[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-14":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":341},{"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":336,"matched_pages":337,"match_count":338,"two_pages":339,"show_text":340},24486,"Architecture & Everything Else 14","cosentino-architecture-and-everything-else-14","\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fd1\u002F8cdc29d9f38ef9580977f708e36053-28f788a8b3.pdf","Cosentino",2482,"cosentino","222.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,231,235,239,243,247,251,255,259,263,267,271,275,279,283,287,291,295,299,303,307,311,315,319,323,327,331,334],{"image":7,"text":15,"number":16},"c \n14 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.3.png","c\ncontents\n16\n06\n24\n32\n44\n56\n68\n  Architecture\n 06 The ImprInT aT paradIse CITy  MVRDV in South Korea  \n \n Un nuevo centro de ocio donde los edificios se pliegan generando una imagen surrealista. \n \n A new leisure center where the buildings fold to generate a surrealist image. \n \n Innovation\n 24 Under  Subaquatic Restaurant by Snøhetta\n \n el proyecto investiga la construcción submarina y desarrolla nuevos materiales.  \n \n The project studies submarine construction and develops new materials.\n \n Cosentino\n 32 deKTOn sCaLes  Gunni & Trentino Flagship in Madrid\n \n Una piel escamada de piezas de dekton transforma el edificio en un icono urbano. \n \n A skin of Dekton scales transforms the building into an urban icon.\n 38 rayTraCe  Benjamin Hubert with Dekton\n \n La instalación explora nuevas posibilidades de dekton en la milan design Week 2019.\n \n The installation explores new possibilities for Dekton at Milan Design Week 2019.\n \n Style\n 44 aesOp sTOres  Taxonomy of Design\n \n Una selección de las mejores tiendas de la marca especializada en el cuidado de la piel.\n \n A selection of the best stores of the brand specialized in skincare products.  \n  Interview\n 56 paredes pedrOsa & daL CO  In dialogue\n \n el italiano conversa con los madrileños en la sede de mondadori en milán.\n \n The Italian editor and the Spanish duo talked at Mondadori’s Milan headquarters.\n  Travel\n 68 KUaLa LUmpUr  Malaysia\n \n Una colección multicultural de hitos urbanos en torno a las torres petronas.    \n \n A crop of multicultural urban landmarks in the city of the Petronas Towers.  \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 The pOTemKIn VILLaGe  Gregor Sailer\n \n Una insólita serie de escenarios ilusorios que recrean ciudades inhabitadas.\n \n A unique series of illusory settings that recreate abandoned cities. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.4.png","Depósito Legal: m-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nGunni & Trentino headquarters in madrid \n© miguel Fernández-Galiano\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 \nsandra Borge \npablo Canga \nCuca Flores \nLaura González \nClara molero \nJesús pascual \nTeresa pastor \nelena pellegero \nantonio plaza \nraquel Vázquez \nTraducción Translations\nGina Cariño, Laura mulas\nImpresión Printing\nartes Gráficas palermo s.L.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.5.png","L\na famiLia martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. a partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva aportación al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.6.png","© Roland Halbe\n© Ute Zscharnt\n© Ossip van Duivenbode\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.7.png","Architecture\nThe Imprint at Paradise City\nMVRDV in South Korea\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.8.png","6 C 14\nArchitecture\nBuilding\n1\nComo si se tratara de un gran telón dorado, la fachada del conjunto \nThe Imprint se pliega en los puntos de acceso generando la impresión \nsurrealista de que los edificios se despegan del suelo para llamar la \natención de los visitantes. Diseñado por la firma holandesa MVRDV, \nel proyecto se compone por dos volúmenes —una discoteca y un \nparque temático cubierto— que forman parte de Paradise City, un \ncomplejo de entretenimiento y atracciones hoteleras situado junto al \naeropuerto de Incheon, próximo a Seúl. \nDado que estos usos no necesitan la entrada de luz natural, los \nfrentes son ciegos y reproducen la composición de las fachadas cir-\ncundantes mediante piezas moldeadas de hormigón reforzado con \nfibra de vidrio. Los encofrados de los 3.869 paneles se fabricaron \nde manera individual con tecnología 3D, ya que la geometría de la \nmayor parte de ellos es única. Una vez instalados, se pintaron de forma \nhomogénea para enfatizar el relieve y generar una imagen abstracta \nque sitúa el proyecto en el límite entre el arte y la arquitectura. Un \ngran círculo dorado tiñe la fachada como si fuera la luz de un gran \nfoco. Este expresivo elemento, visible desde lejos, reacciona con la \nluz solar y con la iluminación nocturna, dotando al espacio de una \natmósfera resplandeciente cargada de matices. Con esta misma in-\ntención efectista, los pavimentos y los techos de los accesos —donde \nel edificio se levanta del suelo— se revisten con superficies espejadas \ny vidriadas que multiplican la teatralidad psicotrópica del conjunto.        \nThe facade of The Imprint forms entrances evocative of golden \ntheater curtains opening up from the bottom, and which create the \nsurrealist impression of a building that takes off from the ground \nto draw the attention of visitors. Designed by the Dutch studio \nMVRDV, the complex consists of two buildings – a nightclub and \nan indoor theme park – included within the larger Paradise City, \nan entertainment and hotel complex in close proximity to Seoul’s \nIncheon Airport. \nThis type of program does not require natural light, so the \nfacades are windowless structures and feature imprints of the fa-\ncade features of surrounding buildings using fiberglass-reinforced \nconcrete elements. As the shape of many of the 3,869 panels is \nunique, these were individually produced using 3D technology. \nOnce installed, the panels were all painted uniformly to emphasize \nthe relief and generate an abstract image that places the project \non the boundary between architecture and art. A large golden dot \nis cast on the facade as if it were a huge spotlight. This expressive \nelement, visible from afar, reacts to sunlight and to night lights, \ngiving the space a glowing atmosphere full of nuances. With this \nsame dramatic purpose, the floors and ceilings of the entrances \n– where the building rises from the ground – are clad with glass \nand mirrored surfaces, increasing the psychotropic theatricality \nof the ensemble. \nThe Imprint at \nParadise City\nMVRDV in South Korea\nSituado junto al principal \naeropuerto de Corea del \nSur, el proyecto forma \nparte del complejo de \nocio Paradise City al \nque añade dos edificios \ndestinados a albergar  \nuna discoteca y un \nparque temático interior.  \nLocated close to South \nKorea’s largest airport, \nthe project is part \nof the Paradise City \nentertainment and hotel \ncomplex, to which it  \nadds two new buildings: \na nightclub and an  \nindoor theme park. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.9.png","C 14 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.10.png","8 C 14\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.11.png","C 14 9\nLa envolvente de los dos \nedificios está compuesta \npor 3.869 paneles de \nhormigón reforzado \ncon fibra de vidrio y \ncuenta con un relieve \nfigurativo que reproduce \nlas fachadas de los \nvolúmenes vecinos.\nThe envelope of the \ntwo buildings consists \nof 3,869 panels of \nfiberglass-reinforced \nconcrete elements,  \nwith a figurative relief \nthat reproduces the \nfacade features of \nsurrounding buildings.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.12.png","10 C 14\nEn los puntos de acceso, \nla fachada se levanta \ncomo si fuera el telón \nde un escenario dejando \nver el espectáculo \naudiovisual creado \npor los reflejos entre \nel techo espejado y las \nproyecciones del suelo. \nAt the entrances, the \nfacade rises as if it \nwere a theater curtain \nopening up from the \nbottom to unveil the \naudiovisual show \ncreated by the reflections \nbetween the mirrored \nceiling and the floor. \n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.13.png","C 14 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.14.png","12 C 14\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.15.png","C 14 13\nArquitectos Architects\nMVRDV \nEquipo Team\nWiny Maas (director de proyecto principal-in-charge); \nWenchian Shi (socio partner); María López Calleja, Daehee \nSuk, Xiaoting Chen, Kyosuk Lee, Guang Ruey Tan, Stavros \nGargaretas, Mafalda Rangel, Dong Min Lee (equipo de \ndiseño design team); Antonio Luca Coco, Davide Calabro, \nTomasso Maschietti (imágenes visualization)\nColaboradores Collaborators\nGANSAM Architects & Partners (arquitectos asociados  \nco-architects)\nConsultores Consultant\nVS-A Group Ltd (fachada facade consultant); WITHWORKS \n(panelización panelization consultant); Techwall \n(GFRC); EON SLD (diseño de iluminación lighting \ndesign); L’Observatoire International (consultoría de \niluminación lighting consulting)\nCliente Client\nParadise Segasammy Co. Ltd.\nFotos Photos\nOssip van Duivenbode\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.16.png","© Gregor Sailer\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.17.png","Arts\nThe Potemkin Village\nGregor Sailer\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.18.png","16 C 14\nThe Potemkin Village \nGregor Sailer\nArts\nPhotography\n2\nThe work of the Austrian photographer \nand designer Gregor Sailer (Schwaz, 1980) \nhas reflected an interest in architecture \nfrom the beginning of his career. Between \n2015 and 2017 he completed ‘The \nPotemkin Village’ series, a research on \nthis concept inspired in the Russian myth \naccording to which marshal Grigory \nAleksandrovich Potemkin built fake \nsettlements to conceal the ruinous state \nof the newly annexed Crimea from the \nRussian Empress Catherine the Great. \nThe result is a showcase of counterfeit \narchitecture that includes vehicle test  \ncities or combat training centers.\nFor two years Sailer \nphotographed about \ntwenty ‘Potemkin villages’ \nin countries like the \nUnited States, Sweden, \nor France, exploring the \nfeatures that define  \nthese simulated towns  \nthat are only facades.\nDurante dos años Sailer \nfotografió una veintena \nde ‘aldeas Potemkin’, \nen países como Estados \nUnidos, Suecia o \nFrancia, explorando los \nrasgos que definen a \nestos pueblos simulados \nque son sólo fachada.\nInteresado por la arquitectura desde \nlos inicios de su carrera, el diseñador y \nfotógrafo austriaco Gregor Sailer (Schwaz, \n1980) realizó entre 2015 y 2017 ‘La \naldea Potemkin’, una investigación sobre \nel mito ruso según el cual el mariscal \nGregorio Potemkin construyó pueblos \nfalsos para ocultar el ruinoso estado de la \nrecién anexionada Crimea a la emperatriz \nCatalina la Grande. El resultado es un \nmuestrario de farsas arquitectónicas que \nincluye desde escenarios para probar \nsistemas de seguridad de automóviles \nhasta asentamientos militares para \nentrenamientos de combate.  \n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.19.png","C 14 17\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.20.png","18 C 14\nTiefort City, Fort Irwin, US Army, Mojave Desert, California, USA, 2016\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.21.png","C 14 19\nLa uniformidad cromática \ny el equilibrio geométrico \nde las fotografías que \nforman parte de la serie \n‘The Potemkin Village’ \ngeneran una atmósfera \nonírica que enfatiza la \nambigüedad entre la \nrealidad y la apariencia. \nThe chromatic uniformity \nand the geometric balance \nof the photographs in \n‘The Potemkin Village’ \nseries together create \nan oneiric atmosphere \nthat underscores the \nambiguity between  \nreality and appearance. \nCarson City \u002F Vårgårda, Sweden, 2016\nJunction City VII, Fort Irwin, US Army, Mojave Desert, California, USA, 2016\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.22.png","20 C 14\nA través de sus proyectos \nfotográficos, el austriaco \nGregor Sailer revela \nlugares insólitos como \nTiefort City, donde más de \n500 edificios recrean una \nciudad iraquí que sirve \ncomo entrenamiento a las \ntropas estadounidenses. \nIn his projects, the \nAustrian photographer \nGregor Sailer documents \nunusual places like \nTiefort City, where more \nthan 500 buildings \nrecreate an Iraqi city \nthat US troops use as \ncombat training ground.\nTiefort City, Fort Irwin, US Army, Mojave Desert, California, USA, 2016\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.23.png","C 14 21\nJunction City, Fort Irwin, US Army, Mojave Desert, California, USA, 2016\nBeauséjour, French Army, France, 2015\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.24.png","© Ivar Kvaal\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.25.png","Innovation\nUnder\nSubaquatic Restaurant by Snøhetta\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.26.png","24 C 14\nLocated in Lindesnes, a municipality at the southern tip of the \nNorwegian coast, where north and south sea winds meet, the building \nis propped against the craggy shore, partly sinking into the water \nto rest on the seabed five meters deep. A work of the Oslo-based \nstudio Snøhetta, the 34-meter-long monolith has concrete walls a \nmeter thick to resist the pressure and impact of the sea, with a rough \ntexture that makes mollusks and algae cling to them and eventually \nform an artificial reef. \nAn entrance clad in untreated oak wood leads to the interior of \nthe 495-square-meter, three-level construction. With room for 40 \ndiners, the restaurant features a large acrylic window measuring \n11 x 3.4 meters that provides magnificent views of the undersea \nenvironment and its variations through the seasons and changing \nweather conditions. Similar to a sunken periscope, the restaurant \nserves after-hours as a marine biology laboratory that is an equally \nimportant part of the project. The researchers’ aim is to document \nthe population, behavior, and diversity of species that are living \naround the restaurant through cameras, live observation, and \nother measurement tools installed on and outside the facade of \nthe building. The goal of the research is to collect data which \ncan be programmed into machine learning tools that monitor the \npopulation dynamics of key marine species on a regular basis, \nthereby creating new opportunities to improve official marine \nresource management. \nInnovation\nArchitecture\n3\nUbicado en el municipio de Lindesnes, en el extremo sur de la costa \nnoruega, donde se encuentran las tormentas marinas del norte y el \nsur, el edificio de forma monolítica se apoya en la escarpada orilla, \nse sumerge en el agua y descansa en el lecho marino cinco metros \nbajo el nivel del mar. Obra del estudio de Oslo Snøhetta, el rotundo \nvolumen de 34 metros de longitud cuenta con muros de hormigón \nde un metro de espesor, dimensionados para resistir la presión y \nel impacto del mar. La textura rugosa del acabado permite que los \nmoluscos y las algas se adhieran para constituir con el tiempo un \narrecife artificial. \nUn acceso revestido con madera de roble sin tratar conduce al inte-\nrior del edificio de 495 metros cuadrados, distribuidos en tres niveles. \nCon capacidad para 40 comensales, el restaurante tiene una gran \nventana de material acrílico de 11 x 3,4 metros, que ofrece magníficas \nvistas del entorno acuático y de sus variaciones según las estacio-\nnes del año y las condiciones climáticas. Semejante a un periscopio \nhundido, el restaurante funciona fuera del horario regular como un \nlaboratorio para biólogos marinos. El objetivo de los investigadores \nes documentar la población, el comportamiento y la diversidad de \nlas especies que viven alrededor del restaurante a través de cámaras \ny herramientas de medición que se instalan dentro y fuera de la fa-\nchada, creando así un banco de datos que pueda generar mediante \nherramientas de aprendizaje automático nuevas oportunidades para \nmejorar la gestión de los recursos marinos. \nUnder\nSubaquatic Restaurant \nby Snøhetta\nPhotos: Ivar Kvaal\n",26,{"image":118,"text":19,"number":119},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.27.png",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.28.png","26 C 14\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.29.png","C 14 27\nAl situarse en una \nposición límite, el \nrestaurante Under  \n—que funciona además \ncomo laboratorio de \ninvestigación marina— \nsubraya el delicado \nequilibrio ecológico \nentre la tierra y el mar.  \nLocated in an extreme \nenvironment, and semi- \nsubmerged in the water, \nthe restaurant Under  \n– also a marine research \nlaboratory – stresses \nthe delicate ecological \nbalance between the \nearth and the sea. \n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.30.png","28 C 14\nTanto el revestimiento \ninterior, como la \nescalera, el mobiliario \no incluso la carta del \nrestaurante siguen un \ndiseño coherente basado \nen la belleza natural  \nque reside en la pureza \nde las materias primas. \nThe indoor claddings, \nthe stairs, the furniture, \nthe tableware and even \nthe restaurant menu \nfollow a coherent  \ndesign based on the \nnatural beauty that \nresides in the purity  \nof raw materials.\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.31.png","C 14 29\nEl techo del espacio \nprincipal cuenta con \nun innovador tejido \nacústico desarrollado \npor Snøhetta junto con \nKvadrat, formado por \nhilos de colores que se \nentrecruzan creando un \ngradiente espectral.   \nThe ceiling in the  \nmain space of the \nrestaurant is lined  \nwith an innovative \nacoustic fabric \ndeveloped by Snøhetta \nwith Kvadrat, woven \nwith color threads  \nthat create a gradient.\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.32.png","© Fernando Alda\n© Miguel Fernández-Galiano\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.33.png","Cosentino\nDekton Scales\nGunni & Trentino Flagship in Madrid\nRaytrace\nBenjamin Hubert with Dekton\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.34.png","32 C 14\nCosentino\nDesign\n4\nDEKTON SCALES\nGunni & Trentino Flagship in Madrid\nInspirada en la piel escamada de un pez, la fachada de la nueva \nsede de la empresa especializada en decoración Gunni & Trentino \nconvierte el edificio en un icono que modifica el paisaje urbano de \nla céntrica zona del Paseo de la Castellana y el Paseo de la Habana \nen Madrid. Un patrón de piezas hexagonales envuelve un volumen \nciego que se apoya sobre una base neutra de color negro. Para \nalcanzar los valores de calidad, exclusividad, rigor, elegancia y \natemporalidad que caracterizan la marca, Gunni & Trentino junto \ncon el estudio de arquitectura Mendoza + Simal apostaron por la \nsuperficie ultracompacta Dekton desarrollada por Cosentino como \nrevestimiento. Por ser perfectamente moldeable y contar con un \npeso y un volumen limitados, este material consigue adaptarse al \nsingular diseño cumpliendo altos estándares de precisión. \nEn contraste con la luminosidad de la fachada principal —elaborada \ncon 600 m² de Dekton en el color Popular Warm— el frente trasero \ndel edificio, que delimita un patio interior, se concibe como una \nenvolvente sobria construida con más de 100 m² de Dekton en \nsu tonalidad oscura Domoos. La posibilidad de fabricar piezas de \ngran formato y todo tipo de dimensiones hace que se simplifique el \ndespiece de los alzados y se minimicen los encuentros entre placas, \ntransmitiendo una imagen homogénea. Asimismo, la precisión que \nse alcanza en las aristas gracias a los ajustados espesores conforma \nvolúmenes de gran pureza geométrica y uniformidad material. \nInspired in the scaly skin of a fish, the facade of the new Gunni & \nTrentino headquarters has transformed the existing building into \nan icon that reshapes the urban landscape of this central location \non Paseo de la Castellana and Paseo de la Habana in Madrid. The \nserial pattern of hexagonal panels wraps a windowless volume that \nrests on a neutral black base. To reflect company values such as \nquality, exclusiveness, rigor, elegance, and timelessness, the interior \ndesign company has worked with the architecture studio Mendoza \n+ Simal, choosing Dekton, the ultracompact surface developed by \nCosentino, for cladding. Because it is perfectly moldable and has a \nlimited weight and volume, this material manages to adapt to the \nunique design complying with high-precision standards. \nMarking a contrast with the bright main facade – built with 600 \nsquare meters of Dekton in the tone Popular Warm – the rear facade \nof the building, which surrounds an interior courtyard, is designed \nas a sober enclosure with more than 100 square meters of Dekton in \nthe dark hue Domoos. The possibility of manufacturing large-format \npieces that adapt to all sorts of dimensions simplifies the detailing \nof the facades and reduces the joints between panels, creating a \nsmooth and uniform surface. This high-precision is particularly \nvisible on the corners of the building, where the reduced thickness \nof the cladding pieces creates volumes that are an expression of \ngeometric purity and material abstraction. \nArquitectos Architects:  \nArmando Gutiérrez  \nGarcía-Mendoza  \n(Mendoza+Simal Arquitectos)  \nPromotor Promoter:\nGunni & Trentino\nFachada Facade:  \nWandegar \nFotografías Photographs: \nMiguel Fernández-Galiano\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.35.png","C 14 33\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.36.png","34 C 14\nRevestido con más de \n100 m² de la superficie \nultracompacta Dekton \nen su tonalidad oscura \nDomoos, la fachada \ninterior de la nueva sede \nde Gunni & Trentino en \nMadrid transmite una \nimagen sobria y elegante.\nClad with more than \n100 square meters of \nthe ultracompact surface \nDekton in the dark color \nDomoos, the rear facade \nof the new Gunni & \nTrentino flagship store in \nMadrid conveys a sober \nand elegant image. \n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.37.png","C 14 35\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.38.png","36 C 14\nApoyado sobre una \nbase neutra revestida de \nDekton color Domoos, \nel volumen principal del \nedificio se cubre con una \nsegunda piel de escamas \nhexagonales elaboradas \ncon Dekton color \nPopular Warm pulido, \nque por su posición \nligeramente separada \nparecen flotar en el aire. \nResting on a neutral \nbase clad in Dekton \ncolor Domoos, the main \nvolume of the building \nis covered with a second \nskin of hexagonal \nDekton scales in the \npolished tone Popular \nWarm, placed with a \nslight separation that \nmakes the pieces appear \nto float in the air.  \n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.39.png","C 14 37\nperfil horizontal CAT1 Wandegar \nCAT1 Wandegar horizontal profile\nelemento estructural preexistente de hormigón armado\npre-existing structural element of reinforced concrete\ncartela de acero \nsteel gusset \nrecrecido de la viga mediante ladrillo hueco\nraised beam by hollow brick \nperfil vertical (50x80 mm) \nvertical profile (50x80 mm)\nDekton de color Popular Warm pulido\nDekton Popular Warm color with polished finish\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.40.png","38 C 14\nRAYTRACE\nBenjamin Hubert with Dekton\nCosentino\nDesign\n4\nTras analizar el proceso de elaboración de Dekton, el proyecto \nRaytrace explora la idea metafórica de devolver el agua al material \na través de la luz, la geometría y la arquitectura. Una estructura \nenvolvente de 25 metros de largo por 6 metros de alto traslada \nal visitante a un espacio inundado por los reflejos cáusticos que \ndespués de atravesar 29 esferas de cristal se proyectan sobre las \nsuperficies utracompactas de gran formato de Cosentino. Diseñada \npor Benjamin Hubert —fundador del estudio LAYER— la instalación \nse expuso en los almacenes abovedados bajo la Estación Central \nde Milán durante la Semana del Diseño de Milán 2019, y por ella \nhan pasado más de 70.000 personas de los cinco continentes.  \nBased on the manufacturing process of Dekton and referencing \nits high technological qualities, the installation Raytrace explores \nthe metaphorical idea of taking water back to materials through \nlight, geometry, and architecture. A 25-meter long by 6-meter high \nenveloping structure takes visitors to a space filled with caustic \nreflections that, after crossing 29 crystal spheres, are cast on \nthe large-format ultra-compact surfaces by Cosentino. Designed \nby Benjamin Hubert – founder of studio LAYER – Raytrace was \nexhibited in the historical vaulted warehouse beneath Milan’s \nCentral Station during Milan Design Week 2019, where it received \nmore than 70.000 visitors from the five continents.  \nEn la instalación artística \nRaytrace, el diseñador \nbritánico Benjamin Hubert \nutiliza superficies Dekton \nSlim de 4 mm en el color \nZenith como lienzos sobre \nlos que proyecta reflejos \ndinámicos de luz a través \nde 29 esferas de cristal. \nIn the artistic installation \nRaytrace, the British \ndesigner Benjamin \nHubert uses Dekton \nSlim in color Zenith as \ncanvasses on which he \ncasts dynamic reflections \nof light through 29 \ncrystal spheres. \nPhotos: David Zanardi\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.41.png","C 14 39\n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.42.png","40 C 14\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.43.png","C 14 41\nEn torno al pasaje \ntriangular, una serie de \nbanquetas fabricadas con \nDekton permiten que los \nvisitantes contemplen la \ninstalación. El suelo se \nelaboró con 365 m² de \nDekton de color Spectra, \ncon acabado brillante. \nAround the triangular \ntunnel, twenty stools \nmade of Dekton invite \nvisitors to sit and  \nenjoy the installation. \nThe floor is composed \n365 m² of Dekton in  \nthe color Spectra,  \nwith a glossy finish.\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.44.png","© Trevor Mein \n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.45.png","Style\nAesop Stores\nTaxonomy of Design\nStyle\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.46.png","44 C 14\nAESOP STORES\nTaxonomy of Design \nStyle\nDesign\n5\nEn la era del comercio digital, la marca \naustraliana de cosméticos Aesop apuesta \npor la experiencia en tienda a través del \narte, la arquitectura y el diseño. Fundada \nen 1987 por Dennis Paphitis como una \nlínea de productos dentro de una pequeña \npeluquería en Melbourne, la empresa \nha crecido hasta contar hoy con más de \n220 espacios en 50 países. La filosofía \nde la marca —basada en la calidad, la \nhonestidad y la sensibilidad— está presente \nen cada uno de sus establecimientos, \npero los proyectos cuentan con libertad \ncreativa para adaptarse al carácter del \nlugar. Fue precisamente el miedo a que \nla expansión convirtiera la firma en \nuna ‘cadena sin alma’ lo que llevó a su \ndirector a contratar arquitectos locales, en \nsu mayor parte emergentes. El resultado \nes una extraordinaria colección de \ndiseños que no sólo buscan generar una \nimagen visualmente atractiva sino que \ncalibran hasta niveles aparentemente \nimperceptibles factores como la \niluminación, el aroma o la sonoridad. \nPara rendir homenaje a todo este proceso, \nAesop lanzó en 2015 la web Taxonomy of \nDesign, donde se catalogan los productos, \nmateriales y estrategias, así como los \ndiseñadores y arquitectos de los espacios \nque encarnan la esencia de la empresa.  \nIn the digital commerce era, the \nAustralian skin, hair, and body care \ncompany Aesop pays special attention \nto in-store experience through art, \narchitecture, and design. Founded  \nin 1987 by Dennis Paphitis as a  \nproduct line in a small beauty salon  \nin Melbourne, the company is present \ntoday in 50 countries with more than \n220 stores. The brand’s philosophy  \n– based on principles of quality, honesty, \nand sensibility – pervades each one of its \nspaces, but the projects are designed with \nthe creative freedom needed to adapt \nto the character of the place. Fearing \nprecisely that global expansion could \nturn the brand into a ‘soulless chain,’ \nfounder Paphitis decided to work with \nlocal architects, young emerging teams \nin most cases, to design the stores. The \nresult is an extraordinary collection of \ndesigns that pursue not only a visually \nattractive image but also calibrate factors \nsuch as lighting, scent, and sound to \napparently imperceptible levels. To \ncelebrate this process, Aesop launched \nthe web Taxonomy of Design in 2015, \nwhere they inform about their products, \nmaterials, and strategies, and include the \ndesigners and architects of the spaces \nthat embody the essence of the company. \n©Miguel Galiano\nPhotos: courtesy of Aesop\n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.47.png","C 14 45\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.48.png","Starting out from a \nsimple element like a \nblock of rammed earth, \nMexican architect Frida \nEscobedo creates a \nwoven tapestry design \nto clad the main space \nof Aesop Park Slope in \nBrooklyn, New York. \nA partir de un elemento \nsencillo como el bloque \nde tierra apisonada, la \narquitecta mexicana \nFrida Escobedo genera \nun diseño entretejido \nque reviste el espacio \nprincipal de la tienda \nPark Slope, Nueva York. \nSituated in London’s \nChelsea district, the Duke \nof York Square store, \ndesigned by Snøhetta, \nreinterprets traditional \nbrick constructions with \na central column that \nbranches out in twelve \nclay-clad arches. \nSituada en el barrio \nlondinense de Chelsea, \nla tienda Duke of York \nSquare, diseñada por \nSnøhetta, reinterpreta las \nconstrucciones de ladrillo \nmediante un pilar que se \nramifica en doce arcos \nrevestidos de arcilla. \n46 C 14\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.49.png","C 14 47\nConcebida por la firma \nBrooks + Scarpa, la tienda \nDowntown Los Ángeles \nejemplifica la belleza de \nla simplicidad mediante \nuna envolvente formada \npor tubos de cartón que \ngenera una atmósfera \ncálida, táctil y neutra.\nDesigned by Brooks + \nScarpa, the Downtown \nLos Angeles store \nrepresents the beauty \nof simplicity with an \nenvelope of cardboard \ntubes that create a  \nwarm, tactile, and \nneutral atmosphere. \n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.50.png","48 C 14\nHonoring the ancient \nRoman stone baths  \nthat lend the English  \ncity its name, the new \nAesop space in Bath, \ndesigned by James Plumb \nstudio, inserts stone \nfragments in shelves, \nsinks, and countertops. \nEn honor a los baños de \npiedra de origen romano \nque dan nombre a la \nciudad inglesa de Bath, \nla tienda diseñada por \nJames Plumb incorpora \nfragmentos de roca \nintegrados en los estantes, \nlavabos y encimeras.   \nBajo un techo etéreo de \ncurvas nebulosas, la tienda \nPrinsensgate en Oslo, \nconcebida por Snøhetta, \nevoca el misticismo del \npaisaje noruego a través \nde la materialidad táctil y \nla neutralidad orgánica de \nsus muebles y acabados. \nUnder an ethereal ceiling of \nintersecting domes, Oslo’s \nPrinsensgate store, also by \nSnøhetta, evokes the mystic \nqualities of the Norwegian \nlandscape through tactile \nmateriality and the organic \nneutrality of its furniture \npieces and finishes. \n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.51.png","C 14 49\nSituada en el distrito \nfinanciero de Miami, la \ntienda Brickell City Center \n—creada por los japoneses \nMlkk Studio— se inspira \nen elementos típicos de \nun día de playa como \nlos muebles de plástico \ndescoloridos por el sol. \nLocated in Miami’s \nfinancial district, the \nBrickell City Center store \n– by the Japanese Mlkk \nStudio – is inspired by \ntypical elements from a \nday at the beach such \nas sun-damaged plastic \ntables and chairs. \nSteel pipe caps the  \nsame as those used  \nin the drains of Paris \nserve in the shop \ndesigned by Ciguë in  \nLe Marais as small \ndisplay shelves that seem \nto float on the uniform \nwhitewashed walls.\nLas tapas de acero de \nlos desagües de París \nse usan en la tienda \ndiseñada por Ciguë en \nel barrio de Le Marais \ncomo pequeños estantes \nque parecen levitar sobre \nla homogeneidad de las \nparedes encaladas.\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.52.png","The brutalist finishes  \nof the ceiling, the \ntable, and floors are \nbalanced with classic \nmaterials like velvet, \nbrass, and marble in the \nLuitpoldblock shop in \nMunich, designed by the \nGerman team 1zu33.\nLos acabados brutalistas \ndel techo, la mesa y \nlos suelos se equilibran \ncon materiales clásicos \ncomo el terciopelo, el \nlatón o el mármol en la \ntienda Luitpoldblock, en \nMúnich, ideada por el \nequipo alemán 1zu33. \n50 C 14\nEl latón, el terrazo y la \npintura color rosa salmón \nconforman la paleta de \nmateriales de la tienda \nNgee Ann City en Singapur \nconcebida por el equipo \nlocal Asylum como una \nreinterpretación de las casas \ntradicionales Peranakan.\nSalmon-pink paint,  \nbrass, and terrazzo \ncompose the material \npalette of the Ngee \nAnn City boutique in \nSingapore, planned by  \nthe local firm Asylum  \nas a reinterpretation of  \nPeranakan architecture.  \n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.53.png","C 14 51\nLos tonos pastel que \ncaracterizan las fachadas \ndel barrio Kitsilano en \nVancouver se trasladan a \nla tienda diseñada por el \nestudio Naturehumaine, \ndonde contrastan con \nla neutralidad gris de \nparedes, suelos y techos. \nLa tienda Knox en Dallas, \ndiseñada por el equipo \ninterno de Aesop, rinde \ntributo a través de su \ncarta cromática a la \npelícula Paris, Texas de \nWim Wenders, que se \nproyecta sobre una de \nsus paredes en bucle. \nThe typical pastel \nhues of the facades in \nthe Kitsilano area of \nVancouver are transferred \nto the shop designed by \nthe studio Naturehumaine, \ncreating a contrast with \nthe neutral gray of walls, \nfloors, and ceilings. \nThe Knox signature  \nstore in Dallas, created  \nby Aesop’s in-house \ndesign team, is an \node to the chromatic \npalette present in Wim \nWender’s film Paris, \nTexas, which is screened \non a loop in the space. \n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.54.png","Firmada por el ganador \ndel premio Pritzker Paulo \nMendes da Rocha junto \ncon Metro Arquitetos, \nla tienda Oscar Freire en \nSão Paulo condensa el \ndinamismo y la potencia \nmaterial que caracteriza \nla modernidad brasileña. \nDesigned by the Pritzker \nlaureate Paulo Mendes \nda Rocha with Metro \nArquitetos, the Oscar \nFreire shop in São Paulo \nfuses the dynamism  \nand material strength \nthat characterizes \nmodernity in Brazil. \nThe floors, the shelves, \nand the counter at  \nthe store designed by \nMarch Studio on Gough \nStreet in Hong Kong are \nbuilt with translucid \nglass bricks that give the \nspace an abstract and \nimmaterial atmosphere. \nTanto el suelo como las \nestanterías o el mostrador \nde la tienda diseñada por \nMarch Studio en Gough \nStreet (Hong Kong) se \nconstruyen con ladrillos \nde vidrio traslúcido que \ngeneran un entorno \nabstracto e inmaterial.\nLa pureza monocroma de \nlas diferentes estancias \ny piezas de mobiliario \nenfatiza la belleza \nplástica de la tienda \nsituada en Fitzroy, en \nMelbourne, que ha sido \nconcebida por el estudio \nlocal de Clare Cousins. \nThe monochrome purity \nof the different spaces \nand furniture elements \nemphasizes the aesthetic \nbeauty of the Fitzroy \nstore in Melbourne, the \ndesign of which was \ncompleted by the local \nstudio of Clare Cousins.  \nDesarrollada por el equipo \ninterno de Aesop, la tienda \nBordeaux busca recuperar \nel espíritu original del \nespacio restaurando las \nmolduras y manteniendo \nlas imperfecciones del \nentarimado para enfatizar \nel envejecimiento natural. \nDeveloped by the team \nof Aesop, the Bordeaux \nshop seeks recovering \nthe original spirit of the \nspace by restoring the \nmoldings and maintaining \nthe imperfections of  \nthe dais to emphasize \nnatural weathering. \n52 C 14\n",54,{"image":229,"text":19,"number":230},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.55.png",55,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.56.png","© Miguel Fernández-Galiano\n",56,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.57.png","Interview\nParedes Pedrosa & Dal Co\nIn Dialogue\n",57,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.58.png","Interview\nConversation\n6\nParedes Pedrosa &  \nDal Co in dialogue\nThe Italian historian and the \nMadrid architects met for a talk at \nMondadori’s headquarters in Milan. \nEl historiador italiano conversa \ncon los arquitectos madrileños en \nla sede de Mondadori en Milán. \n",58,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.59.png","C 14 57\n",59,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.60.png","58 C 14\nPhotos: Miguel Fernández-Galiano \nLa Sede Editorial Mondadori construida \nentre 1968 y 1975 por Oscar Niemeyer acoge \nel encuentro entre la pareja de arquitectos \nÁngela García de Paredes e Ignacio García \nPedrosa y el historiador Francesco Dal Co, \nactual director de la revista Casabella y gran \nconocedor de su obra. \nFrancesco Dal Co: Estudiasteis en la Es-\ncuela de Arquitectura de Madrid, ¿en qué \naños?\nÁngela García de Paredes: Sí, empezamos \nen un año muy singular en España, en 1975. \nEn noviembre muere Franco, por lo que cerró \nla escuela hasta enero. Curiosamente nos \nconocimos porque nuestros apellidos iban \njuntos en la lista. Estábamos predestinados \npor el orden alfabético. \nFDC: ¿Cuáles fueron las experiencias más \ninteresantes de esa etapa y los profesores que \nmás os marcaron?\nIgnacio García Pedrosa: Tuvimos la suer-\nte de estudiar cuando aún impartían clase \ntres profesores trascendentales: Francisco \nJavier Sáenz de Oiza, Javier Carvajal y Anto-\nnio Fernández Alba. Tres personalidades que \ngeneraban a su alrededor casi tres escuelas \nparalelas dentro de la ETSAM, de manera que \nquienes estudiaban en una de sus cátedras \nhacían toda la carrera por esa rama. Ángela \ny yo coincidimos en la de Oiza, con muchos \notros compañeros con los que luego hemos \nmantenido la amistad.  \nAGP: Además fue él directamente quien \nnos dio clase. Incluso dirigió mi proyecto \nfin de carrera. Antes de él, también nos im-\npactó Antonio Fernández Alba, que llevaba \nel curso previo a Proyectos, Elementos de \nComposición. En mí, desde luego, tuvo una \nimportancia grande. Por una parte por la \nreflexión teórica que aportaba al proyecto \n(impartía largas clases teóricas, sin imáge-\nnes, incomprensibles para mí en ese mo-\nmento, pero que hoy me vienen a la cabeza \nconstantemente), y por otra porque muchos \nejercicios estaban vinculados a arquitecturas \ndel pasado.  \nIGP: Hicimos un trabajo muy extenso \nsobre la Alhambra, no sólo de planimetrías, \ntambién para investigar la relación entre los \nvolúmenes y los espacios interiores. Eso ge-\nnera una forma de aproximación a la arqui-\ntectura muy específica: a través del dibujo y \ndel dimensionado de los espacios, algo muy \nimportante en la formación de un arquitecto. \nAGP: Yo añadiría que Fernández Alba, \ncuriosamente un arquitecto muy atento a la \nmodernidad, fue quien nos inculcó la necesi-\ndad de conocer la arquitectura del pasado, y \nOiza el interés por las cuestiones que rodean \nel proyecto: el lugar, las personas que lo ha-\nbitan, el para qué va a ser… Además siempre \nrelacionándolo con la literatura, o la poesía. \nLa relación continua con otras disciplinas \nera lo más importante de Oiza. \nFDC: Estos profesores, ¿proponían tam-\nbién ejemplos de arquitectura contempo-\nránea?\nIGP: Sobre todo Oiza. Más que de los ejem-\nplos de actualidad en aquel momento, nos \nhablaba de los maestros modernos: Wright, \nLe Corbusier… Entendía que el aprendizaje de \nla arquitectura pasaba por conocer lo que los \nmaestros de la modernidad habían planteado. \nDurante un encuentro \ncon Francesco Dal Co  \nen Milán, Ángela \nGarcía de Paredes e \nIgnacio García Pedrosa \nexponen las claves de \nsu obra desde un punto \nde vista cronológico, \ntemático e ideológico. \nDuring an encounter \nwith Francesco Dal Co \nin Milan, Ángela García \nde Paredes and Ignacio \nGarcía Pedrosa discussed \nthe essential aspects \nof their work from a \nchronological, thematic, \nand ideological view.\n«El primer concurso que \nganamos fue Europan, a \npartir de ahí comenzamos \nnuestra andadura»\n",60,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.61.png","The Mondadori Editorial Office, built be-\ntween 1968 and 1975 by Oscar Niemeyer, \nholds the conversation between the archi-\ntects Ángela García de Paredes and Ignacio \nGarcía Pedrosa and the historian Francesco \nDal Co, director of Casabella magazine and \ngreat connoisseur of their work. \nFrancesco Dal Co: You both studied at \nthe Madrid School of Architecture, during \nwhat years?\nÁngela García de Paredes: Yes, we \nstarted in 1975, a crucial year in Spain. \nFranco died in November, so the School was \nclosed until January. We met because our \nlast names went together on the class list. \nWe were destined by alphabetical order.  \nFDC: What were the most interesting \nexperiences during this period and what \nteachers influenced you the most?\nIgnacio García Pedrosa: We were lucky \nto be students when three critical profes-\nsors were still teaching: Francisco Javier \nSáenz de Oiza, Javier Carvajal, and An-\ntonio Fernández Alba. Three personalities \nthat created around them three parallel \nschools within the ETSAM, so anyone who \nstudied in their departments followed that \nbranch throughout. Ángela and I coincided \nat Oiza’s course, with many other class-\nmates with whom we have stayed friends. \nAGP: Besides he gave us class himself, \nand directed my graduation project. Before \nhim, Antonio Fernández Alba, who taught \nComposition Elements, was also a big in-\nfluence. He was a crucial figure for me. \nFirst because of the theoretical reflection \nhe added to projects (he gave long theory \nlessons of over an hour, without images, \nincomprehensible to me then, but that now \ncome back to me all the time), and secondly \nbecause many exercises were about archi-\ntectures of the past.  \nIGP: We did a very comprehensive study \non the Alhambra, not only of the drawings, \nbut a research on the relationship between \nthe volumes and the interiors. This gener-\nates a very specific form of approximation \nto architecture: through the drawing and \nsizing of the spaces, very important in an \narchitect’s training. \nAGP: I would add that Fernández Alba, \ncuriously very attentive to modernity, in-\nstilled in us the need to learn about the ar-\nchitecture of the past, and Oiza awoke our \ninterest in the context of the project: the \nplace, the people that live there, its func-\ntion… Always relating it to literature and \npoetry. The continuous relationship with \nother disciplines was the most important \nthing in Oiza. \nFDC: Did these professors also show ex-\namples of contemporary architecture?\nIGP: Oiza mostly. But rather than show-\ning examples of architecture of that time, \nhe talked about modern architects: Wright, \nLe Corbusier… He understood that learning \nabout architecture involved knowing what \nthe modern masters had proposed. \nFDC: Did they by any chance talk about \nthe great Spanish architects of the 1930s? \nIGP: It was rather an outward gaze. The \nintrospective view began later when Rafael \nMoneo joined the School, and he rescued \nSpanish tradition without setting aside \n“The first competition  \nwe won was Europan,  \nand that is when our \nindependent work began”\n",61,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.62.png","60 C 14\nFDC: Como curiosidad, ¿os hablaban sobre \nlos grandes arquitectos españoles de los años \n1930?\nIGP: Era una mirada más hacia fuera. No \nhabía comenzado la introspección que quizá \nse produce de forma más clara a partir de la \nentrada en la universidad de Rafael Moneo, \nque rescata la tradición española sin dejar de \nmirar lo que ocurre en el mundo. \nAGP: A los grandes arquitectos de antes \nde la guerra española tuvimos la oportunidad \nde conocerlos muy directamente a través de \nmi padre, José María García de Paredes, ar-\nquitecto y amigo de muchos de ellos. Fuera \nde la escuela pudimos tratar mucho a José \nLuis Sert, que siempre nos animó y del que \naprendimos muchas cosas paralelas a la ar-\nquitectura —pintura, música...—. A través de \nSert conocimos a Miró, por ejemplo. \nFDC: Termináis la escuela en 1982, y hasta \n1990 no fundáis la oficina. ¿Qué ocurre du-\nrante esos años?\nIGP: Empezamos a trabajar con el padre \nde Ángela, un arquitecto en plena madu-\nrez. Tenía un estudio pequeño, con mucho \nprestigio entre sus colegas. Tras estudiar en \nMadrid y después de su estancia en Roma, \ndonde coincide con Carvajal, empieza una \ncarrera fulgurante, con un Premio Nacional \nde Arquitectura y unos proyectos muy inte-\nresantes. Siempre quiso controlar su obra, \npor lo que nunca tuvo voluntad de ampliar el \nestudio. Al acabar nosotros la carrera, recibe \nde la Administración una serie de encargos \nmuy importantes, tras inaugurar en 1978 el \nAuditorio Manuel de Falla en Granada —el \nprimer auditorio musical que se construye en \nEspaña desde el Palau de la Música de Bar-\ncelona en 1908—. El edificio obtiene notable \nrepercusión porque plantea la relación con el \nlugar y con la tradición constructiva de los \nmateriales. Como consecuencia le encargan el \nAuditorio Nacional, y es cuando nosotros nos \nincorporamos a su estudio. Fue una colabora-\nción de casi diez años que no abandonamos \nvoluntariamente, sino por el destino, al falle-\ncer prematuramente José María. Nos encon-\ntramos en una situación extraña: teníamos \nla obligación moral y profesional de acabar \nsu trabajo, por lo que nos demoramos en \ncomenzar nuestra propia carrera. Empezamos \nhaciendo concursos. El primero fue Europan, \nque ganamos; a partir de ahí comenzamos \nnuestra andadura independiente. \nFDC: Vuestro proyecto de Europan es muy \nparticular. Pienso que como jóvenes arquitec-\ntos os inspirabais en Alvar Aalto.  \nIGP: Es una constante en nuestro trabajo. \nHay una continua presencia de referencias \nque no afloran intencionadamente, pero que \nestán ahí. \nFDC: Pienso en Aalto y por otra parte en \nvuestra relación con el mundo ibérico. Quizá \nla influencia de Aalto viene a través de Siza \ny Moneo. \nIGP: Creo que se puede hablar de una es-\npecial relación entre el norte y el sur. La re-\nlación entre los nórdicos y los mediterráneos \nes casi una cuestión de simetría, de equilibrio. \nPaíses periféricos como los nórdicos resultan \natraídos por países periféricos como España o \nPortugal y viceversa. Aparentemente no hay \ncasi puntos de contacto: ni de clima, ni social, \n«La relación entre los \nnórdicos y los mediterráneos \nes casi una cuestión de \nsimetría, de equilibrio»\n",62,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.63.png","C 14 61\nwhat was happening in the world. \nAGP: We had the opportunity to meet \nthe pre-war architects thanks to my father, \nJosé María García de Paredes, architect and \nfriends with many of them. Outside the School \nwe were close to José Luis Sert, who always \nencouraged us and taught us many things \nparallel to architecture – painting, music… \nThrough Sert we met Miró, for example. \nFDC: You graduated in 1982, but the \noffice was set up in 1990. What happened \nduring those years? \nIGP: We started working with Ángela’s \nfather, an architect at the height of his pro-\nfessional maturity. He had a small studio \nwith a lot of prestige among colleagues. \nAfter studying in Madrid and his stay in \nRome, where he met Carvajal, he began a \nbrilliant career, with very interesting proj-\nects that earned him the National Architec-\nture Award. He had always wanted to keep \ncontrol of his work, so he was never really \ninterested in expanding his office. When we \nhad just completed our studies he received \nseveral important public commissions, this \nwas right after opening the Manuel de Falla \nAuditorium in Granada – the first concert \nhall built in Spain after Barcelona’s Palau \nde la Música of 1908. The building had a \nmajor repercussion because it focused on \nthe relationship with the place and with the \nconstructive tradition of the materials. As \na result he was commissioned to build the \nNational Auditorium, and that is when we \njoined his studio. The collaboration lasted \nten years and ended not by choice but by fate, \nwith José María’s premature passing. We \nfound ourselves in a strange situation: it was \nour moral and professional duty to finish his \nwork, so we launched our own career later. \nWe started out entering competitions. The \nfirst one was Europan, which we won; and \nthat is when our independent work began.\nFDC: Your Europan project is very spe-\ncific. As young architects I think you drew \ninspiration from Alvar Aalto. \nIGP: He is a constant in our work. There \nis a continuous presence of references that \narise, not deliberately, but they’re there. In \nthe case of the two housing developments, \nthere is a clear relationship with Aalto’s \nproject, but not a direct reference to him. \nThere we extended the streets establish-\ning an undulatory mechanism that gave \nthe city the continuity we think it needs. \nAalto’s project, however, is not an urban \nproject but a landscaping one. Interest-\ningly, landscaping is used to address an \nurban continuity issue. \nFDC: When looking at works like the \nValdemaqueda Town Hall, I think about \nAalto and about your relationship with the \nIberian world. Perhaps Aalto’s influence \ncomes through Siza and Moneo. \nIGP: I think we can talk about a spe-\ncial relationship between north and south. \nThe relationship between the north and the \nMediterranean is almost a matter of sym-\nmetry. Peripheral countries like the Nordic \n",63,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.64.png","62 C 14\n",64,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.65.png","C 14 63\nones are drawn towards peripheral coun-\ntries like Spain and Portugal and vice versa. \nApparently there are no points of contact: \nnot in terms of climate, not social, not even \nof cultural tradition. Perhaps that’s the \nreason for such strong attraction. However, \nNordic and Mediterranean architectures do \nhave something in common: the interest \nin the domestic and in comfort. Siza and \nAalto’s houses are comfortable, in contrast \nto British or Central European ones where \nother values prevail over comfort, or even \nthe relationship with nature. \nAGP: We won quite early in our career \nthe Valdemaqueda competition. We gained \na lot of on-site and project management ex-\nperience in the construction of large build-\nings. Our situation was the opposite of that \nof other young architects: without works of \nour own but with experience in develop-\ning and building projects at a studio. We \nknew how to build auditoriums and cultural \nbuildings, but not town halls. We took a \ntrip to northern Europe, traveling through \nDenmark and Finland mostly, to become \nfamiliar with Nordic town hall buildings. \nWe almost did a PhD on town halls. I am \nglad to hear you notice that resemblance \nbecause it is surprising to see how such a \nsmall building can concentrate everything \nwe took in during that trip. \nFDC: Why the Nordic countries? \nIGP: Probably because of the opportu-\nnity, and also because of Ángela’s per-\nsonal history. When García de Paredes and \nCarvajal were in Rome in 1958, one of \nthe conditions for residents was that they \nhad to go on a journey through Europe. \nThey went to Finland in a Seat 600 to \nsee Nordic architecture first-hand. Ángela \nsays that the first time she went to Villa \nMairea was before she was born, because \nher mother was pregnant during that visit. \nWe wanted to see the house up close. I \nlike it because it comes across as a lived-\nin house. The Farnsworth or Villa Savoye \nare almost monuments of modernity. Villa \nMairea is a house. \nFDC: The interior of the auditorium of \nthe Congress Center of Peñíscola seems to \ndraw on Aalto, is this so? \nIGP: No. Aalto never left reinforced \nconcrete unpainted. In Valdemaqueda it \nis completely naked, as in Le Corbusier. \nAalto didn’t make a concrete ceiling with \nsuch forms either; he did so with wood in \nViipuri, but not in concrete. Utzon how-\never did use concrete. There is a Utzonian, \nrather than Aaltian, reference. In Peñíscola \nit had a structural explanation: we couldn’t \ngo higher than twelve meters, and there \nwasn’t room for the metallic structure and \nwood ceiling, so we proposed building a \nconcrete slab that was both structure and \nacoustic ceiling. \nFDC: The continuity of the skin, which \nis very often what characterizes buildings, \nis very important in your work. The formal \nexpression of the structure becomes second-\nary, and the skin takes on a prominent role, \ndressing the building on one hand, and on \nthe other revealing the activity inside. \nIGP: Not long after the completion of the \nCentre Pompidou, which shows the struc-\nture and the installations, Oiza asked us: \n“And the skin? Where is the skin? We have \nskin to cover veins and bones.” Part of this \nprobably still echoes in our minds. We think \nthat structural clarity is necessary, but it \nshouldn’t play the main role. \n“The relationship between \nthe Mediterranean and the \nnorth is almost a matter of \nsymmetry, of balance“\n",65,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.66.png","64 C 14\nni siquiera de tradición cultural. Quizá por eso \nsurge una atracción muy fuerte. Sin embargo \nsí hay algo que une las arquitecturas nórdicas \ny las mediterráneas, y es la cuestión de lo do-\nméstico y de lo confortable. Las casas de Siza \ny las de Aalto son confortables, frente a las \nsajonas o centroeuropeas donde prevalecen \notros valores antes que el confort, o incluso \nla relación con la naturaleza. \nAGP: Nuestros primeros años fueron de \nuna gran experiencia en obra y en direc-\nción de obra de edificios grandes. Pronto \nganamos el concurso del Ayuntamiento de \nValdemaqueda. Estábamos en la situación \ninversa a otros arquitectos jóvenes: sin obra \npropia pero con experiencia de construir y \nde trabajar el proyecto desde un estudio. Era \nun tipo de edificio con el cual no habíamos \ntenido contacto antes. Sabíamos hacer audi-\ntorios y edificios culturales, pero no ayun-\ntamientos. Por eso hicimos un viaje por el \nnorte de Europa, sobre todo por Dinamarca \ny Finlandia, para conocer los ayuntamientos \nnórdicos. Hicimos casi una tesis doctoral de \nayuntamientos. Me alegra que encuentres esa \nsimilitud pues sorprende ver cómo un edificio \ntan pequeño puede condensar todo el conoci-\nmiento que absorbimos en ese viaje. \nFDC: ¿Por qué los países nórdicos?\nIGP: Seguramente por la oportunidad, y \ntambién por la historia personal de Ángela. \nCuando García de Paredes y Carvajal están \nen Roma en 1958, una de las condiciones de \nlos residentes era hacer un viaje por Europa. \nFueron a Finlandia en un 600 para cono-\ncer de primera mano la obra nórdica. Ángela \ncuenta que la primera vez que estuvo en Villa \nMairea fue antes de nacer, ya que su madre \nestaba embarazada en esa visita. Quisimos \nconocer esa casa de primera mano. Me gusta \nporque se presenta como una casa habitada. \nLa Farnsworth o Villa Savoye son casi mo-\nnumentos de la modernidad. Villa Mairea es \nuna casa. \nFDC: El interior del auditorio del Centro \nde Congresos de Peñíscola parece una cita a \nAalto, ¿es así?\nIGP: No. Aalto nunca dejó el hormigón \narmado sin pintar. En Valdemaqueda está des-\nnudo, como en Le Corbusier. Aalto tampoco \nhizo un techo de hormigón con esas formas; \nlo hizo de madera en Viipuri, pero no en hor-\nmigón. Quien lo hizo en hormigón fue Utzon. \nHay más referencia utzoniana que de Aalto. \nEn Peñíscola además tenía una explicación \nestructural: no podíamos superar los doce \nmetros de altura, y no nos cabía la estructura \nmetálica y el techo de madera, así que propu-\nsimos hacer una losa de hormigón que fuese \nestructura y techo acústico al mismo tiempo. \nAGP: Fue un reto estructural importante, y \nun invento, porque se hizo con un encofrado \nsuspendido, sin andamios.\nFDC: En vuestra obra es muy importante la \ncontinuidad de la piel, que muchas veces es \nlo que caracteriza los edificios. La expresión \nformal de la estructura es secundaria respecto \nde la piel. Es la piel la que recoge todo el pro-\ntagonismo, por un lado vistiendo el edificio, \ny por el otro dejando ver el espectáculo de la \nvida interna. \nIGP: Cuando estaba muy reciente la cons-\ntrucción del Centro Pompidou, que expresa \nla estructura y las instalaciones exterior-\nmente, Oiza nos preguntaba: «¿Y la piel? \n¿Dónde está la piel? Nosotros tenemos piel \npara ocultar las venas y los huesos». Creo que \nalgo de eso resuena en nosotros. Creemos \nque es necesaria una claridad estructural, \npero que no debe ser la protagonista. \n",66,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.67.png","C 14 65\n",67,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.68.png","© Posztos  \n",68,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.69.png","Travel\nKuala Lumpur\nMalaysia\n",69,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.70.png","01\nThe Islam is the religion \nwith the greatest \nfollowing in Malaysia, \nwith numerous temples \nsuch as the Federal \nTerritory Mosque, built \nin the year 2000 and \ninspired in Ottoman \ntraditional architecture. \nReligious \nFederal Territory Mosque\n02\nDesde la independencia del \nImperio Británico en 1957, \nMalasia cuenta con un \nsistema único en el mundo \nde monarquía rotatoria \nen el que los sultanes se \nalternan el reinado cada \ncinco años y se alojan en \neste lujoso palacio. \nSince its independence \nfrom the British Empire in \n1957, Malaysia operates \nunder a unique rotational \nmonarchy system in \nwhich sultans take turns \nat ruling every five \nyears and move into the \nNational Palace.\nNational Palace\nIstana Negara\nEntre la multitud de \ntemplos dedicados \nal islam —la religión \nmás practicada por los \nmalayos— destaca la \nMezquita del Territorio \nFederal, construida en el \naño 2000 e inspirada en \nla tradición otomana. \n68 C 14\nKuala Lumpur\nTravel\nMalaysia \n7\nMás allá de las torres \nPetronas, la capital de \nMalasia ofrece una vibrante \nmezcla multicultural de \ntradición y modernidad. \nBeyond the Petronas  \nTowers, the capital of \nMalaysia is a vibrant \nmulticultural mix of  \ntradition and modernity. \n© Migel\n© Adrin Shamsudin \n",70,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.71.png","C 14 69\n© Zhu Difeng\n03\nHigh-Rise \nPetronas Towers\nDiseñadas por César Pelli, \nlas torres Petronas fueron \nlos edificios más altos \ndel mundo entre 1998 \ny 2003. Su planta en \nforma de estrella de ocho \npuntas da lugar a un perfil \ngeométrico que resuena con \nlos minaretes de la ciudad. \nDesigned by César Pelli, \nthe Petronas Towers \nwere the world’s tallest \nbuildings between 1998 \nand 2003. Their eight-\npoint star floor plan \ncreates a geometric \nprofile which resonates \nwith the city minarets. \n",71,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.72.png","Religious\nThean Hou\nDedicated to the sea \ngoddess of Chinese \nmythology, Thean \nHou Temple combines \nelements from Buddhism, \nConfucianism, and \nTaoism. It is also known \nas the temple of lights for \nits hanging lanterns.\nDedicado a la diosa del mar \nde la mitología china, el \nsantuario sincrético Thean \nHou combina elementos del \nbudismo, el confucianismo \ny el taoísmo. También se \nconoce como el templo de \nlas luces ya que cuenta con \ncientos de farolillos. \n06\nHindu Temple \nBatu Caves\n04\nAn imposing golden \nsculpture protects the \n272 steps leading to \nthe Hindu Murugan \nTemple, which harbors \na limestone hill and \nis located thirteen \nkilometers from the \ncenter of Kuala Lumpur. \nUna imponente escultura \ndorada protege los \n272 escalones que dan \nacceso al templo hindú \nMurugan, situado en  \nel interior de una \nmontaña de piedra caliza \na trece kilómetros del \ncentro de Kuala Lumpur.  \nIn the artificial lake \nof Putrajaya, by the \nresidence of the prime \nminister of Malaysia, \nPutra mosque stands out \nfor the subtle palette of \nrosy tones that is achieved \nwith the use of different \ntypes of dyed granite. \nEn el lago artificial \nPutrajaya, junto a la \nresidencia del primer \nministro de Malasia, la \nmezquita Putra destaca \npor la sutil gama de tonos \nrosados que se consigue a \npartir de diferentes tipos \nde granito tintado.  \n05\nReligious\nPutra Mosque\n70 C 14\n© Patrick Foto \n© Effendi Yusof \n©  Evgeny Prokofyev \u002F Alamy \n",72,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.73.png","© Martin Child\nC 14 71\n07\nKnown as the threshold \nbetween the material  \nand the spiritual \nworlds, the gate to Sri \nKandaswamy Temple is \ndecorated with hundreds \nof colorful figures \nsymbolizing the different \ngods of Hinduism. \nHindu Temple \nSri Kandaswamy\nConcebida como el umbral \nentre el mundo material \ny el mundo espiritual, \nla puerta de entrada al \nsantuario Sri Kandaswamy \nestá decorada con cientos \nde figuras coloristas que \nsimbolizan las diferentes \ndeidades del hinduismo. \n© Gerhard Huber\n10\nSpace Science \nNational Planetarium\nCrowned with a blue \ndome, the National \nPlanetarium is located  \nat the top of Lake \nGardens, next to the \nNational Museum of \nMalaysia, and exhibits \nreplicas of ancient  \nspace observatories. \nCoronado por una \ncúpula de color azul, el \nPlanetario Nacional se \nsitúa en la cima de los \nJardines del Lago, junto \nal Museo Nacional de \nMalasia, y cuenta con \nréplicas de observatorios \nespaciales antiguos. \n08\nLocated at the confluence \nof the Klang and \nGombak rivers, where \nthe first city settlements \nwere established, the \nMasjid Jamek Mosque \nwas built in 1909, and \nis considered an example \nof Mughal architecture.\nUbicada en la confluencia \nde los ríos Klang y \nGombak, en el lugar \ndonde se situaron los \nprimeros asentamientos \nde la ciudad, la \nmezquita Masjid Jamek \nse construyó en 1909 \nsiguiendo un estilo mogol. \nReligious\nMasjid Jamek\nColonial Architecture \nMalay Village\n09\nDespite the increasing \ngentrification, there are \nstill colonial buildings \nstanding in the city.\nA pesar de la creciente \ngentrificación, todavía se \nconservan ejemplos de \narquitectura colonial.\nsource: holidaycheck.de\n© Simitha T. Singam \n",73,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.74.png","Nature \nBotanical Garden\n14\nReligious\nMasjid Negara\nViewpoint \nKuala Lumpur Tower\n13\nA rotating restaurant and \nan observation deck turn \nthis communications tower \ninto a touristic attraction. \nInside this botanical \ngarden, this bamboo \npavilion reinterprets the \ntraditional stilt houses. \nUn restaurante giratorio y \nun mirador convierten esta \ntorre de comunicaciones  \nen un hito turístico. \nDentro del jardín botánico, \neste pabellón de bambú \nreinterpreta las casas \npalafíticas tradicionales. \n12\n11\nA lo largo de más de 70 \nhectáreas, el Heritage Park \nreúne una gran variedad \nde puntos de interés como \nun parque de mariposas, \nuna colección de esculturas \no un jardín botánico con \nespacios recreativos como \neste humbráculo. \nCon capacidad para 15.000 \npersonas, la Mezquita \nNacional se construyó \nen 1965 mediante una \naudaz estructura plegada \nde hormigón armado que \nsimboliza las aspiraciones \nde la entonces recién \nindependizada Malasia. \nAlong more than 70 \nhectares, Heritage Park \ngathers a huge variety of \npoints of interest such \nas a butterfly park, a \ncollection of sculptures, \nor a botanical garden \nwith leisure spaces like \nthis ombrière. \nWith capacity for 15.000 \npeople, the National \nMosque was built in \n1965 with an audacious \nfolded structure of \nprecast concrete \nthat symbolizes the \naspirations of the newly \nindependent Malaysia. \nNature\nHeritage Park \n72 C 14\n© Alamy \n© Niro5 \nsource: wuking.com \n© BlackRabbit3\n",74,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.75.png","C 14 73\n© Istvan Kadar Photography\n© Syibli Fakih\n© Nigel Young \u002F Foster + Partners\n16\n15\nThe Troika – designed  \nby Foster + Partners –  \nis a mixed-use building \ncomposed of three \nslender volumes \nconnected by a glass \nfootbridge at level 24, \noffering panoramic views \nof the park and the city. \nDesigned by the Brazilian \narchitect and landscapist \nBurle Marx, the KLCC \nPark creates a peaceful \nenvironment around the \nPetronas Towers with an \naesthetic composition of \ncolors, forms, lakes, and \ntropical vegetation. \nEl edificio de usos mixtos \nThe Troika —diseñado por \nFoster + Partners— está \nformado por tres esbeltos \nvolúmenes enlazados por \nuna pasarela de vidrio \nen el nivel 24 que ofrece \nvistas panorámicas del \nparque y la ciudad. \nDiseñado por el arquitecto \ny paisajista brasileño \nBurle Marx, el parque \nKLCC crea un ambiente \nsosegado en torno a las \ntorres Petronas mediante \nuna composición plástica \nde colores, formas, lagos  \ny vegetación tropical. \nArchitecture\nThe Troika\nNature\nKLCC Park\nCultural Center\nIstana Budaya\nInspired in the fractal \ngeometry of the Sirih \nJunjung (a traditional \nMalaysian flower \narrangement), the Cultural \nCenter holds under its \nfolded concrete roof a \nvariety of music, theater, \nand dance performances. \nInspirado en la geometría \nfractal del sirih junjung \n(un arreglo floral típico \nde Malasia), el Palacio \nde la Cultura acoge bajo \nsu cubierta plegada de \nhormigón una gran \nvariedad de espectáculos \nde música, teatro y danza.  \n17\n",75,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.76.png","74 C 14\nShopping\nStarhill Gallery\n20\nShopping\nBerjaya Times Square21 With more than 1,000 \nstores, this shopping mall \nreceives an average of 2.5 \nmillion visitors a month. \nA faceted volume of \nglass and stone, designed by \nSpark Architects, welcomes \nStarhill Gallery visitors.\nCon más de 1.000 tiendas, \neste centro comercial recibe \nuna media de 2,5 millones \nde visitantes al mes. \nUn volumen facetado de \npiedra y vidrio, diseñado \npor Spark, da la bienvenida \na la lujosa galería Starhill. \n18\nAbierto desde 1888, el \nmercado central de Kuala \nLumpur ocupa un edificio \nde estilo Art Decó junto \nal río Klang que se ha \nrenovado en los últimos \naños para acoger tiendas, \nrestaurantes, galerías de \narte y talleres de artesanía.  \nOpen since 1888, the \nCentral Market of Kuala \nLumpur occupies an Art \nDéco building by the \nKlang River that has been \nrenewed over the past \nyears to house shops, \nrestaurants, art galleries, \nand crafts workshops.\nShopping\nCentral Market\n19\nShopping\nBvlgari Flagship Store\nDiseñada por el equipo \nholandés MVRDV, la \ntienda insignia de Bvlgari \nreinterpreta la fachada \ntradicional de mármol \nmediante materiales \nexperimentales como \nhormigón reforzado con \nfibra de vidrio y resina.  \nDesigned by the \nDutch team MVRDV, \nthe Bvlgari flagship \nstore reinterprets the \ntraditional marble facade \nusing experimental \nmaterials such as \nconcrete reinforced with \nfiberglass and resin. \nsource: centralmarket.com.my\n© Daria Scagliola and Stijn Brakkee\n© Digikhmer - Dreamstime.com \n© Heart Patrick \n",76,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.77.png","C 14 75\n© Lobs1990 - Dreamstime.com \nsource: hungryonion.org\n© Heart Patrick \nsource: theculturetrip.com\nsource: eatbook.sg\nRestaurant\nWizards at Tribeca\nOn the ground floor \nof the Tribeca Hotel, \nin a commercial and \nentertainment hub \nknown as the Golden \nTriangle, the restaurant \nWizards at Tribeca fuses \ninternational cuisine and \nAsian specialties. \nEn la planta baja del \nhotel Tribeca, en una \nzona conocida como \nel triángulo de oro por \nsu intensa actividad \ncomercial, el restaurante \nWizards fusiona \ncocina internacional y \nespecialidades asiáticas.  \n23\nShopping & Café\nNala Design & Dr. Inc \n24\nDecorated with  \ntextile patterns, this \ncafeteria sells Nala \nDesign products.\nDecorada con patrones \ntextiles, esta cafetería \nvende productos de la \nmarca Nala Design. \n25\nCenar en la calle es una \nexperiencia gastronómica \nimprescindible en Kuala \nLumpur, que se ha \nreinventado en espacios \ncomo Tapak donde la \ncomida se acompaña \ncon zonas de descanso y \npequeños conciertos. \nIn Kuala Lumpur \nurban street dining is \na ‘must’ gastronomic \nexperience which has \nbeen reinvented in \nspaces like Tapak, \nwhere people enjoy food \nand small concerts in \nbreakout areas. \nEating \nMerchant’s Lane \nShopping & Eating \nPetaling Street\nStreet Food\nTapak\nBargaining until getting \nthe best price and  \ntrying all sorts of foods \nuntil the early morning \nhours are the main \nattractions on Kuala \nLumpur’s busy Petaling \nStreet, in the heart  \nof Chinatown. \nHidden around an interior \ncourtyard, Merchant’s \nLane café preserves \nthe original structure \nof a traditional house-\nworkshop and brings out \nthe beauty of ruins with \ndesign furniture, plants, \nand natural light. \nRegatear hasta conseguir \nel mejor precio y probar \ntodo tipo de comida \nhasta altas horas de \nla madrugada son los \nprincipales atractivos \nde la bulliciosa calle \nPetaling situada en el \ncorazón del barrio chino.   \nOculta en torno a un \npatio interior, la cafetería \nMerchant’s Lane mantiene \nla estructura original de \nuna casa taller tradicional \ny enfatiza la belleza de \nla ruina mediante objetos \ndecorativos, vegetación e \niluminación natural.\n22\n26\n",77,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.78.png","76 C 14\n24\n04\n01\n 06. Thean Hou\n 07. Sri Kandaswamy\n 08. National Planetarium\n 25. Tapak\n 26. Merchant’s Lane\nPersiaran Hampshire, off, Jalan \nAmpang, Hampshire Park, \n50450 Kuala Lumpur\nilovetapak.com\n+60 16-554 7670\n6pm-12pm Mon-Sun\n404 S Figueroa St\n+1 213-624-1000\n 18. Central Market\n 19. Bvlgari Store \n 09. Malay Village\n 10. Masjid Jamek\n 12. Masjid Negara\n 11. Heritage Park\n 16. The Troika\n 13. Kuala Lumpur Tower\n 14. Botanical Garden\n 15. KLCC Park\n 24. Nala Design & Dr. Inc\n18, Jalan Abdullah, Bangsar, \n59000 Kuala Lumpur\nnaladesigns.com\nPersiaran Persekutuan, \nPresint 1, 62502 Putrajaya \nislam.gov.my\n+60 3-8888 5678\nBrickfields, 50470 KL \nsrikandaswamykovil.org\nJalan Kebun Bunga, Tasik \nPerdana, 55100 Kuala Lumpur\nklbotanicalgarden.gov.my\n+60 3-2617 6404\n7am-8pm Mon-Sun\nJalan Perdana, Tasik Perdana, \n50480 Kuala Lumpur\nmasjidnegara.gov.my\nJalan Kebun Bunga, Tasik \nPerdana, 55100 Kuala Lumpur\n32B, Tengkat Tong Shin, Bukit \nBintang, 50200 Kuala Lumpur\nmenarakl.com.my\n9am-10pm Mon-Sun\nJalan Ampang, KLCC, 50088 KL\n7am-10pm Mon-Sun\n65, Persiaran Endah, Taman \nPersiaran Desa, 50460 KL\nhainannet.com.my\n+60 3-2274 7088\n8am-10pm Mon-Sun\n53, Jalan Perdana, Tasik Perdana, \n50480 Kuala Lumpur\nplanetariumnegara.gov.my\ninfo@planet.gov.my\n+60 3-2273 4303\n9am-4:30pm Tues-Sun\nKampung Baru\nJalan Raja Abdullah, KLCC\nJalan Tun Perak, KLCC, 50050\nJalan Sultan Mizan Zainal \nAbidin, Kompleks Kerajaan, \nmasjidwilayah.gov.my\n+60 3-6201 8791\n 20. Starhill Gallery\n181, Bukit Bintang Street\n+60 3-2782 3800\nstarhillgallery.com\n168 Jalan Bukit Bintang, \nLots 2.23 & 3.25, Bukit \nBintang, 55100 KL\nJalan Tun Razak, Titiwangsa, \n50694 KL\nistanabudaya.gov.my\n+60 3-4026 5555\nKasturi Walk, Central Market, \nCity Centre, 50050 KL\ncentralmarket.com.my\n 01. Federal Mosque\n 02. Istana Negara\n 03. Petronas Towers\n 04. Batu Caves\nJalan Tuanku Abdul Halim, \nBukit Damansara, KL \nKL City Centre, 50088\npetronastwintowers.com.my\n+60 3-2331 8080\n9am-9pm Tues-Sun\nJalan Lingkaran Tengah 2, \nBatu Caves, Selangor\nKuala Lumpur\nLocalización y datos prácticos \nLocation and useful information  \n 22. Petaling Street\n 21. Berjaya Times Square\n 23. Wizards at Tribeca\nberjayatimessquarekl.com\n215, Jalan Imbi, Imbi, 55100\n+60 3-2715 5308\nPersiaran KLCC, 50450 KL\n+60 11-2070 6228\nthetroikaklcc.com\n 05. Putra Mosque\n 17. Istana Budaya\n",78,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.79.png","C 14 77\n02\n05\n06\n12\n03\n14\n11\n13\n08\n17\n07\n09\n16\n15\n10\n18\n19\n21\n23\n20\n22\n26\n25\n",79,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.80.png","website: www.magaceen.com   facebook: Magaceen   twitter: @magaceen   instagram: @magaceen   email: magaceen@magaceen.com\n08_Website_C13.indd   80\n06\u002F03\u002F2019   13:20:30\n",80,{"image":332,"text":19,"number":333},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.81.png",81,{"image":335,"text":19,"number":336},"\u002Fmedia\u002Fimages\u002Ff5\u002F22d245c5f96411997b576578d7a8e1-28f78a7d2f.82.png",82,[],0,false,true,{"success":340,"data":342,"meta":557,"count":558,"next":559,"previous":560,"results":593,"brand_chips":654},[343,356,368,381,391,404,416,426,436,445,455,467,477,487,496,506,519,528,538,548],{"id":344,"title":345,"slug":346,"image":347,"source":348,"brand_name":349,"brand":350,"brand_slug":351,"file_size":352,"pages":353,"pages_count":354,"matched_pages":355,"match_count":338,"two_pages":339,"show_text":340},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 MB",[],100,[],{"id":357,"title":358,"slug":359,"image":360,"source":361,"brand_name":362,"brand":363,"brand_slug":364,"file_size":365,"pages":366,"pages_count":199,"matched_pages":367,"match_count":338,"two_pages":339,"show_text":340},26598,"Second Life Contract 2026","slide-second-life-contract-2026","\u002Fmedia\u002Fimages\u002Ff3\u002F13dd76d3e357545fc9c73d1730cc16-296dd67b83.1.png","\u002Fprivate\u002Ffiles\u002F60\u002F2ed17461507e1c6defb90fc3af7f6b-296dd67b81.pdf","Slide",401,"slide","8.0 MB",[],[],{"id":369,"title":370,"slug":371,"image":372,"source":373,"brand_name":374,"brand":375,"brand_slug":376,"file_size":377,"pages":378,"pages_count":379,"matched_pages":380,"match_count":338,"two_pages":339,"show_text":340},26597,"General 2025","edition-bougainville-general-2025","\u002Fmedia\u002Fimages\u002F20\u002F9482f96b2ff16c3751dc0bf38106ee-296be38596.1.png","\u002Fprivate\u002Ffiles\u002Fc0\u002Fa8bc3710f63d3f9c918648acc349bf-296be38521.pdf","Edition Bougainville",2197,"edition-bougainville","1337.1 MB",[],326,[],{"id":382,"title":383,"slug":384,"image":385,"source":386,"brand_name":374,"brand":375,"brand_slug":376,"file_size":387,"pages":388,"pages_count":389,"matched_pages":390,"match_count":338,"two_pages":339,"show_text":340},26596,"General new 2026","edition-bougainville-general-new-2026","\u002Fmedia\u002Fimages\u002F70\u002Fd61873e1175db61f2e03ca6c34fbef-296be3853e.1.png","\u002Fprivate\u002Ffiles\u002Fe3\u002F31e29b6f8f4e9d6bf34b5e02b7af8b-296be38521.pdf","14.6 MB",[],109,[],{"id":392,"title":393,"slug":394,"image":395,"source":396,"brand_name":397,"brand":398,"brand_slug":399,"file_size":400,"pages":401,"pages_count":402,"matched_pages":403,"match_count":338,"two_pages":339,"show_text":340},26595,"Outdoor Decor 2026","ethimo-outdoor-decor-2026","\u002Fmedia\u002Fimages\u002F06\u002Fe01cc9faac107000b2d52f32269655-296bd1e75f.1.png","\u002Fprivate\u002Ffiles\u002F55\u002Fb1013d3410d0dab58c0b01c63c83d2-296bd1e759.pdf","Ethimo",1796,"ethimo","56.9 MB",[],324,[],{"id":405,"title":406,"slug":407,"image":408,"source":409,"brand_name":410,"brand":411,"brand_slug":412,"file_size":413,"pages":414,"pages_count":262,"matched_pages":415,"match_count":338,"two_pages":339,"show_text":340},26576,"Francesco Balzano 2026","giobagnara-francesco-balzano-2026","\u002Fmedia\u002Fimages\u002Fa3\u002F4b32a3ff2d18cecd6a14375150eeea-292d0fd09a.1.png","\u002Fprivate\u002Ffiles\u002F57\u002Fcfa9eaed024c0b9900e8fe56aad231-292d0f5b38.pdf","GioBagnara",2329,"giobagnara","40.4 MB",[],[],{"id":417,"title":418,"slug":419,"image":420,"source":421,"brand_name":410,"brand":411,"brand_slug":412,"file_size":422,"pages":423,"pages_count":424,"matched_pages":425,"match_count":338,"two_pages":339,"show_text":340},26577,"Rabitti1969 2026","giobagnara-rabitti1969-2026","\u002Fmedia\u002Fimages\u002Fc5\u002F704db07c2e74d60a1833dd93dc3967-292d146463.1.png","\u002Fprivate\u002Ffiles\u002Fcc\u002F74a628f430699a1576927d6a5c43f0-292d121a8c.pdf","106.6 MB",[],182,[],{"id":427,"title":428,"slug":429,"image":430,"source":431,"brand_name":410,"brand":411,"brand_slug":412,"file_size":432,"pages":433,"pages_count":434,"matched_pages":435,"match_count":338,"two_pages":339,"show_text":340},26578,"Stephane Parmentier 2026","giobagnara-stephane-parmentier-2026","\u002Fmedia\u002Fimages\u002Faa\u002F75a74fb0948097cf84e6c5693fc962-292d13ef2c.1.png","\u002Fprivate\u002Ffiles\u002Fb1\u002Fcc1cbee33e9c8c6513a907bd065ac5-292d121a97.pdf","191.0 MB",[],207,[],{"id":437,"title":438,"slug":439,"image":440,"source":441,"brand_name":410,"brand":411,"brand_slug":412,"file_size":442,"pages":443,"pages_count":183,"matched_pages":444,"match_count":338,"two_pages":339,"show_text":340},26579,"Kelly Wearstler 2026","giobagnara-kelly-wearstler-2026","\u002Fmedia\u002Fimages\u002F64\u002Fa1d46bc2d33136e7f1f59853d5b272-292d137a16.1.png","\u002Fprivate\u002Ffiles\u002F50\u002Ffbc23bd4891257c38e3a49f93fd0c6-292d121aaa.pdf","27.8 MB",[],[],{"id":446,"title":447,"slug":448,"image":449,"source":450,"brand_name":410,"brand":411,"brand_slug":412,"file_size":451,"pages":452,"pages_count":453,"matched_pages":454,"match_count":338,"two_pages":339,"show_text":340},26580,"Glenn Sestig 2026","giobagnara-glenn-sestig-2026","\u002Fmedia\u002Fimages\u002Fd3\u002F130de4d10ed29d4fd25cb84db70291-292d1304b6.1.png","\u002Fprivate\u002Ffiles\u002Fb9\u002Fc5c7c0b5ffb8e2ea735f61cd5fbdf6-292d121aae.pdf","91.8 MB",[],146,[],{"id":456,"title":457,"slug":458,"image":459,"source":460,"brand_name":461,"brand":462,"brand_slug":463,"file_size":464,"pages":465,"pages_count":80,"matched_pages":466,"match_count":338,"two_pages":339,"show_text":340},26581,"Inspiring Excellence 2025","roberto-giovannini-inspiring-excellence-2025","\u002Fmedia\u002Fimages\u002F71\u002F318a1f5e60ccc5acfdcc1ae5be5060-292d128f9c.1.png","\u002Fprivate\u002Ffiles\u002F87\u002F5e0b076f595f5160ca7a5f7458849b-292d121abb.pdf","Roberto Giovannini",1388,"roberto-giovannini","8.1 MB",[],[],{"id":468,"title":469,"slug":470,"image":471,"source":472,"brand_name":410,"brand":411,"brand_slug":412,"file_size":473,"pages":474,"pages_count":475,"matched_pages":476,"match_count":338,"two_pages":339,"show_text":340},26582,"Elie Saab 2026","giobagnara-elie-saab-2026","\u002Fmedia\u002Fimages\u002F6b\u002F81da6c9cdf7b4edff952a62ef7b9ca-292d16ae2e.1.png","\u002Fprivate\u002Ffiles\u002F79\u002Fcb5cd133e6f07379794938ed005de3-292d14d9af.pdf","58.4 MB",[],101,[],{"id":478,"title":479,"slug":480,"image":481,"source":482,"brand_name":410,"brand":411,"brand_slug":412,"file_size":483,"pages":484,"pages_count":485,"matched_pages":486,"match_count":338,"two_pages":339,"show_text":340},26583,"Pigment France 2026","giobagnara-pigment-france-2026","\u002Fmedia\u002Fimages\u002F00\u002F394bcaf5adfa23d7243aa512a0dd67-292d16393c.1.png","\u002Fprivate\u002Ffiles\u002Fc4\u002F485c540ca42207213690262e6468a2-292d14d9b5.pdf","127.5 MB",[],151,[],{"id":488,"title":489,"slug":490,"image":491,"source":492,"brand_name":410,"brand":411,"brand_slug":412,"file_size":493,"pages":494,"pages_count":434,"matched_pages":495,"match_count":338,"two_pages":339,"show_text":340},26584,"Rudi 2026","giobagnara-rudi-2026","\u002Fmedia\u002Fimages\u002F7e\u002F4dd524b56e79aeda431f14f4fe1069-292d15c3f9.1.png","\u002Fprivate\u002Ffiles\u002F14\u002Fc19ea3b6cbea78f50140a3e5f872d8-292d14d9c0.pdf","134.0 MB",[],[],{"id":497,"title":498,"slug":499,"image":500,"source":501,"brand_name":410,"brand":411,"brand_slug":412,"file_size":502,"pages":503,"pages_count":504,"matched_pages":505,"match_count":338,"two_pages":339,"show_text":340},26585,"Riviere 2026","giobagnara-riviere-2026","\u002Fmedia\u002Fimages\u002Fed\u002F017702644dc149d47ca54e182c820b-292d154e96.1.png","\u002Fprivate\u002Ffiles\u002F8c\u002F4afc407dc4db9e13219e5295f76976-292d14d9cb.pdf","127.3 MB",[],202,[],{"id":507,"title":508,"slug":509,"image":510,"source":511,"brand_name":512,"brand":513,"brand_slug":514,"file_size":515,"pages":516,"pages_count":517,"matched_pages":518,"match_count":338,"two_pages":339,"show_text":340},26586,"Outdoor 2026","atmosphera-outdoor-2026","\u002Fmedia\u002Fimages\u002Fd6\u002Fab855609f1a95186f6ccd83055cc20-292d18f82f.1.png","\u002Fprivate\u002Ffiles\u002F90\u002Fb7983122cc2d6cabbb384898663939-292d179899.pdf","Atmosphera",977,"atmosphera","39.2 MB",[],235,[],{"id":520,"title":521,"slug":522,"image":523,"source":524,"brand_name":410,"brand":411,"brand_slug":412,"file_size":525,"pages":526,"pages_count":242,"matched_pages":527,"match_count":338,"two_pages":339,"show_text":340},26587,"Giobagnara x PoltronaFrau 2026","giobagnara-x-poltronafrau-2026","\u002Fmedia\u002Fimages\u002Fd0\u002F6899938ad0400f5dbea066e0d861fc-292d1882ea.1.png","\u002Fprivate\u002Ffiles\u002F4c\u002Faac20af747b8da46542a7f50bb0c42-292d17989d.pdf","46.7 MB",[],[],{"id":529,"title":530,"slug":531,"image":532,"source":533,"brand_name":410,"brand":411,"brand_slug":412,"file_size":534,"pages":535,"pages_count":536,"matched_pages":537,"match_count":338,"two_pages":339,"show_text":340},26588,"Design Editions 2026","giobagnara-design-editions-2026","\u002Fmedia\u002Fimages\u002F94\u002F9e001b70b82b057a99547b62a5cd72-292d180db9.1.png","\u002Fprivate\u002Ffiles\u002F85\u002F8b7fba451e37f0288f2fd06246bf47-292d1798a2.pdf","331.6 MB",[],446,[],{"id":539,"title":540,"slug":541,"image":542,"source":543,"brand_name":410,"brand":411,"brand_slug":412,"file_size":544,"pages":545,"pages_count":546,"matched_pages":547,"match_count":338,"two_pages":339,"show_text":340},26589,"Encyclopedia 2026","giobagnara-encyclopedia-2026","\u002Fmedia\u002Fimages\u002Ff5\u002F8ff500491988ed2c8c49351db1fff5-292d1bb78a.1.png","\u002Fprivate\u002Ffiles\u002F6f\u002F7bb3601e56ae4fefdd94a2f11b57e2-292d1a57a1.pdf","358.6 MB",[],1981,[],{"id":549,"title":345,"slug":550,"image":551,"source":552,"brand_name":410,"brand":411,"brand_slug":412,"file_size":553,"pages":554,"pages_count":555,"matched_pages":556,"match_count":338,"two_pages":339,"show_text":340},26590,"giobagnara-news-2026","\u002Fmedia\u002Fimages\u002Fc9\u002F77e2d4731c2643875d7adc77b62a46-292d1b4203.1.png","\u002Fprivate\u002Ffiles\u002Fa6\u002F3fbc6e2e56d402392537b12f6edab9-292d1a57c5.pdf","85.8 MB",[],125,[],{"count":558,"next":559,"previous":560,"brand_chips":561},14117,"\u002Fapi\u002Fv1\u002Fcatalogs\u002F?page=2",null,[562,566,569,572,575,578,581,584,587,590],{"title":563,"slug":564,"count":565},"SICIS","sicis",92,{"title":567,"slug":568,"count":318},"La Fabbrica AVA","la-fabbrica-ava",{"title":570,"slug":571,"count":318},"Terratinta","terratinta",{"title":573,"slug":574,"count":318},"Magis","magis",{"title":576,"slug":577,"count":266},"True Design","true-design",{"title":579,"slug":580,"count":254},"Covet House","covet-house",{"title":582,"slug":583,"count":242},"Ares Line","ares-line",{"title":585,"slug":586,"count":242},"Poltrona Frau","poltrona-frau",{"title":588,"slug":589,"count":234},"Karpenter","karpenter",{"title":591,"slug":592,"count":234},"Visionnaire","visionnaire",[594,597,600,603,606,609,612,615,618,621,624,627,630,633,636,639,642,645,648,651],{"id":344,"title":345,"slug":346,"image":347,"source":348,"brand_name":349,"brand":350,"brand_slug":351,"file_size":352,"pages":595,"pages_count":354,"matched_pages":596,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":357,"title":358,"slug":359,"image":360,"source":361,"brand_name":362,"brand":363,"brand_slug":364,"file_size":365,"pages":598,"pages_count":199,"matched_pages":599,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":369,"title":370,"slug":371,"image":372,"source":373,"brand_name":374,"brand":375,"brand_slug":376,"file_size":377,"pages":601,"pages_count":379,"matched_pages":602,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":382,"title":383,"slug":384,"image":385,"source":386,"brand_name":374,"brand":375,"brand_slug":376,"file_size":387,"pages":604,"pages_count":389,"matched_pages":605,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":392,"title":393,"slug":394,"image":395,"source":396,"brand_name":397,"brand":398,"brand_slug":399,"file_size":400,"pages":607,"pages_count":402,"matched_pages":608,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":405,"title":406,"slug":407,"image":408,"source":409,"brand_name":410,"brand":411,"brand_slug":412,"file_size":413,"pages":610,"pages_count":262,"matched_pages":611,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":417,"title":418,"slug":419,"image":420,"source":421,"brand_name":410,"brand":411,"brand_slug":412,"file_size":422,"pages":613,"pages_count":424,"matched_pages":614,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":427,"title":428,"slug":429,"image":430,"source":431,"brand_name":410,"brand":411,"brand_slug":412,"file_size":432,"pages":616,"pages_count":434,"matched_pages":617,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":437,"title":438,"slug":439,"image":440,"source":441,"brand_name":410,"brand":411,"brand_slug":412,"file_size":442,"pages":619,"pages_count":183,"matched_pages":620,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":446,"title":447,"slug":448,"image":449,"source":450,"brand_name":410,"brand":411,"brand_slug":412,"file_size":451,"pages":622,"pages_count":453,"matched_pages":623,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":456,"title":457,"slug":458,"image":459,"source":460,"brand_name":461,"brand":462,"brand_slug":463,"file_size":464,"pages":625,"pages_count":80,"matched_pages":626,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":468,"title":469,"slug":470,"image":471,"source":472,"brand_name":410,"brand":411,"brand_slug":412,"file_size":473,"pages":628,"pages_count":475,"matched_pages":629,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":478,"title":479,"slug":480,"image":481,"source":482,"brand_name":410,"brand":411,"brand_slug":412,"file_size":483,"pages":631,"pages_count":485,"matched_pages":632,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":488,"title":489,"slug":490,"image":491,"source":492,"brand_name":410,"brand":411,"brand_slug":412,"file_size":493,"pages":634,"pages_count":434,"matched_pages":635,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":497,"title":498,"slug":499,"image":500,"source":501,"brand_name":410,"brand":411,"brand_slug":412,"file_size":502,"pages":637,"pages_count":504,"matched_pages":638,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":507,"title":508,"slug":509,"image":510,"source":511,"brand_name":512,"brand":513,"brand_slug":514,"file_size":515,"pages":640,"pages_count":517,"matched_pages":641,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":520,"title":521,"slug":522,"image":523,"source":524,"brand_name":410,"brand":411,"brand_slug":412,"file_size":525,"pages":643,"pages_count":242,"matched_pages":644,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":529,"title":530,"slug":531,"image":532,"source":533,"brand_name":410,"brand":411,"brand_slug":412,"file_size":534,"pages":646,"pages_count":536,"matched_pages":647,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":539,"title":540,"slug":541,"image":542,"source":543,"brand_name":410,"brand":411,"brand_slug":412,"file_size":544,"pages":649,"pages_count":546,"matched_pages":650,"match_count":338,"two_pages":339,"show_text":340},[],[],{"id":549,"title":345,"slug":550,"image":551,"source":552,"brand_name":410,"brand":411,"brand_slug":412,"file_size":553,"pages":652,"pages_count":555,"matched_pages":653,"match_count":338,"two_pages":339,"show_text":340},[],[],[655,656,657,658,659,660,661,662,663,664],{"title":563,"slug":564,"count":565},{"title":567,"slug":568,"count":318},{"title":570,"slug":571,"count":318},{"title":573,"slug":574,"count":318},{"title":576,"slug":577,"count":266},{"title":579,"slug":580,"count":254},{"title":582,"slug":583,"count":242},{"title":585,"slug":586,"count":242},{"title":588,"slug":589,"count":234},{"title":591,"slug":592,"count":234}]