[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-26":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":348},{"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":343,"matched_pages":344,"match_count":345,"two_pages":346,"show_text":347},24502,"Architecture & Everything Else 26","cosentino-architecture-and-everything-else-26","\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F9a\u002F2099be2b93e160a489cf219b5ab527-28f7a99e17.pdf","Cosentino",2482,"cosentino","25.0 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,99,103,107,111,115,119,123,127,130,134,138,142,146,150,154,158,161,165,169,173,177,181,185,189,193,197,200,204,208,212,216,220,224,228,232,236,239,243,247,250,254,258,262,266,270,274,278,282,285,289,293,297,301,305,309,313,317,321,325,329,332,335,338,341],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 26 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.3.png","c\ncontents\n22\n30\n38\n48\n58\n70\n  Architecture\n 06 CiviC CeramiC  Níall McLaughlin in Limerick\n \n inspirado por los grandes complejos cívicos, el proyecto busca ser la nueva catedral del rugby.     \n \n Inspired by large-scale civil works, the project aims to create a new cathedral of rugby. \n 14 Haute Couture  Lina Ghotmeh in Louviers\n \n La arquitecta franco-libanesa aúna los valores de Hermès con la tradición normanda.\n \n The French-Lebanese architect fuses the values of Hermès with traditions of Normandy.\n \n Style\n 30 CoLorfuL Hedonism  The Art of Marta Pazos\n \n La directora ha roto todos los moldes con sus atrevidas y coloridas puestas en escena.\n \n The theater director has broken all molds with her daring and colorful stage sets.\n \n Cosentino\n 38 dekton offiCes  Thiel Fassadenbau HQ by Sedlbauer Architekten\n \n el edificio de oficinas destaca por sus grandes terrazas en voladizo soladas en dekton.\n \n The office building stands out thanks to large overhanging terraces with Dekton floors.\n 42 dekton viLLa  House Verdizela by AMATAM\n \n Los acabados de Cosentino protagonizan las distintas superficies de esta villa portuguesa. \n \n Consentino’s finishes take the lead in the different surfaces of this Portuguese villa.\n \n Interior\n 48 artistiC domestiCity  Casa Vasto by Mesura \n \n el estudio afincado en Barcelona transforma un espacio industrial en una casa-galería. \n \n The Barcelona practice transforms an industrial space into a house-gallery.\n 52 BrigHt refLeCtions  Light House by akiHAUS\n \n este luminoso apartamento combina dekton con madera en sus distintas superficies.\n \n This luminous apartment combines Dekton with wood in its various surfaces.\n  Interview\n 58 aLBerto CamPo BaeZa & Begoña LoLo HerranZ  In dialogue\n \n Los dos académicos de bellas artes se reúnen en la sede madrileña de la calle alcalá.\n \n Two members of Spain’s Royal Academy of Fine Arts meet at its Madrid seat. \n  Travel\n 70 istanBuL  Turkey\n \n una guía por los principales puntos de interés de la ciudad de los tres nombres.\n \n A guide through key points of interest in the city of three names. \n  Arts\n 22 Cartoon Cities  Javi Aznarez’s report\n \n tras muchos libros y revistas, el cadaquense ha ilustrado la película de Wes anderson.\n \n After many books and magazines, the Cadaqués-born artist illustrates a Wes Anderson film.\n06\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.4.png","Depósito Legal: m-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nHouse verdizela, amatam  \nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nsantiago alfonso rodríguez\nDirector adjunto Deputy Director\nJosé yuste \nDirector de arte Art Director\nmiguel fernández-galiano\nEditado por Edited by\nCosentino \u002F arquitectura viva\nDiseño y producción editorial\n Graphic Design and Editing\narquitectura viva s.L. \nalberto Ballesteros \nCuca flores \nalejandra galache \nLaura gonzález \nenrique morillo \nJesús Pascual \nraquel vázquez \nTraducción Translations\ngina Cariño, Laura mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.5.png","L\na famiLia martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. a partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva aportación al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":19,"number":35},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.7.png","Architecture\nCivic Ceramic\nNíall McLaughlin in Limerick\nHaute Couture\nLina Ghotmeh in Louviers\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.8.png","6 C 26\nArchitecture\nCultural Center\n1\nThe International Rugby Experience seeks to spread the culture of \nthis centenary sport on an international scale while offering an \nexperience that brings its values closer to the wider public. The \ninstitution now boasts a new home designed by Níall McLaughlin \nin the heart of Limerick, in the south of Ireland. The building joins \nthe growing pool of venues for the city’s cultural activity, and has \nbecome a key piece in the endeavor to revitalize its historical core. \nSurrounded by Georgian constructions and conditioned by the tight-\nness of the site, the project looked to imposing civic edifices to use as \nreferences, contrasting them with the domestic scale of neighboring \nblocks to propose a ‘cathedral of rugby.’\nSuch intention to build a new landmark in the city is aided by \nthe asymmetrical composition of the facade, which strikes up a \ndialogue with the urban landscape by means of a lower volume, the \ncornice of which is aligned with the nearby dwellings. One enters \nfrom busy O’Connell Street through a large portico that leads into \na public space, where visitors and fans can gather on match days. \nBehind this double-height foyer the building breaks up into seven \nlevels that range from exhibition and shopping spaces on the lower \nfloors to a lookout at the top. A carefully executed brick bond and \nthe mauve-toned concrete vaults then become the charateristic \nfeature of the architecture both inside and out, giving the premises \nan overall solid and solemn effect.\nCivic Ceramics \nNíall McLaughlin in Limerick\nLa International Rugby Experience busca difundir la cultura de este \ndeporte centenario a nivel mundial y ofrecer una experiencia que \nacerque sus valores al gran público. La institución cuenta ahora \ncon una nueva sede proyectada por Níall McLaughlin en el corazón \nde Limerick, al sur de Irlanda. El edificio se suma a la creciente ac-\ntividad cultural de la ciudad, y se ha convertido en una pieza clave \nde la revitalización de su centro histórico. Rodeado por construc-\nciones de estilo georgiano, y condicionado por la reducida super-\nficie disponible, el proyecto toma como referencia los imponentes \nconjuntos cívicos para contrastar con la escala doméstica de las \nedificaciones aledañas y proponer una «catedral del rugby». \nJunto a esta voluntad de ser un hito para la ciudad, la composi-\nción asimétrica de su fachada también dialoga con el paisaje urbano \ncercano gracias a un cuerpo de menor altura, que iguala su cornisa \ncon las viviendas vecinas. La entrada se realiza desde la concurrida \nO’Connell Street por un gran pórtico que conduce a un espacio pú-\nblico, donde los días de partido confluyen visitantes y aficionados. \nTras este vestíbulo a doble altura, el conjunto se distribuye en siete \nniveles que incluyen desde espacios expositivos y comerciales en los \nniveles inferiores, hasta un mirador en la parte superior. El atento \naparejo del ladrillo y las bóvedas rosadas de hormigón se convierten \nen el elemento característico del edificio, tanto en el interior como \nen el exterior, consiguiendo esa apariencia sólida y solemne.\nProyecto Project:  \nInternational Rugby Experience \nLimerick (Ireland)  \nArquitectos Architects:  \nNíall McLaughlin Architects \nColaboradores Collaborators: \nFlynn (constructor contractor); Punch \nConsulting (ingeniería civil civil \nengineer); Metec Consulting Engineers \n(instalaciones M&E engineer ) \nFotos Photos \nNick Kane\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.9.png","C 26 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.10.png","8 C 26\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.11.png","C 26 9\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.12.png","10 C 26\nToop floor\nSecond floor\nGround floor\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.13.png","C 26 11\nEl aparejo de los muros \ncerámicos, junto con \nlas distintas bóvedas \nrosadas de hormigón, \nson un reflejo de los \nesfuerzos estructurales y \nproporcionan un vínculo \ntangible con la función \ncívica del edificio.\nThe brick bond of the \nwalls, along with the \ndifferent mauve-toned \nvaults of concrete, are a \nreflection of the building’s \nstructural stresses and \nprovide a tangible link \nwith the civic function  \nof the premises.  \n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.14.png","12 C 26\nEl recorrido por los siete \nniveles del edificio se \nfinaliza en el mirador \npúblico de la última \nplanta, que ofrece vistas \npanorámicas de toda la \nciudad y se convierte en \nuna referencia urbana \nvisible desde la distancia.\nA walk through the seven \nfloors of the building \nends in the public lookout \nat the top, which offers \npanoramic views of the \nentire city and becomes \nan urban marker for \nanyone gazing in this \ndirection from afar.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.15.png","C 26 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.16.png","14 C 26\nArchitecture\nAtelier\n1\nThe design proposed by the office of Lina Ghotmeh is as much \na reflection on the tradition of the French fashion firm Hermès \nas it is on the long history of the location. On the one hand, the \nbuilding rises on the archaeological remains of a settelement of the \nMagdalenian epoch, which through tools that have been excavated \nillustrates how the importance of manual work dates back to Pa-\nleolithic cultures. At the same time, it addresses the history of a \ndesign house that was established in 1837 and now occupies a high \nplace among international luxury brands. A particular structural \nsystem was selected for this project, one of arches built with arti-\nsanal methods. It would evoke the craft of making leather goods as \nwell as the particular texture of the ever humid and clayey ground \nof Normandy. In addition, it reinforces the building’s engagement \nwith the site and its commitment to help protect the environment, \nusing over 500,000 bricks prepared just a few kilometers away \nand with techniques that harness materials found in the vicinity. \nThe wall structure of the ceramic arches is complemented with a \ntimber-beamed roof, which induces natural ventilation and mini-\nmizes the need for artificial lighting in the workshops. A work of \nthe Belgian landscape architect Erik Dhont, the undulating garden \nthat surrounds the square plan of the complex also complies with \nrecycling and preservation principles by respecting the existing \nvegetation and implanting a system for collecting rainwater. \nHaute Couture \nLina Ghotmeh in Louviers\nEl proyecto propuesto por la oficina de Lina Ghotmeh reflexiona \nsobre la tradición de la firma de moda francesa Hermès y sobre la \nlarga memoria del lugar. Por un lado, el edificio se sitúa junto a \nlos restos arqueológicos de un asentamiento de la época magda-\nleniense, que ilustra con las herramientas encontradas la impor-\ntancia de los trabajos manuales desde las culturas paleolíticas. Y a \nsu vez, atiende a la historia de una casa fundada en el año 1837 y \nconvertida ya en un referente internacional de la alta costura. De \neste modo, se eligió un sistema constructivo de arcos compuestos \npor ladrillos hechos a mano, evocando a la vez la artesanía de las \npiezas de marroquinería y la particular textura de la tierra norman-\nda, siempre húmeda y arcillosa. Esta decisión también refuerza el \nvínculo del edificio con su emplazamiento y afianza su compromiso \npor el cuidado ambiental, al emplear más de 500.000 ladrillos fabri-\ncados a pocos kilómetros del solar, y con técnicas que aprovechan \nmateriales encontrados en la zona. La estructura muraria de arcos \ncerámicos se complementa con una cubierta de vigas de madera, \nque favorece la ventilación natural y limita la necesidad de ilu-\nminación artificial en los talleres. El jardín ondulante —obra del \npaisajista belga Erik Dhont— que rodea la rotunda planta cuadrada \ndel complejo se suma igualmente a los principios de reciclaje y \nconservación, al respetar la mayoría de la vegetación existente e \nimplantar un sistema de recuperación del agua de lluvia. \nProyecto Project:  \nAteliers Hermès-Bâtiment E4C2 \nLouviers (France)  \nArquitectos Architects:  \nLina Ghotmeh — Architecture \nColaboradores Collaborators: \nFranck Boutté (medio ambiente environment); \nErik Dhont (paisajismo landscape); \nATEVE (ingeniería VRD engineering); \nEVP (estructura structure); Clarity \n(acústica acoustics); AE75 (economía economy); \nSystea - Namixis (seguridad contra incendios fire \nprotection); BEGC (cocina cuisine) \nFotos Photos \nIwan Baan (pp.15, 16, 17, 18); Tadzio (p. 19)\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.17.png","C 26 15\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.18.png","16 C 26\nOne of the primary \nobjectives of the building \nwas to reduce its carbon \nfootprint to zero, hence \nthe more than 500,000 \nbricks used in raising  \nthe structure of arch \nwalls were fabricated \nwith local earth.\nUno de los objetivos \nprincipales del edificio \nera reducir a cero su \nhuella de carbono, por \nello los más de 500.000 \nladrillos empleados en la \nestructura de muros de \narcos han sido fabricados \ncon tierra de la región.\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.19.png","C 26 17\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.20.png","18 C 26\nBehind the entrance \ncourtyard, an interior \nplaza serves as anteroom \nto the workshops and \nmeeting space for the \nartisans. Below the \nwooden beams is a \nwork by the sculptor \nEmmanuel Saulnier. \nTras el patio de entrada \nse sitúa una gran plaza \ninterior, antesala de \nlos talleres y lugar de \nencuentro para los \nartesanos, que acoge \nbajo sus vigas de madera \nuna obra del escultor \nEmmanuel Saulnier.\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.21.png","C 26 19\n",21,{"image":97,"text":19,"number":98},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.22.png",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.23.png","Arts\nCartoon Cities\nJavi Aznarez’s report\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.24.png","22 C 26\nTras criarse entre Barcelona y Cadaqués, y formarse en algo tan \nalejado de las Bellas Artes como el marketing y las ciencias em-\npresariales, Javi Aznarez decidió probar suerte con el dibujo, y se \napuntó a una escuela de artes visuales. Pero en realidad no era algo \nnuevo para él; el dibujo siempre había estado presente en su vida, \ny los garabatos y cómics le habían acompañado en cada momen-\nto de aburrimiento desde el colegio hasta la escuela de negocios. \nAdmirador de la línea clara de Hergé y el humor gráfico de Quino, \nel ilustrador catalán admite su gusto por lo absurdo —sus dibujos \ncombinan frecuentemente situaciones banales con escenas tristes— \ny una fuerte influencia de las bandes dessinées.\nDespués de publicar sus viñetas en distintos libros y extender su \nmundo creativo a revistas, guiones gráficos y campañas publicita-\nrias, Aznarez recibió la llamada del director americano Wes Ander-\nson para que dibujase el cartel de su película The French Dispatch. \nEl filme, ambientado en la redacción de un periódico americano \nubicado en un enclave ficticio de una Francia del siglo xx, desgra-\nna el último número de la revista, un obituario tras la muerte de \nsu director. Al final se convirtió en un trabajo de más envergadura \ny, además del cartel, realizó varios decorados y distintas portadas \nde la cabecera, que imita el formato del conocido semanal neoyor-\nquino. Tras el éxito recaudado con la película, se le amontonan los \nencargos, entre ellos del propio New Yorker.\nHaving grown up in Barcelona and Cadaqués, then training in \nsomething as removed from the Fine Arts as marketing and busi-\nness, Javi Aznarez decided to try his luck in drawing, signing up \nfor classes in a visual arts school. But in truth this was nothing \nnew to him. He had drawn since childhood, and doodles and comic \nstrips had always filled his moments of boredom, from grade school \nto business school. An admirer of Hergé’s ligne claire and Quino’s \ngraphic humor, the Catalan illustrator professes a penchant for \nthe absurd – his drawings often combine banal situations with \nsad scenes – and acknowledges being strongly influenced by the \nbandes dessinées.\nAfter publishing his cartoons in various books and expanding his \ncreative world to include magazines, storyboards, and advertising \ncampaigns, Aznarez was sought out by the American film director \nWes Anderson to draw the poster of The French Dispatch. Set in an \nAmerican newspaper’s outpost in a fictional city of 20th-century \nFrance, the movie tells of the making of the medium’s final issue, \nan obituary following its editor’s death. The collaboration eventu-\nally grew in scope and, in addition to the publicity poster he drew \nseveral of the film sets as well as various covers of a fictitious \nmagazine, imitating the design of the famous New York weekly. \nIn the wake of the movie’s success, his commissions are piling \nup, including from The New Yorker itself.\nCartoon Cities \nJavi Aznarez’s report\nTras acabar sus estudios \nen la escuela de negocios, \nel ilustrador cadaquense \ndecidió cambiarse al \nmundo del dibujo, desde \nentonces sus viñetas se \nreproducen en revistas, \ncampañas e incluso \npelículas internacionales.\nAfter attending business \nschool, the Cadaqués-\nborn illustrator ventured \ninto the drawing world, \nand since then has seen \nhis cartoons reproduced \nin magazines, ad \ncampaigns, and even \ninternational films.\nArt\nIllustration \n2\nIllustration for NZZ Magazin, 2022 \n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.25.png","C 26 23\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.26.png","24 C 26\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.27.png","C 26 25\nBesides the main poster \nof Anderson’s recent film, \nAznarez has in more than \n30 covers of its fictional \nmagazine condensed the \nAmerican director’s vast \nimagery and portrays the \nfanciful city whose name \nis Ennui-sur-Blasé.\nAdemás del cartel \nprincipal de la reciente \npelícula de Anderson, \nAznarez condensa en sus \nmás de treinta portadas \nel extenso imaginario \ndel cineasta y cincela \nla quimérica ciudad de \nEnnui-sur-Blasé.\nIllustration for The French Dispatch by Wes Anderson, 2021\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.28.png","26 C 26\nThe Catalan artist’s \nillustrations reflect his \ninterest in French and \nBelgian cartoons and \nthe influence, as he \nacknowledges, of the \nbandes dessinées of his \nyouth: Tintin, Asterix  \nand Obelix or Mafalda.\nEn las ilustraciones \ndel artista catalán se \nrefleja su interés por las \nhistorietas francesas y \nbelgas, además de las \nreconocidas influencias \nde sus comics juveniles, \ncomo Tintín, Asterix y \nObelix o Mafalda.\nIllustration for The Guardian, 2022 \nIllustration for Huesca Journalism Congress, 2022 \nLiving Corriere, 2022\nIllustration for Preferred Travel, 2023 \nIllustration for The New Yorker, 2023 \nIllustration for Jeanerica, 2022 \n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.29.png","C 26 27\n",29,{"image":128,"text":19,"number":129},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.30.png",30,{"image":131,"text":132,"number":133},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.31.png","Style\nColorful Hedonism \nThe Art of Marta Pazos\n",31,{"image":135,"text":136,"number":137},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.32.png","30 C 26\nColorful Hedonism\nThe Art of Marta Pazos\nStyle\nScenography\n3\n",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.33.png","C 26 31\nLas obras de Marta \nPazos (Pontevedra, 1976) \ndestacan por su excelencia \nestética, sus asombrosas \nescenas que rompen las \nfronteras entre realidad \ny ficción, y un lenguaje \npropio caracterizado por el \nuso radical de los colores.\nThe productions of \nMarta Pazos (Pontevedra, \n1976) are known for \naesthetic excellence, \nsets breaking the lines \nbetween reality and \nfiction, and a language \nof her own with a \nradical use of colors. \nSafo, Festival Internacional de teatro clásico de Mérida, 2022, ©Jorge Armestar\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.34.png","32 C 26\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.35.png","C 26 33\nSus montajes abarcan \ndesde reinterpretaciones \nde espectáculos circenses, \ncon una función reducida \ncromáticamente al rojo \ny azul, hasta atrevidas \nadaptaciones teatrales, \ncomo en el diálogo con la \ninacabada obra de Lorca. \nHer productions are \nwide-ranging, from \nreinterpretations of \ncircus extravaganzas, \nwith colors limited to \nred and blue, to daring \nadaptations of plays, \nas in the dialogue with \nLorca’s unfinished work.\nLeft: Twist, Teatro Circo Price, 2022, ©José Hevia. Top: Comedia sin título, Centro Dramático Nacional, 2021, ©Luz Soria\nTwist, Teatro Circo Price, 2022, ©marcosGpunto\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.36.png","34 C 26\nComedia sin título, Centro Dramático Nacional, 2021, ©Luz Soria\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.37.png","C 26 35\nLas representaciones de \nla artista gallega buscan \nimpactar visualmente al \nespectador y romper con \nlos cánones escénicos, \ncombinando las rítmicas \ny coloridas coreografías \ncon demandas sociales y \nbreves toques de humor.\nThe Galician artist’s \nperformances are \nvisually impactful on \nthe audience, breaking \naway from stage canons \nand combining rhythmic, \ncolorful choreographies \nwith social issues and \ndoses of humor.\nLeft: Comedia sin título, Centro Dramático Nacional, 2021, ©Luz Soria. Top: Alexina B., Gran Teatre del Liceu, 2023, ©A. Bofill\nAlexina B., Gran Teatre del Liceu, 2023, ©A. Bofill\nAlexina B., Gran Teatre del Liceu, 2023, ©A. Bofill\n",37,{"image":159,"text":19,"number":160},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.38.png",38,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.39.png","Cosentino\nDekton Offices\nThiel Fassadenbau HQ by Sedlbauer Architekten\nDekton Villa\nHouse Verdizela by AMATAM\n",39,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.40.png","38 C 26\nCosentino\nArchitecture\n4\nSedlbauer Architekten took on the challenge of designing new main \noffices for Thiel Fassadenbau in the southwestern section of the \ncity of Nuremberg. This prestigious firm, founded over sixty years \nago, specializes in managing building projects and in constructing, \nproducing, and installing facades. Its headquarters had to allude \nto the long tradition while bearing the banner of current techno-\nlogical standards. With these expectations in mind, the German \narchitects proposed a highly transparent building with a floor \nplan that was organic, shaped like a rounded sail, as well as a \nstrongly horizontal presence owing to the pronounced cantilevers \nof continuous terraces.\nOpening out to the landscape, these galleries become the main \nfeature of the composition. Their emphatic curves are accentuated \nby the detailing of the floor finish, provided by the large pieces of \nDekton Sasea. This material was an ideal choice because of its tonal-\nity, but also because of its high resistance to different climate condi-\ntions and its needing little maintenance. In addition, these transition \nspaces are a key part of an overall passive strategy to ensure energy \nefficiency, as they protect the large panes of glass against direct \nsunlight during the summer. The result is a building that appropri-\nately represents a longtime corporate mission, thought out as it is to \nwithstand the passage of years and stand for the values of a family \nbusiness with projects throughout the country.\nEl estudio Sedlbauer Architekten se enfrentó al reto de diseñar \nla nueva sede principal de la empresa Thiel Fassadenbau, en el \nsureste de la ciudad de Núremberg. Esta prestigiosa firma —fun-\ndada hace más de sesenta años— está especializada en la gestión \nde obras y en la construcción, producción e instalación de fa-\nchadas, por lo que requería un diseño que respondiese a su larga \ntradición y a unos altos estándares tecnológicos. Para atender a \nestas expectativas, los arquitectos alemanes propusieron un edi-\nficio muy transparente, con una planta orgánica en forma de vela \nredondeada y una marcada horizontalidad gracias a los grandes \nvoladizos de sus terrazas continuas.\nEstas galerías abiertas al paisaje se convierten así en el elemen-\nto principal de la composición. Su marcada geometría curva se \nacentúa por el despiece del acabado del suelo, y para ello se es-\ncogieron las losas de gran formato del Dekton Sasea. Este mate-\nrial era idóneo por su tonalidad y elegantes juntas, pero también \npor su resistencia a las distintas climatologías y su facilidad de \nmantenimiento. Además, estos espacios de transición participan \nde las medidas pasivas de eficiencia energética, protegiendo las \ngrandes cristaleras de la incidencia del sol en verano. El resultado \nes un edificio simbólico, pensado para resistir el paso del tiempo \ny, de este modo, representar los asentados valores de una empresa \nfamiliar con proyectos por todo el país.\ndekton oFFICeS\nThiel Fassadenbau HQ by Sedlbauer Architekten\n",40,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.41.png","C 26 39\n",41,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.42.png","40 C 26\nCharacterizing the \nbuilding are spacious \noverhanging terraces, \nand the material chosen \nfor their floors was \nDekton Sasea, which \nwithstands changes in \nclimate conditions and \nallows much detailing.\nUno de los elementos \ncaracterísticos de las \noficinas son sus amplias \nterrazas en voladizo, \npor ello para el suelo se \nescogió Dekton Sasea, \nque resiste los cambios \nclimatológicas y permite \ngrandes despieces.\nDekton Sasea\n",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.43.png","C 26 41\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.44.png","42 C 26\nCosentino\nArchitecture\n4\nThe Verdizela House is located in Corroios, a few kilometers from \nLisbon, on the other side of the Tagus River. The  project carried \nout by the architecture studio AMATAM, set up in 2012 by João \nEscaleira Amaral and Manuela Tamborini, presents an interest-\ning succession of courtyards that serves to separate the different \ndomestic spaces. It also generates a dance between solid and hol-\nlow and between light and shadow, and has the effect of turning \nthe dwelling inward, shielding it against views from the street \nand giving all the rooms the benefit of direct contact with the sky \nand the vegetation. Through an interplay of blind surfaces and a \nstudied arrangement of glass panes, natural lighting of the interiors \nis achieved without sacrificing privacy.\nOne of the most representative attributes of the house is the \ncareful composition of the facade. Instrumental in this regard \nis the contrast of materials, which range from traditional white \nplaster and woods to the ultra-compact Dekton stone. The color \nselected for this case was Aeris, inspired by white limestones, in \ncombination with Rem, which pays tribute to elegant white mar-\nbles, the result being an alternation of light tones and pastels. To \nachieve a continuity between interior and exterior spaces, Dekton \nis also used in the kitchen and bathrooms, where the range ex-\ntends to include the Zenith, Sasea, and Sirocco finishes, along \nwith Silestone White Zeus.\nLa Casa Verdizela se sitúa en Corroios, a pocos kilómetros de Lis-\nboa, y al otro lado del río Tajo. El proyecto de la oficina AMA-\nTAM, fundada en el año 2012 por João Escaleira Amaral y Ma-\nnuela Tamborino, propone una interesante sucesión de patios que \nseparan las diferentes estancias domésticas. Esta operación genera \nun contraste entre lleno y vacío, o entre luz y sombra; y hace que \nla vivienda se vuelque hacia el interior, protegiéndose de las vistas \ndesde la calle, y permitiendo que todas las estancias cuenten con \nuna relación directa con el cielo y la vegetación. A través del juego \nentre paños ciegos y una estudiada colocación de las cristaleras \nse consigue introducir la luz natural, pero garantizando al mismo \ntiempo la privacidad de las habitaciones.\nUno de los elementos más representativos de la casa es la cui-\ndada composición de su fachada, gracias al contraste entre los \ndistintos materiales empleados, que incluye desde los tradicionales \nrevocos blancos, o maderas, hasta la piedra ultracompacta Dekton. \nPara esta ocasión se eligió el color Aeris, inspirado por las piedras \ncalizas blancas, en combinación con el color Rem, que homenajea \nlos elegantes mármoles blancos, alternando así los tonos claros \ncon los pastel. Para conseguir continuidad entre los espacios in-\nteriores y exteriores, Dekton se utiliza también en la cocina y los \nbaños, donde la gama se amplía a los acabados Zenith, Sasea y \nSirocco, junto con el Silestone White Zeus.\ndekton villa\nHouse Verdizela by AMATAM\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.45.png","C 26 43\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.46.png","44 C 26\nThe finishes provided \nby the firm Cosentino \nextend to walls and \nfloors both indoors \nand out, and even to \nbathrooms with the \nSilence and Armery \nlines, produced in \nDekton and Silestone.\nLos acabados de la firma \nCosentino se extienden \nde las paredes y suelos, \ntanto interiores como \nexteriores, a incluso los \npropios lavabos, con \nlos modelos Silence y \nArmery, producidos en \nDekton y en Silestone.\nDekton Rem\nDekton Sasea\nDekton Aeris\nDekton Sirocco\nSilestone White Zeus\nDekton Zenith\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.47.png","C 26 45\n",47,{"image":198,"text":19,"number":199},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.48.png",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.49.png","Interior\nArtistic Domesticity\nCasa Vasto by Mesura\nBright Reflections \nLight House by akiHAUS\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.50.png","48 C 26\nInterior\nRenovation\n5\naRtIstIc domestIcIty\nCasa Vasto by Mesura \nSituado en el barrio de Poblenou, un antigua zona fabril a las \nafueras de Barcelona convertida hoy en uno de los principales focos \ncreativos de la ciudad, el piso presentaba un único espacio diáfano, \ny un característico techo resuelto con las técnicas constructivas \nlocales desarrolladas en el siglo xix por el arquitecto Joan Torras. \nEl proyecto debía transformar este antiguo espacio industrial en \nuna vivienda y una galería de arte, y convertirlo en un espacio \nde intersección entre lo doméstico y lo artístico. Por ello todas \nlas operaciones realizadas buscaban acentuar la indeterminación \nespacial y difuminar los límites de la vivienda.\nLa intervención se basa en dos acciones principales: la primera es \nla restauración y mejora de las cualidades existentes, fomentando su \namplitud y luminosidad con el mínimo de divisiones espaciales; y la \nsegunda comprende el diseño ad hoc de todas las piezas necesarias \npara cualificar las distintas estancias, desde la encimera de la cocina \nhasta los sanitarios o la gran mesa central, realizada junto con la \ndiseñadora Sara Regal empleando desechos de la obra. De este modo, \nel interior se concibe como una constelación de objetos únicos, \nen contraste con las sobrias paredes encaladas y el mobiliario \ncon sus acentuados colores y formas. El resultado es una planta \nabierta, únicamente dividida por un volumen central de madera, \nque aglutina los espacios de servicio y separa visualmente la flexible \nzona de estar de las estancias privadas.\nLocated in the Poblenou neighborhood, formerly a manufacturing \nzone lying outside Barcelona but now one of the city’s main \ncreative hubs, the apartment presented a single uninterrupted space \nand a unique ceiling executed with local construction techniques \ndeveloped in the 19th century by the architect Joan Torras. The \nproject had to transform this old industrial space into a home cum \nart gallery, halfway between domestic and artistic. The proposals \nfor intervention sought to accentuate the spatial ambiguity, blurring \nthe boundaries of the actual dwelling.\nThis intervention carried out two principal actions: the first \ninvolved restoring and improving existing attributes, enhancing \ntheir breadth and luminosity with a minimum of spatial divisions; \nand the second entailed an ad hoc design of all the pieces needed \nto give identity to the various rooms, from the kitchen countertop \nand sanitary fixtures to the large central table, crafted with \nscraps of construction work in collaboration with the Galician \ndesigner Sara Regal. The interior design is conceived of as a \nconstellation of distinctive objects that strike a contrast with the \nsimple whitewashed walls and the furniture with its eye-catching \ncolors and shapes. The result is an open plan, the only divider \nbeing a wooden volume planted at the very center that serves to \nagglutinate the service spaces and visually separate the flexible \nliving room from the private domains.\nPhotos: Salva López\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.51.png","C 26 49\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.52.png","50 C 26\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.53.png","C 26 51\nThe project revolved \naround two objectives: \nreinforce the attributes of \nthe existing space, and \ndesign ad hoc pieces, \nsuch as the stainless \nsteel bar in the kitchen \nand a large central table \nmade with scraps.\nEl proyecto se basa en \ndos operaciones: reforzar \nlas fortalezas del espacio \nexistente, y el diseño de \ndistintas piezas ad hoc, \ncomo la barra de acero \ninoxidable de la cocina \no una gran mesa central \nhecha con residuos. \n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.54.png","52 C 26\nInterior\nRenovation\n5\nbRIght ReflectIons\nLight House by akiHAUS \nUbicado en el último piso de un antiguo edificio del colorido barrio de \nEast Coast Road, al sureste de Singapore, el proyecto del interiorista \nLawrence Puah —director y fundador del estudio Akihaus— destaca por \nsu resplandor y sus interesantes juegos de reflejos, que consiguen una \nsensación de amplitud y luminosidad. Una de las primeras decisiones \ndel equipo de diseño fue renunciar a los techos planos existentes, \npara así rescatar la estructura original y conseguir unas estancias más \nespaciosas, dejando a la vista la pendiente de la cubierta primigenia. \nOtra de las premisas planteadas era introducir la vegetación en la \nvivienda, por ello se volvió a abrir la terraza y se propuso una zona \nde invernadero conectada con el salón. \nLas zonas públicas se resuelven con una planta abierta y fluida, \ndistinguiéndose por su paleta de tonos claros, en la que destaca la \nutilización del Dekton Aura. El material de Cosentino —caracterizado \npor su versatilidad, durabilidad y fácil mantenimiento— se \nimplementó tanto en las encimeras y la isla como en los suelos; \ny con su superficie blanca veteada homenajea a los mármoles de \nCalacatta y Carrara. Frente a las tonalidades pastel predominantes \nen el salón y la cocina, para los dormitorios se escogieron colores \nmás oscuros que aportan un ambiente melancólico y acogedor. Los \ndistintos acabados y sus texturas juegan un papel importante en la \ncasa, y el contraste entre las maderas y el Dekton son fundamentales \npara la jerarquización de los espacios. \nLocated on the top floor of an old building of the colorful neighborhood \nof East Coast Road, in the southeast area of Singapore, the project \ncarried out by the interior designer Lawrence Puah – director and \nfounder of the studio akiHAUS – dazzles and creates an interesting \ndance of reflections that conveys a sense of breadth and luminosity. \nOne of the design team’s first decisions was to eliminate the existing \nflat ceilings, to then restore the initial structure and obtain larger \nrooms, leaving the original roof’s inclination visible. Another was \nto make vegetation part and parcel of the residential project, so a \nterrace was created, along with a greenhouse zone that connects \nwith the living room.\nThe public zones are resolved and executed with a fluid open \nplan whose seal of distinction is a palette of light tones marked by \nthe use of Dekton Aura. This material manufactured by Cosentino \n– outstandingly versatile and durable and requiring minimal \nmaintenance – clads the countertops and island but also the floors, \nand its white veined surface is a tribute to Calacatta and Carrara \nmarbles. As a counterpoint to the pastel hues that predominate in \nthe living room and kitchen, the bedrooms present darker colors for \na more melancholy and embracing effect. The various finishes and \ntextures play an important role in the dwelling, and the contrast \nproduced between the wood and Dekton surfaces is essential in \nhierarchizing the different spaces.\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.55.png","C 26 53\n",55,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.56.png","54 C 26\n",56,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.57.png","C 26 55\nThanks to its versatility \nand strong resistance to \nstains, scratches, and \ntemperature changes, the \nwhite veined surface of \nDekton Aura was deemed \nideal for the countertops, \nthe island, and the entire \nfloor of the kitchen.\nGracias a su versatilidad \ny a su alta resistencia a \nlas manchas, rayones y \ncambios de temperatura, \nse escogió el color blanco \nveteado del Dekton Aura \npara los acabados de las \nencimeras, la isla y todo \nel suelo de la cocina.\n",57,{"image":237,"text":19,"number":238},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.58.png",58,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.59.png","Interview\nCampo & Lolo\nIn Dialogue\n",59,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.60.png","Interview\nConversation\n6\nLolo & Campo \nin dialogue\n",60,{"image":248,"text":19,"number":249},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.61.png",61,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.62.png","60 C 26\nPhotos: Miguel Galiano \nEl histórico palacio de Goyeneche, sede de \nla Real Academia de Bellas Artes de San \nFernando, en la céntrica calle Alcalá de \nMadrid acoge la conversación entre dos \nde sus miembros, que dialogan sobre la \nrelación de la arquitectura con la música, y \nde la importancia de la filosofía en ambas \ndisciplinas.\nAlberto Campo Baeza: El otro día es-\ntaba en la universidad, y hablaba sobre el \nfilósofo Julián Marías, que decía una cosa \npreciosa sobre la educación: para enseñar \nhay que saber, saber enseñar, y querer en-\nseñar. Yo pensaba que Marías estaba muy \nvinculado con Heidegger, pero no, en rea-\nlidad, tenía más relación con Ortega, que \nhabía sido su maestro. \nBegoña Lolo Herranz: Es muy intere-\nsante ver como todas las artes están muy \nvinculadas con la filosofía, por ejemplo, \nhace poco acudí a la Semana Cervantina \norganizada, por primera vez, por la Real \nAcademia Española. \nACB: ¡Ah! ¿También perteneces a la RAE? \nBLH: No, no… soy académica correspon-\ndiente de la Real Academia de la Historia. \nEn realidad me formé en musicología, cursé \nmis estudios en el conservatorio y después \nestudié Historia del Arte, para finalmente \ndoctorarme en esta disciplina con la pri-\nmera tesis doctoral sobre la música en la \nUniversidad Autónoma de Madrid. Pero \nvolviendo a las referencias filosóficas de \nlas que hablábamos, el hispanista y es-\npecialista en Cervantes, Jean Canavaggio, \nhizo una ponencia sobre la relación entre \nel Quijote y el mito; sobre todo me inte-\nresó mucho toda la parte filosófica y la \nconexión que estableció con las teorías \nde Foucault. En esa jornada yo también \nimpartí una pequeña conferencia sobre la \nmúsica en la obra cervantina y, al final, \norganicé un pequeño concierto. En ese \nmomento, me di cuenta de que la acústica \nde la sala era muy mala. Así como en la \nReal Academia de Bellas Artes tenemos un \nsalón de actos con una acústica maravillo-\nsa, aquella era muy seca. Esta experiencia \nme hizo reflexionar sobre la trascendencia \nque tiene la figura del arquitecto, ya que \ncomo la acústica no funcione, la música \ntampoco puede hacerlo. \nACB: Nuestro compañero Juan Navarro \nBaldeweg tiene unos textos muy bonitos \ndonde compara la música con la arquitec-\ntura, y dice algo así como que la música es \naire y la arquitectura es luz. La luz atraviesa \nel espacio como el aire un instrumento \nmusical, y cuando esto pasa es una cosa \nmaravillosa. El escritor francés Paul Va-\nléry explicaba este fenómeno diciendo que \nhay edificios mudos, edificios que hablan \ny edificios que cantan. A mí me pasó algo \nsimilar con la Casa Gaspar, una obra que \nhice hace muchos años por cuatro perras, \nque tenía un patio delante y otro detrás, y \nrecuperaba la tipología de las casas anda-\nluzas populares. Quedó maravillosa y yo \nme quedé feliz. Pero al poco el hermano \ndel cliente me pidió una casa el doble de \ngrande y el doble de alta, y todo aquello \nque había funcionado perfectamente en la \nprimera, en esta se destensaba. Los temas \nde la escala, la métrica y la precisión son \nLa musicóloga Begoña \nLolo (Madrid, 1958) y \nel arquitecto Alberto \nCampo Baeza (Valladolid, \n1946) coinciden en la \nimportancia que tiene la \nfilosofía en los procesos \ncreativos y lamentan su \ndesaparición de las aulas.\nThe musicologist \nBegoña Lolo (Madrid, \n1958) and the architect \nAlberto Campo Baeza \n(Valladolid, 1946) agree \non the importance of \nphilosophy in creative \nprocesses and mourn its \nabsence in classrooms.\n«Los temas de la escala, la \nmétrica y la precisión son \nimprescindibles, y la música en \neso también es muy rigurosa»\n",62,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.63.png","The seat of Spain’s Royal Academy of \nFine Arts, the historic Goyeneche Palace \non Calle Alcalá, in the heart of Madrid, is \nwhere two of its members engage in a con-\nversation about the relationship between \narchitecture and music and the importance \nof philosophy in both.\nAlberto Campo Baeza: The other day \nI was at the university and talking about \nthe philosopher Julián Marías, who said \nsomething beautiful about education: in \norder to teach, one has to know, and one \nhas to know how to teach and want to teach. \nI used to think of Marías as closely tied to \nHeidegger, but no. In truth he had more to \ndo with Ortega, who had been his master.\nBegoña Lolo Herranz: It’s very inter-\nesting how all the arts connect with phi-\nlosophy. For example, I recently attended \nCervantes Week, organized for the first time \nby the Royal Spanish Academy.\nACB: Ah! Are you also a member of the \nRoyal Spanish Academy?\nBLH: No, no… I’m in the Royal Acad-\nemy of History. My training is really in \nmusicology. I studied at the conservatory \nand later took up art history, to eventually \nearn a doctorate in this discipline with \nthe first dissertation on music ever to be \nread at the Universidad Autónoma de Ma-\ndrid. But going to philosophical references, \nthe Hispanist and Cervantes expert Jean \nCanavaggio lectured on the relationship \nbetween Quijote and myth. Above all I was \ninterested in the philosophical part and the \nconnection he made with Foucault’s theo-\nries. That day, I myself gave a small confer-\nence on music in the Cervantine world, and \norganized a mini-concert for afterwards. It \nwas then that I realized how bad the hall’s \nacoustics were. Here in the Royal Academy \nof Fine Arts of San Fernando we have an \nauditorium with wonderful acoustics, but \nthat one was really dry. The experience \nmade me reflect on the importance of the \nfigure of the architect: if the acoustics don’t \nwork, neither can the music.\nACB: Our co-academician Juan Navarro \nBaldeweg wrote some very beautiful texts \nwhere music is compared to architecture, \nand he says something to the effect that \nmusic is air and architecture is light. Light \nmoves through space like air through a \nmusical instrument, and when this hap-\npens, it’s a marvelous thing. The French \nwriter Paul Valéry explained this phenom-\nenon saying that there are mute buildings, \nbuildings that talk, and buildings that sing. \nSomething similar happened with the Gas-\npar House, which I did many years ago \nfor next to nothing, and it has a courtyard \nin front and another behind, reviving the \ntypology of popular Andalusian houses. It \nwas splendid, I was very happy with the \nway it turned out. But soon afterwards \nthe client’s brother asked me for a house \ntwice as big and twice as tall, and what \nhad worked so perfectly in the first became \nslack. Themes of scale, metrics, and preci-\nsion are indispensable, and music is also \nvery rigorous.\nBLH: I remember that when I started to \ndirect concert series for the National Au-\nditorium in Madrid, I went to speak with \n“Themes of scale, \nmetrics, and precision are \nindispensable, and music  \nis also very rigorous”\n",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.64.png","62 C 26\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.65.png","C 26 63\nthe manager to see if acoustic studies had \nbeen undertaken, just to be able to adjust the \nprogramming accordingly. A work of José \nMaría García de Paredes, the auditorium is \nexcellent, so I was awed that practically no \nacoustic studies had been made when it was \ndesigned and built. This is a concert hall \nseating 2,340 for which no acoustic tests \nwere carried out to check how it worked. In \nthis case it doesn’t matter what tickets you \nbuy, whether for the first row down in the \norchestra or the back-most one up in the \nsecond balcony. In truth, it’s not the same \nthing. Depending on where you are seated, \nthe sound is different.\nACB: But acoustics can be corrected with \nexperts. You tell them to please tune the \nbuilding. Get the building to sing, as we \nwere saying at the start.\nBLH: So there are houses that sound \nwhen you’ve built them, and others that \ndon’t?\nACB: They all sound! It’s just that some \nsing better. There are some that you’ve \nstudied and tuned. They are composed, \nrehearsed, and especially corrected. The \nanalogy with music is lovely. In this I think \nPaul Valéry was very much on-target.\nBLH: In my view there’s so much beauty \nin the idea that architecture, like music, \ncreates life with every new building. A \nlife that’s beginning, and when there’s a \nchange of user, another life begins. The \nsame happens each time you listen to \nmusic. Although you have heard a certain \nwork hundreds of times because it’s part of \na collective canon, you hear it differently \nevery single time you listen to it. So many \ndifferences…\nACB: Going back to formative and aca-\ndemic themes, what do you think of the \nuniversity nowadays?\nBLH: I am a chair professor of music \nhistory at the Autonomous University of \nMadrid, where I practically single-handed-\nly created all the related study programs. \nWe even have a double-major program, \nunprecedented in Spain, for music and phi-\nlosophy. And just when they’ve removed \nmusic from schools…\nACB: It’s so hard to understand this \nbecause, politics aside, I still clearly re-\nmember being in 5th grade and starting to \nstudy philosophy, that amazing thing where \nthinking begins. I’m reminded of a house \nI recently completed in Montecarmelo. It’s \non a hill and I knew that from the house \nup there, you could have a sweeping view \nof Madrid. But the day they finished the \nsecond floor and I went upstairs for the \nfirst time, I started to tear. How was it \npossible that what I’d thought to be true \nwas in fact true?\nBLH: Do you know that Maurice Ravel \nhimself, when rehearsing his Boléro, found \nhimself not able to recognize it? Some musi-\ncians have perfect pitch, but others don’t. \nIn any case, with music you can imagine \nthings a certain way, but when you hear \nit played by a solid symphonic orchestra, \nit’s very different. In fact there are many \ncomposers who listen to their works and \nsometimes find themselves unable to per-\nceive them as theirs. It could be that they \n“There’s so much beauty in \nthe idea that architecture, \nlike music, creates life with \nevery new building“\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.66.png","64 C 26\nimprescindibles, y la música en eso es tam-\nbién muy rigurosa. \nBLH: Recuerdo que cuando empecé a \ndirigir el ciclo de conciertos del Auditorio \nNacional fui a hablar con el gerente y le \npregunté si se habían hecho estudios de \nacústica, para así poder ajustar mejor la \nprogramación. El auditorio, que es obra \nde García de Paredes, es maravilloso y me \nimpresionó que prácticamente no se ha-\ncían estudios de acústica. Un auditorio de \n2.340 asientos y no se hacen pruebas de \nacústica para ver cómo funciona. Entonces \nda lo mismo que compres un asiento en la \nprimera fila del patio de butacas que en la \núltima del segundo anfiteatro. Y en reali-\ndad no funciona igual, según donde estés \nsentado se escucha de una manera u otra. \nACB: Lo que sí que es posible es corre-\ngir la acústica con expertos. Decirles, por \nfavor, afínenme el edificio. Hacer que el \nedificio consiga cantar, como decíamos al \nprincipio. \nBLH: Entonces, ¿hay casas que cuando \nlas has hecho suenan y otras que no?\nACB: ¡Suenan todas! Solo que algunas \ncantan mejor. Hay algunas que las has es-\ntudiado y las has afinado. Se componen, se \nensayan y, sobre todo, se corrigen. Pero es \nbonita la comparación con la música. Ahí \ncreo que Paul Valéry está muy acertado. \nBLH: A mi modo de ver hay una cosa muy \nhermosa y es que la arquitectura, igual que \nla música, da vida con cada edificio nuevo. \nUna vida nueva que empieza y cuando se \ncambia el usuario comienza otra distinta. \nEsto mismo sucede cada vez que escuchas \nmúsica. Aunque hayas escuchado cientos \nde veces determinadas obras, que forman \nparte de un canon colectivo, cada vez que la \nescuchas hay tantas y tantas diferencias… \nACB: Volviendo a los temas formativos y \nacadémicos, ¿qué piensas de la universidad \nhoy en día?\nBLH: Yo soy catedrática de Historia de \nla Música en la Universidad Autónoma, \ndonde prácticamente creé todos los estu-\ndios que hay ahora relacionados con la \nespecialidad. E incluso tenemos un doble \ngrado, que es único en España, de Música \ny Filosofía. Además, ahora que la han qui-\ntado de las clases…\nACB: A mí me cuesta entenderlo porque, \nindependientemente ya de temas políticos, \nyo todavía recuerdo bien cuando en quinto \nde bachillerato empecé a estudiar filosofía, \naquella cosa maravillosa donde comenzaba \nel pensamiento. Me recuerda a una casa que \nterminé recientemente en Montecarmelo, \nestá encima de una colina, y yo sabía que \ncuando subieras un poco, desde la casa se \niba a poder ver todo Madrid. Pues el día \nque terminaron la segunda planta y subí \npor primera vez, me puse a llorar. ¿Cómo \nes posible que eso que yo pensaba que era \nverdad, sea verdad?\nBLH: Tú sabes que Maurice Ravel, cuan-\ndo estaba ensayando su bolero, él mismo no \nera capaz de reconocerlo. Hay músicos que \ntienen oído absoluto, pero otros que no. En \ncualquier caso, con la música tú te puedes \nimaginar las cosas de una manera, pero ver \ncómo suena en una orquesta sinfónica bien \nensamblada es muy distinto. De hecho, hay \n«Hay una cosa muy hermosa \ny es que la arquitectura, \nigual que la música, da vida \ncon cada edificio nuevo»\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.67.png","C 26 65\ndon’t identify a hundred percent with their \nown works. It’s also true that in this case \nthere’s an orchestra and a conductor who \nmake their own interpretations.\nACB: Likewise in architecture, many \nprojects end up beyond you. It happened \nto me with the Caja de Granada.\nBLH: I have good memories of Juhani \nPallasmaa’s book The Eyes of the Skin. \nWhen I first read it, I was much taken \nby it because it dealt with the relation-\nship between architecture and the senses. I \nfound it to be an absolutely revealing text. \nIt spoke to themes like the senses, feelings, \nand even emotions. Things which a priori \nare not part of the architectural experience. \nIn architecture one referred to emotion, but \nnot the emotion of the actual completed \nbuilding. Rather, precisely the emotion that \ncomes with the capacity to dream which you \nmentioned before. The building that sings \nwell, that has poetry, and that bears a new \nlife. That’s why you architects are creators, \nwhich is something that definitely cannot \nbe said of everyone.\nACB: Indeed there is no doubt that music \nand architecture have a lot in common.\nBLH: No doubt. For example, we have \nnow started to plan a project, precisely \nto try to understand how sound worked in \nhistorical buildings, how music could ring \nin them. We were going to do this in the \nRoyal Palace, to know how the music of \nthat period sounded in its own terms, in \nits own time, with the original instruments. \nThat is, to try to grasp how period music \nsounded in its corresponding physical but \nalso historical context. \nACB: What you’re saying reminds me \nthat it’s also highly alarming that music \nis not taught more in schools. Just like \nit’s unbelievable that philosophy has been \npulled out of the curriculum of basic educa-\ntion, it’s hard to understand why music is \ntaught so poorly.\nBLH: History is now taught starting in \nthe year1812. That’s terrible – the disap-\npearance of philosophy and the reduction \nof music. These are key subjects, indispens-\nable in any program to educate citizens for \nthe future.\nACB: I’ve always thought that to be \na good architect, one has to be cultured. \nWithout question, a cultivated person \nmakes a better architect. To be sure, I own \nmore poetry books than architecture books. \nI enjoy them more. But we’ve talked enough \nabout philosophy and music. Let’s leave \npoetry for the next time…\n",67,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.68.png","66 C 26\nmuchos compositores que escuchan su obra \ny a veces no la perciben. Puede ser que no \nse sientan identificados al cien por cien con \nella. Aunque también es cierto que en este \ncaso hay una orquesta y un director que \nhan hecho su propia interpretación.\nACB: De la misma manera, hay muchos \nproyectos que al final te acaban superando. \nA mí me pasó con la Caja de Granada. \nBLH: Tengo un buen recuerdo del libro \nLos ojos de la piel, de Juhani Pallasmaa, \ncuando lo leí por primera vez me llamó \nmucho la atención porque trataba la rela-\nción entre la arquitectura y los sentidos. \nMe pareció un texto absolutamente reve-\nlador. Hablaba de temas como los sentidos, \nlos sentimientos o incluso las emociones. \nCosas que a priori no entran en la vivencia \nde la arquitectura. Se refería a la emoción, \npero no la del edificio en sí terminado, \nsino justo de esa capacidad de sonar que \nmencionabas antes. Ese edificio que canta \nbien, que tiene poesía, y que tiene una \nnueva vida. Por esto, los arquitectos tam-\nbién sois hacedores y, desde luego, eso no \nestá al alcance de cualquiera. \nACB: Efectivamente, no hay duda de \nque hay muchos puntos en común entre \nla música y la arquitectura.\nBLH: Sin duda. Por ejemplo, ahora se ha \nempezado a plantear un proyecto, precisa-\nmente para intentar entender cómo era la \nsonoridad en los edificios históricos, cómo \npodía sonar la música en ellos. Se iba a \ndesarrollar en el Palacio Real, para conocer \ncómo sonaba la música de esa época en \nlos propios términos de su tiempo y con \ninstrumentos originales. Es decir, tratar de \ncomprender cómo sonaba la música en su \ncontexto físico, pero también histórico. \nACB: Con esto que cuentas, me hace re-\nflexionar que también es muy preocupante \nque no se estudie más música en el colegio. \nIgual que uno no se explica por qué han \nquitado la filosofía de los estudios básicos, \nno se entiende que no haya más música. \nBLH: Fíjate que ahora se empieza a es-\ntudiar la historia desde 1812, ¡es tremendo! \nTanto la desaparición de la filosofía, como \nla reducción de la música, que son asigna-\nturas claves e imprescindibles para formar \na los ciudadanos del futuro. \nACB: Siempre he pensado que para ser \nbuen arquitecto hace falta ser culto. Desde \nluego, se es mejor arquitecto si se es culto. \nPor ejemplo, yo tengo más libros de poesía \nque de arquitectura, y los disfruto más. Pero \nbueno ya hemos hablado de filosofía y mú-\nsica; dejamos para la siguiente la poesía…\n",68,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.69.png","C 26 67\n",69,{"image":283,"text":19,"number":284},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.70.png",70,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.71.png","Travel\nIstanbul\nTurkey\n",71,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.72.png","70 C 26\nIstanbul\nTravel\nTurquía  \n7\nStraddling the Bosphorus, \nbetween East and West, the \nTurkish capital boasts a \nlong history, a rich culture, \nand tasty gastronomy.\nEn el estrecho del Bósforo, \nentre Oriente y Occidente, la \ncapital destaca por su larga \nhistoria, su rica cultural y \nsu sabrosa gastronomía.\n01\n02\nReligious\nHagia Sophia \nArt Museum \nIstanbul Modern\nSince its completion in \n537 AD this building \nhas been the main \nsymbol of Istanbul, and \nchanged its function \nmany times over, from \nan Orthodox Byzantine \ncathedral to a Christian \nbasilica to a mosque.\nSituado en el barrio de \nGálata, el proyecto del \narquitecto genovés Renzo \nPiano para el Istanbul \nModern se basa en una \nestricta retícula de pilares \nde hormigón antisismo \ny una reflectante piel \nmetálica y vidriada.\nIn the Galata \nneighborhood, Renzo \nPiano’s project for this \nmuseum of modern art is \nbased on a grid of pillars \nof earthquake-resistant \nconcrete, and opens out \nto the exterior with a skin \nof metal and glass.\nDesde su fundación \nen el año 537 se ha \nconvertido en el símbolo \nde la capital, cambiando \nsu función en múltiples \nocasiones, de catedral \nortodoxa bizantina a \nmezquita, pasando por \nbasílica cristiana.\nAlamy © Gavin Hellier\n© Enrico Cano\n",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.73.png","C 26 71\n03\nStrait \nBosporus\nCon una longitud de casi \n30 kilómetros y solo 3,7 \nde ancho, el Bósforo, o \nestrecho de Estambul, \nsepara Europa de Asia, \ndividiendo en dos la \nciudad y conectando el \nmar Negro con el pequeño \nmar de Mármara.\nAlmost 30 kilometers \nlong and only 3.7 wide, \nthe Bosphorus Strait \nseparates Europe from \nAsia, dividing the city \nof Istanbul into two \nparts and connecting the \nBlack Sea to the small \nSea of Marmara.\nFreepik.com © tawatchai07\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.74.png","72 C 26\nNeo-Baroque\nDolmabahçe Palace\n07\nLevantado entre 1843 y \n1856 a orillas del Bósforo \npor la famosa familia de \narquitectos de los Balyan, \nel edificio neobarroco \ntrajo los lujos europeos \na Oriente y sustituyó al \nPalacio Topkapı como \nresidencia de los sultanes.\nRaised between 1843 and \n1856 on the shores of the \nBosphorus by the Balyan \nfamily of court architects, \nthe neo-Baroque edifice \nbrought European luxuries \nto the Orient and replaced \nTopkapı Palace as \nresidence of the sultans.\nAlamy © Images & Stories \nCC A.Savin \nCC SBarnes \ndepositphotos © yskandag\nByzantine\nThe Chora\n Watchtower\nGalata Tower\n04\n05\nLa iglesia es uno de los \nmáximos exponentes del \narte bizantino, gracias a \nsus frescos y mosaicos.  \nLa torre medieval es uno \nde los mejores puntos \ndesde donde tener una \npanorámica de la ciudad.\nThis church is one of the \nprimary exponents of \nByzantine art, thanks to \nits frescos and mosaics.\nThe top of this medieval \ntower is one of the best \nvantage points for a \npanorama of the city.\nReligious\nBlue Mosque\n06\nSituada junto a Santa \nSofía, la mezquita \nes obra de Sedefkar \nMehmet Aga, discípulo \ndel arquitecto Sinan, y \ntoma su nombre de los \nmás de 20.000 azulejos \nde color azul que \nadornan sus cúpulas.\nStanding across Hagia \nSophia, the mosque \nis a work of Sedefkar \nMehmed Aga, a disciple \nof the architect Sinan, \nand takes its name  \nfrom the more than \n20,000 tiles that  \nadorn the domes.\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.75.png","C 26 73\nReligious\nSehzade Mosque11\nTambién conocida como \nMezquita de los Príncipes, \nfue encargada por Solimán \nel Magnífico en memoria \nde su hijo. El templo \nes una de las primeras \nobras de Sinan y es una \nobra emblemática de la \narquitectura otomana. \nThis early work of \nSinan, also known as \nthe Princes’ Mosque, \nwas commissioned \nby Suleiman the \nMagnificent as a \nmemorial to his son, and \nhas become an emblem \nof Ottoman architecture.\nAlamy © Martin Siepmann \nCC A.Savin \ndepositphotos © Xantana\ndepositphotos © brunocoelhopt\nOttoman\nTopkapı Palace\n09\nUbicado entre el mar de \nMármara y el cuerno de \noro, el palacio refleja la \nimportancia y el poder \nque tenía Constantinopla  \nen la época del Imperio \nOtomano, y está formado \npor varios edificios en \ntorno a cuatro patios.\nBetween the Sea of \nMarmara and the \nGolden Horn, reflecting \nConstantinople’s \nimportance and power \nin Ottoman Empire days, \nthe palace presents  \nseveral buildings around \nfour courtyards.\nAncient Cistern \nBasilica Cistern\n08\nEl depósito se levantó para \nabastecer al capitolio y \nasegurar el suministro de \nagua en caso de asedio.\nThe infrastructure was \nbuilt to provide the capitol \nwith water and to ensure \na supply in case of siege.\nOrthodox Church \nHagia Irene\n10\nFundada en el siglo vi, \nla iglesia ortodoxa —una \nde las primeras de la \nciudad— se localiza en el \nprimer patio del palacio \nde Topkapı, organizada \nen una planta basilical, \ndespunta por su atrio y \nsus austeros interiores.\nDating back to the 6th \ncentury, the Orthodox \nchurch (among the city’s \noldest) rises in Tokpakı \nPalace’s outer courtyard. \nSet on a basilical \nfloor plan, it has an \nexceptional atrium  \nand austere interiors.\n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.76.png","74 C 26\nReligious\nSancaklar Mosque\n12\nObra de Emre Arolat, la \nmezquita se encuentra en \nun parque a las afueras \nde Estambul. El proyecto \naprovecha el desnivel del \nterreno para incrustarse \nen el suelo y extender \nla cubierta ajardinada al \nprado adyacente.\nDesigned by Emre \nArolat, this mosque is \nlocated in a park on the \noutskirts of Istanbul. The \nproject used the slope of \nthe site to embed it into \nthe ground and stretch \nthe garden roof toward \nthe adjacent field.\nPublic Space \nSıshane Park\nMeeting Point \nDivan Kuruçesme Venue\n15\n13\nEl proyecto diseñado por \nel estudio local Sanalar \nrecupera la participación \nvecinal en los espacios \nverdes de la ciudad, \nextendiendo el parque \na las calles cercanas e \nintegrando las vistas \nsobre el Cuerno de Oro.\nLa propuesta de la firma \nGAD para este espacio \nde eventos atiende a la \ntradición constructiva de \nlas orillas del Bósforo, \nconserva los restos \narqueológicos y propone \nuna intervención que une \nlo nuevo y lo existente.\nThe project carried \nout by Sanalar, a \nlocal architecture \npractice, revives citizen \nparticipation in the city’s \ngreen spaces, expanding \nthe park to nearby streets \nand integrating views of \nthe Golden Horn.\nFor this events space \nthe firm GAD addressed \nthe building tradition \nprevalent along the \nBosphorus shores, \npreserved old remains, \nand proposed an \nintervention that joined \nthe new to the existing.\nShopping Center \nMeydan Complex\n14\nObra de la oficina FOA, \nel complejo Maydan \n—que significa lugar \npúblico de encuentro— \nbuscaba convertirse en el \nverdadero centro urbano \ndel creciente distrito de \nUmraniye, en la zona \nasiática de Estanbul.\nFOA’s project for the \nretail-cum-multiplex \ncenter named Meydan, \nwhich means public \nmeeting place, sought to \ncreate a new urban hub \nfor Umraniye, a growing \ndistrict located in \nIstanbul’s Asian side.\n© Thomas Mayer\n© Cemal Emden, Gizem Uçar\n© Cristóbal Palma \n© Olivve Wimmer\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.77.png","C 26 75\nLa propuesta de TEGET \nconserva el edificio \nexistente, pero con una \nnueva apariencia.\nTEGET’s design \npreserved the existing \nbuilding and gave it an \naltogether new look.\nTurkish Bath \nKilic Ali Pasa Hamam\n18\nLos baños construidos en \n1580 por Sinan han sido \nahora restaurados por el \nestudio de Cafer Bozkurt.\nThe baths built back in \n1580 by Sinan have now \nbeen restored by Cafer \nBozkurt Architecture.\nCulture Center \nBomonti Brewery\n19\nAbandonada en 1991, la \nfábrica cervecera es hoy un \ncentro cultural, diseñado \npor Han Tümertekin.\nHan Tümertekin has \nconverted the brewery, \nabandoned in 1991, \ninto a cultural hub.\n© Emre Dörter\n© Quintin Lake\n© Cengiz Karliova\n© Camel Emden\n© TEGET\nCultural Complex \nAtatürk Cultural Center\n17\nMurat Tabanlıoglu —hijo \ndel arquitecto original \ndel centro cultural— ha \nreconstruido de nuevo el \ncomplejo, manteniendo \nsu morfología y su \napariencia exterior, \nademás de ampliarlo \ncon un nuevo volumen.\nMurat Tabanlıoglu, \nthe son of the original \nbuilding’s architect, \nhas raised it anew, \nmaintaining the \nold volumes and \nouter appearance, \ncomplementing them \nwith a new extension.\nCulture Center \nArter Museum\n16\nEl Museo Arter, obra de \nGrimshaw Architects, se \nconvierte en un espacio \npúblico con un amplio \nprograma cultural para \nestimular nuevas formas \nde expresión artística \ntanto en el contexto local \ncomo el internacional.\nA work of Grimshaw \nArchitects, Arter is \na public space that \noffers a broad cultural \nprogram, one which \ngives vent to new forms \nof artistic expression in \nboth the local and the \ninternational context.\nCulture Center \nYKKS\n20\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.78.png","76 C 26\nLuxury Hotel\nÇıragan Palace\n24\nLevantado en el siglo \nxix al borde del Bósforo, \nentre Besiktas y Ortaköy, \nel palacio otomano sufrió \nun grave incendio en el \naño 1910, pero tras varios \nusos desde el 2007 ha \nrecuperado su esplendor \nconvertido en un hotel. \nBuilt in the 19th century \non the banks of the \nBosphorus, the Ottoman \npalace suffered the \neffects of a fire in 1910, \nbut after serving a chain \nof different uses, in 2007 \nit regained its splendor \nas a grand hotel.\nLa avenida es una de las \narterias principales de \nla ciudad y ofrece una \ngran oferta comercial.\nThe avenue is one of the \ncity’s key thoroughfares \nand offers shoppers a \nwide choice of stores.\nMain Street \nIstiklâl Caddesi\n21\nTraditional Café\nPierre Loti\n23\nSituado en lo alto de la \ncolina del cementerio de \nEyrüp, el café fue uno de \nlos puntos de inspiración \ndel novelista francés y \nhoy es uno de los mejores \nmiradores desde donde \ncontemplar el estrecho \ncon la ciudad de fondo.\nSituated high on the hill \nof the Eyrüp cemetery, \nthe café was one of the \npoints of inspiration \nfor the French novelist. \nToday it is among the \nbest perches from which \nto gaze at the strait with \nthe city across.\nRestaurant \nMitte Karakoy\n22\nLa propuesta de la chef \nIrem Esen recupera un \nantiguo teatro en el \nbarrio de Karakoy.\nThe chef Irem Esen \nundertook to restore an \nold theater in the Karakoy \nquarter of Istanbul.\nAlamy © Allen Brown\nAlamy © Shaun Higson\nAlamy © Kay Roxby \n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.79.png","C 26 77\nLuxury Hotel\nPera Palace Hotel\n30\nEn el barrio de Beyoglu, \nfue diseñado por Vallaury \nen 1892 para acoger a \nlos viajeros del Orient \nExpress, el ecléctico \nhotel ha contado con \nhuéspedes tan ilustres \ncomo Agatha Christie o \nErnest Hemingway.\nDesigned by Alexander \nVallaury and completed \nin 1892, this eclectic \nestablishment in the \nBeyoglu district has \nwelcomed and lodged \nguests as illustrious as \nAgatha Christie and \nErnest Hemingway.\nEn la galería del Pasaje \nde las Flores aún perdura \nel aura de los tiempos \ndorados de Estambul.\nThe aura and mood of \nIstanbul’s glorious age \nremains palpable in the \nfamous Flower Passage.\nHistoric Passage \nÇiçek Pasajı\n29\nCovered Market\nGrand Bazaar\nArt Center\nSalt Galata\n26\n27\nDentro de las antiguas \nmurallas, en el corazón \nde la ciudad vieja, se \nencuentra el Gran Bazar \nque, con sus más 4000 \ntiendas y 61 calles, es \nuno de los mercados \ncubiertos más grandes y \nantiguos del mundo \nEn el barrio de Karaköy, \nel centro cultural ocupa \nel edificio construido \npor Alexandre Vallaury \npara albergar la sede del \nBanco Imperial Otomano,  \ny en la actualidad es un \npunto de referencia del \narte en la capital turca.\nWithin the ramparts, \nin the heart of the old \ncity, sprawls the Grand \nBazaar, which with its \nmore than 4,000 shops \nand 61streets counts \namong the largest and \noldest covered markets in \nthe whole world. \nThis cultural center \nlocated in Karaköy \ntakes up the building \nthat Alexandre Vallaury \nerected as the seat of  \nthe Imperial Ottoman \nBank, and is currently  \na reference for art  \nin the Turkish city.\nRestaurant\nTurk Fatih Tutak\nBar Road \nNevizade Sokak\n28\n25\nEl aclamado Fatih Tutak \nfusiona la gastronomía y \nel producto local con la \nexperiencia de sus viajes. \nEn la paralela a Istiklâl, \nla estrecha calle es una de \nlas zonas más populares \npara el ocio de noche.\nThe acclaimed Fatih Tutak \nfuses gastronomy and \nlocal produce with his \ntravel experience.\nParallel to Istiklâl, this \nnarrow street is one of \nthe most popular places \nfor evening recreation.\nAlamy © Ayhan Altun \nAlamy © one-image photography\nAlamy © Alex Segre\nAlamy © Ayhan Altun\nCC A.Savin \n",79,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.80.png","78 C 26\n01\n16\n28\n07 \n26 \n22\n01\n10\n09\n08\n06\n04\n23\n12\n02\n05\n27\n18\n22\n15\n30\n20\n21\n25\n29\n16\n11\n26\n19\n28\n17\n",80,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F4f\u002Fa3b457d4f49473706a957ef58b6246-28f7a99e1a.81.png","C 26 79\n29\n03\n13\n14\n07\n24\nSultan Ahmet, Ayasofya \nMeydanı No:1 \n24h Mon-Sun\nVisnezade, Dolmabahçe Cd. \n09:00-16:00 Tue-Sun\nKaragaç Mah., Sırtköy \nÇiftligi Mevkii G 84 Bulvarı \n24h Mon-Sun\nGümüssuyu, Tak-ı Zafer Cd. \nakmistanbul.gov.tr \n10:00-18:00 Mon-Sun\nEyüp Merkez, Karyagdı Sk. \npierrelotitepesi.com \n08:30-24:00 Mon-Sun\nBeyazıt, 34126 Fatih \n08:30-19:00 Mon-Sat\nAzapkapı, Bankalar Cd. No:11 \n11:00-19:00 Tue-Sun\nCumhuriyet Hacıahmet \nSilahsör Cad, Cumhuriyet, \nYeniyol Sk. No:2; turkft.com \n19:00-23:30 Tue-Sat\nMeSrutiyet Caddesi, Evliya \nÇelebi, Tepebası Cd. No:52 \nperapalace.com\nYıldız, Çıragan Cd. No:32\nKemankes Karamustafa Pasa, \nHamam Sk. No:1 \n08:00-23:30 Mon-Sun\nMerkez, Birahane Sk. No:4\nTomtom, İstiklal Cd. No: 161\nykykultur.com.tr \n10:00-19:00 Mon-Fri \n11-19 Sat, 12-19 Sun\nKemankes Karamustafa Pasa, \nNecatibey Cd. 66\u002FA \n14:00-22:00 Mon-Sat\nKuruçesme, Kuruçesme Cd. \nNo:61A \ninfo@divan.com.tr \n+90 212 708 60 60\nFatih Sultan Mehmet, Balkan \nCd. No:62\nmeydan-istanbul.com\n08:30-22:00 Mon-Sun\nEmekyemez, Yolcuzade \nIskender Cd. No:48\nYenisehir, Irmak Cd. No:13 \narter.org.tr\n11:00-19:00 Tue-Sun\nAlemdar, Yerebatan Cd. 1\u002F3 \n09:00-22:00 Mon-Sun\nCankurtaran, 34122 Fatih \n10:00-16:00 Mon-Sun \nTue Closed\nKalenderhane, Sehzade Cami,\nCankurtaran, Topkapı Sarayı \n09:00-17:30 Mon-Fri \n09:00-19:00 Sat-Sun\n 01. Hagia Sophia\n 07. Dolmabahçe Palace\n 08. Basilica Cistern\n 09. Topkapı Palace\n 11. Sehzade Mosque\n 10. Hagia Irene\n 12. Sancaklar Mosque\n 13. Divan Kuruçesme\n 14. Meydan Complex\n 15. Sıshane Park\n 16. Arter Museum\n 17. Atatürk C.C.\n 18. Kilic Ali Pasa Hamam\n 19. Bomonti Brewery\n 20. YKKS\n 21. Istiklal Caddesi\n 22. Mitte Karakoy\n 23. Pierre Loti\n 24. Çıragan Palace\n 25. Nevizade Sokak\n 26. Grand Bazaar\n 27. Salt Galata\n 28. Turk Fatih Tutak\n 29. Çiçek Pasajı\n 30. Pera Palace Hotel\n 02. Istanbul Modern\n 03. Bosporus\n 04. The Chora\n 05. Galata Tower\nKılıçali Pasa, Tophane Iskele Cd. \nistanbulmodern.org\n10:00-18:00 Tue-Sun\nDervisali, Kariye Cami Sk. No:18 \n+90 212 631 92 41\nBereketzade, 34421 Beyoglu \nmuze.gov.tr \n+90 212 249 03 44 \n08:30-22:00 Mon-Sun\nBinbirdirek, At Meydanı Cd \nNo:10\nIstanbul\nLocalización y datos prácticos \nLocation and useful information  \n 06. Blue 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