages\u002F7e\u002F4dd524b56e79aeda431f14f4fe1069-292d15c3f9.1.png","\u002Fprivate\u002Ffiles\u002F14\u002Fc19ea3b6cbea78f50140a3e5f872d8-292d14d9c0.pdf","134.0 MB",[],[],{"id":543,"title":544,"slug":545,"image":546,"source":547,"brand_name":456,"brand":457,"brand_slug":458,"file_size":548,"pages":549,"pages_count":550,"matched_pages":551,"match_count":385,"two_pages":386,"show_text":387},26585,"Riviere 2026","giobagnara-riviere-2026","\u002Fmedia\u002Fimages\u002Fed\u002F017702644dc149d47ca54e182c820b-292d154e96.1.png","\u002Fprivate\u002Ffiles\u002F8c\u002F4afc407dc4db9e13219e5295f76976-292d14d9cb.pdf","127.3 MB",[],202,[],{"id":553,"title":554,"slug":555,"image":556,"source":557,"brand_name":558,"brand":559,"brand_slug":560,"file_size":561,"pages":562,"pages_count":563,"matched_pages":564,"match_count":385,"two_pages":386,"show_text":387},26586,"Outdoor 2026","atmosphera-outdoor-2026","\u002Fmedia\u002Fimages\u002Fd6\u002Fab855609f1a95186f6ccd83055cc20-292d18f82f.1.png","\u002Fprivate\u002Ffiles\u002F90\u002Fb7983122cc2d6cabbb384898663939-292d179899.pdf","Atmosphera",977,"atmosphera","39.2 MB",[],235,[],{"id":566,"title":567,"slug":568,"image":569,"source":570,"brand_name":456,"brand":457,"brand_slug":458,"file_size":571,"pages":572,"pages_count":230,"matched_pages":573,"match_count":385,"two_pages":386,"show_text":387},26587,"Giobagnara x PoltronaFrau 2026","giobagnara-x-poltronafrau-2026","\u002Fmedia\u002Fimages\u002Fd0\u002F6899938ad0400f5dbea066e0d861fc-292d1882ea.1.png","\u002Fprivate\u002Ffiles\u002F4c\u002Faac20af747b8da46542a7f50bb0c42-292d17989d.pdf","46.7 MB",[],[],{"id":575,"title":576,"slug":577,"image":578,"source":579,"brand_name":456,"brand":457,"brand_slug":458,"file_size":580,"pages":581,"pages_count":582,"matched_pages":583,"match_count":385,"two_pages":386,"show_text":387},26588,"Design Editions 2026","giobagnara-design-editions-2026","\u002Fmedia\u002Fimages\u002F94\u002F9e001b70b82b057a99547b62a5cd72-292d180db9.1.png","\u002Fprivate\u002Ffiles\u002F85\u002F8b7fba451e37f0288f2fd06246bf47-292d1798a2.pdf","331.6 MB",[],446,[],{"id":585,"title":586,"slug":587,"image":588,"source":589,"brand_name":456,"brand":457,"brand_slug":458,"file_size":590,"pages":591,"pages_count":592,"matched_pages":593,"match_count":385,"two_pages":386,"show_text":387},26589,"Encyclopedia 2026","giobagnara-encyclopedia-2026","\u002Fmedia\u002Fimages\u002Ff5\u002F8ff500491988ed2c8c49351db1fff5-292d1bb78a.1.png","\u002Fprivate\u002Ffiles\u002F6f\u002F7bb3601e56ae4fefdd94a2f11b57e2-292d1a57a1.pdf","358.6 MB",[],1981,[],{"id":595,"title":392,"slug":596,"image":597,"source":598,"brand_name":456,"brand":457,"brand_slug":458,"file_size":599,"pages":600,"pages_count":601,"matched_pages":602,"match_count":385,"two_pages":386,"show_text":387},26590,"giobagnara-news-2026","\u002Fmedia\u002Fimages\u002Fc9\u002F77e2d4731c2643875d7adc77b62a46-292d1b4203.1.png","\u002Fprivate\u002Ffiles\u002Fa6\u002F3fbc6e2e56d402392537b12f6edab9-292d1a57c5.pdf","85.8 MB",[],125,[],{"count":604,"next":605,"previous":606,"brand_chips":607},14117,"\u002Fapi\u002Fv1\u002Fcatalogs\u002F?page=2",null,[608,611,614,617,620,623,626,629,632,635],{"title":609,"slug":610,"count":355},"SICIS","sicis",{"title":612,"slug":613,"count":298},"La Fabbrica AVA","la-fabbrica-ava",{"title":615,"slug":616,"count":298},"Terratinta","terratinta",{"title":618,"slug":619,"count":298},"Magis","magis",{"title":621,"slug":622,"count":252},"True Design","true-design",{"title":624,"slug":625,"count":241},"Covet House","covet-house",{"title":627,"slug":628,"count":230},"Ares Line","ares-line",{"title":630,"slug":631,"count":230},"Poltrona Frau","poltrona-frau",{"title":633,"slug":634,"count":222},"Karpenter","karpenter",{"title":636,"slug":637,"count":222},"Visionnaire","visionnaire",[639,642,645,648,651,654,657,660,663,666,669,672,675,678,681,684,687,690,693,696],{"id":391,"title":392,"slug":393,"image":394,"source":395,"brand_name":396,"brand":397,"brand_slug":398,"file_size":399,"pages":640,"pages_count":383,"matched_pages":641,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":403,"title":404,"slug":405,"image":406,"source":407,"brand_name":408,"brand":409,"brand_slug":410,"file_size":411,"pages":643,"pages_count":188,"matched_pages":644,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":415,"title":416,"slug":417,"image":418,"source":419,"brand_name":420,"brand":421,"brand_slug":422,"file_size":423,"pages":646,"pages_count":425,"matched_pages":647,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":428,"title":429,"slug":430,"image":431,"source":432,"brand_name":420,"brand":421,"brand_slug":422,"file_size":433,"pages":649,"pages_count":435,"matched_pages":650,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":438,"title":439,"slug":440,"image":441,"source":442,"brand_name":443,"brand":444,"brand_slug":445,"file_size":446,"pages":652,"pages_count":448,"matched_pages":653,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":451,"title":452,"slug":453,"image":454,"source":455,"brand_name":456,"brand":457,"brand_slug":458,"file_size":459,"pages":655,"pages_count":248,"matched_pages":656,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":463,"title":464,"slug":465,"image":466,"source":467,"brand_name":456,"brand":457,"brand_slug":458,"file_size":468,"pages":658,"pages_count":470,"matched_pages":659,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":473,"title":474,"slug":475,"image":476,"source":477,"brand_name":456,"brand":457,"brand_slug":458,"file_size":478,"pages":661,"pages_count":480,"matched_pages":662,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":483,"title":484,"slug":485,"image":486,"source":487,"brand_name":456,"brand":457,"brand_slug":458,"file_size":488,"pages":664,"pages_count":172,"matched_pages":665,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":492,"title":493,"slug":494,"image":495,"source":496,"brand_name":456,"brand":457,"brand_slug":458,"file_size":497,"pages":667,"pages_count":499,"matched_pages":668,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":502,"title":503,"slug":504,"image":505,"source":506,"brand_name":507,"brand":508,"brand_slug":509,"file_size":510,"pages":670,"pages_count":78,"matched_pages":671,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":514,"title":515,"slug":516,"image":517,"source":518,"brand_name":456,"brand":457,"brand_slug":458,"file_size":519,"pages":673,"pages_count":521,"matched_pages":674,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":524,"title":525,"slug":526,"image":527,"source":528,"brand_name":456,"brand":457,"brand_slug":458,"file_size":529,"pages":676,"pages_count":531,"matched_pages":677,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":534,"title":535,"slug":536,"image":537,"source":538,"brand_name":456,"brand":457,"brand_slug":458,"file_size":539,"pages":679,"pages_count":480,"matched_pages":680,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":543,"title":544,"slug":545,"image":546,"source":547,"brand_name":456,"brand":457,"brand_slug":458,"file_size":548,"pages":682,"pages_count":550,"matched_pages":683,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":553,"title":554,"slug":555,"image":556,"source":557,"brand_name":558,"brand":559,"brand_slug":560,"file_size":561,"pages":685,"pages_count":563,"matched_pages":686,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":566,"title":567,"slug":568,"image":569,"source":570,"brand_name":456,"brand":457,"brand_slug":458,"file_size":571,"pages":688,"pages_count":230,"matched_pages":689,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":575,"title":576,"slug":577,"image":578,"source":579,"brand_name":456,"brand":457,"brand_slug":458,"file_size":580,"pages":691,"pages_count":582,"matched_pages":692,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":585,"title":586,"slug":587,"image":588,"source":589,"brand_name":456,"brand":457,"brand_slug":458,"file_size":590,"pages":694,"pages_count":592,"matched_pages":695,"match_count":385,"two_pages":386,"show_text":387},[],[],{"id":595,"title":392,"slug":596,"image":597,"source":598,"brand_name":456,"brand":457,"brand_slug":458,"file_size":599,"pages":697,"pages_count":601,"matched_pages":698,"match_count":385,"two_pages":386,"show_text":387},[],[],[700,701,702,703,704,705,706,707,708,709],{"title":609,"slug":610,"count":355},{"title":612,"slug":613,"count":298},{"title":615,"slug":616,"count":298},{"title":618,"slug":619,"count":298},{"title":621,"slug":622,"count":252},{"title":624,"slug":625,"count":241},{"title":627,"slug":628,"count":230},{"title":630,"slug":631,"count":230},{"title":633,"slug":634,"count":222},{"title":636,"slug":637,"count":222}]