Lifestyle by porcelanosa issue 9

lifestyle

&PORCELANOSA

Issue no. 9/5 euros CREATORS SPACES KITCHENS BATHROOMS

Avant-garde design

BIG PROJECTS STRUCTURES MATERIALS FINISHES

EDITORIAL

I

n our times, the concern for the maximum comfort is a constant in homeliving, and at the hotels in which we stay, also in the public spaces we visit. Living in harmonic and balanced atmospheres is, without a doubt, a priority. Lifestyle, the magazine of Porcelanosa Group, endeavours to show in this issue some works by architects, designers, interior decorators and landscape gardeners who well know that in order to attain the maximum excellence at their work, using only the best materials is a must. The Grand Hotel Roca Nivaria, in Tenerife, stands proud of its architecture and its interiors, for guests with discretion and comfort in mind. The Spaniard Julio Valiela, an architect now settled in France, is the creator of Casa Le Roy, a villa endowed with personality and quiet luxury for its owners, who were looking for the perfect second house. In the Hotel Parlament of Budapest, a jewel in the capital city of Hungary, a sound balance has been achieved: exteriors in harmony with the city, and high-level minimalist interiors. All these buildings have the choice of Porcelanosa Group’s ceramic materials to cover walls, floors, bathrooms and kitchens in common. Three internationally acclaimed interior architects have chosen material from Porcelanosa Group and, as a starting point, have created an exclusively signature project. For all three, the materials chosen are the maximum expression of quality, safety and functionality. Three fashion designers choose their ideal bathroom. Media personalities, lords of the catwalk who admit the importance of the bathroom, and that of its personal touch—in this case, that of the Porcelanosa Group.

Comfortable atmospheres, lounges, objects of design. And also a big artist: Manolo Valdés, who dons our pages with the power of his creations, where materials come to life. /

PRECIOUS MATERIALS Architects, painters, industrial designers, interior decorators, and stylists all agree on one thing: the only way to attain excellence at work is by using the best materials.

Lifestyle STAFF EDITORIAL BOARD Cristina Colonques Ricardo Ferrer Francisco Peris Félix Balado PUBLISHER EDICIONES CONDÉ-NAST S.A. MANAGING EDITOR Sandra del Río ART & DESIGN DIRECTOR Vital R. García EDITORIAL STAFF Marta Baras del Toral Estela Melgar Isabel Aranguren CONTRIBUTORS Ana Domínguez Siemens Beatriz Tárrega Gema Monroy PHOTOGRAPHERS Acanthe Silvio Posada Dennis Gilbert Peter Cook Oriol Tarridas Jean Fabiene de Salve Getty Images PRODUCTION Francisco Morote (Director) Rosana Vicente Fernando Bohúa ARCHIVES Reyes Domínguez (Director) Irene Rodríguez Eva Vergarachea Begoña Sobrín TRANSLATOR Paloma Gil COPY EDITOR Thomas MacIntosh PHOTO-LAB Espacio y Punto PRINTER A. G. S. Catalogue no.: M-51752-2002

5 lifestyle

Cover: Silvio Posada

NUMBER 9

SUMMARY

NEWS Porcelanosa gathers the most glamorous characters in the world

14 24

ARTISTS An exclusive interview with the artist Manolo Valdés in his workshop SPACES The Grand Hotel Roca Nivaria opens its doors on Costa Adeje, Tenerife INSPIRATION Three avant-garde studios design their projects for Porcelanosa INDOORS Julio Valiela designs a home full of comfort and wellbeing BATHROOMS Custo, Elie Saab and Robert Clergerie choose their ideal bathroom

Photographs taken from the book New London Architecture, by Kenneth Powell. Merrell Publishers

18

SPACES The Best Western Premier’s Hotel Parlament, a jewel in Budapest AVANT-GARDE Porcelanosa’s design objects and spaces: the union makes the design TRAVELLING London renews its façades

54 48

66

EVENTS Porcelanosa headquarters in Watford SPACES An avant-garde bistro in Washington NEWS Nespresso in Spain ADDRESSES Porcelanosa worldwide IN THE HOME OF Óscar de la Renta, the fashion’s gentleman

8 14 18 24 30 36 42 48 54 58 60 62 64 66

7 lifestyle

8/9 lifestyle

NEWS

Porcelanosa’s VIPs More stars than in the sky, that seemed to be the motto of the event in which Porcelanosa Group summoned Isabel Sartorius, the Duchess of Montoro, Gonzalo Miró, Nieves Álvarez, Claudia Schiffer and Mr and Mrs Costner. All of them visited the Group’s headquarters in Villarreal.

Once again, and what has become quite usual, Porcelanosa made a show of its summoning force by holding a lunch for over 500 people in its facilities. Among the attendants were developers and architects from the provinces of Castellón and Valencia, accompanying the actor Kevin Costner, who was visiting the Porcelanosa Group’s central offices for the first time, thus answering to the invitation posed by the company during the opening of its new centre in Madrid.

Apart from the presence of Costner and his wife, there were also the international top models Claudia Schiffer and Nieves Álvarez, as well as some of the personalities who are usually seen at the openings and events organised by Porcelanosa, such as the Duchess of Montoro and her boyfriend Gonzalo Miró, and Isabel Sartorius, who wanted to accompany the actor in his first visit to the Group’s head offices.

The event started at two in the afternoon when the firm’s guests began to arrive at the exhibition that Porcelanosa has in its

The lunch, attended by the celebrities and many clients, personalities and press.

Valencia’s Chamber Orchestra paid homage to Kevin Costner by playing themes from some of his films. Isabel Sartorius and Claudia Schiffer, always beautiful and smiling. Kevin Costner, highly pleased with his visit. Below, next to Manuel Colonques and also visiting Porcelanosa Group’s facilities.

headquarters. The first to arrive was the Spanish top model Nieves Álvarez, most interested in getting to know the company’s facilities. Eugenia Martínez de Irujo turned up accompanied by Gonzalo Miró, followed

by Isabel Sartorius. Kevin Costner managed to command the attention of all accredited media over 60 journalists who had come expressly for the event. The last to arrive was the top model Claudia Schiffer, a great friend of Porcelanosa, and exuberant as usual.

Inside the factory a spectacular marquee had been set up in the porcelain plant, and the lunch was livened up by Valencia’s Chamber Orchestra, who even played some of the themes of the films starred by Kevin Costner.

Afterwards, the actor and his wife, together with the model Nieves Álvarez, headed the entourage that toured the production line, enquiring about the different sectors and techniques. The celebrities were accompanied by many of the Group’s clients, who wanted to join them on their visit. Before leaving, Kevin Costner gave a press conference in which he thanked Porcelanosa Group and showed himself pleasantly flattered by the warm welcome of all the attendants. /

10 lifestyle

NEWS

A real deal

George Clooney, actor, director, producer and “the sexiest man alive” according to the American magazine People that prepares the annual list, was recently in Spain. The reason for his visit?

A special agreement with Porcelanosa Group disclosed by an exclusive feature for the magazine Hola. With a big display of photographs, the actor shared the spotlight with the always elegant and enigmatic Isabel Preysler, a usual figure in the group. The piece, shot by the photographer Pepe Botella, shows Clooney in his best threads, looking fit, and with his legendary kindness. Once again, Porcelanosa has had one of the most emblematic personalities in the world. /

NEWS

Valeria in Barcelona

She came, she posed, she stayed, and is displayed in macro-size. The very beautiful Argentinian model Valeria Mazza is the magnified-image of Porcelanosa Group, covering the space that will be the shop’s emblem in Barcelona, currently under construction. Valeria greets the city in the heart of the Paseo de Gracia, on a giant canopy covering the future facilities. It is this icon of fashion, for the shop that will mark the Catalonian capital city’s most elegant avenue with style and solidity. As always, Valeria has been there for Porcelanosa, giving her image in an on-going alliance between her and the Group, one that she admires and supports professionally time and again. /

George Clooney, one of the most admired figures in the world, both for his personal attributes and for his work as director and actor, signed an extraordinary agreement with Porcelanosa Group.

In the photograph, the actor with Manuel Colonques.

12 lifestyle

NEWS

LEFT Falleros next to the stage created by the Foundation Astroc in Central Park, New York BELOW A falleros [Las Fallas is the major festival in Valencia] group dancing in the emblematic New York park

New York bows before the paella

In a spectacular event, Enrique Bañuelos de Castro, the President of the Astroc Foundation, introduced New York’s society to a paella for 20,000 people. The chosen location was Rumsey Playfield, in Central Park, with fifty paelleros just in from Spain, involved in the event, who used ingredients sent from Valencia in a massive-scale logistic operation, under the gastronomic direction of the paellero Manuel Velarte. Among the attendants, and representing the Regional Government of Valencia, was its Minister of Agriculture, Juan Cotino, who highlighted the “big effort” that the Generalitat is making in order to “promote Valencia’s products”. Accompanying Cotino were the major representatives of the firm Astroc, from Valencia, as well as New York politicians and thousands of onlookers who turned up in Central Park hoping to taste the most famous dish from Valencia, Spain.

CULTURE AND FOLKLORE New York’s famous park was bathed in Valencia’s culture and heritage. Nearly fifty people dressed the typical regional costumes (of farmers and saragüell) from Valencia—all of them designed by the reputed designer Enrique Marzal, who travelled to New York with his team. The event had the collaboration of the hairdresser Lola Torrente. And Francisco, a famous singer from Valencia, also took part interpreting some songs, including Valencia’s regional anthem.

According to Benjamín Atienza, head of Institutional Relations in the Astroc Foundation, “the day’s been a huge success. We’re very satisfied with the warm welcome that Valencia’s gastronomy and culture have had among New Yorkers. For the Astroc Foundation, it’s been a very good starting point in its task of promoting Valencia and Spain in the United States.”

The Foundation Astroc was set up in Valencia in 2003, and since then has been conducting actions to “cover the different fields comprising the promotion of the Community of Valencia in particular, and Spain in general”.

Among them, the fields of culture and art stand out, for the Foundation is a sponsor of the IVAM [Valencia’s Museum of Modern Art] and for the agreement of collaboration with the Foundation Caixa Galicia, as well as gastronomic, sportive and international cooperation events. /

UP TOP ON THE LEFT Paelleros visiting the prestigious Frick Collection in New York RIGHT Enrique Bañuelos de Castro and his wife, posing with the guests BELOW ON THE LEFT The singer Francisco with a group of falleros ABOVE Clockwise, by pairs, Leticia Espinosa de los

Monteros, director of the Astroc Foundation, and her husband; Enrique Bañuelos, the President of Astroc and his wife; Concha Castillejo, Astroc’s General Director, and her husband

14 / 15 lifestyle

ARTISTS

Manolo

The genius lives between two cities, Madrid and New York. In the American metropolis, he paints and projects his architectural pieces, while in the Spanish capital, he brings them to life.

VALDÉS

THE GAZE OF ART

He is a multidisciplinary artist; he paints, sculpts and creates his pieces from research and experimentation with materials.

Bronze, marble, granite or wood, are his favourite foodstuffs.

Text: ANA DOMĂ?NGUEZ Photographs: D.R.

OPPOSITE Matisse as a pretext, one of his works.

LEFT Plural creator if there ever was one, Manolo Valdés is, above all, an artist. His paintings are, as he himself puts it, eminently tactile: La Pecera [The fishbowl].

Manolo Valdés cannot shake my hand when he receives me in his study in Madrid: I have caught him red-handed. Dressed in painter white overalls, a wall painter to be precise, he is in his bright open study, right in the heart of the golden mile, surrounded by one of his three big bookshelves, and where he makes pieces that he has envisioned earlier in New York. He is the definition of the anti-star, close and natural: “Living between these two cities is complementary, a constant inspirational tickle if you will, and also an open door to balance. In addition, I have my work rather divided: in New York I paint and project architectural pieces, and Madrid is where I materialise them; here, for instance, is the foundry where I make my sculptures. Madrid is my home, my adopted city and where I like to be. Besides, it’s got some advantages —when I was a Fine Arts student, I always said that people in Madrid had an advantage, for they had the Prado Museum and, therefore, they should feel the need to paint better. I still maintain that the Prado is the best school to learn to see.”

His most prolific work is in sculpture, wherein he does not get fussy with materials. In fact, he is known for his eagerness to experiment, to get to know them in depth, to dig in: “Each sculpture asks for a specific material.

Personally, I love bronze and even stones such as marble, alabaster or granite, but then each piece is also conditioned by the place where it is going to be installed —it’s not the same whether it’s outdoors or indoors…

Woods, in turn, I use them depending on their colours, and on whatever else comes through. Recently, I’ve found some superb olive-tree wood, and I’ve made a piece with it. But I can never decide which material I want first: it sort of happens the other way round. The wood pieces that I turned into bookshelves, for instance, are made out of some boards called “quebrancho”, and they come from the Argentinian railway sleepers.”

Another of the materials he has worked with is ceramics. He has made an impressive 20-m high sculpture, enormous, for a square in Valencia. “That sculpture, whose conception has been very arduous, is a gigantic head made up of 27,000 pieces in the shape

BELOW Leger as a pretext.

Each sculpture requires different material.

His favourites are bronze, alabaster, marble and even granite. Yet he never forgoes wood, as in the piece on the left, he uses it according to its colour and tone.

“I THOUGHT THAT SHOWING MY DRAWINGS WAS LIKE SHOWING THE PALETTE, A VERY DULL HOUSEHOLD THING THAT NOBODY WOULD WANT TO SEE. BUT I WAS WRONG.” 16 / 17 lifestyle

of the same head, reduced to a 20-cm scale, and these small pieces have been put into a structure made in a big metallic fabric shaped as that big head. A flight of stairs was installed inside so that the sculpture could be assembled. The small pieces, once fired up, have been enamelled in the cobalt blue also used for cathedral tiles, such a beautiful colour… We made the small pieces in a mechanised way because if they had been handmade, it would have been hard to control their weight —a matter that was of paramount importance. So, we had to opt for this system, which has turned out very satisfactorily. At the distance they are viewed —the piece is placed in a square full of cars, pedestrians, etc., all criss-crossing—, it wouldn’t have been appreciated were they hand-made. Anyway, the effect is fantastic: each of them hangs in a different position, and therefore, receives and reflects light in a different manner, creating a very interesting texture.

This production in Valencia has taken us almost six months.”

He visits the Prado nonstop since he started to travel as an adolescent, and the museum has been the source of inspiration for many of the subject matters running through his

work over time. The Meninas, for instance, may be the most recognisable of his motifs: “It’s funny, but when I am abroad, nobody associates me with the Meninas. If you see my exhibition at the Reina Sofía Museum, there were all kinds of things: bookshelves, still lifes, bags, perfumes…” Manolo Valdés considers himself a “peeping Tom”: “All

painters are to a certain extent”, but it is also true that he feels attracted by the materials with which he works; he enjoys handling them. So much so that I would say that rather than a voyeur, he is a “groper”: “Yes, you’re right: painting —materiel painting—, has sometimes that sensuality.

And yes, my paintings, due to these pastes, these textures, have that particularity of being very tactile —not to mention my sculptures. In fact, I like people to get close and to touch them. Not the paintings, of course —those I protect by enclosing them in a sort or crystal urn.”

How does he choose the subject that is going to be the object of his next work? “You never know when a subject will come to light, some of them drive you crazy and you don’t know how to work them out, and time slides by… And on other occasions, they shine through easily enough. For instance, the bookshelf motif emerged one summer when we rented a house in Connecticut. We arrived at night, and I left books that I had with me on a table. In the morning, when I went down to decide which subject I’d work on, I noticed the beautiful effect of light on the table and the books, and at once I saw it and bam! I had it. I’ve always played with the idea of making

a bas-relief as well, but I’d never decided the motif for it, so one thing led to the other…”

What about a motif as unusual as a perfume flask in his work? “Well, that came in to view after seeing the exhibition of Greek and Egyptian vessels at the Metropolitan, and from the walks I used to take around Madison Avenue, where you see all those shop windows with today’s incredible perfume flasks… The idea emerged from a mixture of all this. The same thing happened with the Met bag, another of my paintings. For me, it’s a fetish, because I lived right in front of that museum, and from my window I saw people coming out carrying that blue bag, and I thought: this is my kind of stuff. The truth is, it’s very curious to notice how topics emerge. I am always on the look-out, observing —even despite myself, I sometimes think— until suddenly something gives me a clue”. I would say that most of his pieces undergo a complex elaboration from the moment he sketches them. Valdés was not interested, however, in having his drawings shown in his last exhibition at the Reina Sofía Museum: “Well, that’s because I thought that showing the drawings was almost like showing the palette —a very dull household thing that nobody would want to see, a thing with no autonomy. But I was wrong, they’ve had great success, people like to see the process through which things are made.” /

OPPOSITE The painting Matisse as a pretext, where the artist’s textures can be appreciated.

BELOW Three images of Manolo Valdés’ workshop. In the middle, the artist putting the finishing touches to his Meninas. RIGHT Manolo Valdés working with his team to control all the details of his creations.

ABOVE One of the most recognisable motifs in his work: his inspiration in Velázquez’s painting Las Meninas RIGHT Manolo Valdés in his study LEFT Carved sculpture on which the work of the artist can be appreciated in material, Sitting Woman II

'. % '/ b_\[ijob[

IF79;I HE97 D?L7H?7 =H7D: >EJ;B

78EL; 7 fWdehWc_Y l_[m e\ j^[ HeYW D_lWh_W =hWdZ >ej[b i_j[Z ed 7Z[`[ YeWij" Iekj^ J[d[h_\[" Wj (+ac \hec j^[ H[_dW Ie\Â&#x2021;W W_hfehj" m_j^ if[YjWYkbWh l_ijWi el[h j^[ 7jbWdj_Y EY[Wd WdZ j^[ _ibWdZ e\ BW =ec[hW$ B;<J ;djhWdY[ je j^[ ^ej[b$ J^[ gkWb_jo e\ Wd [nYbki_l[ Wjceif^[h[ m^[h[ de Z[jW_b _i c_ii_d]$ EFFEI?J; :[jW_b e\ j^[ cW_d Xk_bZ_d]" Wd WhY^_j[Yjed_Y meha Xo HW\W[b 7Zh_|d" YedY[hd[Z _d WZWfj_d] ^_i ^ej[bi je j^[ [dl_hedi$ J^[ [nj[h_eh e\ j^[ ^ej[b _i fWl[Z _d 7bf_dW =h_i **n,,Yc" \hec FehY[bWdeiW =hekf$

>Ă&#x152;Ă&#x2022;Ă&#x20AC;>Â?Ă&#x160;Â?Â&#x2C6;}Â&#x2026;Ă&#x152; 4HE !DRIfN (OTELS FAMILY HAS NOW ENLARGED WITH THE OPENING OF THE 2OCA .IVARIA 'RAND (OTEL THEIR SECOND ½VE STAR WITH THE SAME QUALITY HALLMARK AND CUSTOMISED SERVICE ! REAL LUXURY IN 4ENERIFE 4EXT -!24! "!2!3 $%, 4/2!, 0HOTOS 3),6)/ 0/3!$!

BeYWj[Z ed FbWoW FWhWÂ&#x2021;ie" m^[h[ j^[ Xbk[ i^_cc[h e\ j^[ eY[Wd WdZ j^[ jhWdgk_bb_jo e\ j^[ bWdZiYWf[i cWa[ j^_i J[d[h_\[ Wh[W Wd kd\eh][jjWXb[ fbWY[" j^[ HeYW D_lWh_W =hWdZ >ej[b + _i j^[ d[m c[cX[h e\ j^[ i[b[Yj 7Zh_|d >ej[bi Y^W_d$ ?ji Yh[Wjeh" j^[ WhY^_j[Yj HW\W[b 7Zh_|d \hec 8kh]ei" ^Wi meha[Z ed j^_i fhe`[Yj m_j^ j^[ iWc[ p[Wb WdZ Z[Z_YWj_ed m_j^ m^_Y^ ^[ edY[ fWcf[h[Z j^[ ej^[h jme ^ej[bi e\ j^[ Y^W_d _d ehZ[h je Yh[Wj[ W d[m WhY^_j[Yjed_YWb `[m[b _d j^_i \WiY_dWj_d] 9WdWho ^Wl[d$ J^[ d[m ^ej[b cW_djW_di j^[ gkWb_jo ^WbbcWha WdZ i[hl_Y[ Wbh[WZo WY^_[l[Z _d j^[ ^ej[bi @WhZ_d[i Z[ D_lWh_W + WdZ 9ebÂ&#x152;d =kWdW^WdÂ&#x2021; * Ă&#x2020;j^[ _cfh[ii_d] m_bZ X[Wkjo e\ j^[_h ]WhZ[di WdZ im_cc_d] feebi" j^[

/-Ê - ,]Ê/ Ê , / /Ê, Ê , ]Ê -Ê/ Ê , Ê" Ê Ê / Ê Ê", , /"Ê" ,Ê Ê 1-/" - Ê Ê+1 /9Ê- ,6 Ê (& % ('

m_Z[ hWd][ e\ Ykijec_i[Z i[hl_Y[i" WdZ j^[ [ngk_i_j[ WdZ lWh_[Z ]Wijhedeco$ HW\W[b 7Zh_|d ^Wi [dZ[Wlekh[Z je WZWfj j^[i[ j^h[[ ^ej[bi je j^[_h [dl_hedi" WdZ j^[o ^Wl[ X[[d Xk_bj m_j^ ]h[Wj i[di_j_l_jo jemWhZi j^[ dWjkhWb ^WX_jWj$ ?d WZZ_j_ed" ^[ ^Wi Z[Y_Z[Z je jhkij j^[ Yel[h_d] e\ j^[ m^eb[ ^ej[b \beeh_d]i" Xej^ _dj[h_eh WdZ [nj[h_eh" WdZ Wbie _dYbkZ_d] XWj^heeci" je FehY[bWdeiW =hekf$ J^[ XWj^heeci Wh[ Yel[h[Z _d CWii_dW WdZ ;]bWX 7cWh_bbe" e\\[h_d] j^[ ^_]^[ij gkWb_jo je j^[_h ]k[iji$ Ed[ e\ j^[ ceij _cfehjWdj bWdZcWhai _d j^_i j[Wcmeha ^Wi X[[d j^[ ifW" cWZ[ _d >WoW D hZ_Ye$ J^[ ^ej[bÊi _d\_d_j[ l_[mi el[h j^[ i[W" j^[ X[Wkjo e\ _ji c_d_cWb_ij ijob[" j^[ ceij [n^Wkij_l[ ifehji e\\[h WdZ _ji ÇWbb _dYbkZ[ZÈ efj_ed" jkhd j^[ HeYW D_lWh_W => _dje j^[ _Z[Wb ^eb_ZWo h[iehj \eh \Wc_b_[i" Yekfb[i WdZ Wdoed[ m^e i[[ai gkWb_jo _d W fh_l_b[][Z i[jj_d] \eh j^[ m^eb[ \Wc_bo$ J^[ HeYW D_lWh_W =hWdZ >ej[b Yecfh_i[i W cW_d Xk_bZ_d] m_j^ j^[ Yecced Wh[Wi" WdZ jme Wdd[n[i m_j^ j^[ heeci WdZ ik_j[i$ ?j jejWbi (/* heeci m_j^ if[YjWYkbWh l_[mi el[h j^[ eY[Wd WdZ j^[ _ibWdZ e\ BW =ec[hW$ 7bb e\ j^[c ^Wl[ W j[hhWY[ eh XWbYedo" WdZ j^[ fh[i_Z[dj_Wb WdZ heoWb ik_j[i _dYehfehWj[ W @WYkpp_ \eh j^[_h ]k[ijÊi fb[Wikh[ Wi m[bb$ 7ced] j^[ [nj[di_l[ ]WhZ[di m_j^ j^[_h h[\h[i^_d] ifbWi^ e\ ikXjhef_YWb fbWdji" _cfh[ii_d] \ekdjW_di WdZ ckhckh_d] YWiYWZ[i" Wh[ jme _dZeeh ^[Wj[Z im_cc_d] feebi e\ \h[i^ mWj[h WdZ iWbj mWj[h" h[if[Yj_l[bo " ijob[Z _d W c_d_cWb_ij Z[i_]d" m^[h[ ed[ \[[bi

b_\[ijob[

78EL; ;ngk_i_j[ c_d_cWb_ic \eh j^[ ijW_hYWi[ _d j^[ cW_d ^Wbb" _d m^_j[ cWhXb[ WdZ ijhWj[]_YWbbo b_]^j[Z$ H?=>J =Wijhedeco _i ed[ e\ j^[ fh_eh_j_[i e\ j^_i ^ej[b$ 7 fWdehWc_Y e\ ed[ e\ j^[ j[hhWY[i e\ j^[ ^ej[bÊi \_l[ h[ijWkhWdji$ J^[ \beeh _i ;]bWX 7cWh_bbe" \hec FehY[bWdeiW =hekf $ D[nj" Z[jW_b e\ W ^Wbb$ EFFEI?J; FbWo e\ b_]^ji _d j^[ ^ej[bÊi cW_d [djhWdY[" j^Wdai je j^[ ijW_d[Z ]bWii WdZ j^[ cW`[ij_Y cWhXb[$ 8[bem" Z[jW_b e\ ed[ e\ j^[ jWXb[i _d j^[ ^Wbb" cWZ[ _d CeiW_Ye =WkYWie D[]he c[Wikh_d] **N**" \hec L[d_i$ J^[ \beeh ed j^[ h_]^j _i 7bf_dW =h_i **N,," \hec L[d_i$

/7"Ê / Ê-7 Ê*"" -Ê Ê Ê *, -- 6 Ê£]nääÊ-+1 , /, Ê-* ]Ê ,- Ê/ Ê /1, Ê 1/9Ê" Ê /-Ê , -Ê (( % ()

ieej^[Z X[jm[[d j^[ Xbk[ iao WdZ j^[ mWj[hi e\ j^[ 7jbWdj_Y cW_d$ Ed[ e\ j^[ ceij j[cfj_d] e\\[hi _i _ji ikf[hX ifW" W ifWY[ e\ m[bbX[_d] \eh j^[ ]k[iji" m_j^ W m_Z[ Ykijec_i[Z hWd][ e\ i[hl_Y[i Wbb j^hek]^ekj _ji '".&& igkWh[ c[j[hi" WdZ Yel[h[Z Xo FehY[bWdeiW =hekf _d >WoW D hZ_Ye$ Ceh[el[h" j^[ ^ej[b ^Wi Yecfb[j[ ifehj \WY_b_j_[i" _dYbkZ_d] j^[ jme j[dd_i WdZ fWZZb[ j[dd_i Yekhi[i" W \_jd[ii Y[djh[" X[WY^ lebb[oXWbb" WhY^[ho" Wcf^_j^[Wjh[" ]_Wdj Y^[ii" XWXo YbkX WdZ W ifehji Y[djh[ m_j^ W jhWYa WdZ \_[bZ$ <eh ]eb\ bel[hi" j^[h[ _i W d_d[#^eb[ fkjj_d] ]h[[d WlW_bWXb[" Wi m[bb Wi W if[Y_Wb Z_iYekdj _d ceij e\ j^[ _ibWdZÊi ]eb\ b_dai$ 7i je j^[ ]Wijhedec_Y e\\[h" j^[ ]k[iji Wj HeYW D_lWh_W =hWdZ >ej[b YWd Y^eei[ Wced] \_l[ Z_\\[h[dj h[ijWkhWdji$ J^[ Fh_dY_fWb Ç=Whe[È i[hl[i Wd _dj[hdWj_edWb Xk\\[j WdZ ^Wi Wcfb[ j[hhWY[ WdZ fWdehWc_Y l_[mi1 j^[ im_cc_d] feeb h[ijWkhWdj Ç7^[c dÈ _i _Z[Wb \eh idWYai WdZ bkdY^[i$ J^[h[ Wh[ Wbie jme }#bW#YWhj[ j^[cWj_Y h[ijWkhWdji e\\[h_d] j^[ X[ij ?jWb_Wd WdZ dWj_edWb Yk_i_d[1 WdZ \_dWbbo" j^[ }#bW# YWhj[ h[ijWkhWdj" if[Y_Wb_i[Z _d _dj[hdWj_edWb Yh[Wj_l[ Yk_i_d[$ J^[ ÇJWcWhW]kWÈ XWh" _d j^[ h[Y[fj_ed Wh[W" ^Wi W f_Wde XWh1 WdZ j^[ Z_iYe 8[b_d]e e\\[hi b_l[ cki_Y WdZ _dj[hdWj_edWb i^emi$ ?d ikc" Wd kd\eh][jjWXb[ [nf[h_[dY[ _d W fh_l_b[][Z c_b_[k$ %

b_\[ijob[

78EL; J^[ HeYW D_lWh_W =hWdZ >ej[b ^Wi jme ^[Wj[Z im_cc_d] feebi e\ \h[i^ mWj[h WdZ iWbj mWj[h" h[if[Yj_l[bo$ ?d W c_d_cWb_ij ijob[" j^[ Ykijec[hi m_bb \[[b XWj^[Z _d j^[ Xbk[ ^k[i e\ j^[ iao WdZ j^[ mWj[hi" m_j^ j^[ _cfh[ii_d] l_[mi je j^[ 7jbWdj_Y EY[Wd WdZ j^[ _ibWdZ e\ BW =ec[hW$ J^[ im_cc_d] feebi Wh[ ikhhekdZ[Z Xo _cfei_d] ]WhZ[di" m_j^ ikXjhef_YWb fbWdji" medZ[h\kb \ekdjW_di WdZ ckhckh_d] YWiYWZ[i$

KF JEF FehY[bWdeiW =hekf ^Wi Yel[h[Z Wbb j^[ ^ej[bĂ&#x160;i XWj^heeci _d CWii_dW 7cWh_bbe ))N'&& WdZ ;]bW] 7cWh_bbe" \hec L[d_i m_j^ _ji [Z]_d] '&N*)") $ 78EL;" Z[jW_b e\ j^[ Z_d_d]#heec e\ ed[ e\ j^[ ik_j[i" m_j^ fWl_d] ;]bWX 7cWh_bbe" \hec L[d_i" \hec FehY[bWdeiW =hekf$ B;<J :[jW_b e\ ed[ e\ j^[ (/* heeci e\ j^[ ^ej[b" Wbb e\ j^[c m_j^ j[hhWY[i ef[d_d] edje j^[ 7jbWdj_Y" m_j^ j^[ \beeh_d] _d 7bf_dW =h_i \hec L[d_i **N,, " \hec FehY[bWdeiW$

(* % (+

- /1,

ÂŁ b_\[ijob[

?DIF?H7J?ED

FHE@;9JI )NTERIOR DECORATION AND ARCHITECTURE ALONG WITH INDUSTRIAL DESIGN ARE THE MAIN FACTORS DE½NING THE SPACES WE DWELL ,ADRILLO )NC $UPOUX $ESIGN AND .ANI -ARQUINA´S AVANT GARDE STUDIES OFFER US THEIR INNOVATIVE PROJECTS 4O DO THEM THEY HAVE USED MATERIALS SELECTED EXCLUSIVELY FROM THE NEW COLLECTIONS FROM 3TON KER SERIES OF 0ORCELANOSA 'ROUP

COH?7C >;HDĂ&#x153;D:;P L;HĂŁD?97 H;?I;H (&& EY[Wd BWd[ :h_l[ ik_j[ '&. A[o 8_iYWod[" <beh_ZW ))'*/ J[b$ !' )&+ -/, ./** bWZh_bbe6X[bbiekj^$d[j

0RODUCTION )3!"%, !2!.'52%. -%3354) 0HOTOS /2)/, 4!22)$!3 $ 2

BWZh_bbe" ?dY

B7:H?BBE ?dY$ _i Wd _dj[h_eh Z[i_]d ijkZo j^Wj mWi i[j kf X[\eh[ j^[ YedijhkYj_ed Xeec ^_j C_Wc_$ ?ji Yh[Wjeh" L[hÂ&#x152;d_YW H_i[h" ^Wi W Z[]h[[ _d <Wi^_ed WdZ ?dj[h_eh :[i_]d CWha[j_d] :_h[Yj_ed$ >[h lWij [nf[h_[dY[ _d j^[ mehbZ e\ D[m Oeha \Wi^_ed" \_hij Wi I[d_eh FkhY^Wi[h _d 8[h]Zeh\ =eeZcWd WdZ j^[d Wi :_h[Yjeh e\ j^[ ;c_b_e FkYY_ 8ekj_gk[" Y[hjW_dbo fhel_Z[Z ^[h m_j^ W l[ho ief^_ij_YWj[Z i[di[ e\ ijob[" je][j^[h m_j^ W l_i_ed e\ ifWY[" j[njkh[ WdZ Yebekh$ Iec[ j_c[ W\j[hmWhZi" i^[ Z[Y_Z[Z je i[jjb[ _d A[o 8_iYWod[ ?ibWdZ" C_Wc_" m^[h[" Wbed] m_j^ Coh_Wc >[hd|dZ[p" ^[h cej^[h Ă&#x2020;m^ec i^[ ^Wi ZkXX[Z m_j^ j^[ j_jb[ e\ Ă&#x2021;]khk _d ifWY[i Z[i_]dĂ&#x2C6;Ă&#x2020;" ef[d[Z BWZh_bbe ?dY$" W YecfWdo j^Wj Ykhh[djbo ^Wi '+ o[Whi e\ Z[i_]d_d] ifWY[i kdZ[h _ji X[bj$ M^[d ijWhj_d] [WY^ fhe`[Yj" BWZh_bbe ?dY$ Z[i_]di j^[ [ii[dj_Wb0 ]eeZ mWbbi" \bWmb[ii \beehi" efj_cWb fbkcX_d] WdZ [b[Yjh_Y_jo" fhWYj_YWb XWj^heeci WdZ f[h\[Yj a_jY^[di$ EdY[ j^_i fheY[ii _i ikYY[ii\kbbo Ykbc_dWj[Z" j^[o jhWdi\ehc _j Xo Yedjh_Xkj_d] j^[_h f[hiedWb jekY^$ ;WY^ ^ec[ Ykbc_dWj[Z _i W ceij eh_]_dWb [dZ[Wlekh" W h[\b[Yj_ed e\ _ji emd[hi WdZ j^[_h d[[Zi" WdZ Wbb e\ j^[c Z[b_l[h W ^_]^ b[l[b e\ Z[i_]d WdZ WhY^_j[YjkhWb fbWdd_d]$ Ceij e\ j^[_h Yb_[dji ^Wl[ C_Wc_ Wi j^[_h i[YedZ ^ec[" WdZ j^Wj _i m^o L[hÂ&#x152;d_YW WdZ Coh_Wc Wii_]d j^[i[ ifWY[i W c_d_cWb_ij" bem#cW_dj[dWdY[ ijob[$ 7bj^ek]^ j^[o Wffh[Y_Wj[ Z[i_]d _d Wbb _ji ijob[i" \eh BWZh_bbe ?dY$ ifWY[ ckij X[ \kdYj_edWb" h[fh[i[djWj_l[ WdZ Yecfei[Z Xo Wbb j^Wj j^[_h Ykijec[hi bel[$ J^[_h Y^e_Y[ e\ cWj[h_Wbi \hec FehY[bWdeiW =hekf \eh j^_i fhe`[Yj _i iodedoceki m_j^ gkWb_jo WdZ \kdYj_edWb_jo$

'

(

9edY[fj \eh FehY[bWdeiW 9^ei[d cWj[h_Wbi0 F_WY[dj_dW" I_bl[h 8bk[ WdZ I^Wd]^W_ 7djhWY_jW e\ Ijed#a[h ?j ^Wi WbmWoi X[[d iW_Z j^Wj W ]eeZ Ôeeh _i j^[ XWi_i e\ W X[Wkj_\kb ^eki[$ 7 l[ho m_i[ l_[m" `kij Wi W fW_h e\ i^e[i YWd Yecfb[c[dj eh hk_d Wd ekjÓj$ J^[ XWi[ e\ Wdo ifWY[ _i [ii[dj_Wb _d j^[ beea e\ W ^ec[$ J^Wj _i m^o m[ ^Wl[ i[b[Yj[Z j^[ i[h_[i Ijed#a[h ijed[ Y[hWc_Y \hec FehY[bWdeiW je Ze j^_i h[i_Z[dj_Wb fhe`[Yj$ 7YYehZ_d] je j^[ fbWd" \eh j^[ _dj[h_eh e\ j^[ Zm[bb_d] j^[ I_bl[h 8bk[ e\ ijed[ Y[hWc_Y ^Wi X[[d ki[Z _d W h[YjWd]kbWh \ehcWj e\ )-$) n ,+$/Yc _d W ijhW_]^j Wb_]dc[dj$ M[ ^Wl[ Y^ei[d j^_i je Xh_d] W c_d_cWb_ij [\\[Yj$ <eh j^[ hee\[Z YekhjoWhZ m[ ^Wl[ Yh[Wj[Z W iehj e\ YWhf[j h[Ô[Yj_d] j^[ X[Wci cWa_d] kf j^[ Y[_b_d]$ Ed j^[ XehZ[hi" m[ ki[ I^Wd]^W_ _d 7djhWY_jW Yebekh " _d h[YjWd]kbWh \ehcWj e\ )-$) n ,+$/Yc$ ?d j^[ Y[djh[ j^[ Wdj_#ib_f F_WY[dj_dW mWi _dijWbb[Z _d W igkWh[ \ehcWj e\ *)$+ n *)$+Yc" WhhWd][Z _d W Z_W]edWb fWjj[hd" Wj *+ Z[]h[[i Z_WcedZ $ J^[i[ cWj[h_Wbi m[h[ i[b[Yj[Z dej edbo \eh j^[_h gkWb_jo WdZ ieXh_[jo" Xkj Wbie \eh j^[_h fhWYj_YWb_jo WdZ bem cW_dj[dWdY[$

F_WY[dj_dW ceZ[b" \hec j^[ Ijed#a[h i[h_[i 7lW_bWXb[ \ehcWji0 *)$+ n *)$+Yc '& n *)$+Yc )-$) n ,+$/Yc '( n ,+$/Yc

I^Wd]^W_ 7djhWY_jW" \hec Ijed#a[h i[h_[i 7lW_bWXb[ \ehcWji0 )-$) n ,+$/Yc )-$) n )-$)Yc *)$+ n *)$+Yc +/$, n +/$,Yc

?j ^Wi W ]hekdZ[Z cWjj \_d_i^$ J^[h[ _i Wbie Wd Wdj_#ib_f ceZ[b" \_j \eh jheZZ[d [nj[h_ehi$

I_bl[h 8bk[ ceZ[b" \hec j^[ Ijed#a[h i[h_[i 7lW_bWXb[ <ehcWji0 *)$+ n *)$+Yc '& n *)$+Yc )-$) n )-$)Yc '( n ,+$/Yc )-$) n ,+$/Yc +/$, n +/$,Yc FehY[bW_d ijed[mWh[ m_j^ W ]hekdZ[Z cWjj \_d_i^" \eh Xej^ ekjZeeh WdZ _dZeeh ki[$

)

*

'$ Fh_lWj[ h[i_Z[dY[ _d C_Wc_ 8[WY^" <beh_ZW ($ :m[bb_d] _d A[o 8_iYWod[" <beh_ZW$ J[nj_b[i \hec @[he <WXh_Yi" <hWdY[ )$ H[i_Z[dY[ _d C_Wc_ 8[WY^" <beh_ZW *$ Fh_lWj[ h[i_Z[dY[ _d A[o 8_iYWod[" <beh_ZW

Ó (, % (-

b_\[ijob[

:kfekn :[i_]d :KFEKN :;I?=D / ;Wij '/j^ Ijh[[j" -j^ \beeh$ D[m Oeha" DO '&&&)#K$I$7$ J$!' ('( ()) '-*& <$!' ('( ()) '.*& mmm$ZkfeknZ[i_]d$Yec

9ec_d] \hec j^[ ief^_ij_YWj[Z <hWdY[" Ij[f^Wd[ :kfekn _cXk[i [WY^ e\ ^_i fhe`[Yji m_j^ ^_i kdc_ijWaWXb[ m_j$ ?d j^[ c_ZZb[ e\ j^[ /&i" _d j^[ j^[d [c[h]_d] C_Wc_" ^[ X[YWc[ j^[ ceij ikYY[ii\kb Z[i_]d[h ed j^[ Yecc[hY_Wb iY[d[$ :kh_d] j^[ \ebbem_d] o[Whi" ^[ ]Whd[h[Z cWdo WmWhZi WdZ WYYbW_c \eh ^_i i_]dWjkh[ l[dk[i F[Whb _d C_Wc_ 8[WY^" 9_[be _d DO9 WdZ 9eYeed _d BedZed $ >_i YedijWdj gk[ij e\ \h[i^ WdZ _ddelWj_l[ _Z[Wi Xkeoi ^_i D[m Oeha ijkZo Wj j^[ WlWdj#]WhZ[ _d Z[i_]d e\ fkXb_Y ifWY[i$ ;WY^ Z[i_]d _i Wd eh_]_dWb Yh[Wj_ed WZZh[ii[Z je ij_ckbWj[ j^[ i[di[i WdZ ij_h j^[ ikXYediY_eki$ 7 gkWb_jo j^Wj ^Wi i[hl[Z ^_c j^[ WZehWj_ed e\ h[ijWkhWj[khi" YbkX emd[hi WdZ if[Y_Wb_i[Z `ekhdWb_iji$ DemWZWoi" ^_i ijkZo _i _dlebl[Z _d el[h W Zep[d fhe`[Yji mehbZm_Z[$

9edY[fj \eh FehY[bWdeiW 9^ei[d cWj[h_Wbi0 8Wb_ D_[l[ WdZ EiWaW 7djhWY_jW \hec j^[ Ijed#a[h i[h_[i Ekh fhefeiWb _i W i_jj_d] Wh[W _di_Z[ W XWh%bekd][$ J^[ Z[i_]d _i W iehj e\ Xen _di[hj[Z _dje W mWbb$ <eh j^[ mWbb" m[ ik]][ij j^[ Y[hWc_Y EiWaW 7djhWY_jW$ M[ ^Wl[ ki[Z j^[ 8Wb_ D_[l[ ed j^[ [Z][i WdZ Xejjec e\ j^[ Xen Xejjec mWbb $ J^_i Z[b_X[hWj[ YedjhWij i[[ai je ijh[ii j^[ beea e\ W YedYWl[ ifWY[" ie j^Wj ed[ \[[bi Wi _\ i_jj_d] _di_Z[ W ÇYWfikb[È$ J^[ _dj[h_eh _i Yel[h[Z _d ie\j bWl[dZ[h l[bl[j i[j _d ^Whcedo" Xkj Wbie YedjhWij_d] m_j^" _ji ^WhZ [nj[h_eh ijhkYjkh[$ J^[ _dj[dj_ed ^[h[ _i je Yh[Wj[ W Yec\ehjWXb[ eWi_i _di_Z[ W cWii_l[ ijed[$

B;<J J^[ 8kZZ^W 8Wh bekd][# h[ijWkhWdj" _d D[m Oeha 9_jo$ 8;BEM B;<J DOBE >ej[bi" W fhe`[Yj _dYbkZ_d] WhY^_j[YjkhWb Z[i_]d" YedijhkYj_ed WdZ _dj[h_eh Z[i_]d$ 9;DJH; IWd @kWd" >ej[b 9Wi_de$ H?=>J 9eYeed" j^[ bekd][#h[ijWkhWdj _d BedZed WmWhZ[Z m_j^ (&&+ J>;C; cW]Wp_d[ X[ij _dj[h_eh Z[i_]d

'$ EiWaW 7djhWY_jW ''& n +*$,Yc " \hec j^[ Ijed#a[h i[h_[i$ 7bie ik_jWXb[ \eh Yel[h_d] \W WZ[i" _j ^Wi W ]hekdZ[Z cWjj \_d_i^

'

($ 8Wb_ D_[l[ )'$, n /&Yc _i W ]hekdZ[Z Yel[h_d] m_j^ cWjj \_d_i^

(

Ă&#x17D; (. % (/ b_\[ijob[

DWd_ CWhgk_dW D7D? C7HGK?D7 ;i]bÂ&#x192;i_W '&" )hZ : &.&(* 8WhY[bedW" IfW_d J[b$ ! )* /)( )-, *,+ <Wn ! )* /)( '-+ --* _d\e6dWd_cWhgk_dW$Yec mmm$dWd_cWhgk_dW$Yec

DWd_ CWhgk_dW Yecfb[j[Z ^[h Z[]h[[ _d ?dZkijh_Wb :[i_]d _d j^[ ;iYebW CWiiWdW" WdZ ikXi[gk[djbo i^[ meha[Z Wi W \h[[#bWdY[ j[nj_b[ Z[i_]d[h X[\eh[ ef[d_d] ^[h emd YecfWdo _d '/.," m^ei[ ^[WZ e\\_Y[ _i i_jkWj[Z _d 8WhY[bedW$ 7d kdikhfWiiWXb[ Yebekh_ij" CWhgk_dW Yh[Wj[i ^[h emd YWhf[ji" fbki^ m_j^ Yebekh" h[fh[i[dj_d] mehai Xo @Wl_[h CWh_iYWb" @eh][ F[di_" 7djed_ 7hebW WdZ ej^[hi m_j^_d ^[h Yebb[Yj_ed$ ?dj[hdWj_edWbbo ademd \eh ^[h i^Whf b_d[i WdZ l_XhWdj Yebekhi" CWhgk_dW ^Wi [n^_X_j[Z ^[h Yh[Wj_edi _d D[m Oeha" FWh_i" C_bWd" 8[hb_d" EiWaW WdZ Jeaoe$ ?d (&&+" m^[d i^[ _dYehfehWj[Z j^[ i[YedZ ][d[hWj_ed _dje j^[ cWdW][c[dj e\ j^[ YecfWdo" W d[m b_d[ e\ YWhf[ji WZZh[ii[Z je j^[ fhe\[ii_edWb i[Yjeh mWi _djheZkY[Z0 DWd_cWhgk_dW 8Wi_Y$ 7mWhZ[Z m_j^ j^[ DWj_edWb Fh_p[ e\ :[i_]d _d Wffh[Y_Wj_ed e\ ^[h meha" j^[ YecfWdo ^Wi ceh[ WmWhZi WdZ h[Ye]d_j_ed \hec j^[ _dZkijho$ >[h fheZkYji YWd X[ \ekdZ _d j^[ ceij fh[ij_]_eki i^efi WdZ YWjWbe]k[i mehbZm_Z[$ ?j _i Wdej^[h [nWcfb[ e\ j^[ ^_]^ gkWb_jo e\ IfWd_i^ Z[i_]d$

78EL; Hei[i ceZ[b" cWZ[ _d '&& Zo[Z meeZ \[bj$ B;<J DWd_ CWhgk_dW IjkZo _d 8WhY[bedW$ H?=>J 8_YoYb[ ceZ[b" ^WdZ#cWZ[ _d '&& h[YoYb[Z hkXX[h$ EFFEI?J;" j^[ ceZ[b B_jjb[ <_[bZ e\ <bem[hi" ^WdZ#cWZ[ _d '&& fkh[ meeZ \hec D[m P[WbWdZ$

9edY[fj \eh FehY[bWdeiW 9^ei[d cWj[h_Wbi0 IWhh_| Fkbf_i WdZ Eii_Ze D[]he" \hec L[d_i ? b_a[ j^[ IWhh_| Fkbf_i WdZ Eii_Ze D[]he b_d[ \hec L[d_i" \eh W ^ec[Êi \beeh_d]$ ?ji YebZ Yebekhi _d ]h[o jedWb_j_[i Wh[ j^[ f[h\[Yj YedjhWij \eh W ifWY[ XWj^[Z _d fkh[ m^_j[$ J^[ bkc_dei_jo e\ j^[ ifWY[ WdZ j^[ ieXh_[jo e\ j^[i[ ijed[i Yh[Wj[ W XWbWdY[" Wi j^[o _dYehfehWj[ j^[ mWhc WdZ l_XhWdj h[Z \[bj e\ j^[ Hei[i YWhf[j$ ? b_a[ fbWo_d] m_j^ YedjhWiji" Wi W iehj e\ O_d]#OWd] YecX_dWj_ed m_j^ Yebekhi WdZ cWj[h_Wbi$ 7 f[h\[Yj XWbWdY[ _i WY^_[l[Z m_j^ j^[i[ [b[c[dji \eh Wd Wcfb[ WdZ Xh_]^j ifWY[$ J^[ ijWha[h j^[ YedjhWij" j^[ ^_]^[h j^[ XWbWdY[ '

(

'$ IWhh_| Fkbf_i \hec L[d_i 7lW_bWXb[ \ehcWji0 ))$) n ,,$,Yc ))$) n ))$)Yc ($ Eii_Ze D[]he \hec L[d_i 7lW_bWXb[ \ehcWji0 ))$) n ,,$,Yc ))$) n ))$)Yc

)& % )' b_\[ijob[

?D:EEHI

LE2OY

>EKI;

4EXT -!24! "!2!3 0HOTOS !#!.4(%

J^[ cW_d bekd][ e\ j^[ ^eki[" m_j^ m_dZemi Wbb WhekdZ ef[d_d] je j^[ im_cc_d]#feeb" ^Wi i[l[hWb Wjceif^[h[i WdZ W m_dj[h ]WhZ[d$ J^[ fWl_d] _i j^[ i_d]b[#YeWj ckZ HeXb[ 8bWdgk [ '/$) n '(.$+ n &$-Yc

4HE 3PANISH ARCHITECT *ULIO 6ALIELA FUL½LS THE WISHES OF A COUPLE OF GOLF LOVERS WHO FOUND COMFORT AND WELLBEING IN THIS HOUSE !LL MADE WITH 0ORCELANOSA 'ROUP PRODUCTS

)( % )) b_\[ijob[

=eb\ bel[hi" j^[ B[ Heo Yekfb[ mWdj[Z j^[_h ^eb_ZWo ^eki[ je W\\ehZ j^[c jme YedjhWZ_Yjeho WdZ Yecfb[c[djWho fb[Wikh[i" \eh j^[o h[gk_h[Z W gk_[j fbWY[ j^Wj mekbZ X[ Yec\ehjWXb[" jee$ J^[o Yecc_ii_ed[Z j^[ fhe`[Yj je j^[ IfWd_i^ WhY^_j[Yj @kb_e LWb_[bW" m^e cWdW][Z je \kb\_b j^[_h Z[i_h[i _d j^_i if[YjWYkbWh ^eki[ fbWY[Z _d j^[ <h[dY^ fhel_dY[ e\ BW 8Wkb[$ 7 h[Wb Yecc_jc[dj m_j^ j^[ fem[h e\ ifWY[$ J^[ ^eki[ Z[i_]d _i K#i^Wf[Z$ J^[ Dehj^ \W WZ[ beeai ekj je IW_dj#:[dWY ]eb\ Yekhi[" m_j^ _cfh[ii_d] l_[mi e\ j^[ bWa[$ ÇM[ cWZ[ j^[ ceij e\ j^[ effei_j[ \W WZ[" je j^[ Iekj^" i_jkWj_d] j^[ im_cc_d] feeb" m_j^ _ji j[hhWY[i" WhekdZ Wd ef[d YekhjoWhZÈ" [nfbW_di @kb_e LWb_[bW$ J^[ WhY^_j[Yj mWdj[Z je ijh[d]j^[d j^[ bkc_dei_jo e\ j^[ ^eki[ j^hek]^ X_] m_dZemi ef[d[Z je j^[ im_cc_d] feeb$ <eh j^[ m_dj[h i[Wied" @kb_e [dZ[Wlekh[Z je Yh[Wj[ W @WfWd[i[#_dif_hWj_ed _dj[h_eh ]WhZ[d m_j^_d j^[ bekd][" Wd eh_]_dWb _Z[W j^Wj j^[ \Wc_bo [d`eoi Wbb o[Wh hekdZ$ Ç?j _i W ^eki[ b_l_d]

\hec j^[ _di_Z[ ekj" WdZ \hec j^[ ekji_Z[ _dÈ" ^[ [nfbW_di je ki$ 8h_]^jbo Z[YehWj[Z m_j^ iec[m^Wj ikXZk[Z Yebekhi" j^[ mWbbi e\ Ch WdZ Chi B[ HeoÊi ^ec[ ^Whced_i[ m_j^ j^[ h[ij e\ j^[ _dj[h_eh Z[YehWj_ed" W X_j c_d_cWb_ij WdZ fW_dijWa_d]bo Z[i_]d[Z$ <khd_jkh[ _i kf^ebij[h[Z _d dWjkhWb jed[i" \hec Xhemd je X[_][" _d l[ho i_cfb[ WdZ \kdYj_edWb b_d[i1 m^_b[ Wbb \beehi _d j^[ ^eki[ ^Wl[ X[[d [djhkij[Z je FehY[bWdeiW =hekf$ Ç? edbo ki[ FehY[bWdeiW fheZkYj hWd][ _d Wbb co fhe`[Yji$ ?d co ef_d_ed" j^[ ceij WjjhWYj_l[ \[Wjkh[i e\ j^_i YecfWdo Wh[ del[bjo" W[ij^[j_Yi WdZ lWh_[jo$ 7j co e\\_Y[" m[ WbmWoi ^Wl[ W h[Wbbo ]eeZ j_c[ Y^eei_d] \beehi j^Wj W]h[[ m_j^ j^[ mWbb j_b[i" WdZ _c_jWj_edi ikY^ Wi b[Wj^[h" meeZ" fWf[h eh c[jWb$ Ed jef e\ [l[hoj^_d]" j^[oÊh[ IfWd_i^È" [nfbW_di j^[ CWZh_b[d_Wd WhY^_j[Yj @kb_e LWb_[bW" m^e ^Wi X[[d i[jjb[Z _d BW 8Wkb[" <hWdY[" \eh o[Whi$ Ceij e\ j^[ heeci Wh[ ef[d" Xkj Z_ij_dYjbo ijhkYjkh[Z _d i[l[hWb Wjceif^[h[i" j^Wdai je j^[ _dj[h_eh Z[YehWj_ed$ J^[ cW_d bekd]["

78EL; 7 fehjhW_j e\ j^[ IfWd_i^ WhY^_j[Yj @kb_e LWb_[bW" j^[ Z[i_]d[h e\ j^_i ^eki[$ 8[bem" W Z[jW_b e\ j^[ ekji_Z[ \W WZ[" m_j^ ijed[ mWbb D[` '& n )& n '$(Yc" YecX_d[Z m_j^ D[fWb )& n ,& n '$(Yc$ B;<J J^[ ^eki[ [nj[h_eh" m_j^ fehY[bW_d fWl_d] _d 9ekdjho 7cWh_bbe" c[Wikh_d] )& n )&Yc" YecX_d[Z m_j^ 9ekdjho 7cWh_bbe ceZ[b e\ '+ n )&Yc$ EFFEI?J; J^[ i_dkekibo i^Wf[Z im_cc_d] feeb _i ikhhekdZ[Z m_j^ meeZ fWl_d]" Wd ekjZeeh fbWj\ehc e\ j^[ CWiiWhWdZkXW CWiiW_ ceZ[b" /+ n ($(Yc$

)* % )+ b_\[ijob[

78EL; J^[ cW_d XWj^heec" Yel[h[Z _d j^[ dWjkhWb meeZ J[aW CkcXW_ ceZ[b" /+ n ($(Yc" m_j^ ^oZhecWiiW][ XWj^" \hec Ioij[c Feeb$ J^[ j[hhWY[ _i Yel[h[Z m_j^ [nj[h_eh fbWj\ehc CWiiWhWdZkXW CWiiW_" /+ n ($(Yc$ B;<J J^[ a_jY^[d _i j^[ =*'& =WcWZ[Yeh ceZ[b" bWYgk[h[Z _d cWjj m^_j[$ J^[ fWl_d] _i dWjkhWb ijed[ 8[d]WbW Fkb_ZW Fhej[]_ZW" c[Wikh_d] *& n *& n '$(Yc$ H?=>J J^[ cW_d X[Zheec" m_j^ meeZ YWdefo WdZ ^[WZh[ij" e\\[hi _cfh[ii_d] l_[mi e\ j^[ Y[djhWb YekhjoWhZ$ J^[ fWl_d] _i _d j^[ ckZ HeXb[ 8bWdgk [ ceZ[b \eh _dZeehi$ ?ji c[Wikh[i" '/$) n '(.$+ n -Yc$

m_j^ l_[mi je j^[ im_cc_d] feeb j^hek]^ _ji X_] m_dZemi" _i fWl[Z _d j^[ i_d]b[#YeWj ckZ HeXb[ 8Wdgk [ ceZ[b1 WdZ _j ^Wi jme i[fWhWj[ _dj[h_eh ifWY[i ie j^Wj j^[ \Wc_bo YWd [d`eo Z_\\[h[dj WYj_l_j_[i$ J^[ cW_d X[Zheec" l[ho Yeio" ^Wi W Zh[Wc XWj^heec Yel[h[Z _d dWjkhWb meeZ" m_j^ W ^oZhecWiiW][ XWj^ \hec Ioij[c#Feeb$ J^[ a_jY^[d _i Z_l_Z[Z _dje j^h[[ Wjceif^[h[i" m_j^ Wd _dj[h_eh W_ib[" e\ W l[ho d[Wj c_d_cWb_ij Z[i_]d" WdZ iec[ Z[i_]d Z[jW_bi$ ?j _i j^[ =*'& =WcWZ[Yeh ceZ[b" bWYgk[h[Z _d cWjj m^_j[$ J^[ fWl_d] _i dWjkhWb ijed[ 8[d]WbW Fkb_ZW Fhej[]_ZW" c[Wikh_d] *& n *&n '$(Yc$ J^[ b_\[ WdZ iekb e\ j^[ ^eki[ _i j^[ im_cc_d] feeb" icWYa ZWX _d j^[ ^[Whj e\ j^[ l_bbW0 j^_i _i j^[ Y^[hho ed jef" X[_d] W ^eb_ZWo h[i_Z[dY[$ J^[ i_dkeki ijob[ e\ j^[ im_cc_d] feeb _i ikhhekdZ[Z Xo eb_l[ jh[[i _d Wbb Z_h[Yj_edi$ J^[ ekjijWdZ_d] [nj[h_eh fbWj\ehc _i j^[ ceZ[b CWiiWhWdZkXW CWiiW_" /+ n ($(Yc" ifh_dab[Z m_j^ i[b[Yj WdZ Yec\ehjWXb[ ekjZeeh \khd_jkh[$ J^[ fb[Wikh[ e\ j^_i ifWY[ WdZ j^[ mWhcj^ e\ b_]^j YWd Wbie X[ [d`eo[Z Wj d_]^j" \eh j^[ Y^Wb[j WdZ j^[ im_cc_d] feeb Wh[ Z[\jbo _bbkc_dWj[Z$ J^_i ^Wi WbmWoi X[[d j^[ eX`[Yj_l[ e\ _ji emd[hi WdZ _ji Yh[Wjeh" j^[ WhY^_j[Yj @kb_e LWb_[bW" m^e YecX_d[i ^_i fhe`[Yji _d <hWdY[ m_j^ YebbWXehWj_edi _d ekh Yekdjho" ceijbo m_j^ [nYbki_l[ fhe`[Yji _d 7b_YWdj[$ %

FASHION

), % )-

b_\[ijob[

87J>HEECI

/ Ă&#x160; "-/

4HREE INTERNATIONAL DESIGNERS TELL ,IFE3TYLE ABOUT THEIR PERSONAL TASTES 4HE INTERIOR DECORATION OF THEIR HOMES AND MOST ESPECIALLY THE BATHROOM

THAT SPACE WHERE THE PERSONAL TOUCH OF EACH ONE COMES TO THE SURFACE 4EXT "%!42): 4!22%'! 0HOTOS $ 2

#USTO 9KIJE 87H9;BED7Â I FHĂ&#x203A;J#

7#FEHJ;H 9EBB;9J?ED >7I 8;;D J7A?D= F7HJ ?D J>; D;M OEHA <7I>?ED M;;A 97JM7BAI <EH J;D O;7HI

ijkZ[dj e\ 7hY^_j[Yjkh[ _d j^[ .&i WdZ W fWii_edWj[ bel[h e\ ]hWf^_Y Z[i_]d" 9kijeZ_e :WbcWk" Ă&#x2021;9kijeĂ&#x2C6;" _i" Wbed] m_j^ ^_i Xhej^[h :Wl_Z" j^[ ceij _dj[hdWj_edWb \WY[ e\ IfWd_i^ \Wi^_ed$ >_i WZl[djkh[ ijWhj[Z jm[djo#\_l[ o[Whi W]e" Zkh_d] W bed] jh_f je j^[ X[WY^[i e\ 9Wb_\ehd_W" m^ei[ b_\[ijob[ ^[ YWfjkh[Z ed ^_i \Wceki J# i^_hji$ ?jĂ&#x160;i X[[d W bed] j_c[ i_dY[ ^_i Z[i_]di ikhfWii[Z j^ei[ Yebekh_ij_Y WdZ _ddelWj_l[ J#i^_hji je X[Yec[ jejWb beeai$ J^[ JL i[h_[i <h_[dZi WdZ Y[b[Xh_j_[i ikY^ Wi @kb_W HeX[hji" 9^h_ij_dW 7]k_b[hW" DWjWb_[ FehjcWd eh F[dÂ&#x192;bef[ 9hkp ^Wl[ de ZekXj Yedjh_Xkj[Z je \eij[h j^_i YkijecWd_W$ Ă&#x2021;M[ ^Wl[ l[ho Yb[Wh h[\[h[dji _d ekh fhe`[Yj" Wi Wh[ Yebekh" ]hWf^_Y Z[i_]d WdZ j^[ YecX_dWj_ed e\ cWj[h_Wbi$ J^Wj _i m^o m[ Z[i_]d \eh f[efb[ m^e fh_p[ _dZ_l_ZkWb_jo WdZ b_a[ je [nfh[ii _j j^hek]^ \Wi^_ed" Xkj e\ Yekhi[" m_j^ W i[di[ e\ ^kcekh$Ă&#x2C6; 9kije _i W j_h[b[ii jhWl[bb[h" dej edbo Zk[ je ^_i meha Ă&#x2020;^[ ^Wi ekjb[ji _d i[l[hWb ;khef[Wd Yekdjh_[i" j^[ Kd_j[Z IjWj[i WdZ j^[ ;WijĂ&#x2020;" Xkj \eh fb[Wikh[" jee0 Ă&#x2021;Co b_\[Ă&#x160;i WbmWoi X[[d cel_d] \hec ed[ fbWY[ je Wdej^[h" Xkj ? bel[ Yec_d] XWYa je 8WhY[bedW" m^[h[ co ^ec[ _i$ ?Ă&#x160;l[ `kij X[[d W \Wj^[h \eh j^[ i[YedZ j_c[" WdZ ?Ă&#x160;c jho_d] je beea \eh W XWbWdY[ _d ehZ[h je WYYecceZWj[ co \Wc_b_Wh b_\[ je j^[ Z[cWdZi e\ meha$Ă&#x2C6; M^[d Wia[Z m^Wj ^_i _Z[Wb XWj^heec mekbZ X[ b_a[" ^[ Wdim[hi m_j^ekj ^[i_jWj_ed0 Ă&#x2021;7bj^ek]^ ?Ă&#x160;c WmWh[ j^Wj j^[o Wh[ l[ho if[Y_Wb" ? bel[ XWj^heeci _d ?dZed[i_Wd ijob[" m_j^ekj W Y[_b_d]" m_j^ dWjkhWb b_]^j WdZ fb[djo e\ fbWdji$ Ed[ e\ j^[ ceij X[Wkj_\kb j^Wj ?Ă&#x160;l[ h[Y[djbo i[[d _i ed[ Wj EX[he_ >ej[b" _d 8Wb_$ 8kj" X[_d] W b_jjb[ ceh[ h[Wb_ij_Y" _\ KF JEF 7 fehjhW_j ? ^Wl[ je efj \eh W ijob[" ? \Wlekh W c_d_cWb_ij" o[j ifWY_eki XWj^heec" e\ 9kije :WbcWk dej el[hbeWZ[Z Wj Wbb" WdZ [if[Y_Wbbo" fhWYj_YWb$Ă&#x2C6; 7i \eh Yebekh" Ă&#x2021;? b_a[ B;<J J^[ 9kije ekjb[j _d 9Wbb[ W fh[lW_b_d] m^_j[" WdZ" e\ Yekhi[" j^[ b_]^j_d] ckij X[ Wi i_c_bWh Wi <k[dYWhhWb" CWZh_Z feii_Xb[ je ZWob_]^j" WdZ _\ j^Wj YWddej X[" ? WbmWoi Y^eei[ _dZ_h[Yj 78EL; 7 ceZ[b \hec bWij b_]^ji$Ă&#x2C6; 9edY[hd_d] cWj[h_Wbi" Ă&#x2021;co \Wlekh_j[i Wh[ ijed[ WdZ meeZ" [_j^[h i[Wied YecX_d[Z eh ki[Z _dZ_l_ZkWbbo$Ă&#x2C6; 7i W bel[h e\ ifehji" ceijbo ikh\" _j _i dej ikhfh_i_d] je \_dZ j^_i h[\b[Yj[Z _d ^_i XWj^heec$ Ă&#x2021;? fh[\[h i^em[h jem[hi" _j _i ceh[ _d a[[f_d] m_j^ co ijob[ j^Wd W ^oZhecWiiW][ XWj^" i_dY[ _j fhel_Z[i c[ m_j^ j^[ [d[h]o ? d[[Z [l[ho cehd_d]" Wbj^ek]^ j^Wj Ze[idĂ&#x160;j c[Wd j^Wj ? ]_l[ kf W ceh[ h[bWn_d] XWj^ iec[j_c[i$Ă&#x2C6;

4(% #(/)#% /& ! "2)'(4 !.$ .!452!, 30!#% J^[ ceij _dj[hdWj_edWb

j^[h[_d ^_i f[hiedWb ifWY[i"

n '& n '$+Yc" \hec BÊ7DJ?9

J^[ el[hWbb h[ikbj _i W ceZ[hd

9WjWbed_Wd Z[i_]d[h ademi j^[

c[j_Ykbekibo c[Z_jWj[Z$ J^[

9EBED?7B" Wbie _d dWjkhWb

XWj^heec" l[ho mWhc" WdZ Wj

XWj^heeci e\ j^[ X[ij ^ej[bi

fWl_d] WdZ Yel[h_d] Y^ei[d

ibWj[$

j^[ iWc[ j_c[ [dZem[Z m_j^

_d j^[ mehbZ$ >_i jhWl[bb_d]

^[h[ \eh j^_i XWj^heec _i W

J^[ J[XWi ??? ,& n +&Yc c_n[h

W Y[hjW_d c_d_cWb_ij W_h$ J^[

if_h_j cWa[i ^_c if[dZ bed]

D[fWb ceZ[b" c[Wikh_d] )&

jWf XWi_d I_Wd

fWl_d] WdZ Wbb Yel[h_d]i" \hec

f[h_eZi WXheWZ" Xkj _j Wbie

n ,& n '$(Yc" \hec BÊ7DJ?9

7 8bWda i^[b\ ed ijWdZi

BÊ7DJ?9 9EBED?7B" Wh[ m_i[bo

W\\ehZi ^_c j^[ fh_l_b[][ e\

9EBED?7B$ ?j _i cWZ[ e\

8bWda Xk_bj#_d i^[bl[i

c_n[Z ie j^Wj j^[ heec ^Wi

Yec_d] XWYa ^ec[ WdZ \_dZ_d]

dWjkhWb ibWj[$

Ceed i^em[h^[WZ _d

f[hiedWb_jo WdZ ijob[$

?d _ji _dj[h_eh" j^[ i^em[h

^eh_pedjWb Whc

_i Yel[h[Z _d Xh_Ya D[fWb *&

@Wpp i[h_[i hWYai

2OBERT #LERGERIE

). % )/ b_\[ijob[

>?I D7C;" 7BED= M?J> J>EI; E< 9>7HB;I @EKH:7D 7D: 9>H?IJ?7D B78EKJ?D" H;FH;I;DJ J>; CEIJ 9>?9 IJOB; E< <H;D9> I>E;I" 8;?D= 7D ?CFEHJ7DJ H;<;H;DJ <EH J>; D;M =;D;H7J?EDI$

78EL; 7 h[Y[dj fehjhW_j e\ HeX[hj 9b[h][h_[$ Iec[ f_[Y[i e\ ^_i bWij i^e[ Yebb[Yj_ed$ 7 Z[jW_b e\ j^[ \WÂ&#x201A;WZ[ e\ 9b[h][h_[Ă&#x160;i Xekj_gk[ _d CWZh_Z$

[ _i j^[ WcXWiiWZeh e\ <h[dY^ i^e[#Z[i_]d[hi _d ^_i emd h_]^j$ HeX[hj 9b[h][h_[ ^Wi X[[d Zh[ii_d] mec[dĂ&#x160;i \[[j \hec Wbb el[h j^[ mehbZ \eh cWdo o[Whi Ă&#x2020;WdZ mec[d ^Wl[ X[[d beoWb je ^_i kdc_ijWaWXb[ ijob[ \eh ceh[ j^Wd \ekh Z[YWZ[i$ 8[_d] ceh[ e\ Wd Whj_iWd j^Wd W cWdk\WYjkh[h ^Wi dej fh[l[dj[Z ^_c \hec WY^_[l_d] ]h[Wj _dj[hdWj_edWb [nfWdi_ed" m_j^ ^_i emd ekjb[ji _d i[l[hWb ;khef[Wd YWf_jWbi" ikY^ Wi FWh_i" CWZh_Z eh BedZed" WdZ _d iec[ 7c[h_YWd Y_j_[i b_a[ Bei 7d][b[i WdZ D[m Oeha$ 8kj 9b[h][h_[ cW_djW_di W l[ho f[hiedWb hkb[" WdZ _j _i j^Wj ^_i Z[i_]di Wh[ \kbbo cWZ[ _d HecWdi" j^[ <h[dY^ jemd \hec m^[h[ j^[o Wh[ Z_ijh_Xkj[Z mehbZm_Z[$ >[ b[Whdj j^[ Whj e\ cWa_d] i^e[i \hec 9^Whb[i @ekhZWd" WdZ W Z[YWZ[ W\j[hmWhZi" _d '/.'" ^[ [ijWXb_i^[Z ^_i emd XhWdZ$ >_i _d\bk[dY[ _d j^[ mehbZ e\ \Wi^_ed ^Wi X[[d" WdZ _i" gk_j[ h[cWhaWXb[$ >_i Yh[Wj_edi ^Wl[ X[[d i^emd ed YWjmWbai \eh o[Whi" WdZ mec[d b_a[ 9^h_ijo Jkhb_d]jed" C_Y^[bb[ F\[_\\[h eh C[hob Ijh[[f ^Wl[ ^WZ j^[ fb[Wikh[ e\ mWba_d] _d j^[c$ 9b[h][h_[ _i dej W cWd j^Wj ][ji _dj_c_ZWj[Z Xo Z_\\_Ykbj_[i$ ?d (&&+" ^[ Xek]^j /& e\ j^[ YecfWdo j^Wj ^[ ^WZ fh[l_ekibo iebZ" _d '///" je W \_dWdY_Wb ]hekf" WdZ demWZWoi" Wj -&" ^[ Yedi_Z[hi ^_ci[b\ j^[ ^Wff_[ij cWd _d j^[ mehbZ" Wffbo_d] ^_ci[b\ W]W_d je m^Wj ^[ ^Wi WbmWoi X[[d ]eeZ Wj Ă&#x2020;]eh][eki i^e[iĂ&#x2020;" m[bb Z[i_]d[Z WdZ X[jj[h \_d_i^[Z$ >_i X[]_dd_d]i Wi Wd WhY^_j[Yj b[\j j^[_h cWha ed ^_c j^Wj YWd X[ dej_Y[Z dej edbo _d ^_i i^e[i WdZ ^WdZXW]i j^hek]^ekj Wbb j^[i[ o[Whi" Xkj Wbie _d j^[ [nYbki_l[ _dj[h_eh Z[Ye e\ ^_i ^ec[" m^[h[ i_cfb[ WdZ ceZ[hd b_d[i fh[lW_b" Wbed] m_j^ ^_i f[hiedWb jekY^" e\ Yekhi[$ Ă&#x2021;>ec[ _dj[h_eh Z[YehWj_ed _i W l[ho _cfehjWdj j^_d]" WdZ fW_dj_d]i Wh[ W fh_eh_jo \eh c[$ ? ckij WZc_j j^Wj ?Ă&#x160;c _d jhekXb[ m_j^ co m_\[ X[YWki[ m[ Ze dej ^Wl[ W i_d]b[ ]Wf ed ekh mWbbi" ij_bb" ? Yedj_dk[ je Xko fW_dj_d]i$ ? j^_da j^Wj j^[ ceij _cfehjWdj j^_d] _i b_l_d] _d W mWhc WdZ Yeio Wjceif^[h[" WdZ j^_i YWd X[ ikccWh_i[Z _d Wd _dj[bb_][dj c_njkh[ e\ Ykjj_d]#[Z][ Z[i_]d \khd_jkh[" je][j^[h m_j^ h[Wbbo Yec\ehjWXb[ ie\Wi WdZ WhcY^W_hi$ ? b_a[ co X_] \Wc_bo Ă&#x2020;jm[bl[ Wj ^ec[Ă&#x2020; je \[[b Wj [Wi[$Ă&#x2C6; Ă&#x2021;H[]WhZ_d] j^[ XWj^heec" Wi ? Wc W][_d]" ? dem ^Wl[ je mehho ceh[ WXekj co f[hiedWb YWh[" WdZ [l[hoZWo ? jWa[ gk_j[ iec[ j_c[ je ][j h[WZo$ ? b_a[ XWj^heeci je ^Wl[ fb[djo e\ dWjkhWb b_]^j" WdZ _d co YWi[" ? Wc \ehjkdWj[ je ^Wl[ W ^k][ m_dZem" m^_Y^ _i l[ho d_Y[ Zkh_d] j^[ ifh_d] WdZ ikcc[h cedj^i$ ?d WZZ_j_ed" j^[ c_hheh _i _bbkc_dWj[Z" m^_Y^ _i Wd WZlWdjW][" \eh _\ oek ^Wl[ jme iekhY[i e\ b_]^j" oek ZedĂ&#x160;j i[[ ie cWdo mh_dab[i _d oekh \WY[ m^[d oek beea Wj oekhi[b\$ J^Wj ^[bfi je ijWhj j^[ ZWo _d W X[jj[h if_h_j$Ă&#x2C6; Ă&#x2021;9ebekh _i W l[ho _cfehjWdj \WYjeh" Xkj _j WbmWoi Z[f[dZi ed jh[dZi WdZ Y_hYkcijWdY[i$ J^[h[\eh[" j^[ m_i[ij j^_d] je iWo _i j^Wj" h_]^j dem" ? fh[\[h XbWYa WdZ m^_j[" m_j^ekj cWa_d] Wdo YedY[ii_ed je Xh_]^j Yebekhi$Ă&#x2C6;

4(% %,%'!.4 #/.&)$%.#% /& ",!#+ !.$ 7()4% J^[ i^e[cWa[h e\ j^[ ijWhi

J^[ Y^ei[d XWj^heec

9EBED?7B" '$+ n '&Yc

.& n +($+ n (Yc

b_a[i _dj[h_eh Z[YehWj_ed

_i Wi \ebbemi0

L[hj_YWb c[jWbb_Y \h_[p[i ceZ[b

8k_bj#_d B_XhW c_n[h jWf XWi_d$

WdZ WZZ_d] ^_i f[hiedWb jekY^

9el[h_d] _d feb_i^[Z cWhXb[

CeiW_Ye 7Y[he" ( n (Yc" \hec

;nj[hdWb i^em[h%XWj^ c_n[h

je ^_i ^ec[i$ J^[ _cfehjWdY[

M^_j[ :ebec_jW H[l$ ceZ[b"

BÊ7DJ?9 9EBED?7B$

jWf [cX[ZZ[Z _d fWl_d]"

e\ W kd_gk[ ijob[" Xkj Wbie

)& n ,& n '$(Yc

DWjkhWb cWhXb[ XWj^" M^_j[

B_XhW ceZ[b$

\kdYj_edWb" _i ed[ e\ ^_i

FWl_d] _d dWjkhWb cWhXb[

7bc[h W Yebekh" m_j^

KhXWd i[h_[i hWYai$

YedY[hdi h[]WhZ_d] XWj^heeci$

M^_j[ :ebec_jW" c[Wikh_d]

W Z_Wc[j[h e\ *' n ',Yc" ed

J^[ h[ikbj0 fkh[ [b[]WdY[

)& n )& n '$( Yc

W dWjkhWb ibWj[ jef ikh\WY["

B_d[Wh ceZ[b Y[djhWb mWbb

8^kjWd ceZ[b" \hec BÊ7DJ?9

ceiW_Y" \hec BÊ7DJ?9

9EBED?7B" c[Wikh_d]

%LIE 3AAB

*& % *' b_\[ijob[

>; ?I J>; A?D= E< J>; H;: 97HF;J" 7D: 7 BED= B?IJ E< 9;B;8H?J?;I IK9> 7I 97J>;H?D; P;J7 @ED;I" 97B?IJ7 <BE9A>7HJ" ;B?P78;J> >KHB;O" 8H?:=;J <ED:7 EH ;CC7DK;BB; 8;7H :E DEJ >;I?J7J; ?D :EDD?D= >?I 9H;7J?EDI$

ehd _d 8[_hkj _d '/,*" ;b_[ IWWX _i j^[ j^ekiWdZ#WdZ#ed[#d_]^ji Z[i_]d[h$ >_i ief^_ij_YWj[Z Yh[Wj_edi" cWZ[ _d h_Y^ \WXh_Yi WdZ \WdjWij_Y [cXhe_Z[ho" i[ZkY[ Xej^ fh_dY[ii[i WdZ cel_[ ijWhi$ J^Wj _i m^o _j _i dej ie ikhfh_i_d] j^Wj HWd_W \hec @ehZWd mekbZ Y^eei[ ed[ e\ ^_i Z[i_]di \eh j^[ ZWo e\ ^[h YehedWj_ed" eh >Wbb[ 8[hho mWi i_cfbo ijkdd_d] _d ^[h ;b_[ IWWX j^[ [l[d_d] i^[ h[Y[_l[Z j^[ EiYWh \eh X[ij WYjh[ii$ IWWX [n[hji W ZekXjb[ii cW]d[j_ic ed mec[d" je m^ec ^[ fWoi ^ecW][ _d Wbb ^_i Yh[Wj_edi$ Ç? bel[ mec[d" j^[o Wh[ co edbo iekhY[ e\ _dif_hWj_ed" ? b_a[ ijh[ii_d] j^[_h \ehci WdZ ^_]^b_]^j_d] j^[_h [b[]WdY[" cWa_d] j^[c \[[b Wi \h[[ Wi Xkjj[h\b_[i$È >[ mWi WbmWoi ZhWmd je Whj$ >[ ijWhj[Z je Z[i_]d Wj j^[ W][ e\ /" m^[d ^[ ki[Z j^[ YkhjW_di WdZ jWXb[Ybej^i \hec ^_i ^ec[ je Zh[ii ^_i i_ij[hi$ 7j '." ^[ ef[d[Z ^_i \_hij mehai^ef$ >[ b_l[i ed j^[ \bo X[jm[[d 8[_hkj" m^[h[ ^[ ^Wi ^_i ^[WZgkWhj[hi Æ_d Wd [cXb[cWj_Y \_l[#\beeh Xk_bZ_d]Æ" WdZ FWh_i" m^[h[" WfWhj \hec fh[i[dj_d] ^_i >Wkj[ 9ekjkh[ WdZ Fh j#W#fehj[h Yebb[Yj_edi" ^[ ^Wi `kij ef[d[Z ^_i \_hij ekjb[j _d j^[ <h[dY^ YWf_jWb" Wd ''"&&&#igkWh[#c[jh[ ifWY[ Z[i_]d[Z Xo j^[ WhY^_j[Yj 9^Wa_X H_Y^Wd_$ ;b_[ Yedl[oi ^_i ijob[ _d j^[ ^ec[i j^Wj ^[ ^Wi _d HWX_[^ WdZ ed[ _d j^[ cekdjW_d _d <WghW" W fbWY[ m^[h[ ^[ b_a[i ]e_d] je h[ij ed m[[a[dZi m_j^ ^_i m_\[ 9bWkZ_d[ WdZ ^_i j^h[[ Y^_bZh[d$ Ç<eh c[" XWj^heeci Wh[ W l[ho _cfehjWdj ifWY[ _di_Z[ j^[ Zm[bb_d]$ ? b_a[ j^[c ifWY_eki" WdZ ? ZedÊj YWh[ _\ j^[o Wh[ X_]][h j^Wd X[Zheeci$ 7hY^_j[YjkhWbbo if[Wa_d]" co _Z[Wb ;b_[ IWWX" j^[ ijWhiÊ Z[i_]d[h" XWj^heec mekbZ ^Wl[ l[ho if[Y_Wb mWbbi Æ_d _d W h[Y[dj fehjhW_j fWhj_YkbWh" cWZ[ _d ijed[" WdZ _d X[_][ WdZ 78EL; Iec[ ia[jY^[i \eh ^_i m^_j[ jed[i$ ? bel[ @WYkpp_i0 ^Wl_d] W X_] ed[ Yebb[Yj_ed" Wbb j^[ [b[]WdY[ _d _dYehfehWj[Z _dje j^[ XWj^ _i [ii[dj_Wb" Wi m[bb j^[ mehbZ je [d^WdY[ mec[d Wi W ]eeZ i^em[h" e\ Yekhi[$ 7i ? Wc gk_j[ B;<J :[jW_b e\ j^[ \W WZ[ e\ ^_i ^[WZ e\\_Y[ _d 8[_hkj W f[h\[Yj_ed_ij" ? ]_l[ W bej e\ _cfehjWdY[ je WYY[iieh_[i ÆfWhj_YkbWhbo" jem[bi" ieWfi" WdZ WhecWi$ ?jÊi W ckij j^Wj j^[ XWj^heec ^Wi W fb[WiWdj ic[bb$ 7i je cWj[h_Wbi" ? Wc Wbb \eh YecX_dWj_edi" ie ? b_a[ c_n_d] ]bWii WdZ c_hhehi m_j^ meeZ WdZ cWhXb[$ 9edY[hd_d] Yebekhi" co \Wlekh_j[i X[_d] X[_][" m^_j[ WdZ ZWha Xhemd jed[i$ E\ Yekhi[" j^[h[ ckij X[ ]eeZ b_]^j_d]" m_j^ _dZ_h[Yj b_]^ji" mWhc Wi ikdb_]^j$ F[hiedWbbo" ? mekbZdÊj \[[b Yec\ehjWXb[ _d W heec m_j^ekj W m_dZem" m_j^ekj dWjkhWb b_]^j$È J^[i[ fh[\[h[dY[i Wh[ Yed\_hc[Z _d ^_i (&&- Ifh_d]#Ikcc[h Fh j# W#fehj[h Yebb[Yj_ed" _dif_h[Z _d j^[ 8[_hkj ikd" fWo_d] ^ecW][ je j^[ l_]ekh WdZ [d[h]o e\ _ji f[efb[" WdZ je j^[ iWc[ ikd j^Wj ÇmWhci ^[Whji WdZ i[dZi W c[iiW][ e\ ^ef[È$ %

!2#()4%#452% !.$ !. %815)3)4% #!2% /& $%4!),3 ;b_[ IWWX Zh[ii[i j^[ ceij

e\ ^_i Z_\\[h[dj ^ec[i"

WdZ kdjed[Z$ J^[ mWbb ed

_d Ah_ed" 8B7DA ceZ[b" \hec

\Wceki mec[d _d j^[ mehbZ$

m^[h[ ^[ h[iji _d j^[ YecfWdo

j^[ b[\j _i Yel[h[Z _d Ij_Ya

Dea[d$ '*&#Yc c_hheh :7DJ;

>_i Yebb[Yj_edi" m^_Y^ Wh[

e\ ^_i \Wc_bo$

CedpW 7djhWY_jW" (& n )'$,

ceZ[b" CWh\_b \_d_i^" Wbie \hec

WZc_h[Z WdZ \bWkdj[Z" Yh[Wj[

J^[ XWj^heec Y^ei[d ^[h[ ^Wi

Yc$ HEKD: ceZ[b XWj^" \hec

Dea[d$ Ijeeb ceZ[b 8B7DA"

]h[Wj [nf[YjWj_ed$ ?d ^_i

j^[ \ebbem_d] [b[c[dji0

IOIJ;C#FEEB$ I^em[h i[j

Wbie \hec Dea[d$

fh_lWj[ b_\[" ^[ WjjWY^[i ]h[Wj

FWl_d] WdZ Yel[h_d] _d

7GK7 '(&" \hec IOIJ;C#FEEB$

8Wi_d c_n[h jWf ][Wh" Y^hec[

_cfehjWdY[ je j^[ XWj^heeci

J_jWd_e 7Y[he ceZ[b" \hec

:ekXb[ jef ikh\WY[ m_j^

\_d_i^ I?7D ceZ[b" \hec Dea[d$

Ijed#a[h Jh[Ya Yebb[Yj_ed"

Y_hYkbWh i[c_#[cX[ZZ[Z

+/$, n +/$,Yc" _d ijed[mWh[

XWi_di WjjWY^[Z je j^[ mWbb

FehY[bbWdWje Yebekh" ]hekdZ[Z

Xo Xk_bj#_d XhWYa[ji" cWZ[

*( % *) b_\[ijob[

IF79;I

Ă&#x160; -4HE "EST 7ESTERN 0REMIER 0ARLAMENT HOTEL IS A LITTLE JEWEL LOCATED INTHE HEART OF (UNGARY !LL INTERIOR COVERINGS

COMMON SPACES AND BATHROOMS ARE MADE BY 0ORCELANOSA 'ROUP

J^[ 7c[h_YWd ^ej[b Y^W_d 8[ij M[ij[hd ^Wi [dj_h[bo h[ceZ[bb[Z W i_d]kbWh Xk_bZ_d] _d 8kZWf[ij je jkhd _j _dje j^_i WYY[ii_Xb[#bknkho ^ej[b W jhW_j j^Wj _i j^_i XhWdZĂ&#x160;i jhWZ[cWha$ 7dZ le_b|" j^[ 8[ij M[ij[hd Fh[c_[h FWhbWc[dj _i Xehd$ J^[ ^WbbcWha e\ j^_i Y^W_d" m^ei[ _dj[h# dWj_edWb [nfWdi_ed _i Wbh[WZo W ieb_Z WdZ ikYY[ii\kb Yecc_jc[dj" ^Wi X[[d" WdZ _i" jWa_d] j^[ cWn_ckc WZlWdjW][ \hec [n_ij_d] ifWY[i" efj_c_i_d] ebZ ijhkYjkh[i" WdZ j^[d" \hec j^_i ijWhj_d] fe_dj" h[Yedi# jhkYj_d]" h[\ehc_d]" ceZ[bb_d]$ ?d j^_i ]h[Wj meha" FehY[bWdeiW =hekf ^Wi fbWo[Z W cW`eh heb[" i_dY[ j^[ Yel[h_d]i e\ Wbb heeci" j^[ IF7 WdZ XWj^heeci ^Wl[ X[[d cWZ[ m_j^ cWj[h_Wbi WdZ [b[c[dji \hec j^[ =hekfĂ&#x160;i Z_\\[h[dj XhWdZi$ J^[ iWc[ Wffb_[i je j^[ Z[i_]d e\ Wbb j^[ ^ej[bĂ&#x160;i _dj[h_ehi$ 7d [\\[Yj e\ ikffh[ii[Z WlWdj#]WhZ[ _d Wd ebZ#ijob[ Xk_bZ_d] ^Wi j^ki X[[d \kbbo WY^_[l[Z$

** % *+ b_\[ijob[

J^[ heec _i fWl[Z _d iodj^[j_Y fWhgk[j \hec BÊ7dj_Y 9ebed_Wb" BWc_dWZe 7X[je B_\[ ceZ[b" '/$) n '(.$( n &$-Yc$ ?j ^Wi Wd WgkWFHEJ jh[Wjc[dj W]W_dij mWhf_d] WdZ W \khj^[h Wdj_#ce_ijkh[ jh[Wjc[dj" jee$

7 Z[b_YWj[ii[d fbWY[Z _d 8kZWf[ijÊi Xki_d[ii Y[djh[" m_j^ W '/j^# Y[djkho \W WZ[ WdZ WlWdj#]WhZ[ _dj[h_ehi0 j^ki j^[ ^ej[bÊi fh_Z[ _d _ji i_d]kbWh Y^Whc" ijWdZ_d] jWbb _d W Z_ijh_Yj XeWij_d] j^[ j_jb[ e\ CWda_dZÊi >[h_jW][" l[ho Ybei[ je j^[ YWf_jWbÊi cW`eh Yecc[hY_Wb cWbb" WdZ _d ^Whcedo m_j^ j^[ h[ij e\ j^_i 9[djhWb ;khef[Wd Y_jo$ J^[ >kd]Wh_Wd FWhb_Wc[dj Xk_bZ_d]i" j^[ medZ[h\kb :WdkX[" j^[ meeZ[Z igkWh[i ikhhekdZ j^[ ^ej[b FWhbWc[dj WdZ _dl_j[ jhWl[bb[hi je W ijWo _d j^[ cWn_ckc Yec\ehj$ Je Yel[h" Z[YehWj[ WdZ WZZ Wd kbjhWceZ[hd c_d_cWb_ij jekY^ je j^[ FWhbWc[dj ^ej[b" j^[ 8M Y^W_d ^Wi i[b[Yj[Z FehY[bWdeiW =hekfÊi ieb_Z_jo WdZ ^_]^ j[Y^debe]o m^_Y^" XWi[Z ed j^[ Xk_bZ_d]Êi ijhkYjkh[ WdZ j^[ YecfWdoÊi Yecc[hY_Wb d[[Zi" ^Wi WY^_[l[Z W ZekXb[ [\\[Yj e\ [b[]WdY[ WdZ \kdYj_edWb_jo$ J^[ if[YjWYkbWh h[Y[fj_ed" j^[ b[_ikh[ Wh[Wi" j^[ lWh_eki bekd][i WdZ Wbb j^[_h Yel[h_d]i ^Wl[ X[[d if[Y_Wbbo Z[i_]d[Z WdZ cWZ[ Xo FehY[bWdeiW =hekf je WZWfj je j^[ d[[Zi e\ j^[_h Yb_[dj" j^[ fh[ij_]_eki 7c[h_YWd ^ej[b Y^W_d 8[ij M[ij[hd$

H?=>J Iaob_]^j WdZ ijW_hi$ J^[ \beeh_d] _i dWjkhWb cWhXb[ D[]he 8WbY|d Fkb_Ze WdZ Fhej[]_Ze \hec BÊ7dj_Y 9ebed_Wb" c[Wikh_d] ,& n ,& n (Yc$

Ê,"" -Ê / Ê 1 / " /9Ê

Ê+1 /9Ê-/ , -Ê Ê/ ,Ê - -Ê Ê "6 , -

87J>HEEC ED J>; H?=>J J^[ ZWha Yel[h_d] _i D[]he 8beYa En_a[h ceZ[b" '&$/ n ,,Yc" \hec L[d_i" YecX_d[Z m_j^ 8ecXWo CWh\_b ceZ[b" \hec L[d_i" c[Wikh_d] )) n ,,$,Yc" ]hekdZ[Z WdZ kdjed[Z$ J^[ \beeh _i _d CWZh|i CWh\_b ceZ[b" \hec L[d_i" ]hekdZ[Z WdZ kdjed[Z" ))$) n ))$)Yc$ 8Wj^" \hec Ioij[c#Feeb$

87J>HEEC 78EL; MWbbi Yel[h[Z _d j^[ ZWha <[hhea[h ceZ[b" \hec L[d_i" c[Wikh_d] ** n ,,Yc" YecX_d[Z m_j^ :WaWh 9Wb_pW ceZ[b" \hec FehY[bWdeiW" )'$, n /&Yc$ J^[ fWl_d] _i CWhc_ ceZ[b$ J^[ \_d_i^" Xej^ \eh j^[ Yel[h_d] WdZ \eh j^[ fWl_d]" _i cWjj WdZ ]hekdZ[Z$

*, % *b_\[ijob[

J^[ ceij h[b[lWdj Wif[Yj e\ j^_i ^ej[b _i _ji ifW" cWZ[ [dj_h[bo m_j^ j^[ bWj[ij j[Y^debe]o \hec IOIJ;C#FEEB$ ?d WZZ_j_ed" [WY^ XWj^heec ^Wi W if[Y_\_Y Z[i_]d" WYYehZ_d] je j^[ Z_\\[h[dj i_p[i e\ j^[ heeci" m^_b[ j^[ ^_]^[ij ijWdZWhZi e\ gkWb_jo" Z[i_]d WdZ iW\[jo ^Wl[ X[[d kf^[bZ _d Wbb e\ j^[c" Wi m[bb Wi Wdj_#ib_f j[njkh[i WdZ Wdj_#ce_ijkh[ [b[c[dji$ ?j _i _cfehjWdj je ^_]^b_]^j j^Wj Xej^ fWl_d] WdZ Y[hWc_Y Yel[h_d]i ^Wl[ X[[d if[Y_Wbbo cWZ[ je ijh[ii j^[ ][e]hWf^_YWb i_jkWj_ed e\ j^[ ^ej[b WdZ je Wdim[h j^[ d[[Z je kfZWj[ _ji _dj[h_ehi$ 8Wi[Z ed j^_i" j^[ m^eb[ ijhkYjkh[ ^Wi X[[d XWbWdY[Z" ie j^Wj ]k[iji YWd Wbie X[ Yec\ehjWXb[ _d Yecced Wh[Wi ikY^ Wi j^[ h[Y[fj_ed" h[ijWkhWdji WdZ bekd][i$ 8kZWf[ijÊi FWhbWc[dj ^ej[b _i W b_jjb[ `[m[b \hec j^[ _di_Z[ ekj" \kb\_# bb_d] Wbb [nf[YjWj_edi fei[Z Xo j^[ d[m _dj[h_eh WhY^_j[Yjkh[$ ?d ikc0 _j _i j^[ h[ikbj e\ Wd [n^Wkij_l[ meha Xo FehY[bWdeiW =hekf _d j^[ ^[Whj e\ >kd]Who$ %

H?=>J J^[ \beeh e\ j^[ i_jj_d] heec" m_j^ h[Z ie\Wi" _i AWb_ Fkbf_i" c[Wikh_d] )'$, n )'$,Yc$ J^[ fWl_d] _i ijed[mWh[ m_j^ W i^[[d \_d_i^$ J^[ ia_hj_d] XeWhZ _i cWZ[ _d j^[ iWc[ ceZ[b" Xkj c[Wikh_d] '& n )'$,Yc$

IF7 J^[ Yel[h_d] _i CeiW_Ye L_jh[e =bWY_[h C_n L[hZ[i ceZ[b m_j^ +#n#+Yc jWYei " )& n )&Yc" \hec BÊ7dj_Y 9ebed_Wb1 _d ]beiio \_d_i^ WdZ kdjed[Z$ J^[ mWbbi Wh[ Yel[h[Z _d :WaWh 9Wb_pW )'$, n /&Yc" \hec FehY[bWdeiW" m_j^ ]beiio WdZ ]hekdZ[Z \_d_i^$ J^_i ceZ[b ^Wi X[[d YecX_d[Z m_j^ C|hceb I_he CWh\_b" *)$+ n *)$+Yc" \hec FehY[bWdeiW" W ]hekdZ[Z

ijed[mWh[ \beeh m_j^ W i^[[d \_d_i^$ J^[ IF7 _i >O:H7 ceZ[b" \hec Ioij[c#Feeb" Yel[h[Z _d CeiW_Ye L_jh[e ceZ[b" ?h_i EY[Wd" c[Wikh_d] ($+ n ($+Yc" \hec BÊ7dj_Y 9ebed_Wb$

-* Ê Ê " " Ê , -Ê " Ê / Ê -/Ê / , ",Ê , / /1, Ê7 / Ê / Ê -/Ê " ",/

*. % */ b_\[ijob[

7L7DJ#=7H:;

4EXT )3!"%, !2!.'52%.

0HOTOS $ 2

-/ ,Ê * -

3INGULAR LOUNGES AVANT GARDE KITCHENS AND GREAT DESIGN OBJECTS JOINED BY TECHNOLOGY AND GOOD TASTE

M7HC ;B;=7D9; 7 Yec\ehjWXb[ bekd][" \kbb e\ f[hiedWb Z[jW_bi _dl_j_d] h[Yb_d[$ J^[ meeZ [\\[Yj e\ j^[ \beeh _d j^_i bekd][ ^Wi X[[d WY^_[l[Z j^Wdai je FehY[bWdeiWÊi Y[hWc_Y fWhgk[j$ J^[ ceZ[b _i C[hXWk M[d][" c[Wikh_d] '. n ''&Yc$ J^[ \_d_i^ e\ j^[i[ f_[Y[i _i kdjed[Z" cWjj WdZ ]hekdZ[Z$ J^[ C[hXWk M[d][ ia_hj_d] XeWhZ" _d fehY[bW_d ijed[mWh[ c[Wikh_d] '& n *)$+Yc" ^Wi X[[d fbWY[Z ed j^[ Yehd[hi$ 7i je Yel[h_d]" j^[ ceZ[b Y^ei[d mWi OWaWhjW" \hec FehY[bWdeiW" m_j^ c[Wikh[i e\ )'$, n /&Yc \eh j^[ mWbb _d j^[ h_]^j$ ?j _i ]hekdZ[Z" m_j^ cWjj \_d_i^$ ?d jkhd" j^[ \_h[fbWY[ fhel_Z[i j^[ heec m_j^ f[hiedWb_jo$ ?j ^Wi X[[d Yel[h[Z m_j^ j^[ ceZ[b 9e]dWY" YecX_d[Z m_j^ j^[ Jm_d 9k[he 9e]dWY" \hec FehY[bWdeiW$ ?j _i Wd kdjed[Z WdZ cWjj Yel[h_d] _d fehY[bW_d ijed[mWh[$

'$ ;7C;I BEKD=; 9>7?I; EJJEC7D HWo 9^Whb[i ;Wc[i ^Wl[ _dj[hfh[j[Z j^[ YbWii_Y Ç;d]b_i^ 9bkX ;ZmWhZ_Wd 9^W_hÈ" Yh[Wj[Z _d '/+, Xo >[hcWd C_bb[h$ ?ji kdc_ijWaWXb[ ijob[ _i h[\b[Yj[Z _d [WY^ Z[jW_b" m_j^ekj Z[i[hj_d] WXiebkj[ Yec\ehj$

£

+& % +' b_\[ijob[

EH:;H 7D: 87B7D9; 7 bekd][ ijhkYjkh[Z _d WZ`e_d_d] Wjceif^[h[i" m_j^ fem[h\kb ][ec[jh_[i WdZ cWj[h_Wbi$ J^[ [Wh#i^Wf[Z bekd][ fWl_d] _i _d dWjkhWb fWhgk[j" \hec BÊ7dj_Y 9ebed_Wb$ ?j _i j^[ ceZ[b ;if_]W HeXb[ Okj[" m_j^ 7fh[ije cWjj \_d_i^$ ?ji c[Wikh[i Wh[ ' n - n */Yc$ J^[ mWbb ed j^[ b[\j _i Yel[h[Z m_j^ j^[ ceZ[b 9[c[dje CWd^WjjWd" \hec FehY[bWdeiW" c[Wikh_d] *)$+ n ,+$/Yc$ ?j _i Ijed#a[h" m_j^ W cWjj" ]hekdZ[Z WdZ kdjed[Z \_d_i^$

($ 7B;II? L79KKC 9B;7D;H CWZ[ _d hkijfhee\ ij[[b" j^_i cWdkWb lWYkkc Yb[Wd[h _i W f_[Y[ Xo j^[ WhY^_j[Yj WdZ _dZkijh_Wb Z[i_]d[h Ij[\Wde =_elWdded_" \eh 7b[ii_$ ?d W c_d_cWb_ij ijob[" _j ^Wi W ceX_b[ ijWdZ$ J^_i lWYkkc Yb[Wd[h _i Z_ifbWo[Z _d j^[ CEC7Êi f[hcWd[dj Yebb[Yj_ed WdZ _d j^[ =[eh][i Fecf_Zek 9[djh[$

)$ 97D:;B78HKC%L7I; J^[i[ \ekh YWdZ[bWXhW%lWi[i" WmWhZ[Z m_j^ j^[ (&&, ?Z[W Fh_p[" Wh[ f_[Y[i Xo j^[ Z[i_]d[h AWh_c HWi^_Z" WdZ em[ j^[_h ehdWc[djWb Wff[WhWdY[ je j^[ jhWZ_j_edWb 7b[c" \hec WdY_[dj Jkha[o$ J^[o m[h[ ^WdZcWZ[ _d Ibel[d_W$

Ó

ILLUSTRATED WALLS The emphasis of this lounge is on its main wall, which gives a grand-style effect to all the room.

The paving and covering are in natural slate, from Lâ&#x20AC;&#x2122;Antic Colonial. It is the model Nepal, measuring 60 x 90cm.

The fireplace covering, also made in natural slate, is the model Brick Nepal, from Lâ&#x20AC;&#x2122;Antic Colonial. Measures, 40 x 10cm.

3

4

4. WINE KNOT BOTTLE RACK Made by the designers Scott Henderson, Tony Baxter and Alberto Mantilla for Mint.

This original bottle rack is made of birch fibre and walnut plywood, and has a rustproof steel stand. Pure design.

52 / 53 lifestyle

PURE LINES IN THE G930 KITCHEN BROWN WALNUT/WHITE GLASS, FROM GAMADECOR This kitchen combines a column area with fronts made in decorated white glass and interiors in brown walnut, with an L-shaped central aisle made in white glass and interiors in brown walnut.

This piece has il-techs worktops, a cooking area and a sink under the worktop moulded from a single steel piece. The aisle’s stand and structure are made in aluminium with a rustproof steel finish, fitted with il-techs tray-buckets with collapsible lids. As for coverings, the model Titanio Silver was applied, from Porcelanosa. It is Ston-ker Treck (metallic finish). Its measures are 59.6 x 59.6cm for the paving, and 43.5 x 43.5cm for the kitchen’s covering. It is porcelain stoneware grounded, untoned and metallised.

5. TRIBO STOOL Created by Ilse Lang, this original stool is supported on chromed steel legs. It has a seat made in a selection of two Brazilian hard woods (Tasuari and Tamburi). Besides its great decorative power, it is very functional and can be stacked.

6. SUSHI TIME PLATE The winner of the bronze medal of the 2006 Idea Prizes, this original plate launches a metaphor loaded with design. In the centre, it holds a space for the sauce and another one for chopsticks, arranged as the hands of a clock — everything in place for lovers of Japanese food.

5

6

COLOUR AND DESIGN IN THE G500 KITCHEN, ELECTRIC BLUE /BLACK SHINE, FROM GAMADECOR A kitchen in glossy blue, tall furniture units in shiny black. The wall is covered in ice oak, with embedded rails for accessories. The worktop and sink are made in one rustproof steel piece. The cooking area is separated from the rest of the kitchen, and made in structured steel. The furniture knobs are rustproof, and a system of modular lighting has been chosen. The kitchen has been covered in the model Duo Cristal Azul, from Porcelanosa. Its measures are 18 x 65.9cm. It has a matt, untoned and grounded finish. It is porcelain stoneware, and has been combined with a 5-mm steel edge, from Butech.

7

7. PENDING PH5 LAMP This is one of the most outstanding creations by Paul Hennigsen. Designed in 1958, and now re-issued, it comprises several layered plates projecting light vertically and horizontally.

To attain more warmth in light diffusion, Henningsen applied blue and red inside two of their parts.

Text: GEMA MONROY Photographs: GRANT SMITH/VIEW DENNIS GILBERT/VIEW PETER COOK/VIEW GETTY IMAGES & D. R.

54 / 55 lifestyle

TRAVELLING LONDON

FROM THE INSIDE OUT Very close to London Bridge, in-between St. Thomas and Tooley St., the foundations are being laid of what will be the highest habitable skyscraper in Europe: the Shard London Bridge, also known as the London Bridge Tower, a giant 310-metre glass spire, a work by Renzo Piano, with spaces for offices, residences and even a luxury hotel. This is one of the most talked about town-planning projects in London these days —although, of course, it is not alone. Not even the most ambitious.

We are in the headquarters of some of the most famous and reputed architects in the world. A real laboratory where personalities such as the already mentioned Renzo Piano, Richard Rogers, Sir Norman Foster, Wilkinson Eyre, Zaha Hadid or Rem Koolhaas, to name a few more, experiment with their personal vision of today’s 21st century city. Considering London’s current skyline, with its permanent fixture of working cranes, it is hard to believe that erecting buildings over 30 metres (the height of the fire-brigade stairs) was forbidden until the 1960s. Obviously, times have changed.

The controversial Millennium Dome, the Canary Wharf —an English-style Manhattan— the big wheel The Eye —offering the most exciting panoramic views of the capital—, the Millennium Bridge… All these projects meant to welcome the new millennium have already been assimilated as new icons of the city upon Thames. The unmistakable phallic silhouette of the Gherkin, by Norman Foster, occupied by the Swiss Re offices in 230 St. Mary Axe, and the egg-shaped GLA, the new-brand City Hall, compete in prestige with legendary classics such as Big Ben, St. Paul’s Cathedral and the Tower Bridge.

Yet, not all that shines in London is necessarily new. Spaces are being rescued for pedestrians —such as the enlargement of Trafalgar Square,

London has been immersed in an architectural revolution for years that now has it projecting itself as a city of the future but meanwhile, within the city walls, things are also changing

TOP The reconstructed Floral Hall in the Royal Opera House, in Convent Garden.

The old flower market has been converted into a spectacular hall.

LEFT Views from the Thames —the new London skyline nurtures innovative silhouettes, such as the Gherkin by Norman Foster (on the picture’s right).

RIGHT The Millennium Bridge leads pedestrians from the City’s medieval streets up to the very latest in art at the Tate Modern, set up in an old factory.

in front of the National Gallery, that in turn has a new exhibition area—, historical façades have been embellished, entire areas are being restored, mainly in the Southern river banks, such as the Borough and Bermondsey areas, occupied now by young creators and lovers of delicious cuisine, and the docks area: in the Docklands, where even yesterday it seemed that Oliver Twist was still tearing about, a new concept of leisure and luxury has been born.

Derelict stores have been recovered for the sake of the avant-garde, and the chimneys and turbines of the electric centrals and the old factories are now working again, this time attracting the public up to the new temples of art and culture. Nowadays, the major museums and cultural centres in London are having their structures modified. The British Museum’s hall and library —truly spectacular—, the Somerset House —with its famous terrace, the most idyllic in the capital, overlooking the Thames—, the Wallace Collection, the Science Museum,

56 / 57 lifestyle

the Royal Opera House in Covent Garden, united now to the Royal Ballet by the light aluminium plates of the Bridge of Aspiration…

Even the young Tate Modern will see its space enlarged by 70%, thanks to the construction of a spectacular glass pyramid made up of successive rectangular blocks that will host the many different galleries.

BEAUTY COMES FROM WITHIN London has shed her skin, yet its transformation is proving still more radical.

She knows that real beauty comes from within, so she has rejuvenated from her innards out. So deep has this transmutation been that it went under the surface, with a new and ultra-modern underground line, the Jubilee Line; and brave enough to dare the sacred temples of sport such as the mythic Wembley stadium and the Marylebone cricket club, now covered in aluminium and known by the aristocratic name of Lord’s.

Even gentleman’s clubs are changing! —Shed (17-20 Ironmonger Lane) illustrates this with its open spaces, design chairs and concrete ceilings, not intended for bowler gentlemen, but for the young businessmen from the City, who know in which direction the latest trends flow [follow word for word the canons of the latest trends].

In London, elegance is no longer in the hands of floral decorations, decadent comfort or equestrian allegories. Now Scandinavian furniture, a retro taste, vintage fabrics, Eastern decorations, futuristic materials and big, very big windows open to the outside are in vogue.

And all this, of course, without renouncing even a tiny bit the old touch, made-in-Britain eccentric and outrageous. Design has seized the interior of restaurants, offices, official buildings, bars, shops, houses, hotels...

The duet of Starck&Schrager, who are responsible for the dream-like Frenchaccented fantasies that, along with neat lighting which can be adjusted by guests to suit their particular taste, are the signatures in rooms and common areas in the hotels Sanderson and St. Martin Lane. Whereas Sir Terence Conrad, the British interior deco guru, is behind the success of the Great Eastern Hotel (presently, a part of the Hyatt family): a mixture of Victorian grandeur and Guggenheim aesthetics, and architecturally speaking, the most impressing accommodation in the capital. The title of “the hotel in fashion”, however, is held by the Soho

Design, also the star in the interior 1. A room in the SOHO Hotel 2. Bar AURORA, in the Hotel Great Eastern. 3. LOUNGELOVER, the stars’ favourite 4. PRÊT-A-PORTER, a tea in fashion at Berkeley Hotel 5. Relaxed beauty

1

Hotel, major banner of the accommodations opened by Kit and Tim Kemp (Firmdale Group) in London —at least, until Haymarket Hotel opens in the near future.

To witness this revolution inundating London interiors with design, nothing would be better (or funnier) than to go shopping or out for a bite—for instance, in the Marylebone area, where the antiques and curiosities compiled by Paul Smith (Albermarle St.) attract celebrities and collectors alike, or how about around Shoreditch and Spitafields.

Here, very close to the most fashionable Sunday flea market du jour, is where the ubiquitous Norman Foster has conceived Canteen, an spotless restaurant, very modern and without the blow, where an excellent plate of beans —organic, of course—goes down with gusto.

Boutiques such as Margaret Howell (34 Wigmore St.), where clothes rest on vintage furniture and historical objects, are now spaces conceived as exhibition galleries. This is the case at Voyage (50 Conduit St.), where Nicole Kidman’s favourite Italian garments hang directly from the ceiling, while in Dover St. Market, works by emerging artists mix without a blink among concepts by the major leading designers, and in Coco Ribbon (133 Sloane St.), a Venetian fantasy full of candelabra and baroque mirrors, where exquisite home attire seems a part of the decor. / TOP British Airways London Eye, “The Eye”, is a privileged lookout over the Thames, on the South bank, and one of the avant-garde benchmarks in the new metropolis LEFT Lloyd company’s office complex in London, sited in Lime Street and built by the architect Richard Rogers between 1978 and 1986, still one of the most striking modern buildings in the city RIGHT Mobile floodgates in the Thames Barrier, running along an extension of 520m, regulate the ebbs and flows of the river’s tides without forgetting design

2

3

4

5

6

7

8 9

in the FIREVAULT restaurant and lounge 6. The spa corner in Hotel Mandarin Oriental 7. Curious objects in the new PAUL SMITH boutique 8. Fashion design in MARNI 9. Clothing is a form of art in MARGARET HOWELL’s

58 / 59 lifestyle

PORCELANOSA IN LONDON

T

he power of Porcelanosa Group in the United Kingdom is a reality consolidating itself more every day. A fine sample of this is at the spectacular Wattford complex, an architectural project by Higgs Young Architects. The Groupâ&#x20AC;&#x2122;s headquarters in England are endowed with the most upto-date technological advances, and has an exhibition area, offices and a 16,000-squaremetre storage centre. Porcelanosa Group, on the avant-garde of design and technology, has covered its offices with special anti-wear ceramics and a unique finish (Porcelanosaâ&#x20AC;&#x2122;s Stonker tiles). The offices and showroom can hold over 200 visitors, and the complex is fitted out for conferences, high-level meetings and, of course, an exhibition opened to the public of all the range of bathroom and kitchen products and ceramic coverings. The best service is the key for this entrepreneurial success. www.porcelanosa-uk.com

20,000 square metres of state-of-the-art technology applied to ceramic coverings, design in bathrooms, kitchens and spas.

Porcelanosa Group represents an undisputable quality and service benchmark in England, and its headquarters in Watford are the proof.

In Bushley, very close to Watford (England), Porcelanosa Group has located its very modern headquarters.

An impressing industrial complex holding a storage centre fitted with the latest technological advances, offices carefully finished in all detail regarding coverings and structures, and a showroom so that visitors can know the novelties of the Groupâ&#x20AC;&#x2122;s different brands. Design, technology and being a leader in the sector of ceramic coverings have allowed really high production levels throughout the 15 years that Porcelanosa Group has been operating in the United Kingdom, as well as its being regarded a quality and service benchmark.

Text: ESTELA MELGAR Photos: D.R.

60 / 61 lifestyle

SPACES WASHINGTON TABAC

A BISTRO

WITH A VIEW The Washington Tabac is a surprising space entirely made with elements from Porcelanosa Group with a colonial exterior and an avant-garde interior full of colour and snazzy design. sound and touch relaxes one so as to smell and taste our food better”.

The room’s warm touch is provided by Roble Cognac floorings, a spectacular wood produced

by Porcelanosa. In addition, the Tabac Bistro has a room devoted to private events, “The arts room”, with its floor in Block Wenge, ceramic parquet covering from Venis.

THE CRYSTAL TERRACE

ABOVE A view of the exterior of the Washington Tabac, with its peculiar façade RIGHT One of the venue bars, in brick, where the bar logo can be seen BELOW Spectacular views of the Capitol and the Washington Memorial from inside the loft

Adams Morgan is one of the most cosmopolitan districts in Washington DC. Most of the houses date from 19th century and the beginnings of the 20th century, and have been converted into restaurants and discos. Their façades are considered cultural heritage and cannot be remodelled. This is why the colonial look of the buildings so often contrasts with the avant-garde decoration of their interiors.

The Tabac Bistro, a pioneer of the new Turkish cuisine, is one of the best venues in the area. The building where it is situated has four floors and was created by designer Daniel Popesco. The bar is placed in the basement of the building, in a brick loft paved in natural concrete.

The main dining room is on the ground floor, and is known as “The red room”. The leading role of this colour combines with black, steel and candles for lighting. “The idea —Popesco says— is to create an atmosphere where sight,

The building’s loft —the most genuine space in the venue— was christened “the crystal terrace” for the stained glass windows surrounding it that can be opened. From this terrace the spectacular views of the Capitol and the Washington Memorial can be enjoyed. To solve the problems caused by wet weather, the floor was covered with anti-slip Cáucaso Verde, from Venis, avoiding slipping and highly resistant to abrasion.

Both men’s and women’s toilets are designed with their users’ taste in mind. The women’s bathroom is very feminine, covered in big mirrors and decorated in Venice Marfil, a creamy-blue tile from Porcelanosa, while for the men’s, Multiblock Carpatia Negro, from Venis, was applied. /

ABOVE The famous crystal terrace RIGHT AND BELOW “The arts room”, with state-of-the-art technology and paintings by the artist Jamal Sahri LEFT “The red room”, whose embedded seats have been expressly designed for this venue. This room has also a disc jockey cabin where chill out music wafts lightly around the tables RIGHT Men’s toilet in grey and black, the favourite tones of the male public

…and in Kortrijk (Belgium) 62 lifestyle

COMPANY

The main brands in the market of ceramics have been displayed in the Ceramics and Baths International Fair Cersaie. Porcelanosa could not miss this appointment and moved its latest novelties to Bologna.

Porcelanosa in Bologna…

As every year, Porcelanosa Group has been present in the Ceramics and Baths International Fair, CERSAIE, in the Italian city of Bologna. The event, held from 26th to 30th September, served as a meeting point for all the novelties in the ceramics market.

Porcelanosa endeavoured to share with all visitors its latest commitments, in which such textures as natural crystal for coverings, and mosaics with metallic effects prevail. The attendants could also enjoy the new colours in bathroom and kitchen furniture, as well as the highest technology applied to tap gear and the assemblage materials for ceramic coverings.

CERSAIE is one of the most interesting fairs in the world, as the visiting public has shown. Over 90,000 people have visited the nearly 1,000 stands from 32 countries. The objective: to get to know the best in ceramics and coverings.

Style and technology

Nespresso Siemens / Porsche Design Studio Nespresso has literally revolutionized the industrial technology applied to coffee makers, either industrial or home appliances.

Having a Nespresso has turned into a must. The different designs of Nespresso products are a work by the industrial designer Antoine Cahen, from Lausanne, except the Alessi appliance, designed by Richard Sapper. To this new fusion of design and technology adds now the Nespresso Porsche Design Studio, created by the master Ferdinand Alexander Porsche to join his brand, Porsche, to Nespresso and Siemens. The model Porsche Design Studio, internationally recognised as leader in Europe, has a functional, timeless and lucid style reflecting the ideas and philosophy of the three brand-new partners.

Among the Porsche Design Studio’s innovations is the “one touch” cappuccino, that by simply pressing a button automatically makes the expresso and heats and adds steamed, foamed milk, performing all these functions in a couple of seconds. Thus, Porsche offers its users a sublime experience with the unmistakable fragrance Nespresso and the cutting-edge Siemens technology in a presentation of the highest level in industrial design.

The model will go on sale in Spain at the end of 2006. The launch pack, very attractive, includes a Nespresso cup, twelve cappuccino units, an instruction manual and a voucher for two latte macchiato glasses available in the Nespresso Club.

Porcelanosa Group, present in the most important fairs in the world, has not missed its appointment with the Interior Design Fair Interieur 06, in Belgium. At the current edition Designed for you, held from 13th to 22nd October in Kortrijk, the main international designers gathered, and the latest novelties in the market were displayed, both in interior deco and design.

Impacting exhibitions, the presence of international guests and many events around the fair gave momentum and content to Interieur 06, the new vision for the professional world market.

PORCELANOSA SHOPS Q ÁLAVA

JORGE FERNÁNDEZ CERÁMICAS VITORIA Los Herrán, 30.

Tel. 945 254 755 - Fax 945 259 668 Urartea, 28. Pol. AliI Gobeo.

Tel. 945 244 250 - Fax 945 247 877 Q ALBACETE PORCELANOSA Pol. Campollano. Antigua Ctra.

Madrid, s/n. Tel. 967 243 658 Q ALICANTE PORCELANOSA ALICANTE Calle del Franco. Pol. Las Atalayas, p. VI. Tel. 965 109 561 ALCOY Oficina Cial. Isabel La Católica, 1. Tel. 965 333 758 - Fax 965 333 767 Avda. Valencia, 34. Tel. 965 332 028 ALTEA Carrer Bon Repós, s/n.

Edif. Glorieta I. Tel. 965 841 507 BENISSA Pla dels Carrals, s/n.

Tel. 965 730 419 CALPE Avda. Ejércitos Españoles, Apolo VII, Local 10. Tel. 965 839 105 DENIA FONTANERÍA LLACER Offices, store & technical Department Pol. San Carlos 8-9 - Tel. 965 781 635.

Shop and exhibition Pedreguer, 10-12 ELCHE Ctra. Alicante, Km. 2.

Tel. 966 610 676 - Fax 966 610 700 ELDA Avda. Mediterráneo, 20-22.

Tel. 966 981 594 - Fax 966 981 285 JAVEA Partida Pla, 79. Tel. 965 791 036 SAN JUAN Ctra. Valencia, Km. 88.

Tel. 965 656 200 - Fax 965 655 644 TORREVIEJA Avda. Cortes Valencianas, 58. Tel. 966 708 445 Q ALMERÍA PORCELANOSA ALMERÍA Avda. Mediterráneo, s/n.

Tel. 950 143 567 - Fax 950 142 067 EL EJIDO Ctra. San Isidro, 117.

Tel. 950 483 285 - Fax 950 486 500 HUERCAL OVERA Pza. Almería, 8.

Tel. 950 470 199 - Fax 950 616 023 ROQUETAS DE MAR Ctra. Alicún, Km. 142.

Tel. 950 325 575 - Fax 950 338 651 Q ASTURIAS GARCÍA MILLÁN OVIEDO Cerdeño, s/n. Tel. 985 113 696 AVILÉS Gutiérrez Herrero, 11.

Tel. 985 549 744 - Fax 985 544 543 PORCEASTUR GIJÓN Avda. Constitución, 2.

Tel. 985 171 528 - Fax 985 170 355 Q ÁVILA PORCELANOSA ÁVILA Pol. Ind. Vicolozano, p. 2.

Tel. 920 259 820 - Fax 920 259 821 Q BADAJOZ PORCELANOSA BADAJOZ CN-V Madrid-Lisboa, Km. 399. Tel. 924 229 144 - Fax 924 229 143 MÉRIDA Pol. Princesa Sofía.

Tel. 924 330 218 - Fax 924 330 315 Q BALEARES PORCELANOSA PALMA DE MALLORCA Pol. Son Castello.

Tel. 971 430 667 - Fax 971 297 094 Avda. Alexandre Rossello, 34.

Tel. 971 433 796 INCA Carrer Pagesos, s/n Pol. Ind. Inca.

Tel. 971 507 650 - Fax 971 507 656 IBIZA St. Antoni de Portmany.

Pol. Montecristo, s/n. Ctra. Ibiza-San Antonio. Tel. 971 317 292 TOLO FLORIT MENORCA Ciudadela. Polígono, Calle F-59. Tel. 971 384 411 A. PELLICER MENORCA Mahón. Polígono, Av. Cap de Cavallería. Tel. 971 352 300 Q BARCELONA PORCELANOSA CATALUNYA L´HOSPITALET Carrer Ciències, 65.

Gran Vía L´H. Tel. 932 642 500 Q BIZKAIA BILBU AMOREBIETA Barrio Boroa, s/n.

Tel. 946 731 158 - Fax 946 733 265 BILBAO Iturriaga, 78. Tel. 944 113 018 Henao, 27. Tel. 944 240 576 Alameda Recalde, 39-41.

Q BURGOS

LA BUREBA MIRANDA DE EBRO Camino Fuente Basilio, s/n. Tel. 947 323 351 Q CÁCERES PORCELANOSA CÁCERES Ctra. Cáceres-Mérida, Km. 0,5. Tel. 927 236 337 - 927 236 254 AZULEJOS ROMU, SA PLASENCIA Avda. Salamanca, 66.

Tel./Fax 927 423 361 Q CÁDIZ PORCELANOSA CÁDIZ Avda. José León Carranza, esq. Plaza Jerez. Tel. 956 205 622 PTO. DE STA. MARÍA Ctra. MadridCádiz, Km. 654. Pol. Ind. El Palmar.

Tel. 956 540 084/083 SAN FERNANDO Pol. Tres Caminos, s/n. Tel. 956 592 360 JEREZ DE LA FRONTERA Parque Empresarial. CN-IV. Tel. 956 187 160 ALGECIRAS Ctra. Málaga, Km. 109.

Tel. 956 635 282 - Fax 956 635 285 Q CANARIAS PORCELANOSA LAS PALMAS Avda. Mesa y López, 61.

Tel. 928 472 949 - Fax 928 472 944 SANTA CRUZ DE TENERIFE Avda.

Tres de Mayo, 18. Tel. 922 209 595 SANTA CRUZ DE LA PALMA Abenguareme, 3. Tel. 922 412 143 LOS LLANOS DE ARIDANE Las Rosas, s/n. Tel. 922 461 112 - Fax 922 461 166 Q CANTABRIA PORCELANOSA SANTANDER Avda. Parayas, s/n.

Tel. 942 352 510 - Fax 942 352 638 TORRELAVEGA Boulevard Demetrio Herrero, 1. Tel. 942 835 026 Q CASTELLÓN PORCELANOSA CASTELLÓN Asensi, 9. Tel. 964 239 162 VILLARREAL Ctra. Villarreal-Onda, Km. 3.

Tel. 964 506 800 - Fax 964 525 418 VINAROZ Ctra. N-340, Km. 141,4.

Tel. 964 400 944 - Fax 964 400 650 Q CIUDAD REAL PORCELANOSA CIUDAD REAL Ctra. de Carrión, 11.

Tel. 926 251 730 - Fax 926 255 741 ALCAZAR DE SAN JUAN Corredera, 56. Tel./Fax 926 546 727 Q CÓRDOBA PORCELANOSA CÓRDOBA CN-IV, Km. 404.

Pol. Torrecilla. Tel. 957 760 024 LUCENA Egido Plaza de Toros, 35.

Tel. 957 509 334 - Fax 957 509 166 Q CUENCA PORCELANOSA Hermanos Becerril, 6. Bajos.

Tel. 969 233 200 Q GRANADA TECMACER, S.L. ARMILLA Avda. San Rafael.

Tel. 958 253 081 - Fax 958 183 367 Q GUIPÚZCOA BELARTZA CERÁMICAS, S.L. SAN SEBASTIÁN Pol. Belartza.

Fernando Múgica, 15. Tel. 943 376 966 Q HUELVA PORCELANOSA HUELVA Ctra. Tráfico Pesado, s/n.

Pol. La Paz. Tel. 959 543 600 LEPE Ctra. Huelva-Ayamonte, s/n.

Tel. 959 645 011 - 959 384 200 BOLLULLOS DEL CONDADO Avda. 28 de Febrero, 200. Tel. 959 413 820 Q HUESCA PORCELANOSA Pol. Sepes - Ronda La Industria 1-3.

Tel. 976 242 738 - Fax 974 242 676 Q JAÉN PORCELANOSA JAÉN Pol. Olivares. Ctra. BailénMotril, Km 323. Tel. 953 280 757 ÚBEDA Don Bosco, 25. Tel. 953 755 008 LINARES Avda. de Andalucía, 13.

Tel. 953 607 035 - Fax 953 607 705 Q LA CORUÑA PORCELANOSA SANTIAGO DE COMPOSTELA General Pardiñas, 13-bajo. Tel. 981 569 230

Avda. Rosalía de Castro, 129.

Tel. 981 530 900 - Fax 981 530 901 JOSÉ OTERO S.A. Alto del Montouto-Ctra de La Estrada, Km 3. Santiago. Tel. 981 509 270 SUMINISTROS VIA-MAR LA CORUÑA Avda. Finisterre, 11.

Tel. 981 279 431 BETANZOS Avda. Fraga Iribarne, s/n.

Tel. 981 772 190 ALMACENES NEIRA EL FERROL Ctra. Catabois, 258.

Tel. 981 326 532 ORTEGAL BAÑO ORTIGUEIRA Ld. Cuina. Ctra. Comarcal 642. Tel. 981 400 880 Q LA RIOJA RIOJACER LOGROÑO Avda. de Burgos, 43.

Tel. 941 286 021 - Fax 941 202 271 Q LEÓN PORCELANOSA LEÓN Fray Luís de León, 24.

Tel. 987 344 439 S. ANDRÉS DEL RABANEDO Ctra. LeónAstorga, Km. 3,5. Tel. 987 801 570/571 PONFERRADA Pol. Ind. del Bierzo, p. 5.

Tel. 987 456 410 - Fax 987 402 155 Q LLEIDA MATERIALS PIRINEU LA SEU D’URGELL Ctra. de Lleida, 28.

Tel. 973 351 850 - Fax 973 353 410 Q LUGO ALMACENES BAHIA S.L. FOZ Maestro Lugilde, 6.

Tel. 982 140 957 ARIAS NADELA COMERCIAL S.L. LUGO Tolda de Castilla, s/n.

Tel. 982 245 725 Q MADRID PORCELANOSA LEGANÉS Avda. Recomba, 13. Pol. La Laguna. M50, s. 53. Tel. 914 819 202 MADRID Alcalá, 514. Tel. 917 545 161 Ortega y Gasset, 62. Tel. 914 448 460 ALCOBENDAS Río Norte.

Tel. 916 623 232 ALCORCÓN CN-V, Km. 15,5.

Parque Oeste. Tel. 916 890 172 Q MÁLAGA PORCELANOSA MÁLAGA Avda. Velázquez, 77.

Tel. 952 241 375 - Fax 952 240 092 ANTEQUERA Río de la Villa, 3.

Polígono. Tel. 952 701 819 MARBELLA Ricardo Soriano, 65.

Tel. 952 826 868 - Fax 952 822 880 Q MELILLA PORCELANOSA MELILLA Paseo Marítimo Mir Berlanga, s/n. Tel. 952 696 174 Q MURCIA PORCELANOSA LORCA Ctra. de Granada, 127. Pol. Ind. Los Peñones. Tel. 968 478 130 CARTAGENA Paseo Alfonso XIII, 70.

Bajo. Tel. 968 529 302 ESPINARDO Ctra. Madrid-Murcia, Km. 384,6. Tel. 968 879 527 YECLA Avda. de la Paz, 195.

Tel. 968 718 048 - Fax 968 718 048 CARAVACA DE LA CRUZ Avda. Ctra.

Granada, 20. Tel. 968 705 647 Q NAVARRA MONTEJO CERÁMICAS PAMPLONA Navas de Tolosa, s/n.

Tel. 948 224 000 - Fax 948 226 424 MUTILVA BAJA Pol. Ctra. Tajonar, calle-A, Naves 2-4. Tel. 948 239 065 TUDELA Ctra. Tudela -Tarazona.

Pol. Ctro. Servicios. Tel. 948 848 365 CERÁMICAS CECILIO CHIVITE CINTRUÉNIGO Variante N-113, Polígono. Tel. 948 811 973 Q OURENSE GREMASA Ctra. de la Sainza, 48, bajo.

Tel. 988 237 350 Q PALENCIA CANTALAPIEDRA PALENCIA Juan Ramón Jiménez, 4-6.

Tel. 979 706 421 - Fax 979 702 652 Q PONTEVEDRA GREMASA MOS VIGO Urzaiz, 13. Tel. 986 224 100

SANEAMIENTOS ROSALES VIGO García Barbón, 139-B. Tel. 986 228 806 SEIJO-MARÍN Doctor Otero Ulloa, 1.

Tel. 986 702 041 - Fax 986 702 080 Q SALAMANCA PORCELANOSA VILLARES DE LA REINA Pol. Villares.

Ctra. Salamanca-Valladolid, Km. 2,2.

Tel. 923 243 811 - Fax 923 123 414 Q SEGOVIA SEGOCER SEGOVIA José Zorrilla, 134.

Tel. 921 444 122 EL ESPINAR Ctra. Madrid-La Coruña, Km. 64. Tel. 921 172 426 Q SEVILLA PORCELANOSA SEVILLA Avda. de Andalucía, 3.

Tel. 954 579 595 - Fax 954 578 304 TOMARES San Roque, s/n.

Pol. El Manchón. Tel. 954 152 792 DOS HERMANAS Parque Cial. Zona Dos. Dr. Fleming, 45. Tel. 955 663 558 HERNÁNDEZ CARBALLO S.L. LORA DEL RíO Betis, s/n.

Tel. 955 800 473 - Fax 955 801 439 Q SORIA PORCELANOSA Pol. Las Casas-II. Calles A y J, p. 201.

Tel. 975 233 228 - Fax 975 232 188 Q TERUEL PORCELANOSA ALCORISA Marqués de Lema, 76.

Tel. 978 883 074 GARGÓN TERUEL Pol. La Paz, p. 143-144.

Tel. 978 609 661 Q VALENCIA PORCELANOSA VALENCIA Colón, 50. Tel. 963 530 491 Colón, 56. Tel. 963 530 230 Prolongación Paseo Alameda, 51.

Tel. 963 319 098 - Fax 963 306 722 ALBUIXECH Avda. Mediterráneo, 6, Pol. Ind. Mediterráneo. Tel. 961 417 227 GANDÍA Ctra. Gandía-Valencia, Km. 1.

Pol. El Alcodar. Tel. 962 954 105 SEDAVÍ Avda. Mediterráneo, s/n. Zona Comercial de Sedaví. Tel. 963 185 021 PATERNA Heron City, Pista Ademuz, 5-6. Tel. 963 160 348 - Fax 963 160 599 Q VALLADOLID CANTALAPIEDRA VALLADOLID Don Sancho, 5.

Tel. 983 217 925.

Don Sancho, 9. Tel. 983 217 921 Ctra. de Soria A24, Km 5.

Tel. 983 217 010 - Fax 983 200 921 Q ZAMORA PORCELANOSA ZAMORA Avda. Cardenal Cisneros, s/n.

Tel. 980 519 283/865 - Fax 980 529 404 BENAVENTE Avda. Federico Silva, 124.

Tel. 980 634 042 - Fax 980 633 766 Q ZARAGOZA PORCELANOSA ZARAGOZA Autovía de Logroño, Km, 2. Tel. 976 403 131- Fax 976 300 094 Pol. Ind. Plaza. Taormina, 2.

Tel. 876 269 500 - Fax 876 269 388

INTERNATIONAL ALBANIA Tirana ALGERIA Oran ARGENTINA Buenos Aires AUSTRALIA Adelaide/ Brisbane/ Buddina/ Launceston/ Melbourne/ Newcastle West/ Perth/ Sydney/ Victoria AUSTRIA Graz/ Linz/ Salzburg AZERBAIJAN Baku BAHRAIN Manamah

BELGIUM Heist-op-den-berg BERMUDA Pembroke BOLIVIA Santa Cruz BOSNIA-HERZEGOVINA Citluk BRAZIL Parana BULGARIA Petric/ Sofia BYELORUSSIA Homel/ Minsk CHANNEL ISLANDS Jersey CHILE Santiago de Chile CHINA Fuzhou/ Guangzhou/ Hong Kong/ Shanghai/ Shenzhen CYPRUS Limassol CAMEROON Douala CANADA Mississauga/ Moncton/ Montreal/ Vancouver COLOMBIA Cali CONGO REPUBLIC Kinshasa COSTA RICA San José CROATIA Jankomir/ Split/ Zagreb/ Dubrovnik CZECH REPUBLIC Liberec/ Prague/ Brno DENMARK Glostrup DOMINICAN REPUBLIC Santo Domingo DUBAI Al-Karama ECUADOR Guayaquil/ Quito EGYPT Cairo EL SALVADOR San Salvador ESTONIA Tallinn FRANCE Angers/ Ajaccio/ Aulnays-sous-Bois/ Avignon/ Bastia/ Besançon/ Blois/ Brest/ Bordeaux/ Cholet/ Coignières/ Colmar/ Dijon/ Strasbourg/ Flers/ La Baule/ La Roche-sur-Yon/ Le Mans/ Lille/ Lyon/ Lorient/ Marseilles/ Melun/ Mondeville/ Montigny/ Montpellier/ Mulhouse/ Nantes/ Nîmes/ Orleans/ Reims/ Rouen/ Toulouse/ Tours/ Valence/ Vannes FRENCH GUIANA Cayenne GEORGIA Tbilisi GERMANY Aachen/ Aschaffenburg/ Bergisch-Fahrland/ Boffzen/ Bottrop/ Bruchsal/ Burgstädt/ Crailsheim/ Dortmund/ Elterlein/ Eningen/ Erkrath/ Frankfurt/ Fulda/ Gladbach/ Görlitz/ Greiz/ Hamburg/ Ilsfeld/ Karlstadt/ Kehl/ Koblenz/ Kranichfeld/ Lichtenfelds/ Löbnitz/ Mainz/ Meschede/ Moordrecht/ Munich/ Münster/ Nordhausen/ Nuremberg/ Oberkotzau/ Radebeul/ Ronnenberg/ Schwabach/ Schwenningen/ Stuhr-Moordrecht/ Stuttgart/ Schramberg-Sulgen/ Völklinger/ Zwethau GHANA Accra GREECE Attica/ Thessalonica GUATEMALA Guatemala City HAITI Puerto Príncipe HONDURAS San Pedro Sula/ Tegucigalpa HUNGARY Budapest ICELAND Reykjavik INDIA New Delhi INDONESIA Jakarta IRAN Teheran IRELAND Bangor/ Cork/ Dublin/ Navan/ Killarney/ Waterford ISRAEL Haifa ITALY Andria/ Bologna/ Corsico/ Patermo/ Rocca Priora/ Rome/ Sassuolo IVORY COAST Abidjan JAPAN Osaka JORDAN Amman KAZAKHSTAN Almaty KUWAIT Safat LATVIA Riga

LEBANON Beirut LITHUANIA Alytus MACEDONIA Skopje MALAYSIA Kuala Lumpur MALTA B’Kara MOROCCO Casablanca/ Tangier MEXICO Cuautitlán Izcalli MOLDAVIA Chisinau MONTENEGRO REPUBLIC Bar NETHERLANDS Venlo NETHERLANDS ANTILLES Saint Martin NICARAGUA Managua NIGERIA Lagos NORWAY Alesund/ Kristiansand/ Minde/ Mjondalen/ Moss/ Oslo/ Rolvsoya/ Sandnes/ Skien/ Stavanger NEW ZEALAND Auckland PAKISTAN Rawalpindi PANAMA Panamá City PARAGUAY Asunción PERU Lima PHILIPPINES Cebu/ Manila POLAND Bialystok/ BielskoBiala/ Bydgoszcz/ Czestochowa/ Gdansk/ Gliwice/ Gorzow/ Jelenia/ Góra/ Katowice/ Krakow/ Lodz/ Olsztyn/ Opole/ Szczecin/ Torun/ Warsaw / Wroclaw PORTUGAL Aveiro/ Melhada/ Porto/ Viseu PUERTO RICO San Juan QATAR REUNION Saint Denis RUMANIA Bacau/ Bucharest/ Constanta/ Craiova/ RUSSIA Ekaterinburg/ Kazan/ Krasnodar/ Moscow/ Novosibirsk/ Rostov-na-Donu/ Samara/ Petersburg/ Stavropol/ Tyumen/ SAUDI ARABIA Jeddah/ Raid SENEGAL Dakar SERBIA Belgrade/ Novi Sad SINGAPORE Singapore SLOVENIA Ljubljana/ Maribor SOUTH AFRICA Durban/ Port Elizabeth SOUTH KOREA Seoul SWEDEN Danderyd/ Enköping/ Hässleholm/ Malmö/ Mölndal/ Sollentuna SWITZERLAND Basel / Bern/ Cressier/ Geneva/ Kriens/ Lanquart/ Losone/ Lucerne/ Lugano/ Schlieren TAIWAN Kaohsiung THAILAND Bangkok TOGO Lome TUNISIA Tunis TURKEY Istanbul UNITED KINGDOM Bristol/ Cardiff/ Colchester/ Crayford/ Croydon/ Doncaster/ Edinburgh/ Exeter/ Fulham/ Glasgow/ Leeds/ Leicester/ Liverpool/ Manchester/ New Watford/ Northampton/ Norwich/ Nottingham/ Old/ Watford/ Peterborough/ Reading/ Sheffield/ Solihull/ Southampton/ Truro/ Warrington UKRAINE Kiev/ Kharkov/ Odessa/ Donetsk URUGUAY Montevideo USA Anaheim/ Cordoba/ Corona/ East Brunswick/ Farmingdale/ Huntington/ Miami/ Paramus/ Pompano Beach/ Port Jefferson Station/ Rockville/ Sacramento/ Saddle Brooke/ San José/ Westbury VENEZUELA Caracas WEST INDIES Guadeloupe/ Martinique/ Saint Bartholomew

His name is synonymous with good taste and finesse. He is a designer, entrepreneur, gentleman, and a Dominican to the core. Today he shows us his beautiful house, a getaway where some of the most powerful people in the world have been invited.

Text: ALEJANDRA ORTUZAR Photos: JEAN-FABIEN DE SELVE

66 lifestyle

AT THE HOME OF

Oscar de la Renta

A

ABOVE: The Caribbean Sea, viewed from one of the beautiful terraces of the mansion ABOVE: Two of the verandas, combining ceramic flooring with marble coverings RIGHT: One of the guest rooms

t his home in Punta Cana he finds his refuge —a sunny paradise all year round, in which he is the supreme ambassador. In this awesome abode of Oscar de la Renta there are nineteen domestic employees, always at hand to assist the many celebrities that visit the owner of this tropical luxury made reality. International models, noted politicians, American first ladies… All of them are guests of Oscar and his wife. “Each guest has a room absolutely distinct from the rest.

We really love entertaining and showing our friends the beauties of the Dominican Republic, my country,” states De la Renta. With a very elegant combination of ceramic and marble elements, he has built a house overlooking the sea on all sides, from verandas, terraces and drawing rooms. Lighting is another of the house’s strengths, since its owners have alternated very sunny areas with others where a soft and fresh twilight prevails.

An emotional ambassador of his country, an influential fashion designer, Oscar de la Renta loves to sit at home and hum songs.

There is always a dance band after supper.

All guests dance, and the one who gets the most pleasure is Oscar, who feels the music in his feet and heart. “Walking my dogs, playing domino, dancing merengue and enjoying friends” are the most relaxing things for him, in between his intense entrepreneurial activity and the two seasons of fashion shows. Where does he find all this energy? “In this house, where so much of my character dwells.” /

PORCELANOSA Grupo http://www.porcelanosa.com