[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-11":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":344},{"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":339,"matched_pages":340,"match_count":341,"two_pages":342,"show_text":343},24480,"Architecture & Everything Else 11","cosentino-architecture-and-everything-else-11","\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fc8\u002Fd73ea73cf912d48fccd70f9520cf68-28f7832a43.pdf","Cosentino",2482,"cosentino","147.8 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,76,80,84,88,92,96,100,104,108,112,116,119,123,127,131,135,139,143,146,150,154,158,162,166,170,174,178,182,186,190,194,198,202,206,210,214,218,222,226,230,233,237,241,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316,320,324,327,330,334,337],{"image":7,"text":15,"number":16},"c \n11 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.3.png","c\ncontents\n16\n06\n24\n34\n46\n56\n68\n  Architecture\n 06 LOUVRE ABU DHABI  Jean Nouvel in the Emirates \n \n Una inmensa cúpula metálica alberga y acoge el nuevo gran museo del país. \n \n A huge steel dome houses the country’s new grand museum. \n \n Innovation\n 24 TECH TITANS  Apple, Facebook, Amazon, and Google\n \n La arquitectura de los gigantes tecnológicos de Silicon Valley.\n \n The architecture of the technological giants of Silicon Valley.\n \n Cosentino\n 34 DRESSED IN DEKTON  Valdebebas 127 by Carlos Rubio Carvajal\n \n El conjunto de viviendas luce más de 7.000 metros cuadrados de Dekton en su fachada.\n \n More than 7,000 square meters of Dekton clad the facades of the residential development.\n 40 RON ARAD IN ALMERÍA  The Israeli Designer at the Cosentino Headquarters\n \n El diseñador explica su filosofía durante la visita a la sede del grupo.\n \n The designer discusses his philosophy during his visit to the company’s headquarters.\n \n Style\n 46 BUREAU BETAK  Fashion Show Revolution\n \n El estudio francés es hoy referencia internacional de arquitecturas efímeras.\n \n The French studio is today a world referent in the design of ephemeral architectures. \n  Interview\n 56 INGELS & THORSEN  In dialogue\n \n El paisaje en relación a la arquitectura es el tema principal de la conversación.\n \n The connection between landscape and architecture is the thread of the conversation.\n  Travel\n 68 MANHATTAN  USA\n \n El corazón de la Gran Manzana exporta tendencias al mundo.\n \n The heart of the Big Apple exports trends across the world. \n 78 COSENTINO CITY  Flagship Stores\n \n Diseñado para ser el lugar de encuentro de arquitectos, diseñadores y paisajistas.\n \n Designed to be a destination for architects, designers, and landscapers. \n 80 MAGACEEN  C Magazine’s Digital Platform\n \n La revista muestra su web dedicada a la arquitectura, el arte y el diseño.\n \n The magazine shows its website devoted to architecture, art, and design.\n  Arts\n 16 COASTAL GEOMETRIES  Tugo Chen\n \n El fotógrafo de Hong Kong captura los paisajes pesqueros del sudeste de China.\n \n The Hong Kong photographer captures the fishing landscapes of southeast China. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nChristian Dior Couture SS15 by Bureau Betak \n© Daniel Beres\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena \nPablo Canga \nAlba Carballal \nCuca Flores \nLaura González \nClara Molero \nElena Ocaña \nJesús Pascual \nMarta Peña \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva contribución al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.6.png","© Fatima Al Shamsi\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.7.png","Architecture\nLouvre Abu Dhabi\nJean Nouvel in the Emirates\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.8.png","6 C 11\nArchitecture\nBuilding\n1\nDiseñado por Jean Nouvel —ganador del premio Pritzker en 2008—, \nel Louvre Abu Dhabi se inspira en la tradición árabe. Un conjunto de \nprismas blancos, que recuerdan a la trama urbana de la medina, da \nlugar a esta ‘ciudad museo’ situada sobre el mar. Una gran cúpula, \nreconocible desde la distancia, cubre la mayor parte de las salas. \nConstruida con acero, la cubierta de 180 metros de diámetro consta de \nocho capas diferentes: cuatro exteriores revestidas de acero inoxidable \ny cuatro interiores revestidas de aluminio. El patrón geométrico, que \nfue cuidadosamente diseñado, se repite en las ocho capas superpues-\ntas variando en cada una el tamaño y el ángulo. Los rayos de luz, \npor tanto, atraviesan ocho tamices antes de llegar a las galerías de \nexposición, lo que genera un efecto cinemático que cambia con la \nposición del sol. La cubierta se apoya en cuatro soportes, separados \n110 metros entre sí, que se esconden dentro de los volúmenes del \nmuseo para dar la impresión de que flota. \nDesde el punto de vista medioambiental, el proyecto busca crear un \nmicroclima autorregulado gracias a la sombra que arroja la cubierta \ny al enfriamiento a través de las superficies de agua. Los visitantes \nque llegan al museo experimentan, por tanto, una transición gradual \nentre el calor exterior y el ambiente interior. Un acuerdo firmado en \n2007 entre los Gobiernos francés y emiratí ha hecho posible que la \ncolección del museo contenga 700 obras prestadas por diversas ins-\ntituciones galas, fundamentalmente el Museo del Louvre. \nJean Nouvel – Pritzker Prize laureate in 2008 – sought inspiration \nfor the concept of the Louvre Abu Dhabi in traditional Arabic archi-\ntectural culture. Its contrasting series of white buildings, designed to \ncreate a ‘museum city’ in the sea, recall the medina and low-lying \nArab settlements. A huge steel dome, clearly recognizable from afar, \ncovers the majority of the exhibition halls. Measuring 180 meters in \ndiameter, the dome consists of eight different layers: four outer layers \nclad in stainless steel and four inner layers clad in aluminum. The \ncomplex pattern is the result of a carefully studied geometric design, \nand is repeated at various sizes and angles in the eight superimposed \nlayers. Each ray of light must penetrate the eight layers before ap-\npearing in the museum halls. The result is a cinematic effect as the \nsun’s path progresses throughout the day. The roof is supported by \nonly four permanent piers, each 110 meters apart. These are hidden \nwithin the museum buildings to give the impression that the dome \nis floating. \nAs for its environmental approach, the project creates a self-con-\ntrolled microclimate thanks to the shade the roof provides and the \ncooling effect of the water surfaces. In this way, upon reaching the mu-\nseum visitors experience a gradual transition from the heat outdoors \nto the interior atmosphere. An agreement signed in 2007 between the \ngovernments of France and the United Arab Emirates has secured the \nloan of 700 works from French institutions, principally the Louvre. \nLouvre Abu Dhabi\nJean Nouvel in the Emirates\nBajo una gran cúpula \nque regula la entrada \nde luz natural, el \nLouvre Abu Dhabi \nse concibe como \nun archipiélago de \nvolúmenes blancos que \ncontienen los diferentes \nespacios expositivos.  \nUnder a colossal  \ndome that filters \nsunlight, the Louvre  \nAbu Dhabi is designed \nas an archipelago  \nof white volumes on  \nthe water, and that \ncontain the different \nexhibition spaces. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.9.png","C 11 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.10.png","8 C 11\nDentro del complejo \ncultural en la Isla de \nSaadiyat, que incluye \nproyectos de Frank Gehry \ny Zaha Hadid entre otros, \nel edificio de Jean Nouvel \nsurge como una gran \ncúpula que parece  \nflotar sobre el agua.\nWithin the cultural \ndistrict of Saadiyat Island \n– where projects by  \nFrank Gehry and Zaha \nHadid are also located –, \nJean Nouvel’s museum \ntakes the shape of a  \nhuge dome that seems  \nto float on the water. \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.11.png","C 11 9\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.12.png","10 C 11\nLa gran cúpula, de 180 \nmetros de diámetro, está \nformada por ocho capas \nde celosías metálicas que \nfiltran la luz, y se apoya \ntan sólo en cuatro puntos \nescondidos entre los \nvolúmenes que contienen \nlas salas de exposición. \nThe striking dome, \nmeasuring 180 meters \nin diameter, is an \neight-layer metallic  \nlatticework that \nfilters sunlight, and is \nsupported by just four \npiers concealed between \nthe museum buildings. \n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.13.png","C 11 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.14.png","12 C 11\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.15.png","C 11 13\nArquitectos Architects\nAteliers Jean Nouvel en colaboración con \nin collaboration with HW Architecture\nColaboradores Collaborators\nJenny Holzer, Giuseppe Penone (comisión artística artistic \ncommission); Jean-François Bourdet, Anna Ugolini (diseño \ninterior y museografía interior design and museography), \nSabrina Letourneur, Frédéric Imbert (diseño design), Damien \nFaraut, Athina Faraut (construcción construction); Rolando \nRodriguez-Leal, Mireia Sala Font, Anne Traband, Michal \nTreder, Natalia Wrzask (arquitectos principales senior \narchitects); Raphael Renard, Reda Slaoui, Youssef Tohme, \nQiang Zou (ideación concept phase), Stefan Zopp, Kris \nGeldof, Roula Akiki, Alessandro Balducci, Jessica Caldi, \nCamille Dauty, Mark Davis, Stacy Eisenberg, Marion \nFoucault, Steven Fuhrman, Virginie Heckle, Stéphanie \nMenem, Abel Patacho, Miguel Reyes, Reda Slaoui, \nKathryn Stutts, Jordi Vinyals, Sébastien Yeou (jefes de \nproyecto project managers), Mariam Abuebeid, Sara Al \nSawi, Kelly Anastassiou, Donna Ashraf, Jessica Caldi, \nDaniella De Almeida, Fay El Mutwalli, Steven Fuhrman, \nMaryam Hosny, Zaina Khayyat, Stéphanie Menem, \nYoumna Najjar, Miguel Reyes (construcción construction) \n—arquitectos architects— ; Floriane Abello, Lucas Dumon, \nIsabella Garbagnati, Jaiyao Huang, Tanguy Nguyen, François \nZab (diseño interior interior design); Artefactory: Eric \nAnton, Jugulta Le Clerre, Clément Oudin, Raphael Renard \n(visualizaciones computer renderings); Rafaelle Ishkinazi, \nMarie Maillard, Léo Grunstein, Clovis Vallois (diseño \ngráfico graphic design); ARUP (diseño conceptual concept \ndesign), BuroHappold (anteproyecto schematic design), \nTranssolar Façades: Andrew Snalune, BuroHappold \n(construcción construction) —ingeniería engineers—,  \nJean-Louis Courtois (maquetas models)\nConsultores Consultants\nRenaud Pierard (museografía museography); Philippe \nApeloig, Kristian Sarkis (diseño gráfico y señalética graphic \ndesign and signage); 8’18’’ (iluminación lighting design); \ndUCKS scéno (escenografía, multimedia scenography, \nmultimedia); Michel Desvigne, Jean-Claude Hardy \n(paisaje landscape); Eric Nespoulous \u002F JND (diseño \ninterior interior design), Studio DAP (acústica acoustics), \nMDA Consulting (costes cost consultant), Setec \n(seísmos seismic)  \nFotos Photos\nMohamed Somji (p. 8-9, 10); Abu Dhabi Tourism & Culture \nAuthority (p. 7); Roland Halbe (p. 11), Sarah Al Agroobi (p. 12) \n",15,{"image":74,"text":19,"number":75},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.16.png",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.17.png","Arts\nCoastal Geometries\nTugo Cheng\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.18.png","16 C 11\nCoastal Geometries \nTugo Cheng\nArts\nPhotography\n2\nArchitect and photographer, Tugo Cheng \ncaptures the underlying geometric patterns \nof traditional aquaculture on the coast \nof Fujian, southeast China. The rhythmic \npositioning of fishing nets, shellfish \npens, and bamboo poles creates a unique \nand minimalist landscape, intensified by \nlight. Only the presence of a boat and a \nfisherman gives the abstract image a sense \nor reality, through the addition of a human \nscale. Aside from pursuing aesthetic \nquality, through his photographs Cheng \nalso works to support the conservation \nof traditional Chinese fishing culture, \nthreatened by overexploitation. \nThe series titled ‘Coastal \nGeometries’ is included  \nin the book Discovering \nChina, where the Hong \nKong-based photographer \nexplores and portrays \nthe fragility of natural \nlandscapes altered by \nhuman beings. \nArquitecto y fotógrafo, Tugo Cheng captura \nlos patrones geométricos inherentes a \nla acuicultura tradicional de la costa \nde Fujian, en el sudeste de China. La \ncolocación rítmica de las redes de pesca, los \nrecintos de marisco o los postes de bambú \ngeneran un paisaje insólito, intensificado \npor la luz, que tiende hacia el minimalismo. \nTan solo la presencia de la barca y el \npescador devuelve el carácter real a la \nimagen abstracta a través de la escala \nhumana. Además de la calidad plástica, \nCheng busca que sus fotografías promuevan \nla conservación de la cultura tradicional \nChina, amenazada por la sobreexplotación. \nLa serie ‘Coastal \nGeometries’ forma parte \ndel libro Discovering \nChina, donde el fotógrafo \nbasado en Hong Kong \nexplora la fragilidad \nde diferentes paisajes \nnaturales modificados \npor el hombre. \n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.19.png","C 11 17\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.20.png","18 C 11\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.21.png","C 11 19\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.22.png","20 C 11\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.23.png","C 11 21\nEach photograph  \nfocuses on a specific  \ntype of geometric  \npattern – circles, \npolygons, diagonal,  \nor parallel lines –, \ndrawing attention  \nto the repetitive logic  \nof fishing farms. \nCada imagen se centra \nen un tipo concreto \nde patrón geométrico \n—círculos, polígonos, \nlíneas inclinadas o \nparalelas—, haciendo \nvisible la lógica \nrepetitiva de las \nexplotaciones pesqueras.  \n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.24.png","© Nigel Young \u002F Foster + Partners \n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.25.png","Innovation\nTech Titans\nApple, Facebook, Amazon, and Google\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.26.png","24 C 11\nIn 2008, the world’s top five companies were in the food, petrochemical, \nelectric energy, and motor vehicle industries. Today, just ten years later, \nit’s the technological titans – Apple, Facebook, Amazon, and Google – \nthat rule in the globalized world of the 21st century. \nWith the huge amount of information and resources they manage \nthese companies are already able to change the way we relate to our \nenvironment, follow in detail all our activity on the web, create massive \ntrends, or even predict – with a minimum margin of error and in real \ntime – how long it will take us to go from one point to another in the \ncity. However, they don’t limit their scope of action to the purely virtual. \nThrough the construction of their headquarters they also venture into \nthe field of architecture, in principle unrelated to their activity. \n In Silicon Valley, the bold and delicate ring by Norman Foster embodies \nthe aesthetic aspirations of Apple, the casual and permanently transitory \nstyle of Frank Gehry is combined with the hoodies of Facebook’s founder, \nand Bjarke Ingels and Thomas Heatherwick adapt to the dizzying vertigo \nthat defines Google’s growth; and in Seattle, the three futuristic and \ninterconnected spheres by NBBJ represent the logistics revolution with \nwhich Amazon is transforming consumer habits.  \nInnovation\nTechnology\n3\nEn el año 2008, las cinco mayores empresas del mundo estaban vin-\nculadas con el sector de la alimentación, la industria petroquímica, \nla energía eléctrica y la fabricación de vehículos a motor. Hoy, sólo \ndiez años después, son los grandes titanes tecnológicos —Apple, Fa-\ncebook, Amazon o Google— quienes reinan en el mundo globalizado \ndel siglo xxi.\nEstas compañías, que ya son capaces —gracias a la enorme can-\ntidad de información y recursos que gestionan— de cambiar nuestra \nmanera de relacionarnos con nuestro entorno, de conocer al detalle \ntoda nuestra actividad en red, de crear tendencias masivas o incluso \nde predecir, con un mínimo margen de error y en tiempo real, cuánto \ntardaremos en ir de un punto a otro de la ciudad, no restringen su ám-\nbito de actuación a lo puramente virtual. A través de la construcción \nde sus sedes, se introducen también en el campo de la arquitectura, \nen principio ajeno a su actividad.\nAsí, en Silicon Valley, el delicado y rotundo anillo de Norman \nFoster sintetiza las aspiraciones estéticas de Apple, el estilo informal y \npermanentemente transitorio de Frank Gehry combina con las hoodies \ndel fundador de Facebook, y el dúo formado por Bjarke Ingels y Tho-\nTech Titans\nApple, Facebook, Amazon, and Google\n",26,{"image":117,"text":19,"number":118},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.27.png",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.28.png","26 C 11\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.29.png","C 11 27\nApple’s new headquarters in Cupertino, promoted by Steve Jobs \nand designed by Foster, express the company’s pursuit of perfection. \nThe exact circular form follows design criteria, and the details reflect \nApple’s innovative spirit: the facade is built with the world’s largest \npiece of curved glass, and a carbon fiber roof crowns the pavilion \nof access to the Steve Jobs Theater. \nAt Menlo Park, what appears to be a large anonymous garage is \nin fact the new Facebook campus. The elongated volume designed by \nGehry has a purportedly anodyne character, only broken at specific \npoints – like the two stately stairs of access to the complex – making \na nod to the company’s informal and easy-going aesthetic. On \nthe roof, landscaped and walkable throughout, the pathways are \ninterwoven with greenery.  \nSo that the Amazon staff can enjoy nature without leaving Seattle, \nthe American studio NBBJ has completed three interconnected \nglass spheres that function as a huge greenhouse and contain a \nminiature Amazonian jungle. The well-being of the more than 400 \nplant species sharing the office space is guaranteed with an indoor \nhumidity of 60%. \nLastly, Bjarke Ingels departs from the megalithic pretensions \ncommon to centralized headquarters with two different designs for \nGoogle:  for the Charleston campus he works with Thomas Heatherwick \nStudio on a textile-like adaptable hangar that can be reproduced in \nother sites; and in Sunnyvale he proposes two zigzagging volumes with  \nwalkable roofs that favor contact with nature and a healthy lifestyle. \nLa pastilla longitudinal \nque alberga las nuevas \noficinas de Facebook \ntiene un carácter \npretendidamente anodino, \nque sólo se rompe en \nalgún punto para guiñarle \nun ojo a su estética \ndespreocupada e informal.\nThe longitudinal volume  \nthat contains the new \nFacebook headquarters \nhas a deliberately anodyne \ncharacter, only broken  \nat specific points to  \nmake allusions to the \ncompany’s easy-going  \nand casual aesthetic. \n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.30.png","28 C 11\nmas Heatherwick se adapta al vértigo veloz que define el crecimiento \nde Google; y en Seattle, las tres esferas futuristas e interconectadas \nde NBBJ representan la revolución logística con la que Amazon está \ntransformando nuestros hábitos de consumo.\nLa nueva sede de Apple en Cupertino, impulsada por Steve Jobs \ny diseñada por Foster, comparte con la compañía que la habita un \nintenso anhelo de perfección. Su exacta forma circular atiende a \ncriterios de diseño y es en los detalles donde se demuestra el espíritu \ninnovador de la empresa: su fachada está compuesta con los vidrios \ncurvos más grandes del mundo, y una cubierta de fibra de carbono \ncorona el pabellón de acceso al Teatro Steve Jobs.\nEn Menlo Park, lo que en apariencia es un enorme garaje anóni-\nmo alberga el nuevo campus de Facebook. El volumen longitudinal \nconstruido por Gehry tiene un carácter pretendidamente anodino, \nque sólo se rompe en algunos puntos —como las dos escaleras \nmonumentales que dan la bienvenida al complejo— como guiño a \nla estética informal y despreocupada de la empresa. En la cubierta, \najardinada y completamente transitable, los senderos peatonales se \nentrelazan con las zonas boscosas.\nCon la intención de que los empleados de Amazon puedan disfrutar \nde la naturaleza sin salir de Seattle, el estudio norteamericano NBBJ \nha levantado tres esferas vítreas conectadas entre sí, que funcionan \ncomo un gran invernadero y que albergan en su interior una selva \namazónica en miniatura. Para garantizar el bienestar de las más de \n400 especies de plantas que compartirán espacio con las oficinas, el \nedificio mantiene un nivel de humedad interior del 60%.\nPor último, y tras un ambicioso proyecto fallido, Bjarke Ingels \nrenuncia a las pretensiones megalíticas propias de las sedes cen-\ntralizadas y proyecta para Google dos soluciones diferentes: en el \ncampus de Charleston colabora con Thomas Heatherwick Studio \npara diseñar un hangar de apariencia textil adaptable y reproducible \nen otros lugares; y en Sunnyvale plantea dos volúmenes de forma \nzigzagueante cuyas cubiertas transitables invitan al contacto con \nla naturaleza y a la vida sana.\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.31.png","C 11 29\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.32.png","30 C 11\nLas propuestas para las \nnuevas sedes de Google, \nun hangar de apariencia \ntextil en Charleston \ny dos volúmenes con \ncubiertas escalonadas en \nSunnyvale, responden al \nveloz crecimiento de la \ncompañía tecnológica.\nThe designs for the \nnew headquarters of \nGoogle, a textile-like \nhangar in Charleston \nand two volumes with \nsloped rooftops in \nSunnyvale, respond to \nthe rapid growth of the \ntechnological company. \n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.33.png","C 11 31\n",33,{"image":144,"text":19,"number":145},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.34.png",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.35.png","Cosentino\nDressed in Dekton\nValdebebas 127 by Carlos Rubio Carvajal\nRon Arad in Almería\nThe Israeli Designer at the Cosentino Headquarters\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.36.png","34 C 11\nDRESSED IN DEKTON\nValdebebas 127 by Carlos Rubio Carvajal\nCosentino\nHousing\n4\nEl principal objetivo del proyecto ha sido que todas las viviendas \npuedan disfrutar de los beneficios de estar frente al Parque Central \nde Valdebebas, un auténtico pulmón verde de 80 hectáreas de \nsuperficie. Valdebebas 127 concentra la edificación en dos bandas \nparalelas, una frente al parque, con tres torres que se levantan sobre \nun zócalo comercial y otra frente al paseo con un bloque continuo \nconformado por cinco edificios de menor altura. La separación entre \nlas torres permite que las viviendas del bloque también puedan \ndisfrutar de las vistas a la sierra de Guadarrama y al parque. \nEn el diseño de la torre se ha buscado un juego formal y compositivo \nen sus esquinas, alternando la posición de salón y terraza para \nconseguir un efecto dinámico de cremallera que personaliza la \npromoción. El tratamiento de la amplia zona ajardinada entre las \ndos bandas edificadas tiene una especial importancia en el proyecto. \nAl no construir los testeros de la parcela, estos quedan abiertos \nmostrando la frondosidad del jardín interior. \nPara la ejecución y puesta en marcha de esta primera fase del \nconjunto residencial se han utilizado casi 8.000 m² de la superficie \nultracompacta Dekton. Este material se ha elegido por sus excelentes \ncualidades, como la alta resistencia a los rayos ultravioleta, la \nestabilidad al color, la durabilidad, el buen comportamiento ante el \nchoque térmico, la resistencia a las manchas, la reducida porosidad \no la fabricación en gran formato.\nThe main objective of the project was to make the most of the \nsite’s privileged location by the central park of Valdebebas, an \n80-hectare green lung, and ensure that all the apartments would \nhave direct contact with it. Valdebebas 127 concentrates the built \nmass in two parallel bands, one facing the park, with three towers \nthat go up atop a platform for commercial premises, and another \nfacing the promenade with a continuous block comprised of five \nlower buildings. The separation between the towers also affords the \napartments in the block views of the Guadarrama mountain range \nas well as the park.\nThe design of the tower seeks a formal and compositive interplay \nat the building’s corners, alternating the position of the living room \nand the terrace to achieve a dynamic zipper effect that gives the \ncomplex a distinctive image. The treatment of the large garden \nareas between the buildings is a particularly important element in \nthe project. The perimeter of the site remains open, offering views \nof the lush interior gardens. \nAlmost 8,000 square meters of Dekton ultracompact surfaces have \nbeen used in the construction of this first phase of the residential \ndevelopment. This material has been chosen for its excellent \nqualities, such as high-resistance to UV rays, color stability, \ndurability, resistance to thermal breaks and to stains, extremely \nlow porosity, and large-format manufacturing. \nPhotos: Subliminal: Miguel de Guzmán, Rocío Romero\nArquitectos Architects:  \nEstudio Rubio Arquitectura  \nCarlos Rubio Carvajal\nPaisajismo Landscape:  \nSusana Canogar, Iñaki Viñuela \n(Evergreen Paisajismo)\nPromotora Developer:  \nValenor\nConstructora Contractor: \nArpada\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.37.png","C 11 35\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.38.png","36 C 11\nEn las viviendas, la \nterraza y el salón se \nubican en las esquinas \nde la planta, enfatizando \nla visión diagonal \ndesde el interior. Esto \npermite, además, dos \norientaciones y mejor \nrelación con el exterior. \nIn the apartments, the \nterrace and living room \nare located at the corners \nof the slab, emphasizing \nthe diagonal view from \nthe interior. This also \npermits two orientations \nand a better relationship \nwith the exterior. \n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.39.png","C 11 37\nLa fachada se viste de Dekton en dos colores: blanco Warm y gris Korus Dekton facade in two colors: Warm white and Korus gray \n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.40.png","38 C 11\nEl proyecto nace con \nla voluntad de que sus \nacabados interiores, al \nigual que los exteriores, \nsean de la máxima calidad, \npor eso se vuelve a recurrir \na materiales como el \nSilestone o el Dekton en \nbaños y cocinas.\nThe pursuit of maximum \nquality is common to \nboth the exterior and the \ninterior finishes, so in \nthis case too materials \nsuch as Silestone or \nDekton by Cosentino  \nare chosen for kitchens \nand bathrooms. \nPara las encimeras de cocina se utiliza Silestone Blanco Zeus Silestone in White Zeus on kitchen tops\nPlato de ducha Shower tray: Kador by Silestone in White Zeus\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.41.png","C 11 39\n",41,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.42.png","40 C 11\nCosentino\nInterview\n4\nEl prestigioso diseñador israelí Ron Arad \ncomparte con nosotros anécdotas de su vida \nprofesional durante su visita a las instala-\nciones Dekton Cosentino en Almería.\n¿Cómo fueron los comienzos de su carrera?\nNunca he pensado en mi formación como \nuna carrera. Me refiero a que actualmente \nhago lo mismo que cuando tenía 8 años. \nSiempre tuvo que ver con el lápiz, el dibujo \ny el discurso. Mi madre era artista, pintaba, \ny cada vez que me veía haciendo un buen \ndibujo no decía: «Va a ser un buen artista». \nNo, ella decía: «Será un buen arquitecto». \nTemía al arte. Erróneamente pensaba que \nla arquitectura era algo más sólido como \nprofesión que simplemente ser artista. ¡Qué \nequivocada estaba! Cuando llegué a Londres \nen 1973 nadie estaba construyendo nada, \npor lo que la Architectural Association era \nmás parecida a una escuela de arte que las \npropias escuelas de arte. Había libertad, \nalejamiento de la realidad, de promotores, \nconstructoras, presupuestos… Todo se hacía \nen papel antes de que llegasen a nuestras \nvidas los renders y el modelado 3D. Era un  \nperiodo de airbrushing. Cuando estudiaba, \nel producto final no era un edificio, sino un \ndibujo. Por supuesto las cosas han cambiado \nmucho desde entonces, pero siempre me he \nvisto a mí mismo como un forastero en esta \nprofesión. Amo la arquitectura, pero no tanto \nla profesión por todos los compromisos que \nconlleva. Nunca te libras de las negociacio-\nnes: con el jefe de bomberos, con la policía, \ncon el contratista, con los vecinos, con el \nmarido, con la mujer… Nada que ver con los \naños en la escuela. Cuando acabas, haces \narte, no necesitas consultarle a nadie, no \ndebes nada. He conseguido crear un estudio \nbajo esas premisas. \n¿Cómo entiende la relación entre arqui-\ntectura y diseño?\nLa verdad es que creo que ambas disciplinas \ncomparten la forma de adentrarse en ellas. \nPara mí, diseñar es crear algo que no existía \nanteriormente. Puede ser algo diminuto o tan \ngrande como una torre. Si se fijan, la torre \nen la que estamos trabajando actualmente \npodría funcionar sin problema dándole la \nvuelta. Las plantas que normalmente irían \nen el techo pueden situarse en el suelo… Hay \ninfinidad de detalles que percibo de forma \ndistinta a un arquitecto. Hago pocos pro-\nyectos, pero los que elijo me absorben, me \ngeneran curiosidad y, por tanto, me vuelco en \nellos por completo. Como por ejemplo, estas \ngafas. No son unas gafas normales, no tienen \npiezas ensambladas ni articuladas. Son una \nsola pieza. Para mí no tendría sentido diseñar \nun nuevo par de Ray-Bans, otras Tom Ford… \nNo me interesa lo estiloso en sí mismo, debe \nser un diseño que me interese, que me ge-\nnere curiosidad. [Se pone las gafas.] A partir \nde ahora la entrevista la haré con las gafas \npuestas, o no, ya veremos.\n¿Qué le aconsejaría a los jóvenes dise-\nñadores y arquitectos a punto de empezar \nsu formación?\nMi consejo sería: no sigáis mi consejo. No \nintentéis ser el nuevo Frank Gehry. No ne-\ncesitamos otro. Frank Gehry ya ha hecho \nmuchas obras. No intentéis ser el nuevo \n‘quien-sea’. Centraos en aquello en lo que \npodáis contribuir con vuestra creatividad, \nlo que os llene… Qué hipócrita, estoy dando \nconsejos ahora. No era mi intención. Satis-\nfaced vuestra creatividad, vuestra curiosidad \ny lo que sea especial para vosotros.\nUsted nació en Tel Aviv… ¿Cómo es su \nrelación con su país de origen?\nCreo que parte de la respuesta está en la pre-\ngunta. No ha dicho: «Usted nació en Israel.» \nHa especificado: «Usted nació en Tel Aviv.» \nAmo Tel Aviv. Está en un lugar muy difícil, en \nun país muy difícil, en una región muy difícil \ny en un mundo muy difícil. Pero durante mi \ninfancia allí no conocía mundo, esa ciudad \nera el centro de mi vida, y lo que no sabía \nno merecía ser sabido. Cuando ahora escucho \nla canción Strawberry Fields Forever de los \nBeatles no me transporta a Liverpool, me \ntransporta a Tel Aviv, donde crecí. Cuando \nestás creciendo eres cautivo de tu lengua, tu \ncultura, tu paisaje, tu entorno… Más ade-\nlante, al entrar en la veintena, me mudé a \nLondres, empecé a trabajar y mis compañeros \nquerían saber cómo influye nacer en un sitio \nu otro. Yo creo que lo que más nos afecta es \nser forasteros, tanto por los inconvenientes \nde no pertenecer a tu nuevo entorno como \npor las ventajas de no estar atado a nadie.\n¿Diría que existe la globalización en el \nmundo del diseño?\nSí que existe. Ya sabe, el mundo es pequeño. \nSe habla del diseño británico, del israelí, del \nespañol… Pero no es fútbol. Nadie ondea sus \nbanderas. A mí me interesan los individuos. \nRON ARAD IN ALMERÍA\nThe Israeli Designer at the Cosentino Headquarters\n",42,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.43.png","C 11 41\n© Pablo García Ibáñez\nThe prestigious designer Ron Arad shares \nwith us details of his professional life dur-\ning his visit to the showroom of Dekton \nCosentino in Almería. \nHow was the beginning of your career?\nI never thought of it as a career. I mean I’m \ndoing the same thing now that I did when I \nwas 8 years old. It also had to do with the \npencil and drawing and talking. My mother \nwas a painter, and every time she saw me \ndoing a fantastic drawing as a child, she \ndidn’t say: “He’s going to be a good artist.” \nShe said: “He’s going to be a good architect.” \nShe was afraid of art. She thought – she was \nwrong! – that architecture was more solid as \na profession than being an artist. How wrong \nshe was! But when I came to London in 1973, \nit was a time when no one was building any-\nthing in London. Absolutely nothing. So the \nArchitectural Association was more like an \nart school than the art schools because there \nwas freedom from reality – from building, \nfrom budgets, from contractors, from floor \nslabs. Everything was on paper. This was \nbefore computer renders and computer mod-\neling. It was the period of airbrushing. In the \nperiod when I was studying, the final product \nwas not a building, but a drawing. Of course \nthings change. But I always saw myself as an \noutsider to the profession. I love architecture, \nbut I don’t love the profession so much be-\ncause it’s a profession of compromises. There \nare always lots of negotiations – with the fire \nbrigade, with the police, with the contractor, \nwith the neighbors, with the husband, with \nthe wife… It’s not like when you go to art \nschool. When you finish, you do your art, \nyou don’t have to consult with anyone, you \nare not accountable to anyone. I managed to \nset up a studio in that sort of mode.\nHow do you see the relationship between \narchitecture and design?\nLook, the approach is the same. For me, to \ndesign is to do something that doesn’t exist \nbefore you design it. It could be a small thing, \nit could be a huge tower. If you look at the \ntower that we are working on together now, \nit’s an upside-down tower, if you wish. All the \nplants that people normally put on the roof, \nI put on the floor. There are lots of things, \nwhen we go there, that are for me different \nfor architects. I don’t do a lot, but when I do \nsomething, I have to be curious. The same \ngoes when I design, for example, eyewear \nlike this we designed. The whole thing about \nit is that it’s not like your glasses. It doesn’t \nhave any parts, it doesn’t have any screws, \nit doesn’t have any hinges. It is one piece. \nAnd it’s flexible and light. For me there’s \nno point in just styling, in making another \nRay-Ban, another Tom Ford. For me it has to \nbe something that I’m interested in, that I’m \ncurious about. [Puts on glasses.] From now \non the interview will be with the glasses. Or \nnot. I don’t know. We’ll see.\nWhat would be your advice to young \ndesigners or young architects in terms of \nhow to begin their careers?\nMy advice would be: don’t listen to advice. \nDon’t try to be the new Frank Gehry. We don’t \nneed a new Frank Gehry. Frank Gehry has \nalready done a lot of work. Don’t try to be \nthe new you-name-it. Try to do what you can \nmake a contribution to, what satisfies you… \nWell, I’m giving advice now. I didn’t want to \ngive advice. Satisfy your own creativity, your \nown curiosity, and what is special to you.\nYou were born in Tel Aviv… How is your \nrelationship with your home country?\nI think that a bit of the answer is in your ques-\ntion. You didn’t say: “You were born in Israel.” \nYou said: “You were born in Tel Aviv.” I love \nTel Aviv. Tel Aviv is in a very difficult place, \nin a very difficult country, in a very difficult \narea, in a very difficult world. But when I grew \nup in Tel Aviv, for me it was the center of the \nworld, and what I didn’t know was not worth \nknowing. And we knew everything. When I \nnow hear the Beatles song Strawberry Fields \nForever, it doesn’t take me back to Liverpool. \nI’ve never been to Liverpool. It takes me back \nto Tel Aviv, where I grew up. When you are \ngrowing up, you are sort of a captive of your \nlanguage, your culture, your landscape, your \nenvironment. Then in my early 20s, when \nI moved to London, I started working and \npeople wanted to know the influence of being \nfrom somewhere. I think the big influence is \nbeing from somewhere else, being an outsider. \nIt gives you the difficulties of an outsider, but \nalso the freedom of an outsider because you \ndon’t have any aunts and neighbors to please.\nWould you say there is globalization in \ndesign?\nWell, there is. You know, the world is small. \nPeople talk about British design, Israeli de-\nsign, Spanish design… But it’s not football. \n",43,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.44.png","42 C 11\nCuando creces, lo haces en un lugar, en una \ncultura, y esto te ayuda al principio pero a \nla larga debemos liberarnos de ello.\nHablemos de materiales. Su experiencia \nen el mundo de los materiales es amplia, \nversátil e innovadora. A menudo el ma-\nterial se convierte en un concepto en sí \nmismo. ¿Qué va antes, el concepto o el \nmaterial?\nEs un viaje de ida y vuelta. En ocasiones \nvemos materiales y procesos y pensamos: \n«¿Qué podemos hacer con ellos?» Es impre-\nsionante. Incluso esta mañana, mientras pa-\nseaba por vuestra asombrosa ciudad dedica-\nda a los materiales y procesos pensaba: «¿Qué \npodría hacer aquí, qué podría hacerse…?» A \nveces tienes una idea y piensas: «¿Qué ma-\nterial sería el idóneo? ¿Y el mejor proceso? \n¿El fabricante más adecuado?» Es la razón \npor la que estamos aquí. Nosotros hicimos un \ndiseño antes de conocer Dekton… vosotros lo \ndiseñasteis sin conocernos. Tras una breve \ninvestigación dimos el uno con el otro, y \nahora nos encontramos aquí hablando de lo \nque podemos hacer juntos, de lo que aún ni \nnos imaginamos que podemos hacer. Lo ve, \nun viaje de ida y vuelta.\nDiseñó el séptimo piso del hotel Puerta \nde América en Madrid, la galería Ivorypress \nexpuso su obra... ¿Qué relación mantiene \ncon España? \nTambién hubo una exposición en Las Ram-\nblas de Barcelona por un premio que gané. \nEspaña es uno de mis destinos vacacionales \nfavoritos. Veraneo en Formentera. Descu-\nbrí la isla a través de Javier Mariscal hace \nmuchos años gracias a una exposición que \norganizamos juntos para celebrar el décimo \naniversario del Centro Pompidou. Se eligie-\nron diez diseñadores que representasen dife-\nrentes ramas del diseño. Yo representaba la \nruina porque jugaba con hormigón roto, no \nme preguntes por qué. Mariscal y yo éramos \nlos más jóvenes. Nos hicimos muy amigos \ndesde entonces. \n¿Compara su trabajo con el de sus colegas \nde profesión?\nCualquier cosa que hagamos, si es lo suficien-\ntemente visible o visible de cualquier manera \ny ofrece algo nuevo, pertenece a un diálogo. \nCuando voy a una exposición o a ver algo \ny no siento celos, es que no es bueno. Me \nrefiero a que, para mí, ir a una exposición \ny no sentir celos me hace pensar: «¿Por qué \nestoy perdiendo mi tiempo aquí?» Igual que \ncuando tengo una idea pienso: «¿Es buena o \nes mala?» Si viese estas gafas en una galería \no, ya que no son arte, en una óptica, ¿estaría \nceloso? Si la respuesta es afirmativa me lanzo \nde lleno, pero si no...\nRon Arad, next to La mujer de Coslada by Antonio López, at the Fundación de Arte Ibáñez Cosentino\n© Pablo García Ibáñez\n",44,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.45.png","C 11 43\nYou’re not running around with flags. I’m \ninterested in individuals. Yes, when you grow \nup, you grow up in a place, a language, and \na culture, which helps, but you have to claim \nfreedom from it.\nLet’s talk about materials. Your experi-\nence in materials is wide, versatile, and \nvery innovative. Often the material itself \nbecomes the concept. What comes first, the \nconcept or the material?\nIt’s a two-way thing. Sometimes you see ma-\nterials and processes and you think: “What \ncan I do with it? This is so amazing. What \nshall we do with it.” Even this morning, dur-\ning my visit to the amazing city you have here \nthat is all about materials and processes, \nmy mind went: “What can I do, what can \nwe do…” Sometimes you have an idea and \nyou think: “What will be the best material \nto use? What will be the best process? Who \nwill be the best fabricator?” Which in a way \nis why we’re here. We designed the part that \nwe’re going to use before I knew the word \n‘Dekton.’ You designed it before I knew of \nyour existence. And with a little research, \nwe found ourselves here. And now we’re here \nand seeing what we can do, and it will mean \nthat we can do other stuff that we haven’t \ndone yet, that we don’t know about. So it’s \na two-way thing.\nYou built the seventh floor of Hotel \nPuerta América in Madrid and you were \nexhibited in Ivorypress as well. What is \nyour relationship with Spain?\nI also had a really nice exhibition on the \nRamblas, in Barcelona, because I had won an \naward. But Spain is also my favorite place \nfor holidays. I’m a neighbor here, I go to \nFormentera. It was introduced to me by Javier \nMariscal many years ago. We did an exhibi-\ntion to celebrate the tenth anniversary of the \nPompidou Center. They chose ten designers \nto represent all the different directions of \ndesign. I represented ruinism because I was \nplaying with concrete that I broke, don’t ask \nme why. Mariscal and I were the youngest. \nThere were all sorts of Mendinis… We had no \nchoice, we became very good friends because \nwe were the little boys. And then Mariscal \nstarted charming us and pulling us to Bar-\ncelona, Formentera… He did a very good job.\nDo you compare your work with your \ncontemporaries?\nI believe so. Everything you do, if it is vis-\nible enough, or visible at all, and if it offers \nsomething new, is part of a dialogue. When I \ngo to an exhibition or I go to see something, \nand I’m not jealous, it’s not good. If I go to \nan exhibition and there’s no jealousy, I think: \n“Why am I wasting my time here?” At the \nsame time, when I have an idea, I think: “Is \nit good or not?” If I saw these glasses in a \ngallery or, since this is not art, in an opti-\ncian’s shop, would I be jealous? If the answer \nis yes, then I go ahead and do it. But if the \nanswer is no…\nRon Arad, next to La mujer de Almanzora by Antonio López\n© Pablo García Ibáñez\n",45,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.46.png","© Daniel Beres \u002F Centre Pompidou \n",46,{"image":195,"text":196,"number":197},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.47.png","Style\nBureau Betak\nFashion Show Revolution\n",47,{"image":199,"text":200,"number":201},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.48.png","46 C 11\nBUREAU BETAK\nFashion Show Revolution \nCon sede en Nueva York, en París y en \nShanghái, Bureau Betak ha construido \nsu imaginario en torno a los desfiles de \nlas marcas de moda más reconocidas \n(Christian Dior, Tiffany & Co., John \nGalliano, Hussein Chalayan, Victoria’s \nSecret...) Sus escenografías, siempre \noriginales, investigan todos los campos \nde la creación, desde la más artesanal a \nla más tecnológica, desde la más artificial \na la más natural. Cimenta sus proyectos \nen cuatro elementos. El primero sería la \nlocalización (ha intervenido en míticos \nlugares como el Louvre de París, la \nCiudad Prohibida de Pekín o la Plaza Roja \nde Moscú), que otorga una narrativa a \nla historia. A continuación la puesta en \nescena busca crear algo nuevo, ya sea \narquitectónico, distópico o fantástico. Es \ndonde la perfección y el alarde técnico \nse hacen presentes. La luz, obsesión \nde Alexandre de Betak desde que era \nniño, sería el tercer pilar, el que otorga \nla credibilidad y el éxito definitivo a la \nintervención. Por último, la performance \nrepresentaría el elemento vivo: es el \nmovimiento y la vida humana. Es, \nsegún el diseñador, donde el resto de los \nelementos se unen y se encuentran en un \nbalance preciso pero sutil. \nWith offices in New York, Paris, and \nShanghai, Bureau Betak has developed its \naesthetic around the design and production \nof fashion shows for the most prestigious \ninternational firms (Christian Dior, Tiffany \n& Co., John Galliano, Hussein Chalayan, \nVictoria’s Secret, to name just a few). \nIts set designs, always original, research \ninto all the fields of creation, from pure \ncrafstmanship to high technology, and \nfrom the most artificial making to the \nmost natural. The Bureau’s projects are \nbased on four elements. The first would \nbe the venue (working in mythical places \nlike the Louvre in Paris, the Forbidden \nCity in Beijing, or Moscow’s Red Square), \nwhich gives the story a narrative thread. \nNext, the mise-en-scène or set seeks \ncreating something new, be it architectural, \ndystopian, or fantastic. This is where \nperfection and technical display are \nmade visible. Light, Alexandre de Betak’s \nobsession since he was a child, would the \nthird element, which brings credibility and \nmarks the final success of the intervention. \nLastly, the performance would represent \nthe live element: movement and human \nlife. This is where, according to the \ndesigner, the rest of the components come \ntogether in a precise but subtle balance. \nStyle\nEphemeral\n5\nAlexandre de Betak \n(París, 1968) lleva \naños convirtiendo los \ndesfiles y eventos de \nmoda más importantes \nen formidables \nescenografías que aúnan \nla originalidad y la \ndestreza técnica.\nAlexandre de Betak \n(Paris, 1968) has worked \nfor years turning \nthe most prominent \nrunways and fashion \nshows into spectacular \nscenographies that bring \ntogether originality and \ntechnical skill. \nChristian Dior, Spring\u002FSummer 2015 by Raf Simons, Louvre, Paris. Picture credit: © Daniel Beres\n",48,{"image":203,"text":204,"number":205},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.49.png","C 11 47\n",49,{"image":207,"text":208,"number":209},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.50.png","48 C 11\nChristian Dior, Fall\u002FWinter 2013 by Raf Simons, Red Square, Moscow\n",50,{"image":211,"text":212,"number":213},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.51.png","C 11 49\nEl libro Betak. Fashion \nShow Revolution \n(Phaidon, 2017)  \nrecoge en sus casi \ntrescientas páginas y \ncientos de fotografías el \ntrabajo de los últimos \n25 años del francés \nAlexandre de Betak.\nThe book Betak. Fashion \nShow Revolution \n(Phaidon, 2017) takes \nstock, in almost three \nhundred pages and with \nhundreds of photographs, \nof the work of the French \nAlexandre de Betak over \nthe past 25 years.\nChristian Dior, SS13, Musée Rodin, Paris\nChristian Dior, SS16, Louvre, Paris\nChristian Dior, SS14, Musée Rodin, Paris\n© Yuri Palmin\n© Daniel Beres\n© Daniel Beres\n© Daniel Beres\n",51,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.52.png","50 C 11\nBerluti, SS16, Musée Picasso, Paris. Picture credit: © Daniel Beres\n",52,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.53.png","C 11 51\n",53,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.54.png","52 C 11\nChristian Dior, SS14, Musée Rodin, Paris\nAlexander Wang, FW17, Hamilton Theater, New York\nFendi Studios Exhibition, Palazzo della Civiltà Italiana, Rome\nFendi Exhibition ‘The artisans of dreams’, Palazzo della Civiltà Italiana, Rome\n",54,{"image":227,"text":228,"number":229},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.55.png","C 11 53\n© Daniel Beres\n",55,{"image":231,"text":19,"number":232},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.56.png",56,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.57.png","Interview\nIngels & Thorsen\nIn Dialogue\n",57,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.58.png","Interview\nConversation\n6\nIngels &  \nThorsen \nin dialogue\nBjarke Ingels del estudio BIG  \ny Kjetil Thorsen de Snøhetta  \nse encuentran en Pamplona.\nBjarke Ingels from the studio  \nBIG and Kjetil Thorsen from \nSnøhetta meet in Pamplona.\n",58,{"image":242,"text":19,"number":243},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.59.png",59,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.60.png","58 C 11\nPhotos: Miguel Fernández-Galiano \nmiedo a conducir. Para nosotros es impor-\ntante porque construyes nuevos y, sobre \ntodo, distintos tipos de relaciones con los \nque te rodean. Además, en este caso, la \nexcursión a la montaña hace que te sientas \ntan cerca del paisaje, que casi parece una \nrelación sexual…\nBI: Últimamente he pensado lo mucho \nque me aporta la naturaleza. Y no me refiero \na ir de vacaciones a un buen hotel y dis-\nfrutar mucho del paisaje. Me refiero a des-\naparecer en ella, cuando todo es tan com-\npletamente impredecible, tan indescriptible \nque es exclusivamente tu responsabilidad \ndisfrutarlo, habitarlo. Es un parque de jue-\ngos para adultos gigantesco.\nKT: También es un forma de aprender ar-\nquitectura. Esquiar, por ejemplo, es la mejor \nmanera de describir la sección de un paisaje, \na través de la altura y la velocidad. Dibujas \nlas líneas de contorno continuamente, y \nRepresentantes de dos de los estudios es-\ncandinavos más importantes, Ingels (BIG) \ny Thorsen (Snøhetta), se reunieron en Pam-\nplona con motivo del IV Congreso Interna-\ncional de Arquitectura y Sociedad, celebra-\ndo bajo el lema ‘Cambio de clima’. Aunque \nsus obras son fácilmente distinguibles y \nevidentemente diferentes entre sí, su acer-\ncamiento a la arquitectura es casi idéntico. \nAmbos se inspiran en la relación con el \npaisaje, el que han visto desde niños y que, \ncomo a tantos otros autores nórdicos, ha \ncondicionado su obra y su trayectoria. \nBjarke Ingels: Puede sonar a cliché, sobre \ntodo en el entorno escandinavo, pero a mí \nme parece muy interesante el hecho de que \nhagáis un ascenso anual al pico Snøhetta. \nNosotros también hacíamos una excursión \nanual hasta el año pasado, cuando hubo \nuna tormenta de nieve terrible en la que ya \nhabían muerto siete personas, y decidimos \nquedarnos en el valle. Fue tan impactante \nque este año ni siquiera hemos organizado \nun nuevo viaje.\nKjetil Thorsen: Debéis hacerlo. Es como \nun accidente de coche, tienes que volver a \nconducir inmediatamente o siempre tendrás \nEl arquitecto danés \nBjarke Ingels (1974), y \nel noruego Kjetil Thorsen \n(1958), fundadores \nde los estudios BIG y \nSnøhetta respectivamente, \ndestacan en Pamplona la \nimportancia del paisaje en \nel diseño y la arquitectura.\nThe Danish architect \nBjarke Ingels (1974), \nfounder of BIG, and the \nNorwegian Kjetil Thorsen \n(1958), co-founder \nof Snøhetta, talk in \nPamplona about the \nimportance of landscape \nin design and architecture. \nacabas percibiendo la abstracción del paisa-\nje. Y a la inversa escalando, con su paciencia \ny lentitud. Cuando escalas y te ves colgado \nde una inmensa pared, tan despacio, tienes \nla sensación de estar lejos de todo, pero al \nmismo tiempo sientes que no puedes estar \nmás cerca del propio muro. \nBI: Recuerdo un viaje increíble en el que \nestábamos ascendiendo un sendero, la altu-\nra total eran unos 1.800 metros, y llovía sin \nparar, lluvia incesante durante toda la se-\nmana. Todo estaba mojado y resbalaba, por \nlo que subir fue complicadísimo. Era mara-\nvilloso estar a esa altura entre las nubes y \nque de repente se abriesen y dejasen paso a \nuna impresionante vista y un segundo des-\npués, otra vez la nada. Rápido, muy rápido. \nEl problema fue luego al bajar. Resbalaba \ntanto que teníamos que tumbarnos boca \nabajo (en la espalda llevábamos la mochila) \ny dejarnos caer. Fue ese momento de verse \ndeslizando cuesta abajo en una montaña \ngrasienta cuando entendí el poder de la \nnaturaleza, y lo que significaba la rendición \ntotal a los elementos.\nKT: Al final volvemos de nuevo al sexo \ncon el paisaje… Para mí sólo hay dos situa-\n«La naturaleza es un \nenorme parque de \njuegos para adultos»\n",60,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.61.png","Founders of two of the leading Scandinavian \narchitecture studios, Bjarke Ingels (BIG) and \nKjetil Thorsen (Snøhetta), coincided in Pam-\nplona during the IV International Congress of \nthe Fundación Arquitectura y Sociedad, held \nunder the motto ‘Change of Climate’. Though \ntheir works are readily distinguishable and \nevidently different, their approach to archi-\ntecture is practically the same. They both take \ninspiration from the landscape, the one they \nhave known since their childhood, and that, \nas in the case of so many Nordic authors, has \nmarked their career and work. \nBjarke Ingels: Maybe this is a cliché in \nthe concepts of Scandinavia but the fact that \nyou guys do this annual hike to the Snøhetta \nmountain is very interesting to me. We also \ngo on an expedition every year, but last year \nthere was a terrible snowstorm in which seven \npeople had died, so we had to stay in the val-\nley. It was so shocking though that we haven’t \nactually planned this year’s trip.\nKjetil Thorsen: But you have to do it. It \nis like a car crash, you have to go straight \nback to the car, or you will be always scared \nof driving. For us it is important because you \nbuild many new kinds of relationships. When \nyou get so close to landscape, you are almost \nhaving sex with the landscape…\nBI: I have been thinking that I get so much \nout of getting into nature. Not just staying in \na nice hotel and then seeing a lot of nature, \nbut mostly disappearing into it in a way that \nis so fully unprogrammed and uncategorized \nthat it is entirely up to you to enjoy or inhabit \nit. It is a gigantic playground for grown-ups. \nKT: It is also a way of learning about ar-\nchitecture. Skiing, for example, is the best \nway of describing the section of a landscape, \nthrough height and speed. You are following \nthe contour lines of landscape continuously, \nso you get a really close perception of the \nabstraction of the landscape when you are \nskiing. But it is the same with the slowness \nof climbing. When you are climbing, and you \nare hanging from the wall, you get the feeling \nof being far from everything, but at the same \ntime the wall could not be any closer.\nBI: I remember this amazing experience. \nWe were walking up this pass, it was like an \n1,800-meter ascent and it was raining non-\nstop, endless rain for a week. Everything was \nslippery, so climbing up was super hard. It was \nbeautiful. Up there we were in the clouds, and \nonce in a while they would open and you would \nhave this magnificent view, but right after they \nwould close again, very fast. Finally, when we \nwalked down, we constantly had to lie down, \nflat on the stomach – we could not do it on \nour backs, because we had the backpacks – \nand slide down this kind of greasy mountain. \nIt was a complete surrender to the elements. \nKT: We keep drifting in the direction of \nhaving sex with the landscape… For me there \nare only two situations in the world: the moun-\ntains or the sea. Everything in between is kind \nof boring.\nBI: I totally agree. \nKT: But I like that. That type of challenge. \nI have this feeling sometimes, that if we don’t \nhave enough wind I would close the office \nsort of thing, because you need the forces \nagainst to get there. If it is not windy enough, \nstay home. If you see where our offices are \nlocated in Oslo, we are completely exposed \n“Nature is a like \na gigantic playground \nfor grown-ups”\n",61,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.62.png","60 C 11\n",62,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.63.png","C 11 61\nto the weather. The location is directly south \ntowards the fjord, twenty meters away from it, \nand it is this huge warehouse that sits in the \noutermost peak of Oslo, below the castle. So \nyou are getting all the weather: the winter, the \nspring, the autumn, the summer… We have \nall the fisherman in front. It is actually this \nkind of closeness to these things, as we were  \ndiscussing before, that makes you learn from \nthem. To design something you need to be \nfilled with it. You have to be under the skin \nof things. Landscape does that to you. \nBI: Just to finish this landscape theme, I \nthink that there is something that our work \nshares, this idea of invitation. You called it \ngenerosity. It’s an invitation to something \ndifferent. One of our first buildings, the VM \nHouses, has these triangular balconies, 5 me-\nters long. The idea was to get so far out into the \nair that you could actually turn around and \nlook at your building. When you are stand-\ning there, you feel in the air, surrounded only \nby your neighbors. Obviously also with The \nMountain and the Eight House, where you \nclimb up a ski slope. In other words, the \nidea that each project somehow tries to make \navailable something that would normally be \noff limits, so that you end up having not an \naccumulation of private domains, but rather \na new kind of man-made landscape. \nKT: We talked about architecture being ac-\ntive. To me it is about prepositions: in, over, \nthrough, within… Anything that can relate \nto many prepositions all of a sudden moves \ninto active positioning in relation to people. \nIf you can walk through, over, in, under, and \nso forth and so forth, then you are close to \nthe landscape. Because the landscape and our \nwhole language is based on the fact that we \ndevelop prepositions to define our position. \nWhere we are in relation to something else. \nIf architecture is only ‘in’ then it is not ac-\ntive, because it only defines one preposition. \nIt has to have a whole range of prepositions \nin order to be active. This was the discussion \nwe had at the Venice Biennale, and that is \nwhy I am no longer happy with the separation \nbetween inside and outside in the debates on \npublic space, simply because I believe that \nit is limiting to the architecture, and to the \npublic space. These are the type of things that \nI try to follow, and I see in your designs that \nyou are trying to create active buildings too. \nBI: Definitely. We normally differentiate \nwhen there is a need, “a must have,” or a \ndesire, a “nice to have.” The more “nice to \nhaves” you can add to what the client is ask-\ning or to the program, the better. \nKT: For instance, there’s a debate now at \nthe urban city planning offices in Oslo because \nthey don’t know how to represent the Opera \nHouse in plans. Is it a building? Do they cut \nthe building below? Or is it outer space? They \ndon’t know! And that’s fantastic.\nBI: That is exactly my dream. I have been \nsaying this all the time, in a city map build-\ning is yellow, public building is red, park is \ngreen… and I have been focusing on this idea \nthat industrial is gray. It is like this cancer-\nous tissue in the city map, but I am curious \nto see how are they going to label the power \nplant. It should be green, or maybe red… but \ndefinitely not gray, even though it is also gray. \nKT: I agree. These are the kinds of hybrids \nyou learn about by moving back to nature \nand landscape. Landscape was never only one \nthing. Unless we accept the complexities of \nthe systems we are dealing with, we will get \nnowhere. And I think that is something to \n“The separation between \ninside and outside in the \ndebates is limiting to  \narchitecture and to the \npublic space”\n",63,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.64.png","62 C 11\nciones en el mundo: las montañas y el mar, \nlo que hay entre medias me aburre.\nBI: Estoy de acuerdo.\nKT: Pero me encanta la reflexión que \nhacías. Ese tipo de reto. Muchas veces pien-\nso, por ejemplo, que si el viento en contra \nno es muy fuerte debería cerrar el estudio \nporque se necesitan las fuerzas en contra \npara llegar a tus objetivos. Si el viento no es \nsuficientemente fuerte, quédate en casa. Si \nte fijas en donde tenemos nuestras oficinas \nen Oslo, verás que estamos completamente \nexpuestos al clima. Una nave en la punta \nmás alejada de la ciudad, mirando al sur, \ndirectamente al fiordo, a veinte metros de \nél. Recibes todo el clima: el invierno, la \nprimavera, el otoño, el verano… Además \ntienes a todos los pescadores delante. Y es la \ncercanía a estas cosas, como ya hablábamos \nantes, la que te hace aprender de ellas. Para \ndiseñar algo, debes conocerlo por dentro. \nDebes meterte bajo la piel de las cosas. El \npaisaje lo consigue. \nBI: Para acabar con el tema del paisaje. \nCreo que hay algo que nuestros trabajos \ncomparten, y es la idea de invitación. Te \nhe oído llamarlo generosidad. Es una in-\nvitación a algo distinto. En una de nues-\ntras primeras viviendas, las VM Houses, \nintrodujimos unos balcones de 5 metros \nde ancho. La idea era estar en el vacío, tan \nlejos como fuese posible. Cuando te pones \nen la punta sientes que estás en el aire, sólo \nrodeado por tus vecinos. Esto también se da, \npor supuesto, en el proyecto The Mountain \ny la Eight House donde subes por una pista \nde esquí. La idea es que cada proyecto per-\nmita algo que habitualmente es inaccesible, \nde forma que no tienes una acumulación \nde recintos privados, sino un nuevo tipo \nde paisaje artificial creado por el hombre.\nKT: Hablábamos de que la arquitectu-\nra debía ser activa. Para mí tiene que ver \ncon las preposiciones: en, sobre, entre… \nAlgo que se pueda relacionar con muchas \npreposiciones de repente te coloca en una \nposición activa frente al mundo. Si puedes \nandar sobre, o bajo algo, si puedes atrave-\nsarlo… etcétera, entonces estás cerca del \npaisaje. Porque el paisaje, y todo nuestro \nlenguaje se basa en el hecho de que desarro-\nllamos preposiciones para definir nuestra \nposición ante las cosas. Dónde estamos en \nrelación con otros. Si la arquitectura sólo \nsignificase estar ‘dentro’, entonces no esta-\nríamos siendo sujetos activos, porque sólo \nse define con una preposición. Debe haber \nun conjunto de preposiciones para que lo \nseamos. Esta discusión la tuvimos en la \nBienal de Venecia; yo no me conformo con \nla distinción entre dentro y fuera en el de-\nbate sobre el espacio público, simplemente \nporque creo que eso limita la arquitectura y \nel propio espacio público. Me interesan tus \ndiseños porque veo que tú también buscas \ncrear edificios activos. \nBI: Sin duda. Normalmente diferencia-\nmos cuando hay una necesidad, un «debería \ntener», o un deseo, un «me gustaría tener». \nCuantos más «me gustaría tener» puedas \nañadir a lo que el cliente o el programa \npide, mejor.\nKT: Por ejemplo, ahora hay una discusión \nen las oficinas de urbanismo de Oslo por-\nque no saben cómo representar la Ópera en \nlos planos. ¿Es un edificio?¿Es una plaza? \n¿Debe aparecer proyectado o seccionado? \nNo lo saben, y eso es fantástico.\nBI: Ese es mi sueño. En los planos ur-\nbanos la zona residencial es amarilla, los \nedificios públicos son rojos, los parques \nson verdes… y ahora mi obsesión son las \nzonas grises, las industriales. Es como un \ntejido canceroso en los mapas. Por eso me \ninteresa saber cómo van a etiquetar nuestra \ncentral eléctrica. Debería ser verde, o quizá \nroja, pero definitivamente no gris. Aunque \ntambién es gris…\nKT: Estoy de acuerdo. Esta clase de hí-\nbridos son los que conoces en el paisaje y \nla naturaleza. Nunca son una sola cosa. Si \nno aceptamos la complejidad de los siste-\nmas en los que nos movemos, es imposible \nque progresemos. No podemos copiar la \nnaturaleza, pero debemos pensar que cuan-\ndo hacemos un nuevo edificio, no es una \nnaturaleza artificial, sino una nueva reali-\ndad. Esta realidad, sin embargo, sí puede \naprender cosas de cómo opera la naturale-\nza, para empezar, de estos aspectos híbridos \nde los que hablamos. Vuestro trabajo lo \nhace mucho en cuanto a infraestructuras \nsociales, donde añadís una función sobre \nla otra. Es una estrategia fantástica, porque \nes lo que hace el paisaje. La montaña te da \nagua, pero también puedes esquiar sobre \nella, etc.\nBI: Para mí hay dos tendencias. Una es \nla centralización extrema. Por ejemplo, \n«La distinción entre dentro \ny fuera en el debate sobre \nel espacio público limita \nla arquitectura y el propio \nespacio público»\n",64,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.65.png","C 11 63\n",65,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.66.png","64 C 11\ncompañías globales (Amazon, Walmart…) \ncada vez tienen centros de distribución \nmás grandes y más centralizados, como \nsi quisiesen conseguir una única nave de \ndistribución para toda América. Pero hay \notro proceso, sobre todo en las ciudades, \nque es la descentralización extrema. Las \nhuertas de las azoteas en Nueva York, por \nejemplo. Hay un gran deseo de tenerlas, e \nincluso hay casi una ideología alrededor \nde ellas, pero luego la gente está dema-\nsiado ocupada para cultivar sus propios \ntomates. Yo creo que si convences a una \ngran compañía de que llame a todos estos \npropietarios para convencerles de que ellos \nse encarguen de instalar, gestionar, operar y \nmantener tu cubierta a cambio de un 50% \ndel beneficio que se obtenga, todo el mundo \nsaldría ganando. \nKT: Nosotros estudiamos el tema e in-\ncluso calculamos el peso de la tierra y su \nproductividad, más aun cuando coges la \ntierra de cultivos abandonados, que lleva \naños curtiéndose y limpiándose. Una capa \nde 30 centímetros de suelo agrícola está re-\npleta de energía remanente. Desperdiciarla \nen lugar de utilizarla para la producción de \nalimentos, es una insensatez.\nBI: Estamos reformando una central \neléctrica en Vancouver, y además de mu-\nchos sistemas sostenibles de energía, hemos \nincorporado un tipo de cultivo holandés en \nel que no necesitas tierra. Tienes unos tubos \ndonde las plantas crecen, lo que hace que \nconsuma muchísima menos agua. Además \nlo pintamos todo de blanco, el suelo, los \ntubos, todo, de forma que no hay superfi-\ncies de color que absorban energía o luz y \nlos fotones pueden rebotar libremente. Un \nconcepto de cultivo que no requiere ningún \nesfuerzo, es muy interesante.\nKT: Sí que lo es. Debemos confiar en las \ntecnologías del futuro, y en su desarrollo. \nPodrían pasar tantas cosas en el diseño in-\ndustrial... Es una de las áreas donde siento \nque hemos hecho mucho y, al mismo tiem-\npo, nada. El diseño industrial en arquitec-\ntura, por ejemplo, prácticamente no existe. \nEstamos intentando producir en cadena pe-\nqueños objetos del día a día. Como una lám-\npara de bolsillo, por ejemplo. La antorcha \nes un grandísimo invento porque puedes \nllevar la luz contigo a todas partes. Hay \nun escritor de ciencia ficción que escribió \nun libro fascinante que hablaba de vidrios \nque retenían la luz durante veinte años y, \npor lo tanto, los paisajes. Eso quiere decir \nque podrías instalar una vista panorámica \nen tu casa. No necesitarías televisión, insta-\nlarías una vista a las cataratas del Niágara \ndirectamente en Nueva York, simplemente \na través de la retención de luz. Es ciencia \nficción, lo sé, pero es hermoso.  \n«Debemos confiar en las \ntecnologías del futuro, y \nen su desarrollo»\n",66,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.67.png","C 11 65\nlearn from nature. We cannot copy nature, \nbut whenever we create a new building, it is \nnot an abstract landscape but a new reality. \nAnd reality can learn things from how nature \noperates, hybrid aspects. You have been focus-\ning a lot on that when it comes to your social \ninfrastructures, where you add one function on \ntop the other. It is a fantastic strategy because \nit is what landscapes do. They provide you \nwith water but you can also ski. They provide \nyou with trees, but you can also walk. \nBI: In my view there are two tendencies. \nOne is an extreme centralization. For instance, \nglobal companies (Amazon, Walmart…) have \nbigger and bigger distribution centers but are \nmore and more centralized, as if they were \ntrying to create a single warehouse for all of \nAmerica. But there is another process, hap-\npening in cities, which is extreme decentral-\nization, or mixing. Roof farming in New York, \nfor example. There is a huge desire for it, al-\nmost as an ideology, maybe as a hobby, though \nmost people living in cities are too busy to grow \ntheir tomatoes. But I really think that if you \nget a company to call out warehouse owners \nand say: “we would like to take possession of \nyour roof, we will install, manage, operate, \nmaintain and you will get 50% of the crops,” \neveryone would benefit.  \nKT: We have also studied it and we calcu-\nlated the weight of the earth and the produc-\ntivity of the earth that you could get straight \nout of the agriculture soil that was already on \nthe ground once its clean. The 30-centimeter \nlayer of agricultural soil is full of embodied \nenergy. To throw it away and not use it as \nfood production is kind of a waste. \nBI: We are doing this power plant in Van-\ncouver, and aside from several sustainable \nenergy systems we are using a fairly commod-\nified Dutch farming system where you don’t \nhave soil. You have these tubes where plants \ngrow out of the tubes, so it consumes much \nless water. Everything is painted white, the \nfloor is white, the tubes are white, so that no \nphoton is swallowed by light-sucking colors, \neverything is bouncing around. A completely \neffortless roof farming concept. \nKT: That is cool. Also, we have to rely on \nthe future technologies, and their develop-\nment. So much could happen in the field of \nindustrial design. It is one of the areas where \nI feel that we have done a lot but at the same \ntime, nothing. The industrial design elements \nin architecture, for instance, are completely \nmissing, so one of the few things that we are \nstarting to do now is actively moving more \ninto the hardware production line of smaller \nthings in life. Pocket lamps, for instance. A \ntorch is a fantastic invention because you \ncarry the light with you. There was this fic-\ntion writer who talked about glass that retains \nlight, and for light to penetrate through the \nglass it takes about twenty years. So that \nmeans that you have this panoramic window, \nand then you build it into your home. You \ndon’t have a TV, you have a one to one vision \nto Niagara Falls in New York, because the \ndelay of twenty years actually puts the real \nimage in your living room. Simply through \nthe delay of light penetration. It is science \nfiction of course, but it is actually beautiful. \n“We have to rely on the \nfuture technologies, and  \non their development”\n",67,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.68.png","© Spaces Images \u002F Blend Images \u002F Getty Images\n",68,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.69.png","Travel\nManhattan\nUSA\n",69,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.70.png","01\nThe ferry offers \npanoramic views of \nthe Manhattan Island \nskyline. The free service \nthat reaches up to  \nStaten Island is also  \na good opportunity  \nto photograph the  \nStatue of Liberty.  \nPanoramic Views \nFerry to Staten Island \n02\nAlejarse en ferri de \nla isla de Manhattan \nofrece excelentes vistas \ndel perfil urbano de \nla ciudad. El trayecto \ngratuito que llega hasta \nStaten Island permite \nfotografiar, además, la \nEstatua de la Libertad.    \nPublic Space \nTimes Square \nLa proliferación de carteles, \nluces de neón y pantallas \naudiovisuales envuelve \nal peatón que atraviesa \nTimes Square en una \natmósfera vibrante donde \npuede elegir entre una gran \nvariedad de espectáculos, \neventos y restaurantes. \nBillboards, neon lights, \nand audiovisual screens \ncreate a bright and \nvibrant atmosphere at \nTimes Square, where \nvisitors and residents \ncan choose among a \nvariety of shows, events, \nand restaurants.\n68 C 11\nManhattan\nTravel\nCity Guide\n7\nEpicentro del arte, la moda \ny las finanzas, el corazón \nde la Gran Manzana \nresplandece y exporta \ntendencias al mundo.        \nEpicenter of art, fashion, \nand finance, the heart  \nof the Big Apple glows  \nand exports trends  \nacross the world. \n© Michael Grimm \u002F Snøhetta\n© Mihai Andritoiu\n",70,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.71.png","C 11 69\nPanoramic Views\nRooftops\nAtravesada en diagonal \npor Broadway, la retícula \nortogonal de calles que \nestructura Manhattan \npuede observarse desde \nlas azoteas de las torres, \nque suelen contar con \nrestaurantes y miradores \nen las últimas plantas.  \nTraversed diagonally by \nBroadway, the grid of \nstreets that structures \nManhattan can be \nappreciated from the \ntop floors of the towers, \nwhere restaurants and \nviewing platforms offer \nvantage city views.  \n© Navid Baraty\n03\n",71,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.72.png","70 C 11\nEl emblemático Empire \nState (1931) fue el edificio \nmás alto del mundo \ndurante más de 40 años.\nThe emblematic Empire \nState (1931) was for \nmore than 40 years the \nworld’s tallest building. \n08\nIconic Skyscraper\nEmpire State Building\n04\nConstruido entre 1870 \ny 1883, este puente fue \nen su día la estructura \ncolgante más grande \ndel mundo, con 1.825 \nmetros de longitud \nque cruzan el río Este \nenlazando las orillas de \nBrooklyn y Manhattan. \nBuilt between 1870 and \n1883, the bridge was \nin its day the longest \nsuspended structure, \nmeasuring 1,825 meters \nlong. It crosses the East \nRiver connecting the \nboroughs of Brooklyn  \nand Manhattan. \nInfrastructure\nBrooklyn Bridge \nsource: ruebarue.com\nsource: Samira Bouaou \u002F The Epoch Times\nFormado por 14 edificios \nArt Decó, este proyecto fue \npromovido por la familia \nRockefeller en 1920. \nComprised of fourteen Art \nDeco buildings, the project \nwas promoted by the \nRockefeller family in 1920.\n05\nOffice Complex\nRockefeller Center\nsource: conunpardemaletas.com\nWall Street es la calle \nprincipal del distrito \nfinanciero de Nueva York, \ndonde se sitúa la Bolsa. \nWall Street is the center \nof the financial district, \nwhere the New York Stock \nExchange is located. \n07\nFinancial District\nWall Street\n© ventdusud \u002F Shutterstock.com\nEl Flatiron Building (1902) \ndestaca por su esbelto \nperfil que delimita una \nintersección triangular.\nThe Flatiron Building \n(1902) stands out for its \nprofile that marks out a \ntriangular intersection. \n06\nPioneer Skyscraper \nFlatiron Building\n© Getty Images\n",72,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.73.png","C 11 71\n© David Clapp \u002F Stone \u002F Getty Images\nInternational Style\nSeagram Building\n10\n11\nModern Art\nGuggenheim Museum\nConstruido por Frank \nLloyd Wright en 1959, el \nMuseo Guggenheim rompe \nlos esquemas del espacio \nexpositivo tradicional, \nestableciendo un recorrido \ncontinuo a lo largo de una \nrampa en espiral en torno \na un atrio con luz cenital. \nBuilt by Frank Lloyd \nWright in 1959, the \nGuggenheim Museum \nbreaks the schemes of \ntraditional exhibition \nspace, establishing a \ncontinuous visit through \na spiral ramp around  \na toplit atrium. \nArt Museum \nThe Met\nThe Metropolitan \nMuseum of Art is the \nmost visited museum \nin New York, with a \ncollection of over two \nmillion objects, from \nClassical Period treasures \nto tools, modern pieces, \nand photographs. \nEl Museo Metropolitano \nde Arte es el más \nvisitado de Nueva York, \ncon una colección de \ndos millones de obras, \ndesde tesoros de la \nAntigüedad clásica hasta \ninstrumentos, piezas \nmodernas o fotografías. \n© Ezra Stoller\nsource: nycgo.com\n12\nEsta histórica terminal \nde trenes, que cuenta \ncon 67 vías distribuidas \nen dos niveles \nsubterráneos, destaca \npor sus bóvedas de \nladrillo, diseñadas en \n1903 por el valenciano \nRafael Guastavino. \nThis historic railroad \nterminal, with more  \nthan 67 lines distributed \nin two underground \nlevels, is famous  \nfor its brick vaults, \ndesigned in 1903  \nby the Valencian  \nRafael Guastavino.  \n09\nEjemplo del Estilo \nInternacional, la sede de \nSeagram (1958) —diseñada \npor Mies van der Rohe— \nda un paso atrás respecto \na Park Avenue, liberando \nun espacio público que \ndignifica el acceso bajo el \ngran muro cortina.   \nA symbol of the \nInternational Style, Mies \nvan der Rohe’s Seagram \nBuilding (1958) is \nrecessed with regards \nto Park Avenue, freeing \nup a public space that \nenhances the access under \nthe large glass wall. \nMetro Station \nGrand Central Terminal\n© David Heald\n",73,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.74.png","A orillas del río Hudson, \nel edificio VIA 57 \nWest —proyectado por \nel estudio danés Bjarke \nIngels Group— se concibe \ncomo un híbrido entre \nel bloque perimetral \neuropeo y un rascacielos \nneoyorquino. \nLocated on the banks  \nof the Hudson River,  \nthe VIA 57 West  \nbuilding – designed by \nthe Danish studio Bjarke \nIngels Group – is a  \nhybrid of European \napartment building and \nNew York skyscraper. \n14\n© DBOX\n13\nReferente internacional en el \nmundo del arte moderno, el \nMoMA de Nueva York ocupa un \nedificio de Yoshio Taniguchi.\nA key international venue \nof modern art, the MoMA is \nlocated in a building designed \nby Yoshio Taniguchi. \nLa regularidad se lleva al \nlímite en esta esbelta torre \nresidencial diseñada por el \nuruguayo Rafael Viñoly.  \nRegularity is taken to \nthe limit in this slender \napartment tower by the \nUruguayan Rafael Viñoly. \nA minimalist set of \nstacked boxes designed \nby the Tokyo-based \noffice SANAA (Sejima \n& Nishizawa) contains \nthe galleries of the New \nMuseum, which displays \ncontemporary works by \nemerging artists.\nUn conjunto minimalista \nde cajas apiladas, \ndiseñado por los \njaponeses SANAA, \nalberga las salas del \nNew Museum, donde \nse exponen obras \ncontemporáneas de \nartistas emergentes. \nMuseum of Modern Art \nMoMA New York\nResidential High-Rise \n432 Park Avenue\nContemporary Art\nNew Museum\nResidential \nVIA 57 West\n© Dean Kaufman\n© Nic Lehoux\n16\n15\n72 C 11\n© Timothy Hursley\n",74,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.75.png","C 11 73\n20\nTras los ataques \nterroristas del 11-S, el \nWorld Trade Center ha \nsido reconstruido con \ncinco nuevos rascacielos, \nun memorial proyectado \npor Snøhetta y una \nterminal de transporte \ndiseñada por Calatrava.   \nAfter the 9\u002F11 terrorist \nattacks, the World \nTrade Center has been \nrebuilt with five new \nskyscrapers, a memorial \nby the Norwegian \noffice Snøhetta, and \na transportation hub \ndesigned by Calatrava. \nMemorial\nWorld Trade Center \n© Nic Lehoux\n© Alexander Severin\nResidential High-Rise  \n56 Leonard Street\nOn Leonard Street, \nthe Swiss Herzog & \nde Meuron have built \na residential tower \nconceived as a stack of \nindividual rooms that, \narranged in a staggered \nfashion, seem to dissolve \nas they rise up to the sky.\nEn la calle Leonard \nStreet, los suizos Herzog \n& de Meuron han \nconstruido una torre \nresidencial concebida \ncomo un apilamiento \nde habitaciones, que \nse escalonan para \ndifuminarse hacia el cielo. \n18\nElevated Park\nHigh Line\nThe transformation of \nan abandoned elevated \nrailroad into a public \npark, developed by \nDiller Scofidio + Renfro, \nhas turned this old \ninfrastructure into one \nof the most popular \ndestinations in the city. \nLa transformación de una \nantigua vía de ferrocarril \nelevada en un parque \npeatonal, impulsada por \nDiller Scofidio + Renfro, \nha convertido esta antigua \ninfraestructura en uno de \nlos paseos urbanos más \npopulares de la ciudad.\n19\n17\nAmerican Art\nWhitney Museum\nDiseñado por Renzo Piano, \nel Museo Whitney conecta \nsu recorrido con el eje \npeatonal de la High Line. \nDesigned by Renzo \nPiano, the new Whitney \nMuseum is connected to \nthe High Line park.\n© Hufton + Crow\n© Iwan Baan\n",75,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.76.png","En la tienda Prada \nEpicenter de Nueva York \n—diseñada por OMA—, el \nsuelo se curva para crear \nunas gradas frente a un \nescenario, generando  \nun espacio experimental \nque va más allá de la \nboutique convencional. \nAt the Prada Epicenter \nNew York – designed by \nOMA\u002FRem Koolhaas –, \nthe floor curves and is \ntransformed into stands in \nfront of a stage, creating \nan experimental space \nthat goes beyond the \nconventional boutique.\n21\nDiseñada por  David \nChipperfield, la tienda para \nValentino lleva al límite las \nposibilidades del terrazo.  \nDesigned by David \nChipperfield, the Valentino \nflagship store exploits the \npossibilities of terrazzo. \nShopping \nValentino Store\nShopping \nPrada Epicenter\n24\nStorefront se concibe como un \nlugar de encuentro y reflexión \nen torno al arte, la arquitectura, \nel territorio y la sociedad. \nThe Storefront is a center for \nthe promotion of innovative \nideas around art, architecture, \nterritories, and society. \nExperimental Forum \nStorefront \n22\n74 C 11\n197 metros cúbicos de tierra \nforman la instalación Earth \nRoom creada por Walter De \nMaria en la fundación Dia.  \nWalter De Maria’s The New \nYork Earth Room at the Dia \nArt Foundation contains  \n197 cubic meters of earth. \n23\nArt Installation\nThe Earth Room\n© Miguel Fernández-Galiano\n© Dia Art Foundation\nsource: prada.com\n© Santi Caleca\n© Pernilla Ohrstedt\nEl museo de Isamu \nNoguchi expone de forma \ndelicada e íntima el legado \nartístico del escultor. \nThe museum of Isamu \nNoguchi delicately \ndisplays the sculptor’s \nartistic legacy.\n25\nModern Sculpture\nThe Noguchi Museum\n",76,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.77.png","C 11 75\nEn el barrio del SoHo, la \ntienda Melissa de zapatos \nde plástico sorprende por \nsu ambientación.\nThe Melissa plastic \nshoes store in the SoHo \ndistrict stands out for its \npsychedelic atmosphere.\n27\nShopping\nMelissa Shoes\n30\nEn el centro de la \ndensa trama urbana de \ntorres y rascacielos de \nManhattan, surge Central \nPark como un oasis verde \n(de 4.000 por 800 metros) \ndonde los neoyorquinos \npueden alejarse de la \ncaótica vida en la ciudad. \nCentral Park spreads in \nthe middle of the dense \nurban mesh of towers \nand skyscrapers of \nManhattan, a green oasis \n(of 4,000 x 800 meters) \nwhere Newyorkers can \ntake a break from the \nbusy city life. \nNature\nCentral Park\nLas pizzerías Grimaldi \nson famosas por utilizar \nhornos cerámicos \nalimentados con carbón. \nGrimaldi’s pizzerias are \nfamous for baking their \npizzas, since 1905, in \ncoal-fired brick ovens.\n29\nEating Out\nGrimaldi’s Pizzeria\nJunto a la High Line, el \nmercado Chelsea cuenta con \nmás de treinta puestos de \ntiendas y restaurantes. \nLocated by the High Line, \nthe Chelsea Market has \nmore than thirty shops \nand restaurants. \n26\nFood Court\nChelsea Market\n© Alex Fradkin\nsource: xpressionstudio.es\nsource: tripadvisor.es\n© Shutterstock\nsource: Grimaldis NYC \u002F Website\nLa terraza del hotel \nStandard permite tomar \nalgo y disfrutar de vistas \nprivilegiadas de Manhattan. \nThe Standard Hotel rooftop \nbar is a fine place to have a \ndrink and enjoy panoramic \nviews of Manhattan. \n28\nEating out \nStandard Hotel\n",77,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002Feb\u002Fe939da608d080c66cdda8dc3119525-28f7839f34.78.png","76 C 11\n 10. The Met\n1000 5th Ave\nmetmuseum.org\n1071 5th Ave\nguggenheim.org\n10am-5:45pm Fri-Mon\n 17. Whitney Museum\n99 Gansevoort St\n10:30pm-6pm Wed-Mon\n+1 212-570-3600\nwhitney.org\n 21. Prada Epicenter\n575 Broadway\n+1 212-334-8888\n848 Washington St\n+1 212-645-7600\n656 6th Ave\n+1 646-484-5665\n97 Kenmare St \nstorefrontnews.org\n11am-6pm Tue-Sat\n 23. The Earth Room\n 24. Valentino Store \n693 5th Ave\n+1 212-355-5811\n 12. Seagram Building\n 18. 56 Leonard Street\n+1 212-965-1500\n56leonardtribeca.com\n 16. MoMA New York   \n11 W 53rd St\n10:30am-5:30pm Daily\nmoma.org\n 25. The Noguchi Museum\n9-01 33rd Rd, Queens\nnoguchi.org\n 27. Melissa Shoes\n 28. Standard Hotel\n 29. Grimaldi’s Pizzeria\n500 Broadway, NY 10012\nmelissa.com\n 14. New Museum\n235 Bowery\n11am-6pm Tue-Sun\nnewmuseum.org\n 20. World Trade Center\nOne World Observatory: \n285 Fulton St\nMemorial: \n180 Greenwich Street\n 02. Times Square\n 01. Ferry to Staten Island\n 03. Rooftops\n 04. Brooklyn Bridge\n 05. 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