[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-12":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":345},{"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":340,"matched_pages":341,"match_count":342,"two_pages":343,"show_text":344},24484,"Architecture & Everything Else 12","cosentino-architecture-and-everything-else-12","\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F19\u002Fc4efea4b5644c3336fa27c7113d86e-28f785e94d.pdf","Cosentino",2482,"cosentino","251.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,116,120,124,127,131,135,139,143,147,151,155,159,163,167,171,175,179,183,187,191,195,199,203,207,211,215,219,223,227,231,235,239,243,246,250,254,258,262,266,270,274,278,281,285,289,293,297,301,305,309,313,317,321,325,328,331,335,338],{"image":7,"text":15,"number":16},"c \n12 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.3.png","c\ncontents\n18\n06\n26\n34\n46\n56\n68\n  Architecture\n 06 CONGRESS CENTER  Mangado in Palma \n \n A lo largo del frente marítimo, el edificio dialoga con la playa y la ciudad.\n \n Along the seafront, the building engages in dialogue with the water and the city. \n \n Innovation\n 26 PLANET  The Earth in Perspective\n \n Fotografías oblicuas de la Tierra tomadas desde satélites en órbita. \n \n Oblique photographs of Earth collected by an orbiting satellite.\n \n Cosentino\n 34 DEKTON COVER  Cap Ferrat by Di Filippo Arquitectura\n \n Dekton se presenta como un material idóneo para la rehabilitación de fachadas.\n \n Dekton is presented as an ideal material for facade refurbishments.\n 40 THE DINER  Cosentino & David Rockwell\n \n La premiada instalación, en la que participa Cosentino, en la Semana del Diseño de Milán.\n \n The prizewinning installation, with Cosentino surfaces, at Milan Design Week.\n \n Style\n 46 FREESPACE  16th Venice Architecture Biennale\n \n Grafton Architects dirigen esta edición de la bienal más prestigiosa de arquitectura.\n \n Grafton Architects direct this edition of the world’s most prestigious biennial exhibition. \n  Interview\n 56 PIANO & GALIANO  In dialogue\n \n Los arquitectos dialogan sobre la trayectoria de Piano en su 80 cumpleaños.\n \n The two architects talk about Piano’s career coinciding with his 80th birthday.\n  Travel\n 68 DUBAI  United Arab Emirates\n \n La explosiva transformación urbana de un enclave beduino.\n \n The explosive urban transformation of a Bedouin enclave.\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 18 INSIDE NORTH KOREA  Oliver Wainwright\n \n Un recorrido visual por las calles e interiores del país más hermético del mundo.\n \n A visual tour through the streets and interiors of the world’s most hermetic country. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nThe Diner by David Rockwell\n© Michele de Candia for Surface Media\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 \nCuca Flores \nLaura González \nClara Molero \nElena Ocaña \nJesús Pascual \nTeresa Pastor \nMarta Peña \nAntonio Plaza \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\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.5.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\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.6.png","© Roland Halbe\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.7.png","Architecture\nCongress Center\nMangado in Palma\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.8.png","6 C 12\nArchitecture\nBuilding\n1\nCon el objetivo de ampliar la oferta turística de la capital balear, en el \naño 2005 se celebró un concurso para el diseño de un nuevo Palacio \nde Congresos y un hotel en el frente marítimo de Palma. Fruto de esa \nconvocatoria, el proyecto comenzó a construirse en 2008 y, a pesar \nde la paralización temporal de las obras —entre 2010 y 2012— como \nconsecuencia de la crisis económica, el edificio pudo ser finalmente \ninaugurado en 2017. La propuesta entendía que trabajar en un solar \nrico y sugerente desde su dificultad de geometría y dimensión suponía \nelaborar una nueva ‘traza’ urbana de la ciudad. Estrecha y extrema-\ndamente alargada, la parcela refiere más a una idea de límite urbano \nde grandes dimensiones, capaz de albergar un edificio significativo \ncon un programa complejo y diverso.\nEl proyecto mira al mar, y esta mirada se materializa en una fachada \ngruesa, de cinco metros de anchura, construida recurriendo a técnicas \nde ingeniería naval que, además de evitar el soleamiento directo desde \nel sur, alberga las escaleras y comunicaciones que unen los diferentes \nespacios y programas. Así, esta fachada al sur es como una muralla \ncon recorrido, densa pero también abierta y que, en su espesor, a través \nde espacios ambiguos que no acaban de ser interior o exterior, se con-\nfunde con el paseo mismo. Su alter ego lo constituye la fachada norte, \ncuyo espesor se conforma a partir de los contenidos más ‘sirvientes’ \ndel edificio. De esta manera se establece un doble esquema en peine \n—público al sur, privado al norte—, eficaz en términos funcionales.\nWith the idea of expanding the tourist offer of the Balearic capital, \nin 2005 a competition was held to design a new Congress Center and \na hotel on Palma’s waterfront. Construction of the winning project \nstarted in 2008, and in spite of the temporary interruption of works \n– between 2010 and 2012 – as a consequence of the economic crisis, \nthe building was finally inaugurated in 2017. The project rested on \nthe idea that working on a lot that is rich and suggestive in its being \ndifficult in geometry and size involved drawing up an altogether new \nurban ‘outline’ for the city. Narrow and elongated to  an extreme, \nthe site responds more to the idea of an urban boundary of huge \ndimensions, one able to accommodate a significant building housing \na complex and diverse program.\nThe building looks towards the sea, and this seaward gaze is materi-\nalized in a thick facade – five meters wide and erected with techniques \nof naval engineering – that, besides keeping out direct sunlight coming \nfrom the south, contains the stairs and other elements connecting the \ndifferent spaces and programs. The facade is thus like a town wall with \na path, dense but also open, and in its thickness, through ambiguous \nspaces that cannot definitively be considered interior or exterior, it \nis confused with the promenade itself. The ‘alter ego’ is the north \nfacade, whose thickness is formed by the building’s ‘server’ spaces. \nThe result is a comb-shaped double scheme – public to the south and \nprivate to the north –, efficient in functional terms.\nCongress Center\nMangado in Palma\nCon casi 500 metros \nde longitud, el edificio \ndiseñado por Francisco \nMangado sigue las trazas \nhistóricas del frente \nmarítimo, y configura \nun nuevo límite urbano, \nconvirtiéndose en un hito \npara el perfil de la ciudad.\nAlmost 500 meters in \nlength, the building \ndesigned by Francisco \nMangado follows the \nhistorical traces of the \nseafront, and forms a  \nnew urban border, \nbecoming a landmark  \nin the cityscape. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.9.png","C 12 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.10.png","8 C 12\nLa piedra marés de la \nfachada posterior convive \ncon las placas de espuma \nde aluminio utilizadas \nen las lamas del frente \nprincipal. Este expresivo \nmaterial refleja los \ncambios de luz que se \nproducen en el mar.\nThe ‘marés’ stone of  \nthe rear facade combines \nwith the aluminum  \nfoam panels used on the \nslats of the main facade.  \nThis expressive material \nreflects the changes  \nof light that are \nproduced in the sea.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.11.png","C 12 9\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.12.png","10 C 12\nEn el interior se \nsuceden grandes piezas \nvolumétricamente \nexpresivas, con vacíos \na su alrededor, sobre \nlos que se suspenden \nplataformas y pasarelas \nde acceso que permiten \nmirar al exterior. \nThe interior presents \na succession of large, \nvolumetrically expressive \npieces, with voids \naround them over \nwhich platforms and \naccess footbridges are \nsuspended, giving views \nof the exterior.\n10 m\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.13.png","C 12 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.14.png","12 C 12\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.15.png","C 12 13\nLas diferentes partes \ndel programa —un \ndoble auditorio, un área \nexpositiva y un hotel— \nse distribuyen en una \nsecuencia de volúmenes \nquebrados que entran en \ndiálogo con las murallas \nhistóricas de la ciudad.\nThe different parts of \nthe program – double \nauditorium, exhibitions \narea, hotel – are laid  \nout in a sequence of \nbroken volumes that \nengage in dialogue  \nwith the historic walls  \nof the city of Palma.\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.16.png","14 C 12\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.17.png","C 12 15\nArquitecto Architect\nFrancisco Mangado\nColaboradores Collaborators\nIdoia Alonso Barberena, Antonio Aller, Maria João Costa, \nAlmudena Fiestas, Ana Muñiz. João Gois, Sergio Rio Tinto, \nIsabel Oyaga, Sofia Cacchione, Itziar Etayo, Aintzane \nGazteiu-Iturri, Edurne Pradera, Andreas Bovin, Richard \nKrálovic, Maria Manero, Wojciech Sumlet, César Martín arqs. \n(arquitectura architecture)\nConsultores Consultants\nNB 35 S.L. (estructuras structures); Francisco Mangado \n(instalaciones mechanical engineering); Higini Arau \n(acústica acoustics); Pedro Legarreta (arquitecto \ntécnico quantity surveyor)\nContratista Contractor\nAcciona Construcción\nSuperficie construida Floor area \n37.700 m² (palacio de congresos y aparcamientos congress \ncenter and parking); 17.700 m² (hotel)\nPresupuesto Budget \n96.454.456 €\nFotos Photos\nRoland Halbe\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.18.png","© Oliver Wainwright\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.19.png","Arts\nInside North Korea\nOliver Wainwright\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.20.png","18 C 12\nInside North Korea \nOliver Wainwright\nArts\nPhotography\n2\nArrasada durante la Guerra de Corea, \nPyongyang fue completamente reconstruida \nen 1953 siguiendo el criterio del fundador \nde la nación, Kim Il-sung. Con el actual \nlíder, Kim Jong-un, la construcción se ha \nacelerado y la ciudad se está transformando \nrápidamente en el decorado de una ilusión \nde prosperidad. El periodista y fotógrafo \nde The Guardian Oliver Wainwright nos \nofrece un revelador recorrido por diferentes \nespacios de acceso restringido del Estado \nmás hermético del mundo para descubrirnos \nque detrás de las fachadas color pastel se \nesconde un suntuoso país de las maravillas \nhecho de mármol, mosaicos y artesonados. \nUna amable gama de \ncolores pastel tiñe el \nimponente escenario \nurbano de la capital de \nCorea del Norte, formado \npor bulevares axiales \nque conectan hitos \nmonumentales entre \nbloques de hormigón. \nDevastated in the Korean War, Pyongyang \nwas completely reconstructed in 1953, \nin accordance with criteria set by the \nnation’s founder, Kim Il-sung. Under the \ncurrent leader, Kim Jong-un, construction \nhas accelerated and the city has quickly \ntransformed into the stage set of an \nillusion of prosperity. The  journalist \nand photographer Oliver Wainwright, \narchitecture critic of The Guardian, gives us \nan insightful walk through several restricted \nspaces of the world’s most hermetic state, \nshowing how behind pastel-toned facades \nhides a lavish country of wonders made of \nmarble, mosaic, and coffered ceilings.\nA friendly range of  \npastel tones colors the \nimposing urban scene  \nof the capital of North \nKorea, which is formed \nby axial boulevards that \nconnect monumental \nlandmarks amidst  \nblocks of concrete. \n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.21.png","C 12 19\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.22.png","20 C 12\nLa omnipresencia de \nlos líderes de Corea del \nNorte se extiende a los \nespacios interiores, donde \nla regulación estatal \ncontrola que los retratos \nde Kim Il-sung y Kim \nJong-il se sitúen en el \ncentro de la sala.\nThe omnipresence  \nof North Korea’s  \nleaders seeps into \ninterior spaces, where \nstate regulation ensures \nthat portraits of Kim \nIl-sung and Kim Jong-il \nare hung at the  \ncenters of rooms. \n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.23.png","C 12 21\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.24.png","22 C 12\nPublicado por Taschen, \nel libro Inside North \nKorea incluye más de 200 \nimágenes que muestran \nla materialización de uno \nde los lemas oficiales del \npaís: «Convirtamos la \nnación en un cuento de \nhadas socialista.»\nPublished by Taschen, \nthe book Inside North \nKorea presents over 200 \nimages that illustrate  \nthe materialization of \none of the country’s \nofficial slogans: “Let’s \nmake the nation a \nsocialist fairyland.”\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.25.png","C 12 23\n",25,{"image":114,"text":19,"number":115},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.26.png",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.27.png","Innovation\nPlanet\nThe Earth in Perspective\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.28.png","26 C 12\nSince 1968, when the crew of Apollo 8 took the mythical image \nof Earth from outer space, many zenithal photos of our planet \nhave been taken from satellites, with evident applications for \nfields like agriculture, the environment, or mapmaking. The \nfirm Planet, set up by former NASA employees, advances in \nthis direction by turning the lenses of their cameras to an angle \nbetween 45º and 60º, in such a way that the Earth’s surface \nappears three-dimensional. The effect obtained with this simple \ninnovation simulates the oblique view one would have from an \nairplane window.\nA constellation of over 175 satellites monitors the planet day \nby day, coursing the lunar orbit every 90 minutes. Measuring less \nthan a meter and with a useful life of six years, the satellites are \ndesigned and made by the same enterprise that launches a new \none every three months. The system allows sending information \nevery day to thirty land-based stations, located at different points \nof the globe, where it is processed, filed, and uploaded to a web \nplatform so that it is accessible to the public.\nThe change of perspective that the first photographs of Earth \ntaken from space produced, transforming our collective awareness \nof the planet, now takes on new dimensions as these images enter a \nnetwork of data. We can now not only see, but also in an automated \nway compare, analyze, and identify the transformations that our \nimpact on the territory produces.\nInnovation\nTechnology\n3\nDesde que en 1968 la tripulación del Apolo 8 nos ofreciera una \nimagen mítica de la Tierra desde el espacio, se han sucedido las \nfotografías cenitales tomadas desde satélites, con aplicaciones \nevidentes en campos como la agricultura, el medio ambiente o la \ncartografía. La empresa Planet, formada por extrabajadores de la \nNASA, da un paso más en esta dirección girando entre 45º y 60º \nel objetivo de sus cámaras, de manera que la superficie terrestre \nse tridimensionaliza. El efecto que se consigue con esta sencilla \ninnovación simula la vista oblicua que tendríamos desde la ven-\ntanilla de un avión. \nUna constelación de más de 175 satélites monitoriza diaria-\nmente el planeta recorriendo la órbita lunar cada 90 minutos. Los \nsatélites —que no miden más de un metro y tienen una vida útil \nde seis años— son diseñados y construidos por la propia empresa \nque lanza uno nuevo cada tres meses. El sistema permite enviar \ninformación diaria a treinta estaciones terrestres situadas en di-\nferentes puntos y desde allí se procesa, se archiva y se sube a una \nplataforma web para que sea accesible. \nEl cambio de perspectiva que provocaron las primeras foto-\ngrafías de la Tierra desde el espacio, transformando la conciencia \ncolectiva del planeta, cobra ahora una nueva dimensión al integrar \nestas imágenes en una red de datos. Ya no sólo podemos ver sino \ntambién comparar, analizar e identificar de forma automatizada \nlas transformaciones que produce nuestro impacto en el territorio. \nPlanet\nThe Earth in Perspective\nShanghai, China. March 9, 2018\n",28,{"image":125,"text":19,"number":126},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.29.png",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.30.png","28 C 12\nMonte Fitz Roy, Chile and Argentina. March 19, 2018\nGasherbrum Massif, Pakistan. March 11, 2018\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.31.png","C 12 29\nSalto Angel, Venezuela. March 23, 2018\nDeccan Traps, India. March 22, 2018\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.32.png","30 C 12\nTomadas a 450 km de \naltura, estas fotografías \nmuestran el impacto de \nla ciudad en el territorio \nen lugares como las islas \nartificiales de Doha, la \nurbanización en torno a la \nría de Bilbao o el desierto \nconstruido de Riad. \nTaken from a distance of \n450 km above ground, \nthese photographs show \ncities’ impact on the \nterritory in places like \nDoha’s artificial islands, \nthe development around \nBilbao’s estuary, and \nRiyadh’s built desert.\nBilbao, Spain. March 13, 2018\nRiyadh, Saudi Arabia. March 10, 2018\nDoha, Qatar. November 11, 2017\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.33.png","C 12 31\n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.34.png","© MCA Studio\n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.35.png","Cosentino\nDekton Cladding\nCap Ferrat by Di Filippo Arquitectura\nThe Diner\nCosentino & David Rockwell\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.36.png","34 C 12\nDEKTON CLADDING \nCap Ferrat by Di Filippo Arquitectura\nCosentino\nHousing\n4\nCap Ferrat es un emblemático edificio residencial situado en la \nexclusiva Avenida Vieira Souto en Río de Janeiro. Construido en \n1976, este edificio icono del brasileño barrio de Ipanema, cuenta con \nuna superficie de 15.000 m² y 20 pisos de altura, donde se ubican \nviviendas, dúplex, garajes y zonas de uso común.\nCuarenta años después de su construcción, entre 2013 y 2016 se \nlleva a cabo el proyecto de remodelación del revestimiento de los \nbalcones del edificio debido al deterioro provocado por la oxidación \ngalvánica de las piezas de aluminio de las barandas, lo que provocó \nel agrietamiento de las placas de granito originales que revestían \nlas vigas perimetrales de los seis balcones con los que cuenta la \ntorre. La oxidación galvánica tuvo su origen en el anclaje de los \nsoportes de aluminio de las barandas mediante piezas de hierro. \nLa combinación de metales diferentes ocasionó la corrosión. La \nconsecuente dilatación de la argamasa, en la fijación de las placas \nde granito, provocó diversas fisuras y roturas en el material inicial. \nEl estudio Di Filippo Arquitectura, tras estudiar el comportamiento \nde diversos materiales, determinó que Dekton reunía todos los \nrequisitos indispensables y requeridos para el trabajo de rehabilitación \nde la fachada. \nEl proyecto se ha completado con la instalación de nuevos balcones \nen vidrio laminado-temperado, y puertas correderas de grandes \ndimensiones que incorporaron más de 40 m² privativos a cada unidad. \nCap Ferrat is an iconic residential building located on the exclusive \nAvenida Vieira Souto in Rio de Janeiro. Built in 1976, this iconic \nfeature of the Brazilian neighborhood of Ipanema has a surface \narea of 2,000 m² and is 20 floors high. It includes flats, duplexes, \ngarages, and spaces for public use.\nBetween 2013 and 2016, forty years after it was built, a \nremodelling project was carried out on the cladding of the building’s \nbalconies due to the deterioration caused by the galvanic corrosion \nof the aluminum parts of the railings, which caused cracking of \nthe original granite pieces that sheathed the perimeter beams of \nthe tower’s six balconies. The galvanic corrosion was caused by the \nanchoring system of the aluminum railings, which used pieces of \niron. The combination of different metals caused the corrosion. The \nresulting expansion of the mortar that held the granite pieces caused \nthe original material to crack and break in many areas.\nThe studio Di Filippo Arquitectura studied the behavior of several \ntypes of materials and decided that Dekton brought together all the \nnecessary and indispensable requirements for the rehabilitation work \nto be done on the building’s facade. \nThe project was completed with the installation of new balconies \nin laminated-tempered glass as well as large-format sliding doors \nthat meant the addition of more than 40 m² (for private use) to \neach apartment unit. \nPhotos: MCA Studio\nArquitectos Architects:  \nDi Filippo Arquitectura\nColaboradores Collaborators:  \nGabriela de Lana, Carolina \nLuz, Renata Martinho, Marina \nAccioly\nConstructora Contractor: \nGMM-Anchor Systems, SA \nMartins Puertas de Correr, \nQ-Railing Barandas\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.37.png","C 12 35\n",37,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.38.png","36 C 12\n",38,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.39.png","C 12 37\nSe elige el color Danae \npor su elegancia y \npor su semejanza \ncromática al tono de \nla arena de playa. \nAdemás, se fusiona a la \nperfección con el resto \nde los materiales que \nconforman el volumen.\nThe cream tone Danae \nwas chosen for its \nelegance and chromatic \nsimilarity to the color  \nof the beach sand.  \nIt also blends perfectly \nwith the rest of the \nmaterials that shape the \ncovering as a whole. \n",39,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.40.png","38 C 12\nCuando se comenzó a trabajar en el proyecto de rehabilitación, \nla idea inicial estaba marcada por la necesidad de retirar las \npiezas originales de granito que estaban dañadas. Sin embargo, \nesto implicaba costes y plazos de ejecución inadmisibles para los \npropietarios. Ante esta situación, el gran desafío al que se enfrentó \nel equipo de trabajo fue el hecho de buscar un nuevo revestimiento \nque pudiera instalarse sobre el original y que supusiera una carga \nmáxima de 90 kilogramos por metro cuadrado. Asimismo, debido a su \nproximidad al mar, el material elegido debía adecuarse estéticamente \nal ambiente exterior, ofreciendo una tonalidad suave y agradable \npara el entorno, así como ofrecer unas propiedades mecánicas que \nsoportaran los deterioros que se suelen producir en este tipo de \nlocalizaciones. \nLos arquitectos apostaron por Dekton para la fachada porque \nsuponía el 50% de la carga admitida, por la posibilidad de fabricación \nde tablas de gran formato (3,2 m x 1,44 m) y a medida, por la precisión \nde corte en las piezas, por su comportamiento óptimo ante la erosión \nde la arena de la playa y el salitre, y por su alta resistencia a los rayos \nultravioleta, su estabilidad al color o su alta resistencia a las manchas.\nWhen work began on the rehabilitation project, the initial idea \nwas determined by the need to remove the original damaged pieces. \nHowever, this would have meant costs and timeframes that were \nunacceptable for the property owners. In view of this situation, the \ngreat challenge faced by the working team was to search for a new \ncladding that could be installed over the original and that would \nweigh no more than 90 kilograms per square meter. At the same \ntime, due to the building’s proximity to the ocean, the material \nchosen needed to suit the aesthetics of the outside environment \nwith soft, agreeable colors in tune with the surroundings, as well \nas to provide mechanical properties able to resist the deterioration \ncommon to this type of location.\nDi Filippo Arquitectura chose Dekton by Cosentino for the facade \nbecause it represented 50% of the weight permissible, because it \ncould be manufactured in large-format slabs (3.2 m x 1.44 m) and \ncustom sizes, for the cutting precision of the pieces, for its ideal \nperformance when faced with erosion caused by beach sand and salt \nresidue, and other exceptional qualities such as its high resistance \nto UV radiation, color stability, and high stain resistance.\n",40,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.41.png","C 12 39\n",41,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.42.png","40 C 12\nTHE DINER\nCosentino & David Rockwell\nCosentino\nDesign\n4\nEl equipo formado por el estudio estadounidense Rockwell Group, la \ncompañía española Cosentino, el estudio de diseño 2x4 y la revista \nnorteamericana Surface, presentan un espacio que nos traslada \na la estética de los diners llevada a otro nivel. Este restaurante \nefímero con aire retro utiliza superficies Cosentino para resolver \nespacios singulares: la superficie cuarzo Silestone, en los colores \nPearl Jasmine y Eternal Marquina, para dar forma a una barra central \ncurvada de 14 metros de largo; la superficie ultracompacta Dekton \nOnix, con un acabado inspirado en el cemento erosionado, para la \nbarra Roadside; y las tapas de mesa Dekton color Opera para las \nmesas de los Midwest, East Coast y West Coast diners. \nThe team formed by the American firm Rockwell Group, the Spanish \ncompany Cosentino, the design studio 2x4, and the American \nmagazine Surface presents a pop-up space that transports us to \nthe aesthetic of diners, bringing it to another level. This ephemeral \nrestaurant with a retro aesthetic uses Cosentino surfaces to create \nunique spaces: Silestone quartz surfaces in Pearl Jasmine and \nEternal Marquina tones for a central curved bar counter 14 meters \nlong; Dekton Onix ultracompact surfaces, with a finish inspired \nin eroded cement, for the Roadside bar counter; and Dekton table \ntops in color Opera for the tables of the Midwest, East Coast, and \nWest Coast diners. \nThe Diner, la instalación \ndiseñada por David \nRockwell en colaboración \ncon Cosentino, Surface \ny 2x4 para la Feria \nde diseño de Milán, \nha sido galardonada \nBest Engagement en \nFuorisalone 2018.\nDavid Rockwell together \nwith Cosentino Group, \nSurface, and the creative \nstudio 2x4 presented The \nDiner, an installation \nthat was awarded \nBest Engagement in \nFuorisalone 2018, during \nMilan Design Week.\n",42,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.43.png","C 12 41\n",43,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.44.png","42 C 12\nEl diseño, dirigido por \nel neoyorkino David \nRockwell, que ha \ndesarrollado el concepto \nde The Diner, ha contado \ncon la ayuda del estudio \ncreativo internacional \n2x4, autor de la identidad \ngráfica del proyecto.\nThe New York-based \narchitect David Rockwell \ndeveloped the concept \nfor The Diner in \ncollaboration with the \ninternational design \nstudio 2x4, in charge  \nof the graphic identity  \nof the project. \n",44,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.45.png","C 12 43\nCosentino, experta en \nsuperficies innovadoras \npara la arquitectura \ny el diseño, utiliza \nsus productos estrella \nen todo el proyecto: \nSilestone y Dekton \npara las barras y las \ntapas de las mesas.\nCosentino, expert in \nthe manufacturing of \ninnovative surfaces  \nfor architecture and \ndesign, uses its star \nproducts throughout the \nproject: Silestone and \nDekton for bar counters \nand table tops. \nPhotos:  Michele de Candia for Surface Media; Cosentino (p. 43 down left)\n",45,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.46.png","© Giuseppe Dall’Arche \n",46,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.47.png","Style\nFreeSpace\n16th Venice Architecture Biennale\n",47,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.48.png","46 C 12\nFREESPACE\n16th Venice Architecture Biennale  \nStyle\nEphemeral\n5\nLa 16ª Bienal de Arquitectura de \nVenecia, comisariada por las arquitectas \nYvonne Farrell (Irlanda, 1951) y Shelley \nMcNamara (Irlanda, 1952) —más \nconocidas como Grafton Architects—, \nha abierto sus puertas bajo el título \n‘FreeSpace’. La muestra defiende la \ncapacidad de la arquitectura para ser \ngenerosa sin dejar de ser funcional al \ntiempo que invita a los 71 participantes \na proponer su propia traducción del \nconcepto ‘FreeSpace.’ Más allá del \nreconocimiento concedido a Kenneth \nFrampton, al Pabellón de Suiza y a la \npropuesta de Souto de Moura  \n—premiados con el León de Oro—, esta \nedición será recordada por la primera \nparticipación del Vaticano en la Bienal. \nLa intervención está comisariada por \nFrancesco Dal Co, que ha invitado a diez \narquitectos de prestigio para diseñar otras \ntantas capillas diseminadas por un bosque \nde la isla de San Giorgio Maggiore. De \ntodas ellas, destacan el homenaje de \nSouto de Moura a los antiguos monolitos; \nla estructura tensegrity formada por \nlistones de madera de Norman Foster; el \nesqueleto de acero inoxidable con forma \nde cruz de Carla Juaçaba; y el volumen \n‘estilo misión’ de Flores & Prats.\nThe 16th Venice Architecture Biennale, \ncurated by Yvonne Farrell (Ireland, 1951) \nand Shelley McNamara (Ireland, 1952), \notherwise known as Grafton Architects, \nhas opened to the public under the title \n‘FreeSpace.’ The exhibition emphasizes \nthe capacity of architecture to be \ngenerous without ceasing to be functional, \nwhile inviting a total of 71 architects to \nput forward their own interpretations of \nthe concept ‘FreeSpace.’ Apart from the \nhonors bestowed on Kenneth Frampton, \nthe Swiss Pavilion, and Souto de Moura’s \nproposal – recipients of the Golden Lion – \nthis year’s Biennale will be remembered \nfor being the first one ever to bring in the \nVatican as a participant. The Holy See’s \nparticipation is curated by Francesco \nDal Co, who has invited ten architects \nof distinction to design small chapels \nscattered within a woodland on the \nVenetian island of San Giorgio Maggiore. \nStanding out among the resulting ten \ntemples are Souto de Moura’s tribute \nto ancient monoliths; Norman Foster’s \nensemble of slanting wooden slats  \nheld up by means of tensegrity; the  \nproud cross-shaped skeleton of stainless \nsteel by Carla Juaçaba; and the ‘mission \nstyle’ chapel by Flores & Prats.\nBajo el lema ‘FreeSpace’, \nesta edición de la \nbienal —comisariada por \nFarrell y McNamara— \ncelebra la generosidad \nde la arquitectura que \nbrinda bienestar a los \nciudadanos a través de la \ncalidad de sus espacios. \nThis year’s Biennale  \n– curated by Farrell \nand McNamara under \nthe motto ‘FreeSpace’ –  \ncelebrates the generosity  \nof architecture that \nbrings well-being to \ncitizens through the \nquality of its spaces. \nGrafton Architects, Corderie  ©Jacopo Salvi\n",48,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.49.png","C 12 47\nGrafton Architects, Corderie  ©Jacopo Salvi\n",49,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.50.png","48 C 12\nValerio Olgiati, Experience of Space  ©Andrea Avezzù\nFlores & Prats, Liquid Light  ©Andrea Avezzù\n",50,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.51.png","C 12 49\nLas comisarias decidieron \nliberar espacio interior \ndel Arsenale para \ncentrar la atención en \nlas instalaciones de los \n71 participantes que, de \ndiferentes maneras, tratan \nde ofrecer su versión \nsobre el ‘FreeSpace.’\nThe curators decided \nto free up the interior  \nspace of the Arsenale \nand focus attention on \nthe installations of the \n71 participants, who \noffer their own particular \ninterpretations of the \nconcept of ‘FreeSpace.’\nEMBT, Weaving Architecture  ©Francesco Galli\nParedes Pedrosa, The Dream of Space Produces Forms  ©Andrea Avezzù\nSouto de Moura, Vol de Jour © Francesco Galli\n",51,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.52.png","50 C 12\nEl Pabellón de Suiza \ntrabaja con la escala; \nel nórdico juega con \nburbujas; el de Australia \nacoge un ecosistema; \ny el de España toma la \nforma de un gran fanzine \nconstruido, con 143 \npropuestas de estudiantes. \nThe Swiss Pavilion \nexplores scale; the Nordic \none plays with bubbles; \nthe Australian Pavilion \nharbors an ecosystem; \nand that of Spain takes \nthe form of a huge \nbuilt fanzine, with 143 \nproposals by students. \nBarraco, Wright, Tegg. Australian Pavilion, Grasslands Repair  ©Andrea Avezzù\nAtxu Amann. Spanish Pavilion, Becoming  ©Miguel de Guzmán\nEero Lundén and Juulia Kauste, Nordic Pavilion, Another Generosity  ©Andrea Ferro \nBosshard, Tavor, Van der Ploeg, Vihervaara. Swiss Pavilion, Svizzera 240 - House Tour  ©Christian Beutler \u002F KEYSTONE\n",52,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.53.png","C 12 51\n",53,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.54.png","52 C 12\n",54,{"image":228,"text":229,"number":230},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.55.png","C 12 53\nEl Vaticano, en su primera \nparticipación en la Bienal, \nha construido un conjunto \nde diez capillas de firma \nen un bosque de la isla \nde San Giorgio Maggiore, \npara poner al día el \nviejo tema barroco de la \npropaganda religiosa.\nFor its Biennale debut \nand to update the \nold Baroque theme of \nreligious propaganda,  \nthe Vatican commissioned \nten signature architects  \nto build chapels in  \nthe woods of the island  \nof San Giorgio Maggiore.\nSouto de Moura, Vatican Chapel  ©Alessandra Chemollo\nFlores & Prats, Vatican Chapel  ©Adrià Goula\nCarla Juaçaba, Vatican Chapel  ©Alessandra Chemollo\nNorman Foster, Vatican Chapel  ©Laurian Ghinitoiu\n",55,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.56.png","© Miguel Galiano\n",56,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.57.png","Interview\nPiano & Galiano\nIn Dialogue\n",57,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.58.png","Interview\nConversation\n6\nPiano &  \nGaliano \nin dialogue\nRenzo Piano conversa con Luis \nFernández-Galiano en Génova \nsobre su itinerario profesional.\nRenzo Piano discusses with  \nLuis Fernández-Galiano in Genoa \nhis professional itinerary.\n",58,{"image":244,"text":19,"number":245},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.59.png",59,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.60.png","58 C 12\nPhotos: Miguel Galiano \nbrújula que no puedes ver porque está dentro \nde tu cuerpo y que, al estar bien protegida, \nno sufre la influencia perturbadora de los \ncampos magnéticos. ‘Brújula’ se refiere a mu-\nchas cosas. Es algo que no está incorporado \nen algo, sino que se construye a sí mismo, \nalgo que construyes tú desde la infancia y \nla adolescencia, a través de la experiencia. \nLFG: ¿Empezaste a construir esta brújula \ninterior en tu infancia? ¿Qué tipo de infancia \ntuviste? Tu padre era constructor. \nRP: Un pequeño constructor, no uno gran-\nde, y esto supone una gran diferencia. Los \ngrandes constructores son gente de negocios; \nlos pequeños pisan el suelo real, son artesa-\nnos. Mi padre tenía entonces diez o veinte \npersonas trabajando con él, y yo pasaba el \ntiempo libre con ellos, en la obra, sentado \nen la arena. Cuando creces en esa atmósfera, \nempiezas a construirte una pequeña brújula \nen algún sitio de tu interior, observando cómo \nEntrevistado en la casa y taller de Punta Nave \nen vísperas de su 80 aniversario, Renzo Piano \nrepasa con Luis Fernández-Galiano los co-\nmienzos de su carrera y su última obra, el \nCentro Botín. \nLuis Fernández-Galiano: Muchas gracias \npor recibirnos en tu casa, aquí en Punta Nave, \ncerca de Génova, la ciudad donde naciste \nhace casi ochenta años. Tu aniversario será en \nseptiembre, y este es quizás un buen momen-\nto para repasar tu biografía. Recientemente, \nun asteroide ha sido bautizado con tu nom-\nbre. Sólo Buckminster Fuller había merecido \nantes un honor semejante, cuando se le dio \nsu nombre a una molécula. Pero un asteroide \nes mucho más grande, ¡cinco kilómetros de \ndiámetro!\nRenzo Piano: Bueno, yo creo que todo el \nmundo tiene una estrella en alguna parte. \nLFG: Me decías antes que todo el mundo \nnecesita una especie de brújula interior, como \nla de los barcos, que pueda guiarnos en la \nvida. Yo diría que tus brújulas interiores son \nlos edificios, por un lado, y la gente, por el \notro. Construir para la gente. ¿Fueron estas \ntus dos referencias de juventud?\nRP: Empleo la palabra ‘brújula’ porque me \natraen los barcos, y me gusta la idea de una \nEl premio Pritzker Renzo \nPiano (Pegli, 1937) y \nel director de la revista \nArquitectura Viva, Luis \nFernández-Galiano \n(Calatayud, 1950), se \nreúnen en la casa aneja \nal estudio del arquitecto \nitaliano en Génova.\nThe Pritzker laureate \nRenzo Piano (Pegli, \n1937) and the director \nof Arquitectura Viva \nLuis Fernández-Galiano \n(Calatayud, 1950) meet \nin Genoa, at the house \nadjoining the studio of \nthe Italian architect.\nlas cosas se transforman en un edificio: la \narena, en un pilar; los ladrillos, en muros. \nPura magia para un niño de seis, siete u ocho \naños. Todo esto se interioriza. Otra influencia \nrelevante fue el puerto de Génova, que es \nuna ciudad mágica, donde nada toca tierra: \nlos barcos flotan; los edificios levitan; y las \ngrúas… ¡todo vuela!\nLFG: Pero, además de esas influencias, está \nla de la familia. ¿Qué papel desempeñaron \ntus padres? ¿Querían que fueras arquitecto? \nRP: Bueno, mi padre era constructor, así \nque me dijo que yo también debía serlo, aun-\nque en realidad no le importara demasiado: \nera un hombre tolerante. Le dije a mi madre \nque quería ser arquitecto, y ella me respondió \nque tendría que explicárselo a mi padre. Así \nque hablé con él. ¿Por qué arquitecto?, me \ndijo, puedes ser constructor; un constructor \nes más que un arquitecto. Mi hermano, diez \naños mayor que yo, también lo era. La verdad \nes que yo no quería ser arquitecto, sino algo \ndistinto a ellos. Eso es lo que pasa cuando \ntienes dieciocho años. \nLFG: Así que dejaste a tu familia, dejaste \nGénova, para irte a estudiar a Milán.  \nRP: Antes había ido a Florencia, que es \nuna ciudad hermosa, demasiado hermosa. \n«Mi padre era constructor. \nYo pasaba el tiempo libre \ncon él, en la obra, sentado \nen la arena»\n",60,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.61.png","Interviewed in his home and workshop at \nPunta Nave on the eve of turning 80, Renzo \nPiano and Luis Fernández-Galiano comment \non the first steps of his career and his latest \nwork, the Botín Centre. \nLuis Fernández-Galiano: Thank you so \nmuch for receiving us in your home here in \nPunta Nave, near Genoa, your hometown, \nwhere you were born almost eighty years ago. \nYou turn 80 in September, and this is perhaps \na good moment to go through your biography. \nAn asteroid was recently named after you. \nOnly Buckminster Fuller has something like \nthat, a molecule named after him. An asteroid \nis larger, 5 kilometers in diameter!\nRenzo Piano: I think everybody has a star \nsomewhere.\nLFG: You were telling me before that every-\nbody needs an inner compass, as ships do, to \nguide them in life. I would say that your inner \ncompasses are building on the one hand, and \npeople on the other. Building for people. Were \nthese your two references in youth?\nRP: I use the word ‘compass’ because I \nlike the idea of boats, and I like the idea of a \ncompass you don’t even see because it’s inside \nyour body, and can’t be disturbed because it’s \nwell protected against magnetic fields. ‘Com-\npass’ refers to many things. It’s not built-in, \nbut self-built, something you build yourself, \nfrom childhood and teenhood, through ex-\nperience. \nLFG: You started to build this inner com-\npass in childhood? What kind of a childhood \ndid you have? Your father was a builder.\nRP: A small builder, not a big builder. \nThat makes a big difference. Big builders \nare business people, small builders have real \nground, they are craftsmen. My father had \nten or twenty people working with him and I \nwould spend my free time with them, on the \nconstruction site, sitting on sand. When you \ngrow up in this atmosphere, you start to build \na little compass somewhere, watching how \nthings become a building, sand becoming a \ncolumn, bricks becoming walls. Pure magic to \na child of 6, 7, or 8. All this stays with you. \nAnother thing is the harbor, which is a magi-\ncal city, where nothing touches ground. Ships \nfloat. Buildings levitate. And the cranes… \nEverything flies! \nLFG: But besides these influences, there’s \nthe family. What role did your parents play? \nDid they want you to be an architect?\nRP: Well, my father was a builder so he \ntold me I should be a builder, but it didn’t \nreally matter, he was a very tolerant man. I \ntold my mother that I thought I should be an \narchitect. She said I would have to explain \nit to my father. So I went to him. He said, \nwhy an architect, you can be a builder. A \nbuilder is something more than an archi-\ntect. My brother, ten years older, was also a \nbuilder. The truth, I didn’t really want to be \nan architect. I just wanted to run away from \nthe family. That is what you want to do at 18.\nLFG: So you left the family in Genoa, and \nwent to Milan.\nRP: And before that I went to Florence, \nwhich is beautiful, but too beautiful. And \nif you’re 18, 19, or 20 and learning about \narchitecture, and you go to a place like Flor-\nence, you feel paralyzed by so much beauty \nand perfection. At some point I said, this is too \n“My father was a builder \nand I would spend my free \ntime on the construction \nsite, sitting on sand”\n",61,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.62.png","60 C 12\n",62,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.63.png","C 12 61\nbeautiful, I have to go to a place that’s much \nless beautiful. I went to Milan, which was \nless beautiful but more interesting, socially \nspeaking. It was the beginning of student \noccupation of schools. I led a double life for \nat least two years. During the day I worked \nin an atelier, with Franco Albini, which was \nfantastic. I was learning to be an architect, \ndrawing and all. In the evening I was join-\ning in the occupation activities. But all these \nthings contribute to the making of a little \ncompass, a treasure in life. This self-compass \nhas different names. And it’s not just about \none’s profession. It’s about life, about people, \nabout commitment, about politics in the real \nsense of the word. And there’s another thing, \nmore difficult to touch on: sense of beauty. It’s \nnot just about people, it’s also about color and \nlight. If you grow up by the Mediterranean, \nyou absorb something from this water. This \nsea is full of light, vibration, voices, and per-\nfumes. Somebody said that the water makes \nthings beautiful. It’s quite true.\nLFG: When you say that your final home \nwill not be in Paris or Genoa or New York, \nbut on a boat, I can understand it, given \nyour Mediterranean roots. But let me now ask \nyou something about your education. Did you \nlearn more from Albini than from the teach-\ners in Milan? You always speak of him with \ngreat devotion. \nRP: I went to university really to ‘occupy,’ \nnot to study, so yes, I learned more from Al-\nbini, but also because he was a real craftsman, \nsomeone who took pleasure in doing things, \nchecking, controlling, making prototypes, \nmaking pieces. It was a good school, but you \nknow, I wasn’t very good at school when I was \na child, so I grew up with the idea that, by \nwatching people, you learn. You don’t grow \nup with the arrogant attitude of thinking you \nknow enough. On the contrary, you grow up \nwith the idea that you have to learn because \nyou’re not good enough.\nLFG: So you were like a sponge with Franco \nAlbini.\nRP: Albini was one. Also, there’s a non-\nromantic aspect of things and events. I was \nborn shortly before the war. I’m the child of \na storm. When the war ended, I was 8 years \nold. So I grew up with this feeling that things \nwould become better in time. Every day, every \nweek, every month, the street would be a bit \ncleaner, my father would come home a bit \nmore relaxed, the food on the table was better. I \ngrew up with the idea that the passage of time \nimproves things. It’s mad, but it gives you the \noptimism you need to be an architect. I grew \nup with this idea, and even now I think that \ntomorrow will be better than today.\nLFG: Yes, we all know that you can’t be an \narchitect unless you’re an optimist. \nRP: Optimistic from every point of view, \nespecially if your work is to make places for \npeople, where they can come and stay to-\ngether. It’s about a civic duty. Then the world \nis a little better each time, it is. It’s little by \nlittle, drop by drop, day by day, but you’re \ndoing something to make a better world. If you \ndon’t believe in the capacity of architecture \nto change the world, if you don’t believe in \nthe capacity of beauty, and civic life and civic \nvalues, to make a better world – for me it’s \nnot just utopia, but a real possibility – then \nyou had better change profession, you’re in \nthe wrong one… \nLFG: I want us to wrap up this conversation \ndiscussing your recent project in Santander, \nwhere you have finished the Botín Centre. \nThat’s good news because in Spain before, \nyou had only built a small base for Luna \nRosa, in Valencia.\nRP: I never really worked in Spain so I’m \npleased I’ve been able to do this. It’s fantastic \nfor a number of reasons. First, I learned to \nlove Santander, which has a double identity: \none towards the Atlantic, and one on the bay. \nThe first one is rougher, breezier, with the \nwaves coming. The other one is like a lagoon \nwith light which is very similar to the light \nof Venice. The Jardines de Pereda look south \nand at the bay… the light is fantastic. I saw \nthe place after Emilio Botín came to us, and \nI was seduced by it… but also by the family, \nespecially Emilio Botín. We became very close \nquite quickly. I never thought of him as a \nbanker, but more as a dreamer. He was quite \na tough banker, I guess, but he was also a man \nwho was in love with education, with the new \ngenerations, with Santander… and with the \nidea of building something there. The Jardines \nde Pereda were separated from the bay by a \n“With the arrogant \nattitude of thinking \nyou know enough, you \ncannot grow up“\n",63,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.64.png","62 C 12\nY si tienes dieciocho, diecinueve o veinte \naños, estudias arquitectura y vas a un sitio \ncomo Florencia, acabas paralizado por tanta \nbelleza y perfección. Así que me dije: esto es \ndemasiado bonito; tengo que irme a un sitio \nque lo sea menos. Y me fui a Milán, que era \ndesde luego una ciudad menos bella pero más \ninteresante. Desde el punto de vista social, era \nla época de las ocupaciones de la universidad. \nLlevé una doble vida durante al menos dos \naños. Durante el día, trabajaba en el estudio \nde Franco Albini, que era fantástico. Estaba \naprendiendo a ser arquitecto, dibujando. Por \nla noche, me unía a las actividades políticas \nde ocupación. Todas estas cosas contribuye-\nron a la construcción de una pequeña brújula, \nun tesoro para toda la vida. Esta brújula del \nyo tiene diferentes nombres. No tiene que ver \ncon la profesión que uno ejerce; tiene que ver \ncon la vida, con la gente, con el compromiso, \ncon la política en el sentido real del término. \nHay otra cuestión importante al respecto, más \ndifícil: el sentido de la belleza. Este no tiene \nsólo que ver con la gente, sino con el color y \nla luz. Si creces en el Mediterráneo, absorbes \nalgo de su agua. Es un mar lleno de luz, de \nvibración, de voces y de perfumes. Alguien \ndijo una vez que el agua hace bellas las cosas. \nLFG: Cuando dices que, en último término, \ntu casa no está en París, Génova o Nueva \nYork, sino en un barco, puedo entenderlo, \ndadas tus raíces mediterráneas. Pero déja-\nme ahora preguntarte por algo acerca de tu \neducación: ¿aprendiste más de Albini que de \nlos profesores de Milán? Siempre hablas de \nél con gran devoción.\nRP: En realidad, fui a la Universidad para \n‘ocupar’, no para estudiar, así que puedo decir \nque aprendí más de Albini, aunque no sólo \npor eso. Albini era un artesano de verdad, que \nse complacía en hacer cosas, en comprobar, \ncontrolar, hacer prototipos, fabricar piezas. \nFue una buena escuela. Pero, sabes, de niño \nno fui muy buen estudiante, así que crecí con \nla idea de que, observando a la gente, podías \naprender. Uno no debe educarse con la actitud \narrogante de pensar que sabe suficiente, sino \ncon la idea de que tienes que aprender porque \naún no eres lo suficientemente bueno. \nLFG: Así que fuiste como una esponja du-\nrante tu etapa con Albini. \nRP: Albini era único. Pero en mi educación \ninfluyó también un modo de ver las cosas y \nlos hechos desde una posición no romántica. \nNací poco antes de la guerra. Soy hijo de una \ntormenta. Cuando la guerra terminó, tenía \nocho años; así que crecí con la sensación de \nque las cosas podían mejorar. Cada día, cada \nsemana, cada mes, la calle estaba un poco \nmás limpia, mi padre podía volver a casa un \npoco más relajado y la comida sobre la mesa \nera mejor. Crecí con la idea de que el paso \ndel tiempo mejora las cosas. Es una locura, \npero esta creencia te da el optimismo que \nnecesitas para ser arquitecto. Crecí con esta \nidea, e incluso ahora pienso que mañana será \nmejor que hoy. \nLFG: Todos sabemos que no puedes ser \narquitecto a menos que seas optimista. \nRP: Optimista desde todos los puntos de \nvista, pero especialmente si tu trabajo es hacer \n«Uno no debe educarse \ncon la actitud \narrogante de pensar \nque sabe suficiente»\n",64,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.65.png","C 12 63\nbusy road, and the decision to take the traf-\nfic down so that the Jardines could reach the \nwater became very important. It was made \nwith the family, with Emilio, with the mayor, \nand of course with the community. So it was, \nagain, a story of love for public space. It was \nnot about rhetoric or about showing muscles. \nEmilio Botín wanted something with a pres-\nence, but without standing out too much in the \nplace. And that’s why we made the building \nfly… because we have the trees there, so when \nyou come from the city, you go through the \npark, so by putting the building on columns, \nlike trunks, the building actually disappears. \nYou see through the leaves, the ground floor \nis free. If it rains you go there and you’re in \nthe shade if it’s a sunny day. Then you go \nup to the Plaza, a kind of space between the \ntwo buildings.\nLFG: You imagine it full of people moving \nup and down…\nRP: As soon as it stops raining in Santand-\ner, everybody goes to the Paseo. This building \nis right at the end of the Paseo, where it joins \nthe Jardines… so of course people will be a \nsort of fourth dimension. There are not just \nthree dimensions, there’s a fourth one: move-\nment. This is also true at the Pompidou, with \nthe escalators. It’s about movement. Even the \nWhitney, with those stairs. It’s about people \nmoving. What I expect from Santander, from \nthe Botín Centre, is that the ground floor, the \nplaza, and the stairs will be full of people \nmoving, resting in the bar or just sitting… \nThis will also be very good in the summer \nbecause we’re in the shade. And the magi-\ncal thing there is the light. When you look \nsouthward, the light touches the water and \nrises. The skin of ceramic pieces, 270,000 \npieces of nacre, mother-of-pearl, reflects the \nweather, the light. So it’s a bit organic, like \na fish jumping out of the water.\nLFG: With shiny scales…\nRP: There’s a reason for this. We wanted \nthe building sparkling and playing with the \nlight, gray light or sunny light. Even in the \nrain. We wanted a building that would have a \nkind of sparkling skin. So I cross my fingers. \nI think it’s going to be loved… A good build-\ning is one that’s loved, adopted by people. \nA place like this is what makes cities good \nplaces to stay in, because it’s about tolerance, \nsharing, values, enjoyment, community. This \nis important. The greatest joy of architects \nis to see their buildings loved by people. So, \nwhether in Rome or New York or Paris or San \nFrancisco, if I see people smiling and enjoying \nmy building, it’s a joy.\nLFG: That’s a good way to end this conver-\nsation about the points of the inner compass \nthat has guided you since childhood. Antoine \nde Saint-Exupéry’s Le Petit Prince has an \nasteroid, as you do, so now you can join the \nlittle prince up in the stars…\nRP: When they called me about this, you \nknow, I asked if this was a safe asteroid. They \nsaid, of course, we’ve been checking for ten \nyears, don’t worry. For how long, I asked. \nThey said, for at least two million years, the \nasteroid is safe!\n“A good building \nis one that’s loved, \nadopted by people”\n",65,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.66.png","64 C 12\nlugares para la gente, lugares que la gente \nfrecuenta y donde se reúne. Se trata de un \ndeber cívico. El mundo puede ser un poquito \nmejor cada día; es poco a poco, gota a gota, \ndía a día como se va mejorando el mundo. \nSi no crees en la capacidad de la arquitectura \npara cambiar el mundo, si no crees en la capa-\ncidad de la belleza,  de la vida y de los valores \ncívicos para construir un mundo mejor —para \nmí, esto no es una utopía, sino una posibi-\nlidad real—, entonces es mejor que cambies \nde profesión porque estás en la equivocada… \nLFG: Me gustaría terminar esta conver-\nsación hablando de tu reciente proyecto en \nSantander, el Centro Botín. Se trata de una \nbuena noticia, porque en España hasta ahora \nsólo habías construido la pequeña base del \nequipo Luna Rossa en Valencia. \nRP: Nunca había trabajado de verdad en \nEspaña, así que estoy agradecido por haber \npodido hacer el Centro Botín. Es fantástico \npor una serie de razones. Primero, porque he \naprendido a amar Santander, que tiene una \ndoble identidad: una, hacia el Cantábrico; la \notra, hacia la bahía. La primera es más áspera, \nexpuesta a los vientos y las olas; la otra es \ncomo un lago con una luz semejante a la de \nVenecia: una luz metafísica. Los Jardines de \nPereda miran hacia el sur y hacia la bahía, \ny la luz es fantástica. Vi el lugar después \nde que Emilio Botín nos hiciera el encargo. \nBotín me sedujo; también la familia, pero \nespecialmente él. Simpatizamos muy rápido. \nNunca le vi como un banquero, sino como un \nsoñador. Supongo que como banquero era un \ntipo duro, pero era también alguien enamo-\nrado de la educación, de la gente joven, de \nSantander… y de la idea de construir algo allí. \nLos Jardines de Pereda estaban separados \nde la bahía por una vía con mucho tráfico, y \nla decisión fue enterrarla de manera que los \nJardines pudieran extenderse hasta el mar: \nuna idea fundamental del proyecto, que se \nconsensuó con la familia, con Emilio, con \nel alcalde y, por supuesto, con la opinión \npública. De nuevo, una historia de amor por \nel espacio público. El proyecto no tiene que \nver con la retórica y con exhibir musculatura. \nEmilio Botín quería algo con presencia, pero \nque no se impusiera al lugar. Por eso hicimos \nque el edificio volara sobre el suelo, porque \nhabía muchos árboles, y así, viniendo de la \nciudad, al atravesar el parque, se pueden ver \nlos pilares sobre los que se levanta el edificio \ncomo si fueran troncos, y el edificio desapa-\nrece. Puedes mirar a través de las copas de \nlos árboles; el plano del suelo está libre. Si \nllueve, te puedes cobijar bajo el edificio; lo \nmismo en un día soleado. Después, subes a \nla plaza elevada...\nLFG: Uno se imagina la plaza y las es-\ncaleras llenas de gente, moviéndose arriba \ny abajo…\nRP: En cuanto deja de llover en Santander, \ntodo el mundo se va al Paseo. Este edificio \nestá bien situado al final del Paseo, donde \neste se junta con los Jardines… La gente es \ncomo una cuarta dimensión. No hay sólo tres \ndimensiones; hay una cuarta: el movimien-\nto. Esto también es cierto en el Pompidou; \nocurre en las escaleras mecánicas. Incluso \nen el Whitney. Y es algo que tiene que ver \ncon la gente moviéndose. Lo que espero que \nocurra en Santander es que la planta baja del \nCentro Botín, la plaza elevada y las escaleras \nestén llenas de gente moviéndose de un lado \na otro, descansando en el bar o simplemente \nsentándose allí. Esto funcionará muy bien en \nel verano, porque habrá sombra. Y la cosa más \nmágica será la luz: cuando miras al sur, la luz \nse refleja en el agua. La piel de piezas cerá-\nmicas —270.000 piezas nacaradas— refleja el \ntiempo atmosférico, la luz. Así que el edificio \nacaba siendo un poco orgánico, como un pez \nsaltando del agua.\nLFG: Con sus escamas brillantes…\nRP: Hay una razón para esto. Queríamos \nque el edificio brillara y jugase con la luz, ya \nfuera una luz gris o de verano. Incluso cuando \nlloviese. Queríamos un edificio que tuviera \nuna especie de piel centelleante. Así que cruzo \nlos dedos. Creo que el edificio va a gustar… \nUn buen edificio es aquel que acaba siendo \nquerido, adoptado por la gente. Lugares como \nestos son los que hacen que las ciudades sean \nbuenos sitios para vivir, porque están rela-\ncionados con la tolerancia, la convivencia, \nlos valores, el disfrute, la comunidad. Esto es \nimportante. La mayor dicha de los arquitectos \nes comprobar que sus edificios son apreciados \npor la gente. Ya sea en Roma, Nueva York, \nParís o San Francisco, si veo a la gente son-\nriendo y disfrutando en mis edificios, para mí \nes la mayor satisfacción. \nLFG: Es una buena manera de terminar esta \nconversación sobre los aspectos de esa brújula \ninterior que te ha guiado desde la infancia. El \nprincipito de Antoine de Saint-Exupéry tenía \nun asteroide, como tú, así que, de algún modo, \npuedes unirte a él en las estrellas…\nRP: Sabes, cuando me llamaron por este \ntema, pregunté si se trataba de un asteroide \nseguro. Por supuesto, dijeron, llevamos diez \naños comprobando su estado, no te preocu-\npes. ¿Durante cuánto tiempo será seguro?, \ninsistí. ¡Durante al menos los próximos dos \nmillones de años!\n«Un buen edificio es aquel \nque acaba siendo querido, \nadoptado por la gente»\n",66,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.67.png","C 12 65\n",67,{"image":279,"text":19,"number":280},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.68.png",68,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.69.png","Travel\nDubai\nUAE\n",69,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.70.png","01\nLocated on a private \nisland facing Jumeirah \nbeach and rising up to \n321 meters, the Burj Al \nArab Hotel goes beyond \nthe five-star rating, \nreaching the highest \nlevels of luxury and \nexclusiveness.\nHotel \nBurj Al Arab\n02\nUn espectáculo \ncoreográfico de luz, \nagua y sonido emerge \ncada noche del lago \nsituado en la base de \nla torre Burj Khalifa, \nque ostenta el récord \nde tener la fuente más \ngrande del mundo. \nA dazzling choreographic \nspectacle of light, water, \nand sound, the Dubai \nFountain emerges every \nnight from Burj Lake  \n– stretching at the base of \nthe Burj Khalifa –, and is \ntoday the world’s tallest \nperforming fountain.\nWater Show \nThe Dubai Fountain \nsource: inforema.mx\nLevantado sobre su \npropia isla artificial \nfrente a la playa \nJumeirah, el hotel Burj \nAl Arab supera el límite \nde la calificación cinco \nestrellas, alcanzando los \nniveles más altos de lujo \ny exclusividad. \n68 C12\nDubai\nTravel\nUAE\n7\nEn un periodo muy breve, \nDubái ha transitado desde \nlas poblaciones nómadas \nde beduinos hasta una \nmetrópolis contemporánea. \nIn a very short period, Dubai \nhas gone from being the \nhome of nomadic Bedouin \npopulations to becoming a \ncontemporary metropolis.  \nsource: dinaster.com\n",70,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.71.png","C12 69\n© Iwan Baan\n03\nHigh-Rise \nBurj Khalifa\nCon 828 metros, el Burj \nKhalifa es la estructura \nmás alta construida \npor el hombre. Su \nperfil telescópico \nalberga un auténtico \nmicrocosmos vertical con \nhoteles, restaurantes, \napartamentos y oficinas.\nRising 828 meters  \nhigh, the Burj Khalifa \nis to date the tallest \nstructure ever built. \nIts telescopic profile \ncontains a true vertical \nmicrocosm with \nhotels, restaurants, \napartments, and offices. \n",71,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.72.png","source: lavidaesinfinito.com\nArtificial Archipelago\nThe World\nBuilt in the shape of a \nworld map, this eccentric \nartificial archipelago of \n300 islands makes it \npossible for someone to \nchoose among ‘Belgium,’ \n‘Mexico,’ or ‘Israel’ to build \ntheir home, reachable only \nby air or by sea.\nCon forma de mapamundi, \neste excéntrico \narchipiélago artificial de \n300 islas permite que \nalguien se pueda comprar \n‘Bélgica’, ‘México’ o \n‘Israel’ para construir su \ncasa, a la que sólo podrá \nllegar por aire o por mar. \n06\n© Air Pano\nTowers \nDubai Marina\n04\nOrganized around an \nartificial canal which \nflows out to the sea, the \nDubai Marina allows \nreaching the different \ntowers – offices or \nresidential – by boat,  \nas well as strolling  \nalong the harbor. \nDistribuido en torno a \nun canal artificial con \nsalida al mar, el conjunto \nDubai Marina permite \nllegar a las diferentes \ntorres —residenciales o de \noficinas— en barco, así \ncomo pasear a lo largo de \nun camino por el puerto.    \nTo increase the number of \nhouses with private beach, \nPalm Jumeirah Island was \ndesigned in the shape of \na palm tree. Around the \nleaves, a large aureole \nfunctions as a breakwater \nand a monorail links the \ntrunk with Dubai. \nPara multiplicar los \nkilómetros de playa, la \nisla Palm Jumeirah se \nconstruyó con forma de \npalmera. En torno a las \nramas, una gran aureola \nactúa como rompeolas y \nun monorraíl conecta el \ntronco con Dubái.  \n05\nArtificial Island\n Palm Jumeirah\nsource: earthobservatory.nasa.gov\n70 C12\n",72,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.73.png","© Martin Child\n© Dmitry Birin\nC12 71\n07\nAt the westernmost point \nof Palm Jumeirah Island, \nthe Atlantis Hotel offers \na huge window to the sea \nand features an amusement \npark, more than 3,000 \nrooms, and underwater \nsuites that recreate the \nmyth of the Atlantis. \nLuxury Resort \nAtlantis Hotel\nEn el límite occidental de \nla isla Palm Jumeirah, el \nhotel Atlantis enmarca una \ngran puerta hacia el mar y \ncuenta con un parque de \natracciones, más de 3.000 \nhabitaciones y varias suites \nsubacuáticas que recrean el \nmito de la Atlántida.\n© Gerhard Huber\n10\nHistoric Architecture \nAl Fahidi District\nIn contrast with the \nfuturistic skyline, the Al \nFahidi historic quarter \npreserves elements from \nArab tradition like interior \ncourtyards, labyrinthine \nstreets, and wind towers, \nwhich cool the environment \nby natural means. \nEn contraste con el paisaje \nfuturista de rascacielos, el \nbarrio histórico Al Fahidi \nconserva elementos de \nla tradición árabe como \npatios interiores, calles \nlaberínticas o torres de \nviento, que climatizan de \nforma natural el ambiente. \n08\nBuilt in white stone, \nfollowing the Fatimid \ntradition, this temple \nis the only mosque in \nDubai that is open to the \npublic, allowing entry \nalso to non-Muslim \nvisitors (as long as they \nrespect the dress code). \nConstruido en piedra \nblanca, siguiendo la \ntradición Fatimí, este \ntemplo es la única \nmezquita de Dubái que \npermite la entrada a \nvisitantes no musulmanes \n(siempre que respeten el \ncódigo de vestimenta). \nReligious\nJumeirah Mosque\nHistoric Building\nAl Maktoum House\n09\nThis 19th-century house, \nfit out today as a museum, \nbelonged to the Al \nMaktoum ruling family.\nEsta casa del siglo xix, \nhabilitada hoy como museo, \nperteneció a la familia de \ngobernantes Al Maktoum. \nsource: holidaycheck.de\n",73,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.74.png","13\n© Mohamed Somji\n© Iwan Baan\nRehabilitado por OMA, este \nedificio destinado al arte \nconserva la atmósfera de su \nantiguo uso industrial. \nRefurbished by the Dutch firm \nOMA, the art center maintains \nan industrial atmosphere \nevocative of its previous use. \nCada planta de esta torre \ndiseñada por SOM gira 1,2 \ngrados, dando lugar a un \nperfil torsionado. \nEach floor of this tower \ndesigned by SOM rotates \n1.2 degrees, generating an \niconic twisting profile. \nA huge golden rectangle \nthat reaches 150 meters \nin height literally frames \nthe cityscape of old and \nnew Dubai and features \na museum, on the \nground floor, about the \nextreme transformation \nof the city. \nUn colosal rectángulo \ndorado que alcanza los \n150 metros de altura \nenmarca literalmente \nel paisaje urbano del \nnuevo y el viejo Dubái \ny cuenta con un museo \nen planta baja sobre la \nevolución de la ciudad. \nCultural Center \nAlserkal Avenue\nResidential Building \nCayan Tower\nPanoramic Views\nThe Dubai Frame\nsource: imarsa.com\n12\n11\nsource: blog.abilia.mx\n72 C12\n",74,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.75.png","© Nelson Garrido\n14\nEn sólo una generación, el \nperfil urbano de Dubái ha \npasado de cero a infinito, \ncon más de 22 rascacielos \nde más de 300 metros, \ny seguirá creciendo con  \nproyectos como la torre \nde más de un kilómetro \ndiseñada por Calatrava. \nIn just one generation, \nthe urban profile of \nDubai has gone from zero \nto infinity, with more \nthan 22 skyscrapers of \nover 300 meters. The city \nwill keep on growing with \nprojects like Calatrava’s \none-kilometer tower.\nSkyline\nDowntown Dubai \nC12 73\n© Andreas Keller\n© Airey Spaces\n17\nArchitecture \nO-14 Tower\nPerforated like a  \nGruyère cheese, the \nenclosure of this tower \ndesigned by the Japanese \noffice RUR has both a \nstructural role and a \nclimatic one, because  \nit provides shade and \nfavors air circulation. \nAgujereada como \nun queso Gruyère, la \nenvolvente de esta torre \ndiseñada por los japoneses \nRUR tiene tanto una \nfunción estructural como \nclimática, ya que arroja \nsombra e impulsa la \ncirculación del aire.  \n15\nSurrounded by the \nbreakwater of the Palm \nJumeirah, the residential \ntower by the Catalan  \ntrio RCR Arquitectes \n– 2017 Pritzker Prize \nlaureates – combines \nluxury and simplicity  \nwith high-quality finishes. \nSituado en el rompeolas \nde la palmera Jumeirah, el \nedificio residencial diseñado \npor los gerundenses RCR \n—ganadores del Pritzker \n2017— combina lujo y \nsencillez a través de la \nprecisión de los acabados y \nla calidad de los materiales. \nLuxury Housing\nMuraba Residences\nCreative Cluster\nDubai Design District\n16\nAiming to boost local \ntalent, this district offers \nservices to a growing \ncommunity of designers.\nCon el objetivo de impulsar \nel talento local, este distrito \nofrece servicios a una creciente \ncomunidad de diseñadores.\n",75,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.76.png","74 C12\nSports Competition \nCamel Racing Club\n21\nLuxury Hotel\nAl Maha Resort \nShopping\nTextile Souk\n20\nA wood roof shelters the \nstalls in this traditional \ntextile souk located next  \nto Dubai Creek.  \nIn these increasingly  \npopular camel races,  \nremote-controlled robots \nreplace human jockeys. \nJunto a la ría Dubai Creek, \nuna cubierta de madera \nprotege los puestos del \nmercado de las telas. \nEn las populares carreras \nde camellos un robot \nteledirigido sustituye al \ntradicional jinete. \nThe mirage of finding  \nan oasis in the desert \ncomes true upon \nreaching Al Maha \nResort, filled with pools, \nlounges, dining halls, \nand suites inspired in \nthe Bedouin tents. \nEl espejismo de encontrar \nun oasis en el desierto \nse cumple al llegar al \ncomplejo Al Maha que \ncuenta con piscinas, \nsalones, comedores y \nsuites inspiradas en \ntiendas beduinas.\n19\n18\nA sólo unos kilómetros del \ncentro, el desierto se ha \nconvertido en un atractivo \nturístico más, que ofrece \npaquetes de actividades \ncon safaris en quad, paseos \nen camello, cenas de \nbarbacoa o espectáculos de \ndanza del vientre.\nJust a few kilometers \nfrom the city center, \nthe desert of Dubai \nhas become a magnet \nfor tourists, offering \nactivities like safaris \nin quads, camel riding \ntours, barbecue dinners, \nor belly dancing shows. \nLandscape\nDesert Safari\n© Design Pics Inc\nsource: al-maha.com\nsource: stockclip.com\n© Francois Nel \n",76,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.77.png","C12 75\nCon más de 300 puestos \nde joyería, se estima que \nen este zoco hay más de \ndiez toneladas de oro. \nWith more than 300 \njewelry stalls, this souk \ntreasures approximately \nten tons of gold. \n22\nShopping\nGold Souk\n23\nShopping\nIbn Battuta Mall\nEl centro comercial Ibn \nBattuta combina tiendas, \nrestaurantes y bares \ncontemporáneos con \nuna decoración temática \nque recrea de manera  \nhistoricista los viajes del \nfamoso explorador árabe \nque le da nombre.\nIbn Battuta Mall features \nshops, restaurants, and \nbars in a contemporary \nstyle combined with \na historicist thematic \ndecoration that recreates \nthe travels of the famous \nArab explorer that lends \nthe center its name. \n26\nPanoramic Views\nAt the Top\nAdemás del mirador \nmás alto del mundo, \nsituado a 555 metros \nsobre el suelo, la torre \nBurj Khalifa ofrece \nespacios intermedios \npara contemplar el \nespectáculo lumínico de \nla ciudad al anochecer.  \nAside from having \nthe world’s tallest \nobservation deck, at 555 \nmeters above street level, \nthe Burj Khalifa also \nfeatures intermediate \nspaces from which to \nenjoy the spectacle of the \ncity lighting up at night.\nShopping\nApple Dubai Mall\n25\nEvocative of traditional \nArab latticeworks or \n‘mashrabiyas,’ a series \nof carbon fiber mobile \nslats gradate the amount \nof light that enters the \nApple Store, designed by \nFoster + Partners. \nInspiradas en las celosías \ntradicionales árabes o \n‘mashrabiya’, un conjunto \nde lamas móviles de fibra \nde carbono ligero regulan \nla entrada de luz a la \ntienda Apple, diseñada \npor Foster + Partners.\nLeisure Activities\nMall of The Emirates \n24\nSkiing in a desertic \ncountry is possible in \nplaces like this mall, which \nhas its own ski slope.\nEsquiar en un país desértico \nes posible en lugares como \neste centro comercial que \nalberga una pista de nieve.\nNightlife\nWhite Dubai\n27\nSurrounded by screens,  \nthe central outdoor stage \nis the main attraction at \nthe White Dubai nightclub.\nRodeado por pantallas, el \nescenario central al aire \nlibre es el protagonista del \nclub nocturno White.\n© Iwan Baan\nsource: exoticholidays.bg\n© Nick Hannes\nsource: showccasion.com\n© Foster + Partners \nsource: votpusk.ru\n",77,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.78.png","76 C12\n04\n02\n05\n24\n06\n20\n12\n03\n26\n14\n11\n22\n01\n13\n25\n08\n17\n07\n27\n15\n09\n16\n04\n10\n23\n",78,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.79.png","C12 77\n 10. Jumeirah Mosque\nJumeirah Beach Road\n971 4 353 6666\nDubai Marina\ncayan.net\n971 4 369 9910\n8am-6pm Sun-Fri\n 17. Muraba Residences\nEast Crescent Road\nThe Palm Jumeirah East\ninfo@muraba.ae\nmuraba.ae\n971 4 325 3144\nthedubaiframe.com\n971 4 325 3144\n 21. Camel Racing Club\nAl Ain-Dubai Road\ndcrc.ae\n971 4 832 6526\n07:30am-01pm Sun-Thur\n 23. Ibn Battuta Mall\n 24. Mall of The Emirates \n 12. Alserkal Avenue\n 18. Desert Safari\ndesertsafaridubai.com\n971-4-2087-466\n 16. Dubai Design District\n11200 SW 8th Street\ndubaidesigndistrict.com\n971 4 433 3000\nAl Shindagha area - Bur Dubai\ninfo@dubaiculture.ae\n971 4 393 7139\nSheikh Mohammed bin Rashid \nBoulevard\n6pm-11pm Mon-Sun\n 25. Apple Dubai Mall\nThe Dubai Mall - Downtown\n971 800 04449012\nmalloftheemirates.com\n971 4 409 9000\nSikkat Al-Khail Rd, Deira\n09:30am-09:30pm Mon-Sun\n 27. White Dubai\nMeydan Racecourse \nGrandstand Rooftop,  \nNad Al Sheba 1\nwhitedubai.com\n971 50 443 0933\n 14. Downtown Dubai\n 20. Textile Souk\n57 Ali Bin Abi Talib St\n971 55 809 1447\n 02. The Dubai Fountain\n 01. Burj Al Arab Hotel\n 03. Burj Khalifa\n 04. Marina Towers\n 05. Palm Jumeirah\n 06. The World\n 07. Atlantis Hotel\n 08. Al Fahidi District\nJumeira Road، \njumeirah.com\ncommunities@ecm.ae\ndubaimarina.ae\n971 4 366 1688 \nCrescent Rd\natlantisthepalm.com\n971 4 426 2000\nDubai\nLocalización y datos prácticos \nLocation and useful information  \n 13. The Dubai Frame\nStreet 8, Al Quoz 1\nalserkalavenue.ae\ninfo@alserkalavenue.ae\n971 50 556 9797\n1 Sheikh Mohammed bin \nRashid Boulevard\nburjkhalifa.ae\nInfo@atthetop.ae\n 11. Cayan Tower\n 15. O-14 Tower\nPlot BB-A05-014 \nBusiness Bay\n 26. At the Top\nBurj Khalifa - 1 Sheikh \nMohammed bin Rashid Blvd \ntickets.atthetop.ae\n971 800 28843867\nSheikh Zayed Rd\nibnbattutamall.com\n971 4 362 1900\n10am-10pm Mon-Sun\n 09. Al Maktoum House\n 22. Gold Souk\n 19. Al Maha Resort\nDesert Conservation Reserve \nal-maha.com\n971 4 832 9900\n18\n19\n21\n",79,{"image":326,"text":19,"number":327},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.80.png",80,{"image":329,"text":19,"number":330},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.81.png",81,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002F9b\u002Fa7defa4663e967f69fc909b8ba764d-28f7865e80.82.png","website: www.magaceen.com   facebook: Magaceen   twitter: @magaceen   instagram: @magaceen   email: 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