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NMERO 10 | VERANO 2009

ENTREVISTA ISABEL COIXET INTERVIEW EL JAZZ, LA BANDA SONORA DEL SIGLO XX JAZZ, THE SOUNDTRACK OF THE 20TH CENTURY CRDOBA, LUZ Y CULTURA CORDOVA, LIGHT AND CULTURE JAVIER MORO GUILLERMO DEL TORO LUIS BUSTOS

ESTAR

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A CIEN AOS DEL FUTURISMO A HUNDRED YEARS AFTER FUTURISM


ISSUE 10 / SUMMER 2009

Beca Mario Antoln de Ayuda a la Investigacin Pictrica

Premio BMW al Talento ms Joven

Las Bases del XXIV Premio BMW de Pintura, para poder concursar, se pueden encontrar en cualquier concesionario oficial BMW a partir del 1 de junio de 2009

EDITORIAL

Amancio Lpez Seijas


Presidente del Grupo Hotusa Chairman of Hotusa Group

Explorar el maana.
Lo que hoy goza de aceptacin o prestigio, ayer fue una propuesta, en ocasiones un experimento. Los realizadores de cine que hoy enmarcamos en el denominado off cinema nos ofrecen nuevos planteamientos, nuevas visiones que acabarn por impregnar el cine ms convencional. Para saber lo que ocurrir maana, en esta edicin de ESTAR nos asomamos a las vanguardias cinematogrficas y descubrimos que la produccin audiovisual sucumbe al avance de la era digital y a las inquietudes que emanan de nuevos focos geogrficos de produccin. El arte se reinventa cclicamente, y a veces lo hace de forma tan abrupta que emula el movimiento de una explosin creativa en este caso. Es lo que ha sucedido con la escultura, una disciplina artstica que ha experimentado tal eclosin, que hoy da se resiste a encerrarse en un espacio limitado, a los mrgenes de una nica definicin. Hemos intentado aprehender todas estas innovadoras propuestas, que trazan lneas sinuosas que desbordan estas mismas pginas. Y para compensar tales fluctuaciones, nos adentramos en un terreno ms firme, la msica clsica. Lo hacemos de la mano de uno de los directores de orquesta ms relevantes del momento, Jess Lpez Cobos, quien nos ha abierto las puert as de su lugar de trabajo: el Teatro Real de Madrid. Completamos este recorrido heterogneo con una visita a A C o rua. All podremos contemplar tambin el arte ms vanguardista, a travs de museos de arte contemporneo que sitan la ciudad en el mapa del hoy y del maana, pero, al mismo tiempo, podremos empaparnos de un ayer en el que las tradiciones estn tan vivas, que atraviesan la rutina de un da cualquiera.

Exploring the day after. Things that today enjoy acceptance and prestige, yesterday were proposals and, sometimes, even experiments. The movie-makers who nowadays are classed by us as so-called off cinema provide us with new food for thought, new visions which will end up impregnating the most conventional cinema. In order to be in on what will be happening tomorrow; in this edition of ESTAR we peer into cutting edge movie-making and discover that audiovisual production is succumbing to the advances of the digital era and the interests that emerge from geographically newly-located production sources. Art renews itself in cycles and, at times, it does so in such an abrupt manner that it appears to imitate an explosion a creative one in this case. This is what has been happening with sculpture, an artistic form which has experienced this kind of hatching, which nowadays resists being confined to closed-in spaces, to the limits of one, sole definition. We have tried to capture all those novel proposals which trace sinuous lines overflowing the pages of our m agazine and, to compensate these fluctuations, we venture onto firmer sands: those of classical music, guided by one of the most relevant orchestra conductors of our time, Jess Lpez Cobos, who has opened the doors of his work place to us: the Teatro Real (Royal Theatre) of Madrid. We complete this heterogeneous journey with a visit to Corunna. There, we can also contemplate the most avant-garde artistic movements, via contemporary art museums which place the city on todays and tomorrows maps, but then, we can also drench ourselves in former ages with their on-going traditions, still so alive, which cut through our ev e ry-day routines.
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SUMARIO | CONTENTS

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ESTAR, la revista de Eurostars Hotels Edita: Eurostars Hotels Presidente: Amancio Lpez Seijas. Coordinador: Daniel Guilln. Consejo Editorial: Marta Sanjurjo, Judith Gonzlez, Ral Blanchart. c/ Princesa, 58 pral. / 08003 Barcelona Tel.: + 34 93 268 10 10 / Fax: + 34 93 319 68 07 www.eurostarshotels.com Realizacin: ATODAPLANA E&C. Directora editorial: Emilia Marcos (emarcos@atodaplana.es). Director: Jos Antonio de Luis (jadeluis@atodaplana.es). Diseo original: Marrndediseo / Director de Arte: David Regueras. Redaccin y colaboradores: Carlos Surez, Andrs Gonzlez, Nora Vergara, Mara Corisco, Pablo G. Polite, ngel Bermejo, rica Villn, Antonio Sierra, Teresa P. de Vega, Javier Lazcano. Asesora en Arte: Laura Arias Serrano / Fotografas: Xavi Gmez. / Ilustraciones: Miguel Ibarz / Edicin grfica: Miguel Machine, Fede Martnez. Traduccin al ingls: Elena Gordon. IMAGEN DE PORTADA: Dibujos de arquitectura, de Antonio SantElia (1914). COVER IMAGE: Arch Drawings, by Antonio SantElia (1914) Publicidad: Atodaplana E&C. c/ Viriato, 20. 28010 Madrid. Tfno. + 34 91 591 69 30 Fax: + 34 91 591 69 28. www.atodaplana.es Directora comercial: Mercedes Noguerado (mnoguerado@atodaplana.es). Mvil: 630 93 17 17. Impresin: rbigo Printing Media. c/ Calidad, 34. Pol. Los Olivos. 28906 Getafe (Madrid). Tfno. + 34 91 684 57 17

Descargue la revista de Eurostars Hotels 3 Download the Eurostars Hotels magazine http://www.eurostarshotels.com/estarmagazine Sugerencias y comentarios 3 Suggestions and comments estarmagazine@eurostarshotels.com
04 ESTAR

El esplendor del mundo se ha enriquecido con una belleza nueva: la belleza de la velocidad
The splenderous world has been enriched with a new loveliness: the beauty of speed

Filippo T. Marinetti

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Cinco Sentidos | Five Senses Firma Invitada | Authorship Javier Moro Sexto Sentido | Sixth Sense A cien aos del Futurismo A hundred years after Futurism Entrevista | Interview Isabel Coixet Perspectivas | Perspectives El jazz, la banda sonora del siglo XX Jazz, the soundtrack of the 20th century Mundo Eurostars | Eurostars World Relato | Story Nocturna Por Guillermo del Toro y Chuck Hogan The Strain By Guillermo del Toro and Chuck Hogan Destino | Destination Crdoba | Cordova Hoteles Eurostars Hotels Placeres | Pleasures Vanguardias | Avant-garde Agenda cultural | Cultural agenda Habitacin 507 | Room 507 Luis Bustos Directorio Eurostars | Eurostars Directory Hoteles de cine | Movie Hotels
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CINCO SENTIDOS FIVE SENSES

LA PERA Y BALLET NACIONAL DE NORUEGA, PREMIO DE ARQUITECTURA DE LA UNIN EUROPEA Es una obra del despacho de arquitectos Snohetta
El nuevo edificio de la pera y el ballet de Noruega, firmado por el estudio Snochetta, es el primer elemento de transformacin de la zona de la baha de Oslo, una transformacin cuyo objetivo es volver a conectar la ciudad con su frente martimo. Su tejado revestido de mrmol (compuesto por 36.000 piezas encajadas) supone un nuevo hito cvico y un paisaje arquitectnico abierto al pblico, que puede caminar sobre l. El edificio ha resultado ganador del Premio de Arquitectura de la Unin Europea Mies Van der Rohe 2009, uno de los ms prestigiosos en el mbito de la arquitectura internacional y se otorga de forma bienal a obras completadas en los dos aos anteriores. Kjetil Traedal Thorsen, Tarald Lundevall y Craig Dykers son socios y directores de Snohetta, un despacho de arquitectos creado en 1989 en Oslo. Entre sus principales obras encontramos la Bibliotheca Alexandrina de Alejandra, Egipto; la Embajada Noruega en Berln y el INMEd, Instituto de Neurobiologa de Marsella, Francia. 3 The Opera House and National Ballet of Norway, Prize-winner of the European Union Award for Architecture. The new the Opera House and National Ballet of Norway, produced by the Snohetta studio, is the first element to undergo transformation in the Oslo Bay area, a transformation that has the objective of again connecting the city with its sea front. The marble-covered roofing of the building (comprising 36,000 slabs fitted together) represents a new civic milestone and an architectural scenario open to the public who can walk on top of it. The building has won the 2009 Mies van der Rohe European Union Prize for Architecture, one of the most prestigious existing in the field of international architecture and is a biennial award given to work completed over the two previous years. Kjetil Traedal, Tarald Lundevall and Craig Dykers are the partners and directors of Snohetta, an architects firm created in Oslo in 1989. Amongst the major constructions designed by them, some of the most noteworthy are the Alexandrian Library in Alexandria, Egypt, the Norwegian Embassy in Berlin and the INMed, Marseilles, France.
06 ESTAR

VENECIA SE LLENA DE ARTE


La 53 Exposicin Internacional revoluciona Venecia con el arte ms novedoso. Dirigida por Daniel Birnbaum y bajo el ttulo Fare Mondi (construyendo mundos), la Biennale, inaugurada el pasado 7 de junio, estar abierta al pblico hasta el prximo da 22 de noviembre. Ms de 90 artistas de todo el mundo presentan sus obras en el Palacio de Exposiciones de I Giardini. Instalaciones, vdeos, escultura, pintura, diseo... todas las manifestaciones artsticas tienen cabida en esta muestra que trata de indagar en la aspiracin del artista de explorar el mundo. Pero la Bienal de Venecia es mucho ms: es arte en toda su extensin. De hecho, en septiembre (del 2 al 12) se celebrar la Mostra Internazionale dArte Cinematografico, bajo la direccin de Marco Mller y, del 25 de septiembre al 3 de octubre, el 53 Festival Internacional de Msica Contempornea, que contar con 73 compositores, instalaciones, encuentros y laboratorios musicales. 3 Venice fills up with art. The 53rd edition of the International Exhibition fills Venice once again with the most modern and the newest in art. Under the direction of Daniel Birnbaum and going by the title Fare Mondi (Making Worlds), the the Venice Biennale, which was inaugurated on 7th June, will be open the public until next 22nd November. More than 90 artists from all over the world are presenting their work at the Giardini Exhibition complex. Installations, videos, sculptures, design, etc., every kind of art form can be found in this exhibition which attempts to investigate artists aspirations to explore the world. Although, the Venice Biennale is far more than this: it is art in all its manifestations. Indeed, in September (from 2nd to 12th),the Mostra Internazionale dArte Cinematografico will be held, under the direction of Marco Mller and, from 25th September to 3rd October, the 53rd International Festival of Contemporary Music, which will comprise73 composers, installations and laboratories in music.

PHOTOESPAA
Cita con la imagen. PhotoEspaa, Festival de Fotografa y Artes Visuales, es el gran festn anual de los amantes de esta disciplina artstica. Representa una oportunidad de oro para conocer la obra de grandes nombres de la fotografa, pero tambin para descubrir talentos emergentes. Photoespaa se celebra durante los meses de junio y julio en distintas sedes de Madrid, Cuenca, Alcal de Henares y Lisboa. Una de las muestras ms interesantes es la que recoge las fotografas de Dorothea Lange, en el Museo Colecciones ICO de Madrid. Dorothea es una de las fotoperiodistas documentales ms destacadas del siglo XX. La muestra recorre los aos decisivos de la carrera de la artista, esos aos en los que sus instantneas recogieron las consecuencias de la Gran Depresin. 3 A photographic rendez-vous. PHotoEspaa, the Photographic and Visual Arts Festival, is a great annual party for the fans. It signifies a golden opportunity for becoming acquainted first hand with the works of the big names in the photography world, but also for discovering emergent talents. PHotoEspaa is held during the months of June and July at different venues in Madrid, Cuenca, Alcal de Henares and Lisbon. One of the most interesting items is the display of work by Dorothea Lange, at the ICO Collections Museum in Madrid. Dorothea is one of the most outstanding photographic reporters of the 20th century. The display takes us through the most important period in the professional career of this artist. Those times of the aftermath of the Great Depression.

XXIV EDICIN DEL PREMIO BMW DE PINTURA


Convocatoria. El Premio BMW de Pintura otorgar tres galardones principales: el Premio BMW dotado con 25.000 euros; la Beca Mario Antoln de Ayuda a la Investigacin Pictrica, con 8.000 euros, y el Premio BMW al Talento ms Joven, dotado con 4.000 euros y reservado a nios de ocho a doce aos. Las bases del Premio se podrn encontrar en todos los Concesionarios oficiales BMW-MINI, en los centros culturales y en diferentes galeras de arte. 3 24th Edition of the BMW Prize for Painting. The 24th edition of the BMW Painting Prize has been opened, awarding three main prizes: the BMW Prize carrying 25,000 euros; the Mario Antoln Scholarship for Pictorial Research, the award-winner of which will receive 8,000 euros; and finally, the BMW Prize for the Youngest Talent, carrying a 4,000 euro prize, reserved for children between the ages of eight and twelve years of age. The conditions for the BMW awards are available for collection at all BMW-MINI dealers, cultural centres and various art galleries.
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CINE MOVIES |DVD

CINCO SENTIDOS FIVE SENSES

ESA CINEMATOGRFICA RELACIN ENTRE LA POLTICA Y EL PERIODISMO El desafo: Frost contra Nixon
Direccin: Ron Howard. Intrpretes: Frank Langella, Michael Sheen, Rebecca Hall, Toby Jones.

Ningn otro ex presidente estadounidense ha sido capaz de suscitar tanto inters para el cine dando origen a multitud de pelculas en todos los gneros como Richard Nixon. En esta ocasin, Ron Howard se adentra en esa compleja -y tan fascinante- relacin entre la poltica y el periodismo. El prolfico director, uno de los que mejor ha sabido equilibrar el xito en taquilla con el xito de crtica, retrata en clave de accin trepidante las negociaciones entre el equipo de Nixon y el del presentador de televisin David Frost semanas antes de la entrevista televisada que el ya entonces ex presidente concedi para tratar de restaurar su imagen, tan deteriorada por el caso Watergate. La historia se desdobla para mostrar, por un lado, ese permanente duelo entre la poltica y el Cuarto Poder, y, por el otro, entre dos personas que ponen en juego ante las cmaras su dignidad: uno, como poltico que trata de rehabilitarse ante el pblico y otro, como periodista con reputacin de frvolo que trata de demostrar que es capaz de hacer periodismo serio. 3 That film relationship between politics and journalism The duel: Frost against Nixon
Director: Ron Howard. Cast: Frank Langella, Michael Sheen, Rebecca Hall, Toby Jones.

No other ex-President of the United States has been able to arouse so much interest for the cinema, giving rise to a multitude of movies of all descriptions, as Richard Nixon. In this particular instance, Ron Howard penetrates that complex and for the cinema so fascinating relationship between politics and journalism. This prolific movie-maker one of those who have had the ability to best find the balance between box office and critique success portrays at a frenetic pace the negotiations between the Nixon team and TV presenter, David Frost, weeks before the televised interview that the, then, ex-President conceded, to try to restore his image, so deteriorated by the Watergate scandal. The story unfolds to show, on the one hand, that permanent duel between politics and the Fourth Power and, on the other, the one between two persons who, in front of the cameras, place their dignity at risk: one as a politician trying to reinstate himself before the public and, the other, as a reporter with a frivolous reputation trying to demonstrate that he is capable of doing serious journalism.
10 ESTAR

El curioso caso de Benjamin Button Direccin: David Fincher. Intrpretes: Brad Pitt, Cate Blanchet, Julia Ormond. Adaptacin libre del libro homnimo de Scott Fitzgerald, esta pelcula, protagonizada por Brad Pitt, narra en tono costumbrista la vida de un hombre que nace viejo y, al revs que el resto de los mortales, se vuelve joven con el paso de los aos. La historia sirve a David Fincher para retratar los cambios sociales desde el final de la II Guerra Mundial hasta el siglo XXI. 3 The Curious Case of Benjamin Button Director: David Fincher. Cast: Brad Pitt, Cate Blanchett, Julia Ormond. An adaptation of the book of the same name by Scott Fitzgerald, this movie with Brad Pitt in the leading role, narrates in a customary way the life of a man who is born old and, contrary to the rest of mortals, becomes younger as time elapses. This sotory gives David Fincher the opportunity of portraying the social from the end of the Second World War up to the 21st century.

Valkiria Director: Bryan Singer. Cast: Tom Cruise, Kenneth Branagh, Bill Nighy. Tom Cruise, que logra xitos de taquilla concebidos para su mayor gloria, tiene el acierto de contar con el eficaz Bryan Singer para narrar la historia de un coronel del ejrcito alemn que planea un atentado contra Hitler. La historia se basa en un hecho real y, como tal, conocemos por adelantado el desenlace, lo que no impide que Singer se las ingenie para componer un thriller que capta todo nuestro inters. 3 Valkiria Director: Bryan Singer. Cast: Tom Cruise, Kenneth Branagh, Bill Nighy. Tom Cruise, who achieves box office successes conceived for his greater glory, has had the wisdom to count on efficient Bryan Singer to tell the story of a Germany army colonel who plans to kill Hitler. The story is based on a real happening and, consequently we know the ending in advance, which does not prevent Singer having the ability to compose a thriller that captivates us.

Sicko Director: Michael Moore. Cast: Michael Moore, Tonny Benny. El cineasta que ha logrado sentarnos en una butaca de cine para redescubrir el gnero documental (un gnero que interpreta muy libremente), regresa con Sicko, donde denuncia la falta de proteccin sanitaria de sus conciudadanos, mostrando casos verdicos que resultan esperpnticos y comparando su pas con la cuna del bienestar: Europa. 3 Sicko Director: Michael Moore. Cast: Michael Moore, Tonny Benny. The movie-maker who has glued us to our cinema seats to rediscover the documentary, returns as the scourge of United States evils with Sicko, where he criticizes the lack of medical care for citizens, showing true cases that are truly grotesque and comparing his country with the cradle of well-being: Europe. No doubt endless, rigorously correct documentaries exist on this same subject, but they will not be viewed by so many people.

UNA ASOCIACIN EN BENEFICIO DEL MEDIO AMBIENTE


Leonardo DiCaprio y TAG Heuer han unido sus fuerzas para contribuir con las iniciativas de Cruz Verde Internacional. Para saber ms, visite www.tagheuer.com

WHAT ARE YOU MADE OF?

LIBROS | BOOKS

CINCO SENTIDOS FIVE SENSES


La lluvia antes de caer (Anagrama), de Jonathan Coe. Merecera leerlo aunque slo fuera por el ttulo, riesgo que suele dar buenos resultados a quienes apuestan por placer. Una historia de mujeres y una herencia que viene a ser la venganza de los que se mueren contra los que se dejan de morir. Madres que no quieren a sus hijas y sus lacras adolescentes; mentiras, cegueras infantiles y todo una dramtico compendio de lo que es el desamor filial. 3 Rain before it falls (Anagrama Ed.), by Jonathan Coe. If only for the title, this book would be worthwhile reading. A story about of women and an inheritance which is a kind of vengeance by those who have died against those who have not died. Mothers who do not love their daughters and their teenage blemishes; lies, childish blindness and a complete dramatic compendium of all that filial dearth of love comprehends.
MEMORIAS DE UNA DAMA Santiago Roncagliolo (Alfaguara)
Ya no es que este libro est plagado de rincones por definicin apasionantes (Madrid, Pars, Cuba), ni que se trate de una historia que abarca las ltimas estupideces de Occidente en un trepidante viaje del paro al espectculo ertico, de la editorial gorrona a la mansarda de una ex novia, de las dictaduras latinoamericanas a los colgados de Len: por encima de todo ello tenemos un libro con el que rerse de cabo a rabo, con un estilo vibrante, de irona malsana y de inocencia malencarada. Es la historia de cmo no sucumbir al amor, a la pobreza, a la desforestacin mental. Hganse un favor y me lo escogen entre tanta tiniebla editorial. 3 Memories of a Lady by Satiago Roncagliolo (Alfaguara Ed.). Now, its not so much that this book is packed with corners that can only be described as exciting (Madrid, Paris, Cuba, etc.), or that it's a story which comprises the latest stupidities of the Western world in a frenetic journey from unemployment to an erotic show, from the stingy publisher to the attic of an exgirlfriend, from Latin American dictatorships to those who were hanged in Len: beyond all this we have a book that makes us laugh from beginning to end, written in a vibrant style, full of spiteful irony and sour-faced innocence. Is the story of how not to succumb to love, to poverty, to mental desolation. Do yourself a favour and select this book amongst so much editorial twilight.
Tengo 15 aos CHRISTINE ARNOTHY Editorial Barril & Barral La caja del mal MARTIN LANGFIELD Editorial La Factora de Ideas

Si medio planeta se emociona con las malandanzas de una pobre adolescente en el Budapest tomado por los nazis primero, y por los comunistas despus, ser por algo. Un libro duro y tierno, un libro para llorar, padecer y, finalmente, confiar en la especie humana, lo que no es poco, dada la coyuntura.
3 I am 15 Years of Age. CHRISTINE ARNOTHY.

Es sta una historia de intriga esotrica, donde un mundo amenazado por una secta demonaca tendr que ser salvado en siete das, con siete pruebas y por siete llaves. La accin, en un Manhattan descrito con la pasin de quien se sabe de memoria sus semforos, sus mentiras y sus arriesgadas sombras.
3 The Box of Evil. MARTIN LANGFIELD.

If half the world is moved by the misfortunes of a poor teenager in a Budapest taken over, first of all by the Nazis, then later on, by the Communists, there must be a reason. A hard but tender book for weeping, suffering and, finally, trusting in the human race, which is no small feat, bearing in mind the situations.
10 ESTAR

This is a story about esoteric intrigue, where a world threatened by a satanic sect can only be saved in seven days, with seven trials and by seven keys. The action, in a Manhattan written with the passion of someone who knows by heart all its traffic lights, its lies and its risky shadows.

MSICA | MUSIC Por (by) Andrs Gonzlez

WEST RIDER PAUPER LUNATIC ASYLUM, de Kasabian. Todos los chicos desean ser malos alguna noche y disfrutar de la desdicha, como si de veras el mundo fuese suyo. Eso y disfrutar de la parte oscura de las muchachas. Sergio Pizzone soaba en Leicester con forajidos dementes, fiestas en un asilo abandonado y mostradores de apuestas donde perder la guitarra. Digamos que soaba lo mismo que los Beatles, a cuya estirpe pertenece. Todos los chicos malos esconden un corazn de fresa, muy a su pesar, y canciones como Fire te hacen suponer que no todo est perdido. 3 WEST RIDER PAUPER LUNATIC ASYLUM, by Kasabian. All boys want to be bad some night and delight in misfortune, as though the world was really theirs. That and enjoying the dark side of the chicks. Sergio Pizzone dreamed in Leicester about demented outlaws, parties in an abandoned asylum and betting desks where one can lose one's guitar. Let's say they dreamed about the same things as The Beatles, to whose lineage they belong. All bad boys have a heart of strawberries, much to their regret, while songs like Fire make you think that not all is lost.
Phoenix WOLFGANG AMADEUS PHOENIX Algunas maneras de ser feliz apenas son inmorales: Versalles al atardecer, las tormentas de ltimo verano y los amores casi posibles. Phoenix hace msica para esos momentos que oscilan entre no me queda dinero para salir y te invito a un beso sin azcar. Gente as alegra la vida a quien no se lo merece. 3 Phoenix. WOLFGANG AMADEUS PHOENIX. Some ways of being happy are barely immoral: Versailles at dusk, last summers storms and almost impossible love affairs. Phoenix makes music for those moments that swing from Ive no money for going out to I invite you to a sugarless kiss, People like that make life sweet for others who dont deserve it. Eleftheria arbanithahi MRAME Un solo acorde en la voz de esta diosa griega rompe la vulgaridad de los descredos, la distancia entre los seres de supermercado y los poetas costosos. No conozco un ritmo ms exacto al del corazn cuando sucumbe que masticar con ahnco el aroma a romero de Eleftheria. Demasiado buena para quienes no desean sino su feble espejo. 3 Elfeftheria Arbanithahi. MRAME (LOOK AT ME). One sole note of the voice of this Greek goddess cracks the vulgarity of the unbelief, the distance between supermarket-goers and expensive poets. I know no more exact a heart-beat rhythm when succumbing than breathing in the aroma of rosemary emanating from Eleftheria.

WILCO THE ALBUM


Estar vivo es una autntica vergenza, una maldicin sangunea, un defecto de fbrica, pero algunos ni se enteran, y prosiguen con su actitud inmunda, con esa sonrisa insultante sea con quien no sea. Wilco est empeado en hacernos despreciar la Visa, la comunidad de vecinos y el telediario de las nueve; en sealar un punto de fuga, un haz de estrellas, posiblemente un mundo mejor. Este disco se lo pedira a mi novia si alguna vez me quisiera lo suficiente. 3 Being alive is truly shameful, a bloody curse, a manufacturing defect, but some people go about unaware and continue with their filthy habits, with that insulting smile with whoever they are. Wilco is bent on making us despise the visa card, the house-owners community and the nine oclock news; in showing us a way out, a swirl of stardust, possibly a better world. I would ask my girl-friend for this disc , if she ever loved me enough.

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FIRMA | SIGNATURE

VIAJAR EN EL SIGLO XXI


Travelling in the 21st century

Javier Moro

Javier Moro (Madrid, 1955) es autor de epopeyas como Senderos de libertad (1992) o El pie de Jaipur, (1995). Su literatura est marcada por su carcter viajero y aventurero, y por su compromiso. Ha escrito tambin Era medianoche en Bhopal (2001) en colaboracin con Dominique Lapierre, y El sari rojo (2008). 3 Javier Moro (Madrid, 1955) is the author of epics such as Pathways of Freedom (1992) or The Foot of Jaipur (1995). His literature is marked by the nature of its travels and adventures, in addition to his commitment. He has also written Five Past Midnight in Bhopal, together with Dominique Lapierre, and The Red Sari (2008).
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finales de la dcada de los ochenta del pasado siglo, hice un viaje singular en compaa de unos indios de la tribu Kayap. Remontamos un afluente del Amazonas hacia la aldea de donde eran oriundos. Aquellos compaeros de viaje no hablaban nada, excepto su idioma, y su nica vestimenta era un cordel alrededor de la cintura para sostener el pene. Cuando se acababan las cerillas, encendan fuego frotando dos palitos de madera. Comamos todo lo que cazbamos y pescbamos. Para m, aquella singladura era como un viaje por un tnel del tiempo hacia un lugar fuera de la historia, fuera del mundo. Un periplo hacia lo autntico. Al cabo de dos semanas, llegamos a la aldea, un conjunto de chozas a la vera del ro. Estaba desierta. Uno de mis compaeros de viaje me dijo que tena que presentarme al jefe de la tribu y que lo encontrara bajo un pajizo en el linde de la selva. All dirig mis pasos. Bajo un amplio cobertizo estaba sentada la tribu entera. Todos tenan la vista puesta hacia un punto en el techo. Parecan hipnotizados. Cuando me agach, me llev la gran sorpresa: aquellos indios desnudos y pintarrajeados, con plumas en la cabeza, estaban viendo la tele. Y qu vean en la tele? Un episodio de la serie Dallas, doblado al portugus, idioma que, por supuesto, no entendan. Por esa pequea pantalla, los kayap entrevean un mundo desconocido y que les fascinaba. Menudo chasco mi periplo hacia lo autntico! Me pregunt qu sentido tena seguir viajando en un mundo cada vez ms parecido a s mismo, donde todo est trillado, hasta los meandros ms recnditos del Amazonas... A la espera de los viajes interplanetarios, me pareci que el viaje geogrfico haba agotado sus encantos. Sin embargo, sigo viajando y disfrutando con los viajes. Cada cierto tiempo, siento la necesidad, casi fsica, de huir de mi casa, de dormir en hoteles en ciudades desconocidas, de ver gente de otras razas, de otras culturas, de oler a especias, de or otros idiomas y otras msicas. He tardado tiempo en entender que no existen otros mundos, sino uno solo en perpetua ebullicin y cambio. Y, como en la vida misma, lo maravilloso del viaje es lo inesperado, lo que se sale del plan original, lo que te deja con la cabeza llena de estrellas y con ms preguntas que respuestas. Dos viajes por recorridos idnticos realizados por personas distintas nunca sern iguales. Adems entend que cada viaje tiene mucho que ver con el momento en que se realiza: no es lo mismo visitar los templos de Angkor en 1992, cuando todava guerreaban los Jemeres Rojos en la zona y uno se encontraba solo en aquella ciudad perdida en la selva, que ahora, donde me dicen que hay que hacer cola para visitar los monumentos. No es igual visitar a los kayap cuando lo hice, que hoy, cuando casi no queda selva en los alrededores de la aldea. Si antes iban descalzos y desnudos, ahora usan zapatillas y pantalones cortos de marca. Aquel cacique que fui a saludar bajo el pajizo conduce hoy su propio cuatro por cuatro Por eso, cada viaje es una experiencia nica, irrepetible e histrica.

t the end of the eighties of the past century, I made a memorable voyage accompanying some Indians who belonged to the Kayap tribe. We travelled upstream along an Amazon tributary to the little village that was their home. Those travelling companions did not speak any other language but their own and their only piece of clothing was a string around the waist holding the penis. When we no longer had any matches, they lit a fire by rubbing two twigs together. We ate all that we hunted or fished. For me, that trip was like travelling through a tunnel of time towards a place outside history, outside the world. A voyage to the authentic. After two week of travel we reached the village, a set of huts by the side of the river. It was deserted. One of my travelling companions told me I had to introduce myself to the headman and that I could find him beneath a thatched roof at the edge of the jungle. I made my way over there. The whole tribe was seated under a spacious shelter. They were all gazing at a point on the ceiling. They appeared to be hypnotized. When I crouched down to see, I had the surprise of my life: those naked, painted Indians with feathers on their heads were watching the telly. And what were they watching? An episode of the Dallas series, dubbed in Portuguese, a language that, needless to say, they did not understand. On that small screen, those Kayap Indians were catching a glimpse of an unknown world that fascinated them. So much for my voyage in search of the authentic! I wondered what sense it made to continue travelling in a world that was becoming the same everywhere, where every path had been trodden, even the most hidden meanders of the Amazon On the eve of inter-planetary travel, it seemed to me that geographical travel had lost its charm. Nevertheless, I continue to travel and enjoy travelling. Every so often I feel the need an almost physical need to run away, sleep in hotels in unknown cities, see people of other races, of other cultures, to smell spices, hear other languages and other music. It has taken time for me to understand that other worlds do not exist, but instead that it is only one in perpetual motion and change. And, as in life itself, the marvellous part about travelling is the unexpected; all that departs from the original plan, what leaves you with your head full of stars and with more questions than answers. T trips along the same routes will never be the same. Moreover, I wo have understood that each voyage has much to do with the moment it is embarked upon: it is not the same visiting the Angkor temples in 1992, when the Khmer Rouge were fighting in the area and one was on ones own in that city lost in the jungle which, nowadays, so I am told, one has to queue up to visit. It is not the same visiting the Kayaps when I did than it is today, when there is hardly any jungle left around the village. If, before, they went barefoot and naked, now they wear brandname sneakers and shorts. That headman I went to visit under the thatched shelter now goes around in his own four-wheel drive For that reason, each voyage is a unique experience, unrepeatable and historical.

Dos viajes por recorridos idnticos realizados por personas distintas nunca sern iguales. 3 Two trips along the same routes will never be the same.

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nora bergara texto/words fede martnez edicin grfica/graphic edition

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Velocidad de automvil (1913), de Giacomo Balla. Museo dellOttocento, Miln. 3 Car speed (1913), by Giacomo Balla. Museo dellOttocento, Milano.

A CIEN AOS DEL FUTURISMO


En 2009 se celebra el aniversario de la publicacin del Manifiesto Futurista. Una ocasin nica para analizar la influencia del Futurismo en el arte contemporneo y revisar una corriente artstica denostada por su filiacin con el fascismo. A hundred years after Futurism
The Futurist Manifesto hold its centenary celebrations in 2009. An opportunity for making an analysis of Futurism influence in contemporary art and revising an artistic and literary current scorned on account of Marinettis support of Fascism.

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La maana (1928), de Tato. 3 The Moorning (1928), by Tato.

Si Filippo Tommaso Marinetti (1876-1944) hubiese conocido la pasin de la sociedad actual por la tecnologa, es probable que el Futurismo se hubiese quedado sin argumentos. Marinetti, uno de los iconos de las vanguardias europeas del siglo XX, no habra podido enarbolar hoy da esa actitud contestataria contra la tradicin y el convencionalismo aferrndose a la exaltacin de la tecnologa porque sera como sumergirse en el epicentro del convencionalismo. Pero en 1908, Marinetti (y tras l varios artistas, especialmente italianos y rusos) tuvo el hallazgo de reivindicar nuevos valores: la rapidez, el movimiento, la energa, la velocidad y la deshumanizacin, para hacer frente al tedio de la tradicin clasicista que impregnaba el arte. Esos nuevos valores, que nacan de descubrimientos tcnicos como el automvil, serviran para disear nuevas formas artsticas que responderan al espritu dinmico de la tcnica moderna y de la sociedad masificada de las grandes ciudades. De hecho, todo parece transcurrir a gran velocidad a comienzos del siglo XX: la poltica, los cambios sociales, los avances tecnolgicos y el arte. Los artistas, sea cual sea la corriente a la que se adhieren, entienden que el arte debe servir para remover cimientos y que, incluso, debe asumir una especie de liderazgo. Con esa conciencia pareci erguirse Marinetti de una zanja al lado de la carretera, adonde le haba arrojado su coche tras una maniobra violenta para esquivar a unos ciclistas, a finales de 1908. Pocos meses despus, el 20 de febrero de 1909, el peridico francs Le Figar publicaba su clebre Manifiesto Futurista, donde, con un tono tan dogmtico como cualquier tradicin artstica que l mismo rechazaba, sentaba las If Filippo Tommaso Marinetti (1876-1944) had experienced the passion for technology purported by our current society,
Futurism would probably have been divested of all its arguments. Marinetti, one of the icons of the European avant-garde of the 20th century, as much a product of his times as any other artist who rebels in order to innovate, would not have been able nowadays to flourish that non-conformist attitude against tradition and conventionalism, upholding exaltation of technology, because it would be tantamount to submerging oneself in the epicentre of conventionalism. However, in 1908, Marinetti (and, after him, various artists, particularly Italian and Russian) had the courage to claim new values: rapidity, movement, energy, speed and dehumanization, to contest the boredom of the classicist tradition that impregnated art. These new values, which came to being through technical discoveries like the automobile, would serve to design new art forms that would respond to the dynamic spirit of modern technology and of the mass societies in the big cities. Indeed, everything appeared to run at great speed at the beginning of the 20th century: politics, social changes, technological advances and art. Artists, with whichever schools they are associated, feel that art should serve to rock the foundations or even take on a kind of leadership. It was with this conscience that Marinetti apparently rose from a ditch by the roadside, into which he had driven his car after a brusque manoeuvre to dodge some cyclists, towards the end of 1908. Some months later, the French newspaper, Le Figaro, published his famous Futurist Manifesto in which - in as
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La guerra (1916), de Giacomo Balla. 3 The War (1916), by Giacomo Balla.

Arriba, Suite Oriental (1911). A la izquierda, Paisaje (1913), en el Museo Hermitage de San Petersburgo. Ambas son obras de Vasily Kandinsky. 3 Above, Eastern Suite (1913). On the left. Landscape (1913), at, the State Hermitage Museum. Vasily Kandinsky

En 1908 Marinetti reinvidica nuevos valores para el arte: la rapidez, el movimiento, la energa, la velocidad y la deshumanizacin. 3 In 1908, Marinetti claimed new values for artistic inspiration: rapidity, movement, energy, speed ad dehumanization.
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bases de un movimiento artstico que exhortaba a borrar el pasado y disear un futuro exento de lastres. En realidad, tal pretensin no haca ms que convertir el presente, con todos sus defectos y virtudes, en el nico referente posible. Pero no un presente cualquiera, sino el presente que menos se pareca al pasado. Los futuristas, fascinados por las mquinas, se apasionaron de tal forma por ese futuro a su imagen y semejanza, que hicieron propuestas tan asombrosas como derruir Venecia para construir un gran puerto militar (tal fue el caso de Marinetti) y planificaron, ya no edificios, sino ciudades enteras en las que el sujeto como tal iba a desaparecer del paisaje, plagado de coches, tranvas, aeronaves..., tal como propugnaron arquitectos como Antonio SantElia o Mario Chiattone. Autoproclamndose como hombres de accin, los futuristas exhiben un talante

A la izquierda, Elasticidad (1912), de Umberto Boccioni. Arriba, Arquitectura grfica (1917), de Liubov Popova., 3 On the left, Elasticity (1912), by Umberto Boccioni. Above, Graphic Architecture (1912), by Liubov Popova.

Los futuristas alimentaron la escalada del nacionalismo italiano, apoyando la fundacin de los Fasci de Mussolini. 3 The Fururists nurtured the escalation of Italian N ationalism, supporting the founding of the Fasci.
dogmatic a vein as any artistic tradition that he was rejecting he set out the basis for an artistic movement that demanded the past be erased and the future be designed, free of any ballast. In actual fact, such pretentiousness did no more than convert the present, with all its virtues and vices, into the only possible reference. But not any type of present, just the one that was the least similar to the past: the Futurists, fascinated by machines, became so impassioned by this future made to measure for them that they forwarded proposals as amazing as destroying Venice to build a great military port (this was Marinettis case) and they planned, not only buildings, but entire cities in which the individual as such was going to disappear in the context of the use of cars, trams, aircraft, etc., as defended by architects like Antonio SantElia or Mario Chiattone. Proclaiming themselves as men of action, the Futurists exhibited this almost destructive character as a pledge to build a new world based on the concepts of force and movement. Such a destructive character is expressed to perfection by the Spanish writer, Juan
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casi destructor en aras de construir un mundo nuevo sobre los conceptos de la fuerza y el movimiento. Ese talante destructor lo expresa a la perfeccin el escritor espaol Juan Bonilla cuando conjetura que, para este movimiento artstico, la fuente de Bernini en Piazza Navona no tendra nada de potico, pero unos cuantos trabajadores armados con picos destrozando la fuente de Bernini en Piazza Navona estaran haciendo poesa.

Estamos sobre el promontorio


ms elevado de los siglos! Por qu deberamos protegernos si pretendemos derribar las misteriosas puertas del Imposible? El Tiempo y el Espacio morirn maana. Vivimos ya en lo absoluto porque ya hemos creado la eterna velocidad omnipresente, proclamaba uno de los puntos del Manifiesto Futurista. Con esta filosofa, no es de extraar que las propuestas futuristas (tanto artsticas como polticas) resultasen, cuanto menos, agresivas. Y no slo agresivas, sino incluso belicistas: en el punto noveno de su manifiesto, Marinetti exhortaba a glorificar la guerra, el militarismo, el patriotismo. Marinetti, precursor de manifestaciones y frmulas artsticas tan contemporneas como los happenings, se encarg de mantener vivo el Futurismo durante dcadas, cuando ya otros seguidores (los florentinos Papini y Soffici y los rusos Jlenikov y Maiakovski) comenzaban a abandonar sus filas. Se convirti en su principal valedor y en lder, exhibiendo un estilo en absoluto democrtico y muy similar al de su amigo Mussolini, al que conoci en Miln en 1915, justo en el momento en que los futuristas empezaban a pensar en convertirse en un partido poltico para que su movimiento esttico ingresara en la realidad con un formato distinto. Ese partido se fundara en 1918, y en esos tres aos las expectativas de Marinetti acerca de los valores fascistas se iran incrementando: vea en ellos una ambicin antiburguesa y antiparlamentaria con la que comulgaba el espritu futurista. Algunos futuristas alimentaron la escalada del nacionalismo italiano, apoyando la fundacin de los Fasci por parte de Mussolini (aunque otros, encantados con Lenin y la Revolucin rusa, siguieron a Gramsci en la creacin del Partido Comunista). Marinetti apoy abiertamente a Mussolini y elabor discursos de ndole fascista en los que peda a la juventud italiana que dinamizara la poltica. Integr la lista del Partido Fascista

Desnudo bajando una escalera (1912), de Marchel Duchamp. 3 Nude Descending a Staircase (1912), by Marchel Duchamp.

Bonilla, when he reasons that for this artistic movement, the Bernini fountain in the Piazza Navona would have nothing poetic about it, but some workers armed with pickaxes destroying the Bernini fountain in the Piazza Navona would be making poetry.

We are standing on the highest headland of the centuries! Why should we protect ourselves if we are intending to batter down the mysterious gates of the Impossible? Time and Space will die tomorrow. We are now living in the absolute because we have already created the eternal, omnipresent speediness, proclaimed one of the points of the Futurist Manifesto. With this philosophy, it is hardly surprising that the Futurist proposals (both artistic and political) were perceived as aggressive, to say the least. And, not only aggressive, but even belligerent: in the ninth point of the Manifesto, Marinetti exhorts people to glorify war, militarism, patriotism. Marinetti, the forerunner of artistic manifestations and formulas as contemporary as the happenings, took it upon himself to keep Futurism alive for decades, when already other followers (the Florentines, Papini and Soffici and the Russians, Jlenikov and Maiakovski) had begun to abandon the ranks. He became the movements main guardian and leader, exhibiting a style of absolute democracy, very similar to that of friend, Mussolini, whom he had met in Milan in 1915, just at the time when the Futurists were beginning to think about becoming a political party, so that the aesthetic movement could become a reality with a different format. This party was to be founded in 1918 and during those three years, Marinettis expectations regarding Fascist values were to increase: he saw reflected in them the anti-bourgeois and anti-parliamentary ambitions with which the Fascist spirit sympathized.
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El Futurismo adquiere notoriedad al ser promotor de otras vanguardias o de una actitud beligerante en el terreno artstico. 3 Futurism acquire a certain degree of fame as a promotor of the other avant-garde movements.

que se present en el ao 1919 a las elecciones generales y conoci la crcel junto a Mussolini y a Toscanini por formar parte de la organizacin. Pero, a pesar de esa experiencia que los herman durante una temporada en el infierno, Marinetti y Mussolini se alejaran al ao siguiente, cuando las propuestas radicales y revolucionarias del futurismo fueron derrotadas sin piedad en el segundo congreso del Partido Fascista: ste empez a tomar el cariz de ultraderecha por el que acabara siendo conocido y empez a disfrazarse con los oropeles del catolicismo, mientras que sus efectivos ms reaccionarios consideraban a los futuristas unos locos degenerados a los que haba que desterrar para preservar la higiene de las artes del pas. Cuando el fascismo marcha sobre Roma y alcanza el poder, a pesar de que se sigue vigilando a los futuristas, no se les declara enemigos de la causa fascista por la sencilla razn de que Mussolini aprecia a Marinetti. De esta forma, el Futurismo, con Marinetti a la cabeza, terminara por convertirse en uno de los primeros movimientos que, desde el arte, apoyara las tesis expansionistas y dictatoriales del fascismo. No slo se trataba de una serie de artistas que se alineaban con el fascismo, sino que lo jaleaban. Esta connivencia del Futurismo o, ms concretamente, de Marinetti, con el fascismo ha eclipsado en gran medida este movimiento artstico. Aunque, en s mismo, no result excesivamente brillante, al menos en cuanto a produccin de obras artsticas, s

A la izquierda, Retrato de Marinetti (1920), de Rougena Zatkova. A la derecha, Escenografa (1922), de Enrico Prampolini. 3 On the left, a Portrait of Marinetti (1920), by Rougena Zatkova. On the right, Scenography (1922), by Enrico Prampolini.
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The Futurists nurtured the escalation of Italian Nationalism, supporting the founding of the Fasci on the part of Mussolini (while others, charmed by Lenin and the Russian Revolution, followed Gramsci in the creation of the Communist Party). Marinetti openly supported Mussolini and wrote Fascistoid speeches in which he begged Italian youth to invigorate politics. He joined the Fascist Party list that was presented for the 1919 general elections and was to later be imprisoned together with Mussolini and Toscanini for forming part of the organization. But, despite that experience which brought them close during the hellish time in jail, Marinetti and Mussolini were to make their separate ways the following year, when the radical and revolutionary Futurist proposals were rejected without mercy at the second Fascist Party Congress: this party had begun to take on the ultra rightwing aspect for which it would end up becoming known and which began to disguise itself with the adornments of the Catholic church, whilst its most reactionary members considered the Futurists to be degenerated madmen who should be exiled in order to conserve the hygiene of the art of the state. When Fascism made its march upon Rome and came into power, despite the close watch ordered on the Futurists, they were not declared as enemies of Fascism for the simple reason that Mussolini felt affection for Marinetti. In this way, Futurism, with Marinetti heading the movement, was to end up becoming one of the first movements which, from artistic spheres, was to support the expansionist, dictatorial theses of Fascism. Not only was it a matter of a series of artists falling into line with Fascism, but even more so, they applauded it. This connivance with Futurism, or more specifically, with Marinetti, has to a large extent eclipsed the artistic

Ciudad en llamas (1927), de Luigi Colombo. Abajo, Naturaleza muerta (1914), de Ardengo Soffici. 3 City on fire (1927), by Luigi Colombo. Below, Natura Morta (1914), by Ardengo Soffici.

adquiere cierta notoriedad al ser promotor de otras vanguardias o de cierta actitud beligerante en el terreno artstico, entendindose como una especie de soplo de aire fresco, de nueva manera de concebir y promover el arte. El propio Marinetti, al que podramos considerar un agitador cultural, sabe promocionar su producto como nadie y a la manera ms contempornea, recurriendo con frecuencia al escndalo, como ocurre en las famosas seratas futuristas, veladas con mucho de actuacin teatral con insultos y provocaciones al pblico incluidos y en las cuales se halla el origen del cabaret dad. Con un mejor manejo de los medios que habilidad intelectual, como ocurre con tantos animadores hoy, Marinetti logra promocionar el movimiento dentro y fuera de Italia. Ms que producir una obra literaria de calidad, Marinetti se centra en una actividad frentica de propaganda. Su querencia por los manifiestos es tal vez lo ms destacado de su produccin. En los ltimos aos de vida de su creador, el Futurismo se haba quedado sin adeptos, ya que la mayora, tras nutrirse de la inyeccin de energa y rupturismo, haban encaminado sus pasos por otras corrientes artsticas ms consistentes. La produccin de obras futuristas fue, de hecho, ms bien escasa, aunque lo que s hizo fue dejar su huella en muchos creadores (escritores, pintores, escultores) o popularizar una actitud de rebelda y provocacin entre los artistas, como un nuevo modo de entender el arte.

movement, although, as such, it was also not particularly brilliant, at least as far as the production of works of art is concerned. It did, nevertheless, acquire a certain degree of fame as a promoter of other avant-garde movements or a certain belligerent attitude in the artistic field, like a puff of fresh air, a new way of understanding and promoting art. Manetti himself, who we could consider as a cultural entrepreneur, knew how to promote his product better than anyone else and in the most contemporary fashion, often enough taking recourse to scandal, as in the famous Futurist theatricals with insults and provocations to the public included and in which the origins of the Dadaist Cabaret are to be found. With better management of the media than intellectual ability as is so common these days with so many presenters Marinetti achieved promotion of the movement inside and outside Italy. Instead of producing literary work of high quality, Marinetti concentrated on a frenzied propagandistic activity. His weakness for manifestos is, perhaps, the most worthy of mention with regard to his production. In the latter years of its creator, Marinetti, Futurism had been losing its followers since the majority, having been fed with an injection of energy and break off, had directed their steps towards other, more consistent artistic currents. The production of Futurist works was, in fact, quite scarce, although it had left its mark in many artistic creators (writers, painters, sculptors, etc.) or popularized an attitude of rebellion and provocation amongst artists as a new form of understanding art.
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LA (AMBICIOSA) ARQUITECTURA DEL APOCALIPSIS THE (AMBITIOUS) ARCHITECTURE OF THE APOCAL YPSIS

Con apenas quinientos proyectos y escasas construcciones, la arquitectura del


Futurismo se convierte en uno de los referentes en la formacin del Movimiento Moderno. Pese a su presunta inexistencia, se puede afirmar que es una de las ms excitantes prefiguraciones del futuro creadas en el siglo XX. No en vano, algunos de los arquitectos futuristas de ms renombre terminaran ofreciendo sus servicios a la industria del cine como directores artsticos y creadores de decorados. De hecho, se puede considerar la pelcula Metrpolis (1927), de Fritz Lang, como la representacin cinematogrfica de los valores del Futurismo y, especialmente, de los planteamientos arquitectnicos futuristas. En 1914, tras cinco aos en que el Futurismo italiano haba desarrollado la mayora de las disciplinas artsticas, la arquitectura era inexistente dentro del grupo. El deseo de materializar un edificio futurista se convirti en un motivo central en las investigaciones previas determinadas a travs de dibujos, pinturas, manifiestos y textos tericos, que es precisamente la aportacin ms abundante, dada la escasez de construcciones catalogables como futuristas. Como en el resto de disciplinas artsticas, la arquitectura tambin fue objeto (o vctima) de uno de tantos manifiestos. El arquitecto Antonio SantElia fue captado a travs de otro colega, Carr, por indicacin de Marinetti, convirtiendo los visionarios dibujos de la Citt Nuova en la Citt Futurista. Y su Manifiesto de la Arquitectura Futurista sera una reelaboracin de un texto previo del arquitecto modificado por Marinetti y Decio Cinti, su secretario. SantElia propone un concepto de ciudad radicalmente moderno que, a pesar de que tarde en obtener resultados en la realidad, lograr imponerse como podemos comprobar al comparar la siguiente descripcin con algunos paisajes de nuestras ciudades de hoy: Tenemos que inventar y fabricar ex novo la ciudad moderna, semejante a una inmensa obra tumultuosa, gil, mvil, dinmica en todas sus partes; y tambin la casa moderna, semejante a una mquina gigantesca. La casa de hormign, de vidrio, de hierro, sin pintura y sin escultura [] debe surgir al borde de un abismo tumultuoso: en la calle, que ya no se extender como una alfombra al nivel de los portales, sino que se hundir en el terreno en varios niveles que acogern el trfico y estarn unidos, para los trnsitos necesarios, por pasarelas metlicas y por velocsimos tapis roulants.

With a mere five hundred or so projects and few real


buildings, Futurist architecture has become one of the references in the formation of the Modern Movement. Despite its supposed inexistence, it can be said that it is one of the most exciting foreshadows of the future created in the 20th century. Not in vain did some of the most renowned Futurist architects choose to offer their services to the cinema industry as stage directors and designers. In fact, the movie, Metropoli by Fritz Lang (1927), can be considered as the cinematic representation of the values of Futurism and, in particular, that of Futurist architectural approaches. In 1914, following five years in which the Italian movement had developed the majority of art forms, architecture did not yet exist in the group. The wish to materialize a Futurist building became a central motive during the prior investigations, shown in the drawings, paintings, manifestos and theoretical texts, which are precisely the most abundant contribution, given the scarcity of buildings that could be catalogued as Futurist. As in the rest of the art forms, architecture was also the object (or victim) of one of the many manifestos. Architect Antonio SantElia was won through another colleague, Carr, via approval by Marinetti, converting the visionary drawings of the Citt Nuova to the Citt Futurista. And, his Architectural Manifesto turned out to be a rehash of a previous text by the architect, modified by Marinetti and Decio Cinti, his secretary. SantElia proposes a concept of a radically modern city which, despite the delay in obtaining tangible results, manages to reach leadership, as is revealed when we compare the following description with some of the landscapes of todays cities. We must invent and produce from scratch the modern city, similar to an enormous, tumultuous piece of work, agile, mobile, and dynamic in all its

Dibujo de la Metrpoli Moderna, de Mario Chiattone. Abajo, un fotograma de Metrpolis, de Fritz Lang. 3 A drawing of the Modenr Metropoli, by Mario Chiattone. Below, a shotscreen of the film Metropoli, by Fritz Lang.

00 Estar

La visin apocalptica de los futuristas aplicada a la arquitectura est detrs de sus estrambticas propuestas de derribar ciudades histricas como Roma o Venecia para inventar un futuro que corta cualquier raz que se hunda en el pasado. La ciudad se deshumaniza por completo, nada en ella es posible sin la tcnica, y el paisaje se puebla (en la imaginacin de los futuristas) de hordas de obreros fabriles que viajan en aeronaves. La figura humana pierde valor, queda aplastada por edificios en altura, algo que, sin tanta retrica, estaba ocurriendo ya en Estados Unidos, donde surgan los primeros rascacielos en estilo neogtico, que pronto desembocaran en un estilo art dec que recuerda mucho a los proyectos futuristas.

components and, also, the modern home, resembling a gigantic machine. The houses made of reinforced concrete, glass and iron, without any paint or engravings, [] should arise on the verge of a tumultuous abysm: in the street, which will no longer stretch out like a carpet at front door level, but rather be sunk into the ground in different levels which will receive the traffic and be joined together at the necessary transit points, by metal footbridges and by high-speed escalators. The Apocalyptic vision of the Futurists applied to architecture is behind their preposterous proposals to raise to the ground historical cities such as Rome or Venice, in order to invent a future that would cut through any roots steeped in the past. Cities are completely dehumanized, nothing is possible there without technical means and the landscape is peopled (in the imagination of the Futurists) by hordes of factory workers who move in airships. The human

PRXIMAS EXPOSICIONES UPCOMING EXIBITIONS


FUTURISMO, 1909-1940. FUTURISM, 1909-1940.
Palazzo delle Esposizioni. Via Nazionale, 194 Roma / Rome T: + 39 06 48941230 Hasta el 22 de octubre Until 22 October

FUTURISMO 100. 100 FUTURISM


Fondazione Musei Civice di Venezia Museo Correr San Marco 52, 30124 Venecia / Venice T: + 39 041 2405211

La arquitectura futurista es una de las ms excitantes prefiguraciones del futuro creadas en el siglo X X. 3 Futurist architecture is one of the most exciting foreshadow of the future created in the 20th century.
La muerte de SantElia y Boccioni configura una dimensin nueva que vuelve a los orgenes tericos y pictricos de la disciplina a travs de los textos de Volt, Carli y Conti, y de los proyectos de Virgilio Marchi, cuyo trabajo y estudios tericos son los ejes que articulan el segundo futurismo arquitectnico. ste fue el periodo de las primeras construcciones: la Casa dArte Bragaglia de Marchi, la Casa Zampini de Pannaggi en Esanatoglia y los pabellones de ferias de Fortunato Depero. En los aos treinta se constituyeron diversos grupos futuristas independientes de la matriz romana; el grupo de Turn, bajo las directrices de Fillia, desarrolla un trabajo que se asociar con los racionalistas a travs de Alberto Sartoris, Nicolai Diulgueroff y Nicola Mosso. En Florencia destac la adscripcin de Angiolo Mazzoni, arquitecto noventayochista, que se vincula con el objetivo de lograr encargos estatales. Finalmente, el grupo veneciano sera el ms poltico a travs de la retrica de Quirino de Giorgio y, en menor medida Tullio Crali, aunque ste se vincula con los trabajos de SantElia. figure loses value, is crushed by high-rise buildings, something that, without so much hot air was already happening in the United States, where the first skyscrapers in neo-gothic style had already been built, which would, soon after, lead to an art deco style that is very reminiscent of the futurist projects. The death of Sant2Elia and Boccioni configure a new dimension that returns to the theoretical and pictorial origins of architecture through texts by Volt, Carli and Conti, as well as projects by Virgilio Marchi, whose work and theoretical studies are the mainstays on which the second architectural Futurism hinges. This was the period of the first buildings: the Casa dArte Bragaglia by Marchi, the Casa Zampini by Pannaggi in Esanatoglia and the fairground pavilions of Fortunato Depero. In the Thirties, various groups of Futurists were founded, independent of the base in Rome; the T urin group, under the directives of Fillia, developed work that was to become associated with the Rationalists through Alberto Sartoris, Nicolai Diulgeroff and Nicola Mosso. In Florence, most noteworthy was the support of Angiolo Mazzoni, who joined the target objective to achieve state commissions. Finally, the Venice group was the most political, thanks to the rhetoric of Quirino de Giorgio and, to a lesser degree T ullio Crali, although the latter is associated with the work of SantElia.

Futurismo 100 est comisariado por Ester Coen y es una iniciativa del Ministerio de Cultura italiano. Del 4 de septiembre al 13 de diciembre. 3 The curator of the Futurism 100 exhibition is Esther Cohen and is promoted by the Italian Ministry of Culture. From 4th September to 13th December.

SIMULTANEIDAD. SIMULTANEITY.
Palazzo Reale Piazza Duomo 12 - 20121 Miln / Milano T: + 39 02 87 56 72 Una de las colecciones de arte futuristas ms importantes del mundo se conserva en la Raccolte d'Arte di Milano y podr verse en el Palazzo Reale. Desde el 15 de octubre. 3 One of the most important Futurist art collections in the world is kept at the Raccolte dArte di Milano and can be visited at the Palazzo Reale. From 15th October.

FUTURISMO. FUTURISM.
Tate Modern Gallery Bankside Londres / London SE1 9TG T + 020 7887 8888 La exposicin muestra las obras clave de autores como Giacomo Balla, Umberto Boccioni y Gino Severini y explora los movimientos artsticos refractarios del Futurismo. Hasta el 20 de septiembre 3 This exhibition both showcases the work of key Futurists such as Giacomo Balla, Umberto Boccioni and Gino Severini and explores art movements reacting to Futurism. Until 20 september.
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ENTREVISTA | INTERVIEW
pablo g. polite texto/words xavi gmez fotos/images

Even if I tried being a different person, my fixations would again emerge

ISABEL COIXET
Aunque probara a ser otra persona, mis fijaciones volveran a emerger

ISABEL COIXET

Tokio es perturbacin sonora. Sonidos confusos. Vibraciones inarmnicas.


Electricidad esttica. All, en la capital del imperio del sol naciente, la directora de cine Isabel Coixet encontr la inspiracin para rodar Mapa de los sonidos de Tokio, la historia de una asesina a sueldo que esconde su profesin bajo la apariencia de vendedora en un puesto de un mercado. A pocos meses de su estreno en Espaa, la directora catalana confiesa que es la ms dramtica de todas sus pelculas mientras razona, gesticula y bebe agua en su despacho de la productora Miss Wasabi Films, plataforma desde la cual ha producido un caudal de anuncios, documentales y pelculas, galardonados en distintos festivales del mundo. Veintin aos despus de su debut con Demasiado viejo para morir joven, y tras su paso por el Festival de Cannes para presentar su ltimo film, la realizadora nos da la clave de la gnesis de la pelcula: el mercado de pescado de Tsukiji. All aterriz hace cuatro aos con su cmara fotogrfica y la airada reaccin de una vendedora lo desencaden todo. La mujer se enfad mucho al ver la cmara y me prohibi que le sacara fotos. Ms tarde, por el camino, en el metro, me puse a elucubrar y a pensar en el porqu de su negativa. Pensaba en sus botas de agua chapoteando en el hielo deshecho y en la sangre de los atunes recin cortados. Supe entonces que quera contar la historia de una mujer con una doble vida.

Tokyo is a noisy disturbance: indistinct


sounds, jerky vibrations, static electricity. There, in the Capital of the Rising Sun, film director, Isabel Coixet, found the necessary inspiration for shooting Map of the Sounds of Tokyo, the story of a hired murderer who hides her profession beneath the appearance of a vendor on a market stall. Just a few months before the premire in Spain, this movie-maker from Catalonia admits that this is the most dramatic of all her films while she reasons, gesticulates and drinks water in her office at Miss Wasabi Films, the platform from which she has produced a stream of prize-winning advertisements, documentaries and movies at various festivals all over the world. T wenty-one years after her dbut with Too Old to Die Y oung and following her visit to the Cannes Film Festival to present her latest creation, movie-maker Coixet gives us the key to the genesis of the film: the Tsukiji fish market. She had landed there four years previously with her camera and the annoyed reaction of a fish vendor triggered off the whole thing. The woman got very angry when she saw my camera and forbid me to take any photos of her. Later on, in the metro, I began to give vent to my imagination and wonder why she had refused. I thought about her in her rubber boots splashing around in the melted ice and the blood of the recently chopped up tuna fish. That was when I knew I wanted to tell a story about a woman leading a double life.

Mapa de los sonidos de Tokio transcurre, tal como sugiere su ttulo, en la capital japonesa. Cmo se le ocurri la idea? A m me gusta mucho Japn y, especialmente, Tokio. Es una ciudad en la que siempre me he sentido muy a gusto. Me fascinan mucho sus contrastes. Cuando hablas de Tokio, la gente siempre se imagina los edificios enormes, la estacin del cruce de Shibuya con ese ir y venir continuo de la gente. A m, sin embargo, el Tokio que me gusta es el Tokio de los barrios populares: el Tokio de Koenji, el Tokio de Shimokitasawa Barrios que no son tursticos, de casas bajas, de pequeas tiendas, de callejones misteriosos Tokio tiene esas dos caras: es la urbe del Hilton y los megahoteles y, a la vez, un mosaico de barrios populares en los que uno puede sentirse muy a gusto.
Es la primera vez que hace algo parecido a un thriller. Qu le llev a tomar esa eleccin? Y en todo caso, lo llamara thriller romntico, y con reservas. o, No creo honestamente que sea un thriller al uso. En realidad, no es que quisiera hacer un thriller, es que sali as, sin ms. Cuando estaba perfilando la estructura de la pelcula, as se fue definiendo por su propia inercia. Pero no es que yo dijera ahora quiero hacer un thriller. Y soy una fantica de la o novela negra desde que tengo 12 aos y le Cosecha roja, de Dashiell Hammett. Supongo que todo eso est ah. Es verdad que hay una asesina a sueldo y una serie de elementos que se asocian al thriller como gnero, pero nunca fue una decisin deliberada. Todos sus trabajos hablan de incomunicacin, de soledad, de ternura, de melancola. En qu medida reflejan sus demonios, sus miedos y sus frustraciones? Uno no puede escapar de s mismo. Muchas veces fantaseo con hacer una comedia pero luego me sale cualquier otra cosa.
26 ESTAR

Map of the Sounds of Tokyo takes place, as its title indicates, in the capital city of Japan. How did this idea occur to you? I am very fond of Japan. In particular, Tokyo. Its a city where I have always felt very comfortable. Its contrasts fascinate me. When one talks about Tokyo, people always envisage huge buildings, the Shibuya station crossing with that constant flow of people coming and going. Although, the Tokyo that I like is the densely populated Kenji area, the Shimokitasawa district The non-tourist quarters with their little houses, tiny shops, mysterious alleyways Tokyo has these two facets: its the megalopolis of the Hilton and the mega hotels and, at the same time, a mosaic of working-class districts in which one can feel very much at home.
This is the first time you have made what could be described as a thriller. What led you to make this choice? In any case, I would call it a romantic thriller and, even so, with reservations. I dont honestly think it is a true thriller. In actual fact, it was not that I wanted to make a thriller; it just turned out that way. When I was outlining the structure of the film, it fell into place by pure force of habit. But, its not as though I were saying now I want to make a thriller. I have been a total thriller fan since the age of twelve when I read Dashiell Hammetts Red Harvest. I suppose all that is in the film. Its true that there is a hired woman murderer and a series of elements that one associates with the thriller as a genre, but this was never a deliberate decision. In all your work, what comes to the fore is lack of communication, loneliness, tenderness, sadness. To what extent does it reflect your demons, fears and frustrations? One cannot escape from oneself. I often fantasize about doing a comedy but the outcome is anything but that. I would like to think that I am not repeating myself, that I dont fall into

Muchas veces fantaseo con hacer una comedia, pero luego sale cualquier otra cosa. 3 I often fatasixe about doing a comedy, but the outcome is anything but that.

ISABEL COIXET

Me gustara pensar que no me repito, que no caigo en segn que tics o motivos recurrentes, pero eso es algo inevitable.

Siempre sueo con escribir algo que me permita volver a trabajar con todas las personas con las que ya lo he hecho. 3 I always dream about writing something that would allow me to work with all the people with whom I have already done so.

En Mapa de los sonidos de Tokio, la pulsin sexual tiene un peso primordial. Qu piensa del sexo y del erotismo en el cine? Cuando se muestran escenas sexuales en una pelcula, si estn conectadas con lo humano y no con el imaginario del sexo, suelen estar bien. Las mejores escenas sexuales que recuerdo tal vez las haya visto en Intimidad, de Patrice Chreau, y en tres o cuatro pelculas ms. El erotismo ya es otro asunto. Para m, una de las escenas erticas ms fuertes de la historia del cine aparece en una pelcula de Abel Ferrara en la que Christopher Walken besa a su abogada en el metro. Es uno de los mejores besos de la historia, aunque a lo mejor otra persona lo ve y no est de acuerdo. Si algo tena claro con respecto a Mapa de los sonidos de Tokio era que el sexo no tena que ocurrir en la cama. Tena que ser algo ms ldico: que pasara en un love motel con su carga entre perversa y decadente, y que diera a entender que los personajes lo estaban pasando realmente bien, como si estuvieran disfrutando el momento ms vivo en sus vidas. Se ha sentido alguna vez intimidada al dirigir a actores como Ben Kingsley, Dennis Hopper o Tim Robbins? La verdad es que no porque, cuando t les propones un proyecto y lo aceptan, arranca la inercia de la profesionalidad. Y me siento intimidada por otras cosas. Es tu trabajo. He o tenido muy buenas relaciones con ellos, hemos quedado afortunadamente siempre como amigos y es gente con la que

any recurring habits or motives, but this is inevitable. In Map of the Sounds of Tokio, sexual impulse has crucial importance. What are your views on sex and eroticism in films? When sex scenes are shown in a film, if they are connected with the human side and not with the imaginary side of sex, they are usually good. The best sexual scenes I can remember ever having seen were in Intimacy by Patrice Chreau and, perhaps in three or four others. Eroticism is another story. For me, one of the most downright erotic scenes in Cinema History appears in a movie by Abel Ferrara where Christopher Walken kisses his lawyer in the metro. This is one of the best kisses in history, although, maybe, many people would not agree with me. One of the things I had very clear in my mind with Map of the Sounds of Tokyo was that sex did not necessarily have to happen in bed. It would have to be a more playful thing: happen in a love motel with all its load of perversity and decadence and give the impression that the characters were really enjoying it, as though they were relishing in the most vivid time of their lives. Have you ever felt intimidated when you were directing actors like Ben Kingsley, Dennis Hopper or Tim Robbins? To tell you the truth, no, because when you propose a project to them and they accept, professionalism takes over. I feel intimidated by other things. This is work. I have had a very good relationship with them all; we have, fortunately, always ended as friends and they are people with whom I would like to work again. I always dream about writing something that
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ISABEL COIXET

me gustara repetir. Siempre sueo con escribir algo que me permita trabajar con todas las personas con las que ya lo he hecho. Aparte de buenos actores, son muy buena gente. Disfrutan con lo que hacen y son actores, no estrellas. Las bandas sonoras de sus pelculas, desde Demasiado viejo para morir joven hasta Mapa de los sonidos de Tokio, acostumbran a estar especialmente cuidadas. Qu espera de la msica en sus pelculas? Y quiero que me ayude y que ayude al espectador a meterse o en la historia, en la atmsfera. Hice tres pelculas con Alfonso Vilallonga, que es un compositor con un talento enorme, pero ltimamente he preferido poner simplemente canciones porque a veces cuando utilizas la parte de una banda sonora al uso parece que intentes subrayar algo que no est en la imagen. Las canciones te dan mucho ms juego. En Mapa de los sonidos de Tokio hay desde versiones de cantantes japonesas de los aos cuarenta hasta una cancin de Antony o dos grupos espaoles: Bedroom y La Flamme. Echando la vista atrs, cul es el trabajo del que se siente ms satisfecha? A m hay algo que me pasa ltimamente que ha cambiado en los ltimos aos. Y siempre llegaba muerta de miedo a un o rodaje. Tena tanto miedo a fallar que no disfrutaba. El clsico cuadro de angustia, vaya. Y en las ltimas pelculas ya no me pasa. Para m la aventura vital del rodaje es muy importante, incluso al margen totalmente del resultado final. Hay algo en esa conjuncin de equipo, de lugar, de actores que me hace disfrutar mucho, estar especialmente concentrada. Y en Mapa de los sonidos de Tokio todo ha sido fantstico. Lo que me queda es la aventura vital: un rodaje mal llevado puede ser un infierno. Sus pelculas no se parecen en nada entre s y, sin embargo, hay algo comn en ellas que la seala claramente como su autora. Est de acuerdo? Supongo que s. Uno va con la mochila que va al rodaje y eso impregna los puntos de vista de cmara, las selecciones del montaje, de la msica y t eres quien eres. Aunque probara a ser otra persona, aunque intentara algo distinto, mis fijaciones volveran a emerger. Tiene proyectos con los que suee y que no haya podido realizar? S. Siempre he pensado que me gustara hacer una pelcula de ciencia-ficcin, una pelcula que transcurriera en el futuro. Pero no en un futuro como los que he visto hasta ahora. De hecho, cuando vi Gattaca, pens que era lo ms parecido a una sombra de idea que por aquel entonces tena. Me hubiera gustado hacer Fahrenheit 451. Adoro a Bradbury desde los 14 aos y Truffaut hizo un trabajo extraordinario. Vista hoy, sigue siendo una pelcula preciosa que se aguanta perfectamente. Hasta qu punto le resultara frustrante la situacin de encontrarse literalmente en la ruina, sin posibilidad de rodar ms pelculas? Me parecera frustrante estar en la ruina. Y me espabilara y a hara otras cosas. Caera en una enorme tristeza pero lo superara. La vida, despus de todo, no termina en el cine. Y o vengo de una familia de obreros y algo se me ocurrira. No se qu, pero algo hara.
30 ESTAR

would allow me to work with all the people with whom I have already done so. Apart from being good actors and actresses, they are very fine people. They enjoy what they are doing and they are, above all, professionals, not stars. The soundtracks in your films, from Too Old to Die Young through to Map of the Sounds of Tokyo are particularly well cared for. What do you hope to gain from the music in your films? I want it to help me and help the spectator to become immersed in the story, in the atmosphere. I made three movies with Alfonso Villalonga, who is a composer with enormous talent, but lately, I have preferred to use just songs because, sometimes, when you use part of a soundtrack in the usual way, it seems you are trying to highlight something that is not in the image. Songs give you far more leeway. In Map of the Sounds of Tokyo, there are versions of Japanese singers from the Forties and even a song by Antony or two Spanish groups: Bedroom and La Flamme. Looking back, which piece of work satisfies you most? There is something I have been experiencing lately which has changed over the years. I always used to arrive on the set dead scared. I was so scared of being a failure that I didnt enjoy it. Y know! a classical anxiety picture. But, in the latest movies ou I have made, it doesnt happen any more. The vital adventure of shooting is very important to me, even completely aside from the final result. There is something about the conjunction of the team, of the place, the actors and actresses that gives me great enjoyment, enables me to be particularly concentrated. And, in Map of the Sounds of Tokyo, all that has been fantastic. What I am left with is the vital adventure: a badly run shoot can be hell. The most striking thing about your movies is that not one of them resembles any other and yet, there is something in them, when seen as a whole, that identify you as their maker. Do you agree? I suppose so. One takes ones baggage along to a shoot and that impregnates the viewpoints of the cameras, the mounting selection, the music Even if I tried being a different person, tried to do something different, my fixations would emerge again: the leopard cannot change his spots. Are there projects that you dream about doing and have not been able to carry out? Y I have always thought that I would like to make a science es. fiction movie, one that took place in the future. But not in the kind of future I have seen up to now. In fact, when I saw Gattaca, I thought it was the nearest thing to the shadow of the idea that I had at that time. I would like to have made Fahrenheit 451. I have adored Bradbury ever since I was 14 and Truffaut did a fabulous job. Even seen today, it is still a lovely film that rides time perfectly. If you were literally ruined and could not continue making movies, would that be a frustration for you? I would find it a frustration to be ruined. Nevertheless, I would pull myself together and do other things. I would be terribly sad but I would get over it. Life, after all, is not only moviemaking. I come from a working-class family and I would find a way. I dont know what but I would do something.

La vida, despus de todo, no termina en el cine. 3 Life, after all, is not only movie-making.

LA ESTRATEGIA DE LA ARAA THE SPIDER'S STRATAGEM Con la perseverancia del adicto, Isabel Coixet ha ido labrando su reputacin hasta ver coronado su esfuerzo con el estreno de Mapa de los sonidos de Tokio en el Festival de Cine de Cannes. Ah la pelcula compiti por la Palma de Oro con la ganadora Das Weisse Band, de Michael Haneke; Les Herbes Folles, de Alain Resnais; Inglourious Basterds, de Quentin Tarantino; Vincere, de Marco Bellocchio; Antichrist, de Lars von Trier; y Los abrazos rotos, de Pedro Almodvar. La coincidencia de dos pelculas espaolas (la de Coixet y la de Almodvar) era algo que no suceda desde 1988, cuando Vicente Aranda y Carlos Saura coincidieron en la competicin. Hiperactiva y alrgica a la inactividad, la directora no slo ha encontrado en el cine su modus vivendi. Dejando a un lado las siete pelculas que figuran en su currculum, es adems uno de los pesos pesados de la industria publicitaria y dirige anuncios por todo el mundo: ha sido directora creativa de la agencia JWT, fundadora y directora creativa de la agencia Target y la productora Eddie Saeta, obteniendo los ms prestigiosos premios por sus trabajos en este campo. En el ao 2000 cre la productora Miss Wasabi Films, desde donde tambin ha realizado destacados documentales y vdeo-clips a los ms variados msicos, desde Sexy Sadie hasta Alejandro Sanz. 3 With the perseverance of the addicted, Isabel Coixet has forged her reputation to the point of seeing her efforts rewarded with the premire of her Map of the Sounds of Tokyo at the Cannes Film Festival where it competed for the Golden Palm with the winner, Das Weisse Band, by Michael Haneke and with Les Herbes Folles, by Alain Resnais; Inglourious Bastards, by Quentin Tarantino; Vincere, by Marco Bellocchio; Antichrist, by Lars von Trier, and Broken Embraces, by Pedro Almodvar, an event that had not happened since 1988, when Vicente Aranda and Carlos Saura coincided in the competition. Hyperactive and allergic to inactivity, Coixet has not only found the cinema world her modus vivendi. Leaving aside the seven movies that figure in her C.V., she is, in addition, one of the big names in the advertising industry and directs the making of spots all over the world, having been creative director of the JWT agency, founder and creative director of the Target agency and the production company, Eddie Saeta, having won the most prestigious prizes for her work in this field. In 2000, she created the production company, Miss Wasabi Films, from where she has already produced noteworthy documentaries and video-clips of the most varied music-makers, from Sexy Sadie to Alejandro Sanz.
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PERSPECTIVAS | PERSPECTIVES
antonio sierra texto/words miguel machine edicin grfica/graphics edition

Es uno de los fenmenos musicales de mayor relieve del siglo pasado, junto con el pop o el rock, pero tambin un fenmeno social que traspasa el mbito musical para protagonizar episodios histricos de gran calado. One of the most relevant musical phenomena of the past century, together with pop or rock-and-roll, but also a social phenomenon that transcends the sphere of music to play a leading role in historical episodes of great significance.

32 ESTAR

EL JAZZ, LA BANDA SONORA DEL SIGLO XX


Jazz, the soundtrack of the 20th century

El siglo XX es, con toda probabilidad, el ms musical de todos:


cualquier imagen de esos cien aos que evoquemos admite un acompaamiento musical apropiado, caracterstico... O tal vez sea que el cine nos ha hecho a la idea de que a todo le podemos poner una banda sonora. En cualquier caso, existe un estilo musical en particular que sirve para arropar cualquier momento vivido en el siglo XX y que, al mismo tiempo, se convierte en protagonista y logra desplazar las imgenes al papel de comparsa o acompaamiento. Porque en s mismo constituye un proceso histrico, un reflejo de cambios sociales y, en ocasiones, incluso un detonante de ellos: el jazz. La particularidad del jazz, respecto a otros estilos musicales del XX, es que, aun perviviendo durante todo el siglo, hunde sus races en el anterior, y en su sonido se escuchan ecos de una poca que ha marcado la historia de Estados Unidos. Porque el jazz no habra sido posible sin la existencia del comercio de esclavos. Es el resultado de una fusin, del encuentro de la cultura de las tribus africanas con la tradicin musical occidental. En Nueva Orleans, los esclavos procedentes de Costa de Marfil disfrutaron de una singular libertad y pudieron eludir una ley que prohiba expresamente el batir de tambores. En Congo Square se reunan y trataban de recrear los sonidos de su tierra mediante instrumentos de percusin como calabazas resecas o el tpico instrumento del sur de Estados Unidos: el banyo de cuatro cuerdas. La comunidad de esclavos desarroll su expresin musical a travs de la improvisacin creativa sobre el material que le proporcionaban las msicas rituales propias tradas de frica, la tradicin instrumental de las orquestas estadounidenses (sobre todo, las bandas militares) y las formas y armonas de la msica europea. La esencia del jazz, la improvisacin, viene dada por sus orgenes africanos. Lo dems, sin embargo, forma parte de la historia de la civilizacin occidental. Si el germen naci en las plantaciones de algodn y creci en una ciudad concreta, Nueva Orleans, tras la guerra de

Harlem , 1958. Fotografa de Art Kane. 3 Harlem, 1958. A photograpgh by Art Kane.

The 20th century is almost certainly the most musical of them all: any image from those past hundred years evoked by us admits an appropriate, characteristic musical accompaniment Or, maybe it is the cinema that has made us used to the idea that we can put a soundtrack to everything. Be that as it may, there is a particular style of music that embraces any moment lived in the 20th century which, at the same time becomes the protagonist, managing to reduce the images to mere accompaniment because, in itself, it constitutes a historical process, a reflection of social changes and, occasionally even, what triggers them: jazz. The peculiarity of jazz, with regard to other styles of music of the 20th century is that even while it has lived on throughout the century, its roots stem from earlier times and its sound echoes an era which has been a milestone in the history of the United States. Because jazz could not have come about without the existence of the slave trade. It is the result of a fusing, of an encounter by African tribal culture with Western musical tradition. In New Orleans, slaves from the Ivory Coast enjoyed a certain amount of freedom and could dodge a law that expressly prohibited the beating of drums. They would meet in Congo Square and try to recreate the sounds of their country by means of percussion instruments, like hollow pumpkins or the typical instrument played in the southern states; the four-stringed banjo. The slave community developed its musical expression through creative improvisation based on the material provided by the indigenous ritual music brought over from Africa, the instrumental traditions of the American orchestras (particularly, the military brass bands) and the forms and harmonies of European music. The essence of jazz improvisation comes from its African origins. The rest, nevertheless, forms part of the history of the socalled western civilization.
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PERSPECTIVAS | PERSPECTIVES

Retrato de Billie Holiday. Fotograa de Carl Van Vechten (1949). En la otra pgina, Blues (1951), de Josep Guinovart (acuarela sobre papel) 3 Portrait of Billie Holiday, by Carl Van Vechten (1949). On the other page, Josep Guinovarts Blues (1951). Watercolour on paper.

Secesin y el fin de la esclavitud, la comunidad negra tuvo tambin acceso a instrumentos musicales. Comenzaron a formarse entonces las marching bands; la corneta, el trombn, el clarinete y la batera se convirtieron en los instrumentos bsicos Y el jazz se propag de la forma ms peculiar posible: desde los locales de fiesta cegados por el humo de tabaco, hasta los funerales para los que muchas bandas eran contratadas. Y, de funeral en funeral, el embrin del jazz se desbord desde el sur profundo por todo el pas. El trmino jazz (o, ms concretamente, jass) aparecera por primera vez en la cartula de un disco grabado por la Original Dixieland Jazz Band, una banda formada por msicos blancos, en 1917. A partir de esa fecha, este estilo musical lo impregn todo. Los locos aos veinte bailaron a ritmo de jazz. Con el ttulo de su obra Tales of the Jazz Age (1922), Scott Fitzgerald logr bautizar como la era del jazz a toda una generacin, reflejando la pasin de todo el mundo artstico (cineastas, pintores, escritores) por el jazz como msica y como estilo de vida. Porque el jazz se convertira en tema predilecto para muchos creadores, al tiempo que la comunidad negra protagonizaba por primera vez un movimiento cultural de envergadura: el fenmeno Harlem Renaissance alumbr en Nueva Y a grandes msicos, ork como Louis Amstrong o Duke Ellington. Si el epicentro del fenmeno jazz fue Estados Unidos, los conflictos blicos actuaron como la correa de transmisin que llev esta msica a Europa. Y durante la Primera Guerra Mundial, los a Harlem Hellfighters, la orquesta militar de James Rees Europe, mostr a los europeos los nuevos ritmos sincopados. Francia acogi esta msica con especial entusiasmo y escritores como Cocteau o Georges Bataille se inspiraron en ella, lo mismo que pintores como George Grosz o Pablo Picasso. Durante la Segunda Gran Guerra, creadores como Jean Dubuffet y Henri Matisse se mostraran seducidos por una msica que muchos franceses enarbolaran como smbolo de oposicin a la invasin nazi. Al trmino de la contienda, el jazz ha encontrado nuevos caminos: triunfa una nueva corriente, el bebop. Hasta el momento, el jazz se expresaba a travs de las llamadas Big bands. El bebop comienza a gestarse cuando esas grandes bandas acogen a msicos cada vez ms

El fenmeno Harlem Renaissance alumbr en N ueva Y a grandes msicos ork de jazz, como Louis Amstrong o Duke Ellington. 3 The Harlem Renaissance phenomenon in N Y gave rise to great musicians, of the likes ew ork of Louis Amstrong or Duke Ellington.
If the seed germinated in the cotton plantations and grew up in a concrete city New Orleans after the Civil War and the end of slavery the black community also had access to musical instruments, the marching bands were formed, the bugle, the trombone, the clarinet and the drums became the basic instruments and jazz was propagated in the strangest possible way, from party places blinded by clouds of cigarette smoke to funeral celebrations in which often enough bands were hired to play. So, from funeral to funeral, the embryo of jazz music overflowed from the Deep South to the rest of the country. The term jazz (or, more specifically, jass) appeared for the first time on the cover of a record made by the Original Dixieland Jazz Band, a band formed by white musicians in 1917. From that date onwards, this style of music impregnated everything. The crazy twenties danced to the rhythm of jazz. With the title of his book Tales of the Jazz Age, Francis Scott Fitzgerald named a whole generation, mirroring the passion of the entire artistic world (movie-makers, painters, writers, etc.) for jazz as music and as a lifestyle. Because jazz was to become the favourite theme for many creative artists while, at the same time, the negro community was for the first time playing the leading role in a far-reaching cultural movement: the Harlem Renaissance phenomenon in New Y gave rise to great musicians, of the ork likes of Louis Armstrong or Duke Ellington.

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PERSPECTIVAS | PERSPECTIVES

Cartula de un disco de Ella Fitzgerald (1959). Abajo, el cartel de un espectculo de jazz (1926). 3 An Ella Fitzgeralds cover record. Below, a poster announcing a jazz show in 1926.

jvenes, que vienen a reemplazar a los que han sido movilizados durante la Segunda Guerra Mundial. Adems, esas formaciones numerosas resultan cada vez ms difciles de mantener en un panorama en el que se han desintegrado los circuitos comerciales. El bebop sustituye el concepto meldico propio del swing (corriente dentro del jazz predominante en dcadas anteriores) por un concepto armnico, desconocido hasta entonces en el jazz. Dada la carga social que lleva consigo el jazz, el auge del bebop se explica por un profundo cambio social: la actitud de resistencia y rechazo a las corrientes ms comerciales (que se interpreta como una colonizacin de la cultura negra) acercan al jazz a otras formas de expresin, como el blues y el propio bebop. Muchos beboppers se movan entre los que haban sido expulsados hasta los mrgenes de la sociedad, o al menos as se consideraban ellos: artistas que se describan a s mismos como beats, un diminutivo de beatitud, los benditos oprimidos de la sociedad; el bebop tiene de hecho una estrecha relacin con el movimiento literario estadounidense denominado Generacin Beat. En estos aos, adems, nace un nuevo soporte para la creacin artstica directamente ligado a la msica. La aparicin del microsurco y la comercializacin a gran escala de discos ofrecen un formato reducido en el que plasmar un diseo artstico: las cartulas. David Stone, Andy Warhol, Josef Albers, Reid Miles ilustran muchas de ellas, elevando un objeto de consumo de masas a la consideracin de autntica obra de arte. En esas cartulas se reflejar el distinto concepto que ha adquirido el jazz en la costa este y la costa oeste de Estados Unidos: grandes letras geomtricas y retratos de primer plano de msicos negros en el este; imgenes vacacionales en los sellos discogrficos del oeste. The epicentre of the jazz phenomenon was the United States of America and the wars became the conveyor belt that brought this music to Europe. Already, during the First World War, the Harlem Hellfighters, the James Rees military orchestra, had demonstrated to Europeans those new syncopated rhythms. France embraced this music with special enthusiasm; writers like Cocteau or Georges Bataille were inspired by it, just as were painters like George Grosz or Pablo Picasso. And, during the Second Great War, creative artists such as Jean Dubuffet and Henri Matisse were seen to be seduced by a kind of music that many French people brandished as a symbol of opposition to the Nazi invasion. After the war ended, jazz found its way onto many new tracks: the bebop was all the rage. Up to that time, jazz had been expressed through the Big Bands. Bebop began to be conceived when those great bands started to hire ever younger and younger musicians, replacing those who had been called up to fight in the Second World War. Moreover, those large bands were becoming increasingly more difficult to maintain in a panorama where the tour circuits were disintegrating. Bebop had substituted the melodic concept of the swing (a predominant current in jazz in earlier decades) for a harmonious concept that had never been seen before in jazz. Due to the social weight of jazz, the boom of the bop can be justified by a profound

En los aos sesenta, el jazz acompaa a los movimientos de liberacin negros y la lucha por los derechos civiles. 3 In the sixties, jazz was the music that accompanied the black freedom movements and the fight por civil rights.

36 ESTAR

Retrato de un msico de jazz, de Thomas Hart Benton (1949). leo sobre lienzo. 3 Portrait of a jazz musician, by Thomas Hart Benton (1949). Oil of canvas.

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PERSPECTIVAS | PERSPECTIVES

En los aos sesenta, el jazz es la msica que acompaa los movimientos de liberacin negros y la lucha por los derechos civiles, en la que jugaron un rol destacado grupos como Black Power, Black Muslims o Black Panthers. El jazz es protagonista en algunos de los experimentos cinematogrficos ms vanguardistas, como el reencuentro que Pier Paolo Pasolini propicia entre Gato Barbieri y las races africanas del jazz en la realizacin de Appunti per unOrestiade Africana. A partir de esa dcada, otros estilos musicales han tenido ms presencia en la escena social que el jazz, estilos musicales que, como el pop o el rock, han logrado una mayor acogida entre el pblico de masas por su recurso a la meloda (el carcter personalista del jazz y la importancia de la improvisacin lo hacen menos comercial). Pero, sin duda, el jazz sigue muy vivo y conserva su poder de convocatoria, que se traduce en innumerables festivales que perduran desde hace dcadas (el de Newport, en Rhode Island, por ejemplo, celebr su primera edicin en 1954) y en su reiterada presencia como banda sonora en el denominado cine de autor. La seduccin que ha ejercido sobre grandes cineastas, escritores, pintores ha sido motivo de que, adems de constituir una creacin artstica en s misma, haya salpicado a tantos y tan diferentes mbitos de creacin. Como fenmeno social, el jazz ha representado en el siglo XX un papel preponderante, aunque las connotaciones que le acompaaban en sus orgenes (como forma de expresin de la comunidad negra o como contestacin a formas de vida convencionales) se hayan extinguido con el transcurso de los aos para dar paso a un nuevo estatus: el de un gnero musical minoritario y ligado a cierto aire de intelectualidad.

A la izquierda, Jazz, de Fernand Lger (1930). A la derecha, Matrose im Nachtlokal, de George Grosz (1935). Arriba, la portada de un disco de jazz, del sello Columbia (aos cuarenta). 3 On the left, Jazz, by Fernand Lger (1930). On the right, Matrose im Nachtlokal, de George Grosz (1935). Above, a jazz cover record, by Columbia Records (fourties).

social change: the attitude of resistance and cultural rejection to the colonization of negro music by the commerciality it entailed had brought it far closer to the blues and primitive jazz than swing had ever done. Many beboppers were to be found amongst those who had been pushed out onto the fringe of society, or at least, this is how they viewed themselves: artists who described themselves as beats, a diminutive of beatitude, the blessed outcasts of society; bebop does indeed have a close relationship with the literary movement of the United States called the Beat Generation. At that time, also, a new support was born for artistic creation closely linked to music. The appearance of the microgroove and the massive sale of records offered a reduced format for exhibiting artistic design: the covers. David Stone, Andy Warhol, Joseph Albers, Reid Miles, etc., illustrated many of them, raising a mass-consumer object to the status of a true work of art. These covers were to reflect the different concept that jazz had acquired on the east and west coasts of the United States. Large geometrical letters and close-up pictures of negro musicians in the east, versus holidays images for the west coast record companies.

In the sixties, jazz was the music that accompanied the black freedom movements and the fight for civil rights, in which important roles were played by groups such as Black Power, Black Muslims or Black Panthers. Jazz was a predominant feature in some of the most avant-garde experimental movies, such as the reencounter that Pier Paolo Passolini propitiates between Gato Barbieri and the African roots of jazz in Appunti per unOrestia de Africana. As from that period, other styles of music have had greater presence on the social scene than jazz, styles of music that, like pop or rock-and-roll have achieved greater acceptance amongst the masses on account of the recourse taken to melody (the very personal character of jazz and the importance of improvisation make it less commercial). But, without any doubt, jazz is still very much alive and maintains its call to the public, which results in the innumerable jazz festivals that have survived for dozens of years (the Newport Festival on Rhode Island, for example, held its first edition in 1954) and in its repeatedly used soundtrack presence in what is known as independent cinema. The seduction it has exercised over the great movie-makers, writers, painters, etc. has been the motive whereby, in addition to becoming an artistic creation in itself, it has left its imprint on so many different creative spheres. Not only as an artistic phenomenon but also as a social phenomenon, jazz has played a predominant role in the 20th century, although the connotations that accompany it in its origins (as a form of expression of the negro community as victims of slavery or as a protest against the conventional ways of life of the twenties), becoming extinguished over the years to give way to a new status: that of the minority musical genre linked to a certain degree of intellectuality.
36 ESTAR

EL IDILIO ENTRE EL CINE Y EL JAZZ


El cine francs fue el primero en utilizar el jazz de forma significativa como fondo dramtico de pelculas dentro del ambiente de la Nouvelle Vague. El paradigma de aquel histrico cambio de rol, entre el cine y el jazz, fue sin duda la extraordinaria pelcula y mejor banda sonora: Ascenseur pour L'chafaud, de Louis Malle (1957), cuya grabacin se realiz mientras visionaba la pelcula el genial trompetista de jazz Miles Davis. La presencia del jazz en el cine en general y en el norteamericano en particular no se corresponde por completo con la influencia y el prestigio de este estilo musical. Lo fundamental, sin embargo, es que la industria cinematogrfica en los aos sesenta acab por asumir la msica de jazz como un elemento consustancial con el cine y que compositores procedentes del jazz (Henry Mancini, Johnny Mandel, Lalo Shifrin, Quincy Jones o Dave Grusin) se profesionalizaran en la composicin de msica para el cine. El idilio entre el cine y el jazz vive sus mejores momentos cuando algunos de los ms grandes directores resultan ser aficionados al jazz. As, Bertrand Tavernier, con su esplndida produccin Round Midnight (1986), o Clint Eastwood con su portentosa Bird (1988), Francis Ford Coppola con Cotton Club (1984) o Robert Altman, con Kansas City (1996) y Woody Allen con Acordes y Desacuerdos (1999), han contribuido en aos recientes a prestigiar el jazz.

Fotograma de la pelcula Ascenseur pour lEchafaud, de Louis Malle (1957). 3 A shot of the film Ascenseur pour lEchafaud, by Louis Malle (1957).

THE ROMANCE BETWEEN THE CINEMA AND JAZZ


French films were the first to use jazz in a significant manner as a dramatic background for movies within the Nouvelle Vague trend. The best example of that historical change of role between the cinema and jazz was, undoubtedly the extraordinary film and even better soundtrack of Lift to the Scaffold (1957), the recording of which was made while the brilliant jazz trumpet player, Miles Davis, was viewing the movie. The presence of jazz in the cinema in general and in American cinema in particular, does not correspond at all with the influence and prestige of this music. Although what is essential is that the cinema industry in the sixties ended up using jazz music as an inseparable element in moviemaking and that composers who had been reared on jazz (Mancini, Johnny Mandel, Lalo Shifrin, Quincy Jones or Dave Grusin) became experts in composing music for the cinema. The romance between the cinema and jazz lived its best times when some of the great movie directors happened also to be jazz fans. Thus, Bertrand Tavernier with his splendid production Round Midnight (1986) or Clint Eastwood with his magnificent Bird (1988), Francis Ford Coppola with Cotton Club (1984) or, closer to our days, Robert Altman with Kansas City (1996) and Woody Allen with Sweet and Lowdown (1999) have contributed over these last years to give jazz greater prestige.

PRXIMAS CITAS
El Centre de Cultura Contempornia de Barcelona programa hasta el prximo 18 de octubre la exposicin El siglo del jazz. La muestra presenta de manera cronolgica la relacin entre el jazz y las artes grficas a lo largo de todo el siglo XX. De la pintura a la fotografa, del cine a la literatura, sin olvidar el grafismo ni los cmics, se explora el desarrollo del jazz a lo largo de cien aos. Centre de Cultura Contempornia de Barcelona C/ Montalegre, 5 08001, Barcelona, Espaa T: (+ 34) 93 306 41 00
HASTA EL 18 DE OCTUBRE

FORTHCOMING DATES
The Contemporary Cultural Centre of Barcelona is programming through to next 18th October an exhibition called The Jazz Century. The show presents in chronological order the relationship between jazz and the graphic arts throughout the 20th century. From painting to photography, from movies to literature, not to forget computer graphics or comics, the development of jazz is explored over the hundred-year period. Centre de Cultura Contempornia de Barcelona C/ Montalegre, 5 08001 Barcelona, Spain T: (+ 34) 93 306 41 00
UNTIL 18 OCTOBER

Interpretacin de Jazz de Harlem, una obra de Winold Reiss (1925). 3 Interpretation of Harlem Jazz, by Winold Reiss (1925)
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MUNDO EUROSTARS WORLD


Eurostars Hotels, con el arte y la cultura. Art and Culture in Eurostars Hotels.

ARTE EXCLUSIVO PARA NUESTROS HOTELES

FOTO PHOTO

Anoten estos nombres: Nina Boy, Veyrat y Valderrey, artistas con mucho futuro. Eurostars Hotels ha apostado por el arte y la cultura como elemento diferencial. A las tradicionales piezas exclusivas de Subirachs, Lle, Miserachs y Rfols Casamada que presiden el Eurostars Grand Marina Hotel, recientemente se ha aadido una pieza de Marie France Veyrat, llamada El rbol de la Verdad. Se encuentra en la recepcin del hotel y se podr disfrutar hasta diciembre de 2010. Otra pieza de altura que la compaa ha adquirido recientemente ha sido el espectacular conjunto ideado por Nina Boy (Xavi Muoz) que preside el restaurante Volvoreta del Eurostars Madrid Tower Hotel. Llamadas Domestic y Dream Hunter, se trata de dos grandes murales unidos por una multitud de mariposas (volvoretas en galego) rojas que sobrevuelan el techo del espectacular restaurante panormico del hotel. El hotel madrileo tambin acogi durante la celebracin de Art Madrid la pieza del artista barcelons Eduardo Valderrey, Outborders # 1, 2006, cedida por la prestigiosa galera Rafael Prez Hernando. 3 Exclusive art for our hotels. Take good note of these names: Nina Boy, Veyrat and Valderrey, artists with a brilliant future. Eurostars Hotels has taken a bet on art and culture as a differentiating element. In addition to the well-known, original artwork by Subirachs, Lle, Miserachs and Rfols Casamada that dominate the Grand Marina Hotel, a new piece by Marie France Veyrat has recently joined the collection, called The Tree of Truth. It can be found in the hotel reception area and can be enjoyed until December 2010. Another superior piece of work acquired by the company recently has been the stunning decoration created by Nina Boy (Xavi Muoz) which is the focal point of the Volvoreta Restaurant in the Eurostars Madrid Tower Hotel. Going by the names of Domestic and Dream Hunter, two large murals are joined together by a myriad of red butterflies (volvoretas in the local language from Galicia) that fly beneath the ceiling of the hotels spectacular panoramic restaurant. This Madrid hotel also displayed a project by the Barcelona artist Eduardo Valderrey during the Art Madrid Fair, a series of photographs entitled Outborders # 1, 2006', loaned by the prestigious Rafael Prez.

40 ESTAR

V PREMIO EUROSTARS HOTELS DE NARRATIVA DE VIAJES


Ms de 25 orginales se presentan al concurso

LITERATURA LITERATURE

Ms de 25 manuscritos provenientes de toda Espaa y de Amrica Latina en especial de Mxico y Argentina optan a la V edicin del certamen literario de nuestra cadena. Se trata de relatos de viajes, aunque en esta edicin han predominado los textos sobre el continente asitico. Las obras presentadas son cada vez ms arriesgadas en cuanto a la forma y el uso de la convencin del gnero, cuyos lmites parecen difuminarse cada vez ms para dar cabida al ensayo, a la ficcin e incluso a la prosa potica junto a la crnica o el relato ms tradicional. El vencedor se dar a conocer en septiembre y tomar el relevo de Tmoris Grecko, que obtuvo el premio de la ltima edicin con la obra Asante frica, que actualmente se puede disfrutar en todos nuestros hoteles. 3 More than 25 original candidates for the 5th edition of the Eurostars Hotels Travel Narrative Award. More than 25 manuscripts have come in from all over Spain and Latin America, particularly from Mexico and Argentina, to compete for the fifth edition of the literary competition organized by our chain. The subject matter is travel stories although, in this edition, it is Asian continent that is most predominant. The work presented has become increasingly more daring in form and in the conventional use of the genre, while its limits also appear to be more diffused, to accommodate essays, fiction and even prose-poetry, together with reporter-like or the more traditional type of tale. The winner will be announced in September and will take over from Tmoris Grecko, the award-winner of the past edition with his book Asante Africa, which can currently be read and enjoyed in all our hotels.

FACHADAS DE BARCELONA, TEMA DEL IX PREMIO GRAND MARINA DE FOTOGRAFA

FOTO PHOTO

El Eurostars Grand Marina Hotel ##### G.L. de Barcelona lanza la novena edicin de su premio fotogrfico, dedicado en esta oacasin al tema Fachadas de Barcelona. Los interesados en participar tienen hasta el prximo 23 de octubre de 2009 para su presentar sus imgenes a concurso. Las fotografas ganadoras, al margen de recibir hasta un total de 10.000 euros en premios, se utilizaran para la decoracin de este exclusivo establecimiento, uno de los ms emblemticos de Barcelona. El IX Premio Grand Marina de Fotografa 2009 reconocer aquellas series fotogrficas que interpreten con una mirada personal, la belleza, la elegancia o la osada de las fachadas de Barcelona, ya sea en su conjunto o en los mltiples detalles que en ellas se pueden encontrar. Y es que la ciudad catalana rene fachadas de diferentes estilos: gticas, neoclsicas, modernistas, futuristas, todas con su encanto especial. 3 Barcelona Faades, subject matter of the 9th edition of the Grand Marina Photography Awards. The Eurostars Grand Marina Hotel ##### G.L. in Barcelona has launched the ninth edition of its photography awards, this time focused on the theme Barcelona Faades. Those wishing to compete have until 23 October, the deadline, for presenting their entries. The winning photographs, in addition to receiving a total of 10,000 euros in prize money, will be used to decorate this exclusive establishment, one of the most iconic in Barcelona. The 9th Edition of the Grand Marina Photography Awards will acknowledge, in particular, those series of photographs that portray a personal view of the beauty, elegance or audacity of the faades in Barcelona, whether in their settings or in the numerous details one can find in them. The Catalonian capital sports faades in many different styles: gothic, neoclassic, modernist, futurist each with its own particular charm.

VERANO, LA MEJOR POCA PARA SACAR FOTOGRAFAS PERSONALES DE NUESTRAS CIUDADES


Ya est en marcha la IV edicin del Premio Eurostars Hotels de Fotografa Tu mirada espersonal

FOTO PHOTO

Ya est en marcha la cuarta edicin del Premio Eurostars Hotels de Fotografa Tu Mirada Es Personal, en el que los clientes de nuestra cadena pueden dar su personal visin, a travs de la fotografa, de alguno de los 27 destinos en los que tiene prsencia.De entre todas las imgenes recibidas, el jurado seleccionar un total de 25 fotografas, de las cules habr tres primeros premios dotados con estancias gratuitas y cmaras Olympus, 7 accsit y 15 finalistas, que recibirn un diploma acreditativo. Adems, las 25 instantneas premiadas formaran parte de una exposicin itinerante que recorrer todos los establecimientos de la cadena. Tienes hasta el prximo 18 de diciembre de 2009 para presentar tus instantneas por email a espersonal@eurostarshotels.com. Anmate y participa! 3 Summer, the best season of the year for taking personal photos of our cities. Already under way is the fourth edition of the Eurostars Hotels Photography Prize Your View is Personal, in which our clients can give their personal views, through their photographs, of some of the 27 destinations in which Eurostars Hotel has presence. The panel of judges will select out of all the entries received a total of 25 photos, from which prize-winners in the three first places will receive free stays and Olympus cameras, while seven runners up and fifteen finalists will be presented with diplomas. In addition, the 25 award-winning photographs will form part of a travelling exhibition that will go round all the establishments belonging to the chain. You have until next 18 December 2009 to present your photos by e-mail to espersonal@eurostarshotels.com. Come on and take part!
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EUROSTARS HOTELS

EXPOSICIONES EXHIBITIONS

Exposiciones de arte en nuestros hoteles. Art exhibitions in our hotels.

Nuestros establecimientos acogen exposiciones de artistas locales o residentes en las ciudades en las que se ubican. Con esta iniciativa Eurostars Hotels pretende ofrecer a los jvenes artistas una plataforma importante de promocin y comercializacin de su obra. Las obras expuestas estn a la venta. Si est interesado en adquirir alguna de ellas, pregunte en la recepcin. Para ampliar informacin sobre la obra de los artistas que han expuesto o expondrn en las instalaciones de los establecimientos de Eurostars Hotels, puede consultar la pgina web: www.eurostarshotels.com/es/filosofia-exposiciones.html o contactar con Federica Di Matteo (arte@hotusa.es)

Antonio Espejel

Antonio Espejel y su pintura arquitectnica, en el Eurostars Gran Madrid Hasta el prximo 6 de septiembre, el Eurostars Gran Madrid acoge una exposicin de doce lienzos del artista Antonio Espejel (Madrid, 1941). Su formacin arquitectnica influye tanto en sus pinturas, que l mismo define sus piezas como la pintura con toques arquitectnicos, que es a la vez figurativa, abstracta y conceptual. Las obras que se exponen en el hotel madrileo nacen de los viajes realizados por el artista y pretenden mostrar fogonazos conceptuales para describir ideas sin imitar los objetos. 3 Antonio Espejel and his architectural painting at the Eurostars Gran Madrid. The Eurostars Gran Madrid is displaying an exhibition comprising twelve paintings by Antonio Espejel (Madrid, 1941). His training in architecture is of such influence that he defines his artwork as Painting with architectural touches, which is at one and the same time figurative, abstract and conceptual. These paintings on show in this Madrid hotel come from journeys made by the artist and attempt to demonstrate conceptual explosions to describe ideas without imitating any objects. El Eurostars Cristal Palace descubre el paisaje volcnico de La Garrotxa Joan Miquel Font (Gerona, 1964) define sus piezas como una abstraccin del paisaje volcnico de La Garrotxa, comarca catalana en que el artista pas su infancia y juventud. A travs de la vivacidad de las manchas de colores -ocres granates, sienascon que trata el paisaje, la simbiosis de tonalidades y el equilibrio esttico de sus pinturas, Font rinde homenaje a ese idlico rincn de la geografa de Catalua. 3 The Eurostars Cristal Palace discovers the volcanic landscape of Garrotxa. Joan Miquel Font, (Gerona, 1964) defines his artwork as an abstraction of the volcanic landscape of Garrotxa, the Catalonian region where this artist spent his childhood. Through the vivacity of the splashes of colour - ochres, maroons, siennas with which he interprets the landscape, the symbiosis of shades and the aesthetic balance of his paintings, Font pays tribute to this idyllic corner of Catalonian topography. Clara Oliva analiza la fragilidad humana en el Eurostars Gaud Los grabados de Clara Oliva son la plasmacin en materiales slidos de los sentimientos que surgen en el entretejido humano, su fragilidad y el modo en que nos ayudamos en nuestro desarrollo vital. La exposicin, que consta de catorce piezas, se podr disfrutar en el Eurostars Gaud, del 10 de junio al 8 de septiembre. 3 Clara Oliva studies human fragility at the Eurostars Gaud. Clara Olivas etchings are the shape and form in solid matter of the feelings that emerge in mankind, their fragility and the way we help ourselves in our life development. The exhibition, comprising fourteen pictures, can be viewed and enjoyed at the Eurostars Gaud from 10 June to 8 September. Grabados de Colet y Ruano en el Eurostars Parc del Valls El Eurostars Parc del Valls acogi una exposicin de piezas de Neus Colet y Mercedes Ruano, dos artistas con un nexo en comn, la tcnica del grabado, y una misma manera de interpretar la realidad exterior, aunque cada una con una mirada diferente. Las piezas expuestas estaban inspiradas en la vida que rodea a las artistas los juegos infantiles, las nubes, las imgenes que cada da entran por sus ojos. 3 Etchings by Colet and Ruano at the Eurostars Parc del Valls. The Eurostars Parc del Valls has displayed an exhibition of artwork by Neus Colet and Mercedes Ruano, two artists who have in common the techniques of etching and the same way of interpreting outside reality, although each from a different viewpoint. The work exhibited is finds its inspiration in the life surrounding both artists: children's games, clouds, the images that their vision catches day after day.

Our establishments house exhibitions by local or resident artists in the areas where they are located. By means of this initiative, Eurostars Hotels attempts to offer young artists an important promotional and commercial platform for their work as the exhibits are for sale. If you are interested in purchasing any one of them, please ask at the reception desk. For additional information about the work of the artists who have exhibited or who will be exhibiting in any of the Eurostars Hotels, kindly consult our website. www.eurostarshotels.com/en/filosofia-exposiciones.html or contact Federica Di Matteo (arte@hotusa.es)

Joan Miquel Font

Mercedes Ruano
42 ESTAR

LA SOBRIEDAD DE JOS MANUEL OLMO, EN EL EUROSTARS GRAND MARINA Hasta el 10 de septiembre de 2009

Jos Manuel Olmo bebe de Tpies, de Alberto Burri o de Lucio Muoz, entre otros pintores informalistas, as como de la escultura de las culturas antiguas (Egipto, Persia y Mesopotamia). Pero lo que finalmente le mueve a crear es la contemplacin de la naturaleza, principalmente de elementos como la tierra, las rocas, la madera Todo ello con las maravillosas texturas, formas y colores que adquieren en su superficie. Olmo trata de crear composiciones envolventes, integradas en un todo dirigido por la armona cromtica y la fuerza de la materia. El Eurostars Grand Marina ##### GL acoge hasta el prximo 10 de septiembre una amplia exposicin de la obra de este artista madrileo. 3 The sobriety of paintings by Jos Manuel Olmo enhances the facilities of the Eurostars Grand Marina. Jos Manuel Olmo finds inspiration amongst painters such as Tpies, Alberto Burri or Lucio Muoz, amongst other informalist painters, as well as sculptures from ancient cultures (Egypt, Persia and Mesopotamia). But what moves him most firmly to creating is contemplating nature, primarily elements like the earth, rocks, wood. All with the marvellous textures, forms and colours that their surfaces acquire. Olmo tries to create enveloping compositions, integrated in one whole, letting himself be guided by the chromatic harmony and the force of the matter. The Eurostars Grand Marina ##### GL is housing a comprehensive exhibition of work by this artist until 10 September.

EXPOSICIONES FUTURAS FORTHCOMING EXHIBITIONS


Barcelona
Eurostars Angl
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Eurostars Gaud

Mireia Pages 15/07/09 - 15/09/09 Eurostars BCN Design


#####

Clara Oliva 10/06/09 - 10/09/09 Aurembiaix Sabater 16/09/09 - 16/11/09 Eurostars Grand Marina
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GL

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Eurostars Parc del Valls

Horacio Torija 22/09/09 - 22/11/09

Valencia
Eurostars Gran Valencia
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Mara Durango, Cristina Durisotti, urea Brufau 23/07/09 - 30/10/09 Carme Rovira, Alison Buchanan 01/11/09 - 30/01/10 Pep Puigti, Margarida Garca-Andreu, Judith Gil 01/02/10 - 30/04/10 Eurostars Laietana Palace
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Lisboa / Lisbon
Eurostars Das Letras
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Juan Ramos Prez 11/06/09 - 06/09/09

Beatrice Bizot 08/05/09 08/09/09 Eurostars Cristal Palace


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Antonio Viavia, Maria Gabriel, Eduardo Nevy, Emilia Nadal, Teresa Magalhes 25/11/08 - 31/12/09

Jose Manuel Olmo 16/07/09 - 10/09/09 Francesca Plasa 24/09/09 - 24/11/09 Alfredo Palmero 01/12/09 - 01/02/10

Madrid
Eurostars Gran Madrid
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David Kirkir 25/06/09 10/09/09 Eva Ricart 14/09/09 14/11/09

Antonio Espejel 16/06/09 - 06/09/09

Para ms informacin: arte@hotusa.es


Further information: arte@hotusa.es
la revista de eurostars hotels magazine 43

Orieta Snchez 15/07/09 - 14/09/09

RELATO | STORY

La revista ESTAR reproduce para sus lectores un extracto de la obra Nocturna, de Guillermo del Toro y Chuck Hogan (Ed. Suma de Letras) 3 ESTAR magazine gives readers an advance exctract of The strain, by Guillermo del Toro and Chuck Hogan (Suma de Letras Publishers)

orre de control del Aeropuerto Internacional JFK. Le decan el plato. Era de un verde monocromado y brillante (el JFK llevaba ms de dos aos esperando nuevas pantallas de colores), como un plato de sopa de guisantes al que le hubieran agregado grupos de letras con seales luminosas codificadas. Cada seal luminosa representaba cientos de vidas humanas, o almas, para decirlo en la antigua jerga nutica que perdura hasta el da de hoy en la navegacin area. Cientos de almas. Tal vez era por eso por lo que todos los controladores de trfico areo le decan Jimmy el Obispo a Jimmy Mendes. El Obispo era el nico controlador areo que permaneca de pie durante su turno de ocho horas, con un lpiz nmero 2 en su mano y caminando de un lado para el otro de la torre de control, a noventa y ocho metros sobre el Aeropuerto Internacional John F. Kennedy, desde donde haca aterrizar a los aviones comerciales que arribaban a Nueva Y como un pastor orientando a su rebao. Utilizaba el borrador rosado ork para visualizar la nave que tena bajo su control y observar la distancia entre las aeronaves, en lugar de recurrir exclusivamente a la pantalla bidimensional de su radar. All, donde a cada segundo titilaban cientos de almas. United 6-4-2, doble a la derecha en direccin 1-0-0; suba a cinco mil pies. Pero no podas pensar as cuando estabas en el plato. No podas pensar demasiado en todas esas almas cuyos destinos estaban bajo tu control: seres humanos confinados dentro de misiles alados que volaban por los aires. Es imposible estar pendiente de todo: los aviones en tu plato, los controladores a tu alrededor sosteniendo conversaciones codificadas a travs de sus auriculares, los otros aviones en sus platos, y tambin la torre de control del Aeropuerto LaGuardia... y las de cada aeropuerto en cada ciudad de los Estados Unidos... y de todo el mundo. Calvin Buss, el administrador de control de trfico areo, y supervisor inmediato de Jimmy el Obispo, se le acerc por detrs. Se haba tomado un corto descanso; de hecho, an estaba masticando comida. Cmo vas con el Regis 7-5-3? El 7-5-3 ya aterriz. Jimmy el Obispo mir rpidamente su plato para confirmarlo. Se est acercando a la puerta. Mir de nuevo la planilla de las puertas de embarque, buscando el 7-5-3. Por qu? El radar terrestre dice que tenemos una nave detenida en Foxtrot. En la pista de rodaje? Jimmy mir otra vez su plato, asegurndose de que todos los comandos estuvieran funcionando bien, y abri de nuevo su canal a DL753. Regis 7-5-3, aqu torre de control del JFK. No recibi respuesta y lo intent de nuevo. Regis 7-5-3, aqu torre de control del JFK; adelante. Esper, pero no escuch siquiera el clic de la radio Regis 7-5-3; aqu torre de control del JFK. Me escucha? Un auxiliar se les acerc por detrs. Un problema con el sistema de comunicacin? sugiri. Seguramente es un fallo mecnico serio contest Calvin Buss. Alguien dijo que el avin se haba oscurecido. Oscurecido? exclam Jimmy el Obispo, pensando en el golpe de suerte que hubiera sido que una nave presentara desperfectos mecnicos serios justo despus de aterrizar. Memoriz el nmero 753 para jugarlo a la lotera cuando regresara a casa. Calvin conect su auricular en el b-comm de Jimmy. Regis 7-5-3. Aqu torre de control del JFK. Por favor, responda. Regis 7-5-3... aqu torre, cambio.

42 ESTAR

NOCTURNA
por Guillermo del Toro y Chuck Hogan

FK INTERNATIONAL CONTROL TOWER. The dish, they called it. Glowing green monochrome (JFK had been waiting for new color screens for more than two years now), like a bowl of pea soup supplemented with clusters of alphabet letters tagged to coded blips. Each blip represented hundreds of human lives, or, in the old nautical parlance that endured in air travel to this day, souls. Hundreds of souls. Perhaps that was why all the other air-traffic controllers called Jimmy Mendes Jimmy the Bishop. The Bishop was the only ATC who spent his entire eight-hour shift standing rather than sitting, Fielding a number 2 pencil in his hand and pacing back and forth, talking commercial jets into New Y from the busy tower cab 321 feet above John F. ork Kennedy International Airport like a shepherd tending his flock. He used the pink pencil eraser to visualize the aircraft under his command, their positions relative to one another, rather than relying exclusively upon his two-dimensional radar screen. Where hundreds of souls beeped every second. United 6-4-2, turn right heading 1-0-0, climb to five thousand. But you couldnt think like that when you were on the dish. Y couldnt dwell on all those souls whose fates rested ou under your command: human beings packed inside winged missiles rocketing miles 14 gui lle r mo de l to ro and chuck h o gan above the earth. Y couldnt big-picture it: all the planes on your dish, and then all the other controllers ou muttering coded headset conversations around you, and then all of the planes on their dishes, and then the ATC tower over at neighboring LaGuardia . . . and then all the ATC towers of every airport in every city in the United States . . . and then all across the world . . . Calvin Buss, the air-traffic-control area manager and Jimmy the Bishops immediate supervisor, appeared at his shoulder. He was back early from a break, in fact, still chewing his food. Where are you with Regis 7-5-3? Regis 7-5-3 is home. Jimmy the Bishop took a quick, hot look at his dish to confirm. Proceeding to gate. He scrolled back his gateassignment roster, looking for 7-5-3. Why? Ground radar says we have an aircraft stalled on Foxtrot. The taxiway? Jimmy checked his dish again, making sure all his bugs were good, then reopened his channel to DL753. Regis 7-5-3, this is JFK tower, over. Nothing. He tried again. Regis 7-5-3, this is JFK tower, come in, over. He waited. Nothing, not even a radio click. Regis 7-5-3, this is JFK tower, are you reading me, over. A traffic assistant materialized behind Calvin Busss shoulder. Comm problem? he suggested. Calvin Buss said, Gross mechanical failure, more likely. Somebody said the planes gone dark. Dark? said Jimmy the Bishop, marveling at what a near miss that would be, the aircrafts gross mechanicals shitting the bed just minutes after landing. He made a mental note to stop off on the way home and play 753 for tomorrows numbers. Calvin plugged his own earphone into Jimmys b-comm audio jack. Regis 7-5-3, this is JFK tower, please respond. Regis 7-5-3, this is the tower, over. Waiting, listening. Nothing. Jimmy the Bishop eyed his pending blips on the dishno conflict alerts, all his aircraft okay. Better advise on a reroute around Foxtrot, he said. Calvin unplugged and stepped back. He got a middle-distance the strain 15 look in his eyes, staring past Jimmys console to the windows of the tower cab, out in the general direction of the taxiway. His look showed as much confusion as concern. We need to get Foxtrot cleared. He turned to the traffic assistant. Dispatch somebody for a visual. Jimmy the Bishop clutched his belly, wishing he could reach inside and somehow massage the sickness roiling at its

Guillermo del Toro es uno de los ms reconocidos directores de cine actuales. El mexicano ha firmado obras tan afortunadas como El laberinto del fauno o Hellboy. Chuck Hogan, escritor estadounidense de novelas de terror y misterio, ha ganado el premio Hammer y ha publicado betsellers como El prncipe de los ladrones. 3 Guillermo del Toro is one of the most renowned firm directors of our times. This Mexican has been responsible for movies as successful as Pans Labyrinth or Hellboy. Chuck Hogan, an American writer of terror and mystery stories, has won the Hammer prize and has published bestsellers such as Prince of Thieves.

la revista de eurostars hotels magazine 43

RELATO | STORY NOCTURNA THE STRAIN

Esper, pero no obtuvo respuesta. Jimmy el Obispo mir los puntos luminosos en el plato: no haba seales de alerta y ningn avin mostraba problemas. Ser mejor desviarlos lejos de Foxtrot dijo. Calvin desconect el auricular y retrocedi. Su mirada se concentr en la media distancia, observando ms all de la consola de Jimmy por las ventanas de la cabina de la torre, en direccin a la pista de rodaje. Su mirada denotaba tanta confusin como preocupacin. Necesitamos despejar Foxtrot Se dirigi al auxiliar de trfico : Enva a alguien para que haga una inspeccin visual. Jimmy el Obispo se agarr el abdomen, como si quisiera meter la mano debajo de su piel para mitigar la nusea que senta en la boca del estmago. Su profesin era bsicamente la de un partero, pues ayudaba a los pilotos a sacar sus aviones llenos de almas fuera del tero del vaco y los conduca a tierra, sanos y salvos. Sinti punzadas de temor, al igual que un mdico al recibir su primer nacido muerto. Terminal 3, pista de estacionamiento Lorenza Ruiz se diriga hacia la puerta en el transportador de equipaje, que bsicamente es una rampa hidrulica sobre ruedas. Cuando el 753 no apareci en la esquina a la hora establecida, fue a echar un vistazo, pues pronto se tomara su descanso. Llevaba protectores auditivos, un suter de los Mets debajo de su chaleco reflector, gafas el polvo de la pista era insoportable y los dos bastones luminosos para guiar al avin hasta la puerta de embarque descansaban en el asiento, junto a sus caderas. Qu diablos pasa aqu? Se quit las gafas, como si necesitara ver directamente con sus ojos. All estaba el gran Regis 777, una de las nuevas adquisiciones de la flota, sumido en la oscuridad de la Foxtrot. En la oscuridad total, sin siquiera las luces de navegacin de las alas. El cielo estaba vaco aquella noche; la Luna llena de crteres, las estrellas secas: no haba nada. Lo nico que alcanz a ver fue la superficie suave y tubular del fuselaje y de las alas brillando dbilmente bajo las luces de aterrizaje de los aviones que se aproximaban. Uno de ellos, el 1567 de Lufthansa, por poco choca contra el avin detenido. Jess santsimo! exclam Lorenza. Inform del incidente de inmediato. Vamos en camino le dijo el supervisor. El nido del cuervo quiere que vayas y eches una mirada. Y pregunt Lo. o? Frunci el ceo; eso le pasaba por ser curiosa. Avanz por el carril de servicios de la terminal de pasajeros, cruzando las lneas de las pistas de rodaje que demarcaban la zona de estacionamiento. Estaba un poco nerviosa y alerta, pues nunca haba llegado tan lejos. La FAA tena reglas muy estrictas sobre la circulacin de los remolques y transportadores de equipaje, as que estuvo muy atenta a los aviones en movimiento. Dobl delante de las luces azules de orientacin que
44 ESTAR

pit. His profession, essentially, was midwifery. He assisted pilots in delivering planes full of souls safely out of the womb of the void and unto the earth. What he felt now were pangs of fear, like those of a young doctor having delivered his very first stillborn.

Terminal 3 Tarmac Lorenza Ruiz was on her way out to the gate, driving a baggage conveyor, basically a hydraulic ramp on wheels. When 753 didnt show around the corner as expected, Lo rolled out farther for a little peek, as she was due her break soon. She wore protective 3 The strain is a t headphones, a Mets hoodie underneath her hriller that forms part of a vampire trilogy. The reflective vest, gogglesthat runway grit was a novel is set in New York. bitchwith her orange marshaling batons lying next The imminent arrival of a to her hip, on the seat. vampire invasion is about to take place; a What in the hell? Boeing 777 from Berlin She pulled off her goggles as though needing to lands at the John F. see it with her bare eyes. There it was, a Regis 777, a Kennedy airport. When it taxies to the landing big boy, one of the new ones on the fleet, sitting out bay, the control tower on Foxtrot in darkness. Total darkness, even the nav loses contact with the lights on the wings. All she saw was the smooth, pilot and it seems nobody is alive inside tubular surface of the fuselage and Kings glowing the aircraft. faintly under the landing lights of approaching planes. One of them, Lufthansa 1567, missing a collision with its landing gear by a mere foot. Jesus Santisimo! She called it in. Were already on our way, said her supervisor. Crows nest wants ou to roll out and take a look. Me? Lo said. She frowned. Thats what you get for curiosity. So she went, following the service lane out from the passenger terminal, crossing the taxiway lines painted onto the apron. She was a little nervous, and very watchful, having never driven out this far before. The FAA had strict rules about how far out the conveyors and baggage trailers were supposed to go. She turned past the blue guide lamps edging the taxiway. The plane appeared to have been shut down completely, stem to stern. No beacon light, no anticollision light, no lights in the cabin windows. Usually, even from the ground, thirty feet below, through the tiny Windshield like eyes slanting over the characteristic Boeing nose, you could see up and inside the cockpit, the overhead switch panel and the instrument lights glowing darkroom red. But there were no lights at all. Lo idled ten yards back from the tip of the long left wing. Y work ou the tarmac long enoughLo had eight years in now, longer than both of her marriages put togetheryou pick up a few things. The training edge flaps and the aileronsthe spoiler panels on the back sides of the wingswere all straight up like Paula Abdul, which is how pilots set them after runway touchdown. The turbojets were quiet and still, and they

Nocturna es un thriller que forma parte de una triloga vamprica. La novela se ambienta en Nueva York. Un avin Boeing 777 aterriza en el aeropuerto John F. Kennedy proveniente de Berln. Cuando se dirige a la puerta para desembarcar, la torre de control pierde el contacto con el piloto y parece que nadie est vivo dentro de la nave.

bordeaban las pistas de rodaje. Le pareci que el avin se haba apagado por completo, desde la nariz hasta la cola. Las seales luminosas de seguridad y las luces interiores del avin estaban apagadas. Generalmente, incluso desde el suelo que estaba a nueve metros, se poda ver el interior de la cabina de mando a travs de los ojos rasgados del parabrisas sobre la nariz caracterstica del Boeing: el panel superior y las luces de los instrumentos con su tpico resplandor rojo. Pero no se vea ningn tipo de luz. Lorenza observ el avin a nueve metros de la punta del ala izquierda. Cuando llevas mucho tiempo trabajando en la pista ocho aos en el caso de Lo, mucho ms que la suma de sus dos matrimonios, logras aprender varias cosas. Los desaceleradores y los alerones las aletas giratorias detrs de las alas estaban derechos, tal como los sitan los pilotos despus de aterrizar. Los turborreactores estaban detenidos y silenciosos; generalmente tardan un poco para dejar de absorber aire, incluso despus de detenerse, succionando polvo e insectos como unas aspiradoras descomunales y voraces. La nave haba tenido un aterrizaje normal, sin presentar ningn problema antes de apagarse por completo. Ms alarmante an, si haba sido autorizado para aterrizar, los problemas que pudiera haber tenido debieron de suceder en un lapso de dos o tres minutos. Qu problemas pueden surgir en tan poco tiempo? Lorenza retrocedi un poco ms, pues no quera ser succionada y triturada como un ganso canadiense si los turboventiladores se encendan de repente. Camin a un lado de la zona de carga, el rea del avin con la que estaba ms familiarizada, hasta llegar a la cola, y se detuvo debajo de la puerta de salida de pasajeros. Puso el freno de mano y hundi la palanca para levantar la rampa, que tena casi treinta grados de inclinacin en su mxima altura. No era suficiente, pero era algo. Tom los bastones luminosos y camin por la rampa hacia el avin muerto. Muerto? Por qu haba pensado eso?

usually took a while to stop chewing air even after switch off, sucking in grit and bugs like great ravenous vacuums. So this big baby had come in clean and set down all nice and easy and gotten this far beforelights out. Even more alarmingly, if it had been cleared for landing, whatever had gone wrong happened in the space of two, maybe three minutes. What can go wrong that fast? Lo pulled a little bit closer, rolling in behind the wing. If those turbofans were to start up all of a sudden, she didnt want to get sucked in and shredded like some Canadian goose. She drove near the freight hold, the area of the plane she was best acquainted with, down Howard the tail, stopping beneath the rear exit door. She set the locking brake and worked the stick that raised her ramp, which at its height topped out at about a thirty-degree incline. Not enough, but still. She got out, reached back in for her batons, and walked up the ramp toward the dead airplane. Dead? Why did she think that? The thing had never been alive But for a moment, Lorenza thought of the image of a large, rotting corpse, a beached whale. That was what the plane looked like to her: a festering carcass; a dying leviathan. The wind stopped as she neared the top, and you have to understand one thing about the climate out on the apron at JFK: the wind never stops. As in never ever. It is always windy out on the tarmac, with the planes coming in and the salt marsh and the friggin Atlantic Ocean just on the other side of Rockaway. But all of a sudden it got real silentso silent that Lo pulled down her big muff headphones, just to be certain. She thought she heard pounding coming from inside the plane, but realized it was just the beating of her own heart. She turned on her flashlight and trained it on the right flank of the plane.
la revista de eurostars hotels magazine 45

ILUSTRACIN PICTURE: MIGUEL IBARZ

DESTINO | DESTINATION CRDOBA CORDOVA


ngel m. bermejo texto/words & fotos/images

Una calle tpica en casco viejo de la ciudad. 3 A typical street in downtown.

CRDOBA. LUZ Y CULTURA


Crdoba, la ciudad de las Tres Culturas, declarada Patrimonio Mundial por la Unesco, es uno de esos lugares en los que se puede vivir plenamente el encuentro entre la tradicin y la modernidad. Cuna de filsofos, poetas y toreros, aspira a convertirse en la Capital Europea de la Cultura de 2016.

CORDOVA. LIGHT AND CULTURE


Cordova, the city of the Three Cultures, declared as a World Heritage by Unesco, is one of those places in which one can live to the full the encounter between tradition and modern living. The cradle of philosophers, poets and bull-fighters, the city aspires to becoming the 2016 European Cultural Capital.
la revista de eurostars hotels magazine 49

DESTINO | DESTINATION CRDOBA CORDOVA

Hay lugares en los que la historia se obstina en dejar sus huellas, donde la civilizacin se acumula
formando estratos con una peculiaridad: las capas superiores dejan ver las inferiores y lo nuevo no arrasa necesariamente con lo antiguo. Aunque lo anterior pertenezca a una cultura muy diferente. Todo esto podra parecer un ideal deseable, pero lamentablemente no ha ocurrido con mucha frecuencia a lo largo de los siglos. Por eso mismo se vive una sensacin de alegra al acercarse a esa curva cerrada del Guadalquivir a su paso por Crdoba en la que parece que, al menos en parte, se ha obrado el milagro del respeto a los dems. No hay ms que llegar a la orilla y contemplar el panorama que se presenta a la vista, para iniciar una letana al tiempo que se seala con el dedo: puente romano, mezquita, sinagoga, catedral... Todo est all, a pocos metros uno de otro, al alcance de la mano. Basta con cruzar el puente que se remonta a los tiempos del emperador romano Augusto para sumergirse en la historia, pero no slo en la poca en que fue la capital de la Hispania Ulterior Baetica del Imperio Romano o la del Califato, sino tambin en ese tiempo en el que parece que las tres grandes religiones monotestas convivan razonablemente. Y otros momentos ms. Crdoba no es slo la patria chica de filsofos
50 ESTAR

A la izquierda y arriba, la Mezquita Catedral. Junto a estas lneas, un detalle de una aldaba en un portn. 3 On the other page and above, the Mezquita Cathedral. On the left, a detail of a doorknocker in a typical gate.

There are places where history is bent on leaving its imprint, where civilization accumulates forming strata of a very special nature: the top layers lets one see the lower layers and new constructions do not necessarily destroy the old, even though all the earlier layers belong to a very different culture. All this could appear to be the ideal to be sought after but, unfortunately, it has not happened very frequently over the centuries. For this very reason, one experiences a feeling of happiness as one comes closer to that sharp bend in the River Guadalquivir as it flows through Cordova, in which it appears that, at least in part, the miracle of respect to others has been achieved. One only has to reach the river bank and contemplate the panorama that unfolds before ones eyes and commence a long list of the periods that one can point out: the Roman bridge, the Mosque, the Synagogue, the Cathedral It is all there, all a few metres away from each other, at ones finger-tips. All one has to do is cross the bridge dating from the times of Augustus to immerse oneself in history, although not only the era of the Roman Empire during which it was the capital of the Hispania Ulterior Baetica, or, that of the Caliphate but also that period when the three great monotheistic religions appeared to live peacefully
la revista de eurostars hotels magazine 51

DESTINO | DESTINATION CRDOBA CORDOVA

Arriba, tpico patio cordobs y la taberna Casa el Pisto. A la derecha, la Mezquita Catedral. 3 Above, typical inside courtyard and tavern Casa el Pisto. On the right, the Mosque Cathedral.

Iglesia de San Francisco. 3 San Francisco Church.

de cualquier tendencia como el romano Sneca, el musulmn Averroes o el judo Maimnides, sino de creadores de todo tipo, desde Lucano y Gngora a Julio Romero de Torres y Manolete o, ms recientemente, Elio Berhanyer. Al hablar de Crdoba resulta inevitable referirse en primer lugar a la mezquita, pero es que hay muy pocos monumentos en todo el mundo que se le puedan comparar. Primero, por ese inabarcable bosque de columnas que se extiende ms all de donde alcanza la vista. De todas las mezquitas jams construidas, slo la de La Meca es ms extensa. Y ms interesante, por esa curiosa mezcla surgida cuando los cristianos, tras la conquista de la ciudad, decidieron construir su catedral justo en medio de la mezquita, que a su vez se haba construido encima de un templo visigodo. Ms all de las motivaciones que llevaron en su tiempo a esta decisin, el visitante actual se sumerge en un universo arquitectnico singular, una fusin constructiva nica que va ms all de encontrar un plpito al lado de los dobles arcos de herradura tan caractersticos, o una estatua de un santo que parece mirar de reojo las inscripciones doradas del Corn en el mihrab. La propia inclusin de la catedral que presenta elementos gticos, renacentistas y barrocos, y que estrictamente hablando no tiene muros dentro del conjunto genera una imagen que simboliza siglos de historia. Para informarse ms del proceso de mezcla de civilizaciones que se produjo en Crdoba habra que volver a cruzar el puente y entrar en la Torre de la Calahorra, que alberga el Museo Roger Garaudy de las T Culturas. res Un recorrido por los alrededores es un salto de sorpresa en sorpresa. La

together. And there are other moments; Cordova is not only the homeland of philosophers of different schools, such as the Roman Seneca, the Muslim Averroes or the Jewish Maimonides, but also that of artists of all kinds, from poets, Marcus Annaeus Lucanus (Lucan) and Luis de Gngora to painter, Julio Romero de Torres and bullfighter, Manolete or, more recently, fashion designer, Elio Berhanyer. When talking about Cordova, one must inevitable refer in the first place to the Mezquita (Mosque), as very few monuments throughout the world can be compared to it. First of all, because of that unending forest of columns that extends further than the eye can reach. Of all the mosques ever built, only the edifice in Mecca is larger. And more interestingly, because of that curious mixture that arose when the Christians, after conquering the city, decided to build their cathedral in the middle of the mosque which, in turn had been built on top of an ancient Visigothic temple. Beyond the motivations which led the inhabitants to take that decision, the visitor today is immersed in a most original architectural universe, a unique merging of constructions that go further than finding a pulpit next to the double horseshoe arches that are so typical, or the statue of a saint that seems to be looking out of the corner of his eye at the golden inscriptions of the Koran on the Mihrab. The inclusion of the cathedral within the complex which houses Gothic, Renaissance and Baroque elements and which, strictly speaking, does not have any outside walls creates a combination that symbolizes centuries of history. If one wishes to
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DESTINO | DESTINATION CRDOBA CORDOVA

que surge al saber que la noria de la Albolafia serva para proveer de agua corriente al palacio del emir Abderramn II, que en las Caballerizas Reales se defini el caballo de pura raza espaola, o que en el Alczar de los Reyes Cristianos se gest el viaje que condujo al descubrimiento de Amrica y se celebr la primera corrida de toros de la que se tiene constancia. La superposicin de culturas se percibe en cualquier momento, en cualquier lugar. El Museo Arqueolgico, uno de los ms importantes de Espaa, con importantes piezas de la cultura romana, se encuentra en un palacio renacentista exquisito. El que fuera el tercer anfiteatro ms grande del imperio Romano (despus de los de Roma y Cartago) se ha descubierto bajo la antigua Facultad de Veterinaria. Incluso hay oficinas bancarias que muestran en su vestbulo un lienzo de la muralla romana. Y no hay ms que dar la vuelta a dos esquinas para pasar de una de las avenidas ms modernas y bulliciosas de la ciudad a descubrir la plaza de los Capuchinos, un rincn austero y tranquilo en el que destaca el Cristo de los Faroles. Sin embargo, Crdoba no es una ciudad-museo, un conjunto de calles anclado en el pasado. Al arrimo de monumentos inigualables, a la sombra de museos y conventos, contina la vida, con algunos ejemplos de placer cotidiano. Como el que lleva a vivir y conservar los patios de las casas, que en los meses de primavera estallan de flores. A travs de ellos adivinamos formas de vida y de entender el mundo, de seguir una tradicin en el da a da. O siglo a siglo, ya que el patio cordobs es heredero de la tradicin romana adaptado posteriormente por los musulmanes. Y su decoracin no es una cuestin balad, de hecho ha sido presentada a la Unesco para ser declarada patrimonio mundial intangible, un honor al que pueden aspirar muy pocas actividades privadas y caseras. Otro de los envidiables estilos de vida tradicionales cordobeses es el que se refleja en las tabernas. Refugio de la cocina tradicional, escaparate frecuente de la aficin a la tauromaquia, punto de encuentro permanente de los amigos del barrio, casi siempre escuela de filosofa prctica, una taberna cordobesa de las de toda la vida es uno de los puntos sobre los que puede girar una concepcin del mundo. Un lugar en el que alimentan los boquerones al limn, pero tambin la conversacin con los parroquianos que entran y salen con el flujo tranquilo, como si la taberna fuera uno de los corazones del barrio. Aunque ahora estn surgiendo tabernas modernas que saben interpretar las recetas tradicionales aadindole un punto creativo. Hasta los mitos ms tradicionales se adaptan a los tiempos. Una etapa ms de la historia cordobesa.
54 ESTAR

obtain more information on the mixture of civilizations that occurred in Cordova, one must cross the bridge again and enter the Calahorra Tower which houses the Roger Garaudy Museum of the Three Cultures. A walk around the outskirts provides one surprise after another. For instance, learning that the wheel of the Albolafia mill was used to pump running water into Emir Abd ar-Rahman IIs palace, that in the Royal Stables the Purebred Spanish Horse was defined or that it was in the Alczar (fortress) of the Christian Monarchs where the voyage was planned that was to lead to the discovery of America and that this was where the first bull-fight was held of which written evidence is kept. The superposition of cultures can be perceived at any moment and in any place. The Archaeological Museum, one of the most important in Spain, exhibiting important items of Roman culture, is set in an exquisite Renaissance palace. What was the third largest amphitheatre in the Roman Empire (after Rome and Carthage) was discovered underneath the old Faculty of Veterinary Science. There are even branch offices of some banks that display in their entrance halls a painting of the ancient Roman Wall. And one does not have to take more than a short walk around two corners to pass from one of the citys most bustling, modern avenues to discover Capuchinos Square, an austere but tranquil spot dominated by the statue of the Christ of the Streetlamps (Cristo de los Faroles). Nevertheless, Cordova is not a museum-city, a set of streets anchored in the past. In the shade of incomparable monuments, museums and convents, life continues, with some excellent examples of good living. Like the one which encourages the upkeep of the typical inside courtyards that burst with flowers in springtime. Through these patios we can imagine the lifestyle and understand the world by following a tradition that endures in daily life. Or through the centuries, since the Cordova patio is a legacy of old Roman tradition, later adapted by the Muslims. And, the decoration is also no trivial matter; indeed, it has been presented to Unesco to be declared an intangible world heritage, which is an honour that very few private homes can ever aspire to. Another of the enviable, traditional Cordova lifestyles is mirrored in the taverns. As shelters for traditional cuisine, they are often showcases for bull-fighting fans, meeting points for friends from the district, almost always schools of practical philosophy; in fact, any of those old taverns is one of the pinions around which a whole concept of the world can revolve. These are places where the fried fish with lemon are food for the body but, likewise, so are the conversations with any of the locals who drift in and out, as though the tavern were the life and soul of the district. Although, nowadays, new taverns are appearing that are recreating the traditional old recipes, adding to them a creative flourish. Even the most traditional myths are adapting themselves to new times. Y another stage in the et history of Cordova.

QU VISITAR WHAT TO VISIT


Mezquita Catedral. Probablemente sea el monumento ms importante de todo el Occidente musulmn. El escritor Gerald Brenan lo describi como el ms bello y original edificio de Espaa. Puente romano. Del original, construido en el siglo I a.C. como parte de la Va Augusta, slo se conservan los sillares y algunos de sus arcos. Alczar de los Reyes Cristianos. El lugar, ocupado por una fortaleza romana, fue residencia de los reyes cristianos tras la conquista de la ciudad. Sinagoga. Construida en el siglo XIV y utilizada hasta 1492, es un exponente nico de la cultura hebrea en Andaluca. Palacio de Viana. Una inmensa casa seorial originaria del siglo XIV estructurada alrededor de 17 patios, es un verdadero museo de arte y arquitectura. Mosque Cathedral. Probably the most important monument in the Western Islamic world. Writer, Gerald Brenan described it as the most beautiful and original building in Spain. Roman bridge. Only the ashlar blocks and some of the arches remain of the original bridge, built in the 1st Century B.C., forming part of the Via Augusta. Alczar de los Reyes Cristianos (Fortress of the Christian Monarcas). The place, originally a Roman fortress, became the official residence of the Christian monarchs after conquering the city. Synagogue. Built in the 14th century and in use until 1492, it is a unique example of Jewish culture in Andalusia. Palace of Viana. An immense manor house dating from the 14th century forming a structure around 17 inside courtyards, it is a noteworthy art and architecture museum.

MUSEOS MUSEUMS
Museo Arqueolgico. Ubicado en el palacio de los Pez de Castillejo, ofrece muestras de todas las pocas, desde la Prehistoria a la Edad Media. Museo Julio Romero de Torres. Un recorrido por la vida y obra de uno de los pintores ms sealados del regionalismo andaluz. Museo Roger Garaudy de las Tres Culturas. En la torre de la Calahorra, de un castillo rabe, ofrece muestras de la convivencia de las culturas juda, cristiana y musulmana en la Crdoba medieval. Archaeological Museum. Located in the former Paez de Castillejo Palace, this museum offers exhibits from a variety of periods, from Prehistory to the Middle Ages. Julio Romero de Torres Museum. A journey through the life and work of one of the most distinguished painters of Andalusian customs. Roger Garaudy Museum of the Three Cultures. Set in the Calahorra Tower, an Arab castle, exhibits are shown of how the Jewish, Christian and Islamic cultures lived together in Mediaeval Cordova.

Noches de Embrujo. En verano, un programa de ocio cultural nocturno, con msica, teatro y danza de todos los estilos. Holy Week. Declared an Event of National Tourist Interest, it is characterized by the silence of its 35 Fraternities of Penitence. Popular Cordova Courtyards Festival and Competition. The most characteristic courtyards of the city, perfectly decorated, are opened to the public for a few weeks. Nuestra Seora de la Salud (Our Lady of Health) Fair. Held in the Arenal arena, next to the river, one of the most animated fairs in Andalusia takes place every year. At the same time, a Bullfight Fair is also staged. Bewitching Nights. In summer, a nocturnal leisure programme with music, theatre and dance performances of all types.

COMER Y DORMIR EAT AND SLEEP


Eurostars Las Adelfas #### Avda. de la Arruzafa, s/n 14012 T (+34) 957 277 420 F ( (+34) 957 272 794 info@eurostarslasadelfas.com

Arriba,taberna Rincn de las Beatillas. Abajo, la boutique del diseador cordobs Elio Berhanyer. 3 Above, Rincon de las Beatillas Tavern. Bellow, the boutique of Elio Berhanyer fashion designer.

Eurostars Ciudad de Crdoba #### Avda de Cdiz, s/n 14013 T (+34) 957 013 600 F (+34) 957 013 601 info@eurostarsciudaddecordoba.com

TABERNAS TAVERNS
Gngora (Torres Cabrera, 4). Famosa por los boquerones fritos, se encuentra muy cerca del lugar de nacimiento de Manolete. Sociedad de Plateros (San Francisco, 6). En una callecita tranquila, con un patio, especializada en bacalao. Rincn de las Beatillas (Plaza de las Beatillas, 1). Pescados fritos y en adobo. Hay que pedir que nos enseen la sala dedicada a Manolete. Gngora (Torres Cabrera, 4). Famous for its fried fish, this spot is close to Manoletes birthplace. Sociedad de Plateros (San Francisco, 6). Set in a peaceful street, with a patio, its speciality is codfish. Rincn de las Beatillas (Plaza de las Beatillas, 1). Fried and marinaded fish. One should ask to be shown the room dedicated to Manolete.

Eurostars Maimnides #### Torrijos, 4 14003 T (+34) 957 471 500 F (+34) 957 483 803 info@eurostarsmaimonides.com

FESTIVALES Y EVENTOS FESTIVALS & EVENTS


Semana Santa. Declarada de Inters Turstico Nacional, est caracterizada por el silencio de las 35 cofradas de la Penitencia. Festival y concurso Popular de Patios Cordobeses. Los patios ms caractersticos de la ciudad, perfectamente engalanados, se abren al pblico durante unas semanas. Feria de Nuestra Seora de la Salud. En el recinto del Arenal, junto al ro, se celebra una de las ferias ms animadas de Andaluca. Al mismo tiempo tiene lugar la Feria Taurina.

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EUROSTARS EN CORDOBA

TRES HOTELES, TRES MANERAS DE VIVIR CRDOBA


Un hotel frente a la Mezquita, un establecimiento especializado en convenciones y un pequeo oasis componen la oferta de Eurostars Hotels en la Ciudad de las Tres Culturas.

Three hotels, three ways of experiencing cordova


A hotel opposite the Mezquita, an establishment specializing in conventions and a small oasis comprise the Eurostars Hotels accommodation offer in the City of the Three Cultures.

EUROSTARS MAIMNIDES

UNO DE LOS RINCONES MS EMBLEMTICOS DEL EUROSTARS MAIMNIDES ES SU PATIO INTERIOR. 3 ONE OF THE MOST EMBLEMATIC CORNERS OF THE EUROSTARS MAIMONIDES IS ITS INSIDE COURTYARD.

Como inspirado por el lema de esta urbe Crdoba, la Ciudad de las Tres Culturas, Eurostars Hotels brinda a sus clientes tres hoteles, tres estilos distintos para disfrutar de una ciudad llena de encantos. El Eurostars Maimnides### es un impresionante hotel tpicamente andaluz situado en una inmejorable ubicacin. Se encuentra en pleno corazn de la judera, con inigualables vistas de la Mezquita, sin duda, uno de los principales atractivos tursticos de Crdoba. En su decoracin se respira el estilo tradicional propio del Siglo XVIII, con innumerables toques de arte mudjar. Descansar en cualquiera de sus 82 habitaciones constituye todo un lujo: confortables camas, amplios espacios y una decoracin singular. Pero uno de los rincones ms emblemticos de este hotel que toma el nombre del mdico, rabino y telogo judo ms clebre de la Edad Media es su patio interior, presidido por una preciosa fuente y repleto de rboles frutales, balcones floridos al ms puro estilo cordobs y mesas en las que tomar una copa, cenar o leer relajadamente. Inspired by the citys motto: Cordova, the City of the Three Cultures, Eurostars Hotels offers its clients three hotels, three different styles to enjoy a city full of charm. The Eurostars Maimnides### is an impressive hotel in typical Andalusian style set in an unbeatable location. In the heart of the Jewish Quarter, with impressive vistas of the Mezquita, it is undoubtedly one of the major tourist attractions of Cordova. Its decoration reflects the traditional 18th century style, adorned with countless details in Mudejar art. Resting in any one of the hotels 82 guestrooms is a pure luxury: comfortable beds, plenty of space and superb decoration. But, one of the most emblematic corners of this hotel which takes its name from the most renowned Jewish doctor, rabbi and theologian of the Middle Ages is its inside courtyard, dominated by a splendid fountain and bursting with fruit trees, balconies crammed with flowers in the best Cordova style and tables where one can sit and relax to have a drink, dine or read.

Eurostars Maimnides ### Torrijos, 4 14003 Crdoba/Cordova T (+34) 957 471 500 F (+34) 957 483 803 info@eurostarsmaimonides.com

EUROSTARS LAS ADELFAS

El Hotel Eurostars Las Adelfas#### es un edificio de construccin moderna que compagina la serena belleza de su aspecto exterior con el buen gusto y el lujo que se perciben en cada una de las estancias interiores. Desde sus amplias y panormicas terrazas, se puede disfrutar del singular skyline de la ciudad de Crdoba, de la que se encuentra a escasa distancia. El hotel est situado en el selecto y hermoso entorno de El Brillante, lujosa zona residencial de la sierra cordobesa, rodeada de amplios jardines. El complejo cuenta con una espectacular piscina exterior y una amplia gama de instalaciones deportivas. En los meses de verano el hotel ofrece los desayunos, almuerzos y cenas en una magnfica terraza, desde la que disfrutaremos de una vista privilegiada de la ciudad.

Eurostars Las Adelfas #### Avda. de la Arruzafa, s/n 14012 Crdoba/Cordova T (+34) 957 277 420 F (+34) 957 272 794 info@eurostarslasadelfas.com

El Eurostars Las Adelfas cuenta con piscina exterior y una amplia gama de instalaciones deportivas. 3 The complex contains a spectacular outdoor swimming pool and a wide range of sports facilities.

EUROSTARS CIUDAD DE CORDOBA


En esta pgina, varias estancias del Eurostars Ciudad de Crdoba. 3 On this page, three images of the Eurostars Ciudad de Crdoba.

Por ltimo, el Eurostars Ciudad de Crdoba#### es un moderno hotel situado junto a la principal entrada a la ciudad, lo que le permite un rpido acceso a su Casco Histrico y Monumental. Su equipamiento y ubicacin lo convierten en un perfecto establecimiento para quienes viajan a la ciudad por motivos profesionales, ya que se encuentra prximo al Palacio de Congresos y a escasa distancia del AVE. El establecimiento cuenta con unas modernas y vanguardistas instalaciones, dotadas de las ltimas innovaciones tecnolgicas y el mximo confort, y concebidas para responder a las necesidades y expectativas de la ms exigente clientela. En definitiva, tres opciones perfectas para que usted elija la que ms se ajuste a la manera en la que desea disfrutar de la riqueza cultural, gastronmica y turstica de Crdoba. The Eurostars Las Adelfas#### is a modern structure which combines the serene beauty of its exterior with the good taste and luxurious details one can see in its interior. From its spacious, panoramic terraces one can admire the unique Cordova skyline, only a short distance away. The hotel is located in the select and elegant area of El Brillante, a luxurious residential area in the Cordova hills, surrounded by spacious gardens. The complex contains a spectacular outdoor swimming pool and a wide range of sports facilities. Over the summer months the hotel offers breakfasts, lunches and dinners on a magnificent terrace where one can enjoy privileged views of the city. Lastly, the Eurostars Ciudad de Crdoba####is a modern hotel situated close to the main entrance to the city, which permits rapid access to its historical centre with all its monuments. Its features and location make it the perfect place for people travelling to the city for professional reasons as it is only a short distance away from the Congress Hall and very close to the AVE railway station. The establishment has been equipped with the last word in modern facilities, with the most up-to-date technological innovations and the maximum in comfort, all of which have been conceived as a response to the needs and expectations of the most demanding clientele. In a nutshell, three perfect options for you to choose the one that best suits the way you wish to enjoy the cultural, culinary and tourist wealth of Cordova.

Eurostars Ciudad de Crdoba #### Avda de Cdiz, s/n 14013 Crdoba T (+34) 957 013 600 F (+34) 957 013 601 info@eurostarsciudaddecordoba.com

PLACERES | PLEASURES LA CATA WINE TASTING


TABERNER, DE HUERTA DE ALBAL. En los ltimos aos, Andaluca est produciendo unos tintos de indudable calidad, como este Taberner, sorprendente, con aromas de fruta en compota, ciruela, tostados, torrefactos y balsmicos. En el paladar se muestra sabroso, equilibrado y noble, con un toque de acidez que refresca la boca y un paso cremoso, sin el ms mnimo atisbo de aristas. 3 TABERNER, FROM THE ALBAL VINEYARDS. Over the past few years, Andalusia has been producing red wines of unquestionable quality, like this Taberner: an amazing wine, with fruity, sweet aromas, smacking of plums, of toasted and roasted and balsamic ingredients. On the palate it is full-flavoured, balanced and noble, with a touch of acidity that refreshes the mouth and is washed down with a creamy feeling, with absolutely no sharpness.

El tiempo de conservacin del vino How long can wine be kept?


N uestra Sumiller
rica Villn (Granollers, 1978). Nuestra Sumiller Corporativa forma parte del Departamento de Restauracin de Eurostars Hotels, dirigido por Ricard Mazn. Formada en la Escuela de Enologa y Viticultura Merc Rosell i Domnech (San Sadurn dAnoia) y en la Escuela Bellamar (Marbella), su principal objetivo es transmitir su pasin por el mundo del vino al cliente que convierta el simple descorche de una botella en toda una experiencia. 3 rica Villn (Granollers, 1978). This Corporate Sommelier forms part of the Eurostars Hotels Restaurants Department, managed by Ricard Mazn. Trained at the School of Enology and Viticulture Merc Rosell i Domnech (San Sadurn dAnoia) and the Bellamar School in Marbella, Erica Villns objective is to transmit her passion for the world of wines to the client, transforming the simple act of opening a bottle into a whole experience.

Si disponemos en casa de nuestra propia bodega, sea cual sea su dimensin, resulta conveniente organizarla y renovarla en funcin de la durabilidad del vino que, como cualquier otra bebida, se estropea con el tiempo. No obstante, no todos los vinos tienen la misma capacidad de conservacin. As, los ms frgiles son, sin duda, los finos, las manzanillas y los cavas. En todos los casos, su mejor momento no pasa de los seis meses, as que lo recomendable es comprarlos en el momento en que vayamos a consumirlos y tratar de no guardarlos demasiado tiempo antes de descorcharlos. En cuanto a los rosados, raras veces duran ms de un ao; en todo caso, para confirmar su buen estado, hay que comprobar la botella al trasluz y sin abrir: los que tienen tonos fresa o frambuesa ms fuertes pueden resistir unos pocos meses ms. Los blancos sin crianza y sin fermentacin actan de forma similar a los rosados, aunque los superan en consistencia. En algunos casos concretos, como los albarios, incluso mejorarn con el tiempo (cunto ms cidos, ms duraderos). El resto debern consumirse sin dilacin. Con los tintos jvenes, el periodo mximo de conservacin es de dos aos, pero slo si son potentes y estructurados; los dems se consumirn en el periodo de un ao desde su embotellado. Finalmente, los tintos con crianza en madera presentan multitud de diferencias: los tnicos y potentes duran y crecen con el tiempo. En lneas generales, un crianza tiene un plazo de vida til de cuatro aos; un reserva alcanza los ocho, y un gran reserva, incluso los quince aos. If we have in our own homes a wine cellar, whatever the size, it is a good
idea to organize it properly and renew it according to the durability of the wine which, like any other beverage, goes off with age. Nevertheless, not all wines have the same conservation capacity, inasmuch as this depends on the specific type of wine. Therefore, the most fragile are, undoubtedly, the finos (dry sherries), manzanillas (lighter sherries) and the cavas (sparkling wine similar to champagne). In all cases, the best time to drink these wines should not exceed six months, for which reason the most recommendable action is buy them when we are going to drink them and try not to keep them for too long before opening them. In the case of ros wines, they very rarely last for more than a year; at any event, a good way to test the condition of a ros is to look at the contents of the bottle against the light before opening it: those wines with strawberry or raspberry hues can resist a few more months. White, non-vintage, non-fermented wines act in a similar way to the ross, although they surpass them in consistency. In some concrete cases, such as the Albario (young Galician wine), they even improve with age (the more acidic they are, the longer they last). The rest should be drunk without delay. With young, red wines, the maximum storage period is two years, but only if they are strong and structured; the rest should be consumed within a year after they have been bottled. Finally, the vintage reds from oak casks present a multitude of differences: those with a high tannic acid level and potency last and improve with age. Generally speaking, a Crianza wine has a lifespan of four years; a Reserva can stretch to eight years and a Gran Reserva, even up to fifteen years.

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EL GAZPACHO ES UNA DE LAS CREACIONES POR EXCELENCIA DE LA COCINA ANDALUZA. 3 THE GAZPACHO (COLD VEGETABLE SOUP) IS THE ANDALUSIAN CREATIO PAR EXCELLENCE.

PLACERES | PLEASURES PROPUESTAS PROPOSALS


El restaurante del Eurostars Isla Cartuja, en Sevilla, es el esceneario perfecto para degustar una selecta gastronoma nacional e internacional. Entre algunas de las delicias que se pueden disfrutar destacan platos tpicos andaluces como el Salmorejo, los Tacos de presa con revuelto de verduras o la Lubina con verduras al horno. Todo, con unas vistas excepcionales. 3 The restaurant of the Eurostars Isla Cartuja, in Seville, is a perfect scenario for relishing a select national and international cuisine. Amongst some of the delicacies available, one can sample typical Andalusian dishes, such as the Salmorejo cold soup, Cubes of Pork with sauted Vegetables or the Baked Sea Bass with Vegetables. All to be eaten while enjoying some exceptional vistas.

Cocina andaluza, tradicin andalus Cuisine from Andalusia, ancient Andalus cuisine
Probablemente el plato tpico de la cocina andaluza que mejor revela su raz andalus sea el ajo blanco con uvas especialmente popular en Mlaga, que procede de la tradicin culinaria del machacado de la almendra en almireces de cobre, una tradicin morisca que consiste en machacar y majar hasta conseguir formar una pasta que ofrece toda una gama de texturas, desde la compacta y slida, hasta la creacin de una autntica leche. La gastronoma andaluza debe mucho a los hallazgos culinarios de los tiempos de la dominacin musulmana. Y tambin al sentido comn, que impele a disear platos que aprovechan la riqueza de la tierra y el mar y que ayudan a combatir los rigores del calor Y nada mejor que un ajo blanco para combatir el calor, o bien un gazpacho, creacin andaluza por excelencia rpidamente extendida por toda Espaa. O tambin un salmorejo, crema que se sirve como primer plato, a base de tomate, ajo, miga de pan, aceite de oliva, vinagre y sal. Ingredientes sencillos que se preparan con facilidad, como el pescato frito, porque la sensatez nos dice que un buen ingrediente es a veces ms que suficiente, sobre todo si empleamos uno de los hallazgos ms valiosos de cualquier cocina: el aceite de oliva, especialmente si procede de Jan. Con este ingrediente bsico, cualquier plato adquiere un nuevo valor, y las frituras andaluzas dan fe de ello, tan sencillas como sabrosas: el atn rojo de las almadrabas de Cdiz, el langostino de Sanlcar, la gamba blanca de Huelva Ingredientes cuyo sabor debe mucho al sol, intenso, deslumbrante, que crea vinos generosos como los de Jerez o ese producto tan tpico de Andaluca, que es la manzanilla de Sanlcar de Barrameda. Probably the most typical dish in Andalusian cuisine and the one that best
reveals its ancient traditions is the ajo blanco (cold white almond and garlic soup) with grapes particularly popular in Malaga which comes from the culinary tradition of grinding almonds in copper mortars, a Moorish tradition that consists of grinding and pounding until a paste is made, which can be compact and solid or milk-like. Andalusian cuisine owes a great deal to the culinary discoveries made during the Moorish domination. And also to common sense, which encourages the design of new dishes that make the most of the rich produce of the land and the sea in such a way as to help ward off the effects of the heat. And, what could be better than the ajo blanco to give respite from the heat, or a gazpacho (cold vegetable soup), the Andalusian creation par excellence which has reached all corners of Spain. Or, also, a salmorejo a cold cream that is served as a starter, made of tomato, garlic, breadcrumbs, olive oil, vinegar and salt. Simple ingredients are used that can be easily prepared, like the fried fish, because good sense advises us that a good ingredient is often enough in itself, above all if we use one of the most valuable culinary discoveries: olive oil, especially if it is from the Jaen region. With this basic ingredient, any dish acquires a new value and the Andalusian fries are proof of this, being as simple as they are delicious: red tuna from the Cadiz fisheries, scampi from Sanlucar, white prawns from Huelva These are ingredients that owe much of their good flavour to the sun, intense and dazzling which creates full, generous-bodied wines like the Jerez (sherry) wines or that other, so typical Andalusian product, Manzanilla from Sanlcar de Barrameda.

N uestro Chef
Francisco Macas Mesa. A pesar de su juventud, este chef sevillano aporta al hotel del Estadio de la Cartuja toda su experiencia, creatividad y pasin culinaria. Macas se ha curtido en los fogones de algunos de los principales restaurantes sevillanos y de Canarias. 3 Francisco Macas Mesa. Despite his youth, this chef from Seville gives this hotel in the Cartuja Stadium all his experience, creativity and culinary passion. Macas has matured in the kitchens of some of the best restaurants in Seville and the Canary Islands.

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PLACERES PLEASURES | GOURMAND

El cerdo ibrico, una fuente de sabores nicos The Iberian pig, a source of unique flavours

El cerdo ibrico puro es una raza autctona que se cra en los mejores bosques de
encinas y alcornoques de Espaa. Durante 18 meses el animal es cuidado con esmero para obtener la mejor calidad de sus magros, el ms apreciado de los cuales es el jamn. Para ello, en los ltimos meses de su vida el animal se alimenta exclusivamente con bellotas (necesita entre una y dos hectreas por animal para que este proceso finalice adecuadamente). La bellota tiene un alto porcentaje de cido oleico, lo que confiere al jamn, una vez finalizado el proceso de curacin de las piezas, una serie de caractersticas que lo hacen saludable. Un conocido nutricionistas deca que el cerdo ibrico es un olivo con patas haciendo referencia a su contenido en cidos grasos saludables (omega3, omega 6, omega 9, etc.). Por otro lado, es muy importante su crianza en libertad, donde se combinan las bellotas con frescos pastos. Una vez el cerdo ha finalizado su proceso de crianza, se traslada hasta los alcornocales, donde se lleva acabo todo el proceso de transformacin y curacin de las piezas. Una de las principales Denominaciones de Origen del Jamn Ibrico es Jabugo, un lugar situado en el corazn de el Parque Natural de Sierra de Aracena y Picos de Aroche, declarado reserva de la biosfera por la UNESCO. Este enclave nico cuenta con unas condiciones microclimticas que lo hacen especialmente adecuado para la curacin, de manera tradicional, de los productos derivados del cerdo ibrico. El proceso de elaboracin de estos productos comienza con una fase inicial de sacrificio, despiece y salazn de las piezas; posteriormente descansarn en las bodegas naturales durante un tiempo aproximado de 24 a 30 meses (para las piezas de mayor tamao como son los jamones).

The Iberian pure-bed pig is an indigenous race bred in the best mountain-oak and
cork-tree woods in Spain. For 18 months, this animal is pampered with the greatest care and dedication to obtain the best quality from its flesh; the most highly considered being the ham. In order to achieve this category, during the last months of existence of this animal, it is fed exclusively with acorns, for which purpose between 1 and 2 hectares of land per animal isare required to finalize the operation correctly. Acorns contain a high percentage of oleic acid, which when the process is finalized, gives to the curing of the pieces of meat a series of characteristics that makes them really healthy. One well-known nutritionist recently stated that, The Iberian pig is an olive tree on legs, referring to its healthy fatty contents (omega 3, omega 6, omega 9, etc.). On the other hand, an important factor is its free-range breeding where acorns are combined with fresh grazing land. Once the pig has finalized its growing process it is transferred to Jabugo where all the transformation and curing of the different cuts are carried out. Jabugo is a privileged place, located in the heart of the Sierra de Aracena and Picos de Aroche Nature Park, declared as a biosphere reserve by UNESCO. This unique enclave is blessed with the micro-climatic conditions that make it especially suitable for the curing process, carried out in the traditional manner of these products that have their origins in the Iberian pig. The manufacturing process of these produces commences with the first stage of the sacrificing of the animal, the cutting up and salting of the different pieces which will then rest in the natural cellars for between 24 and 30 months for the largest pieces.

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El jamn Ibrico puro de alimentacin exclusiva con bellotas es reconocible a la vista por su aspecto: una pezua negra, un tobillo o caa fina, una forma estilizada de la pieza, un color externo de la grasa amarillo grisceo y la presencia del hongo que recubre la cara interna de la pieza durante su estancia en las bodegas. Una vez abrimos la pieza, encontramos un color rojo intenso en el magro y una grasa infiltrada en el magro de color blanco vivo. El sabor del ibrico no est en el magro, sino en la grasa, por lo que eliminar esta parte de la loncha sera un grave error. El sabor nico de esta pieza depende en gran medida del proceso de alimentacin y crianza, pero tambin del complejo proceso de curacin, una curacin al natural, lenta y reposada, que slo despus varios meses hace posible que el jamn ibrico alcance el grado ptimo de sabor y textura.

The Iberian, pure-bred ham, fed on an exclusive diet of acorns is recognizable from the very first for the following features: black trotters, fine shank, the finely-shaped form of the ham, a greyish-yellow outside layer of fat and a fungus that covers the inside cut of the piece during its stay in the cellars. Once the specimen is opened, we find a flesh of an intense, dark red and infiltrated streaks of brilliant white fat. The flavour of the Iberian ham is not in the flesh but in the fat, for which reason to remove this part of the slice would be a grave mistake. The unique flavour of this specimen depends, to a large degree, on the feeding and breeding processes, but also on the complex curing process, a natural process, slow and unhurried, which only after several months creates the possibility of the Iberian ham reaching its optimum degree of flavour and texture.

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VANGUARDIAS AVANT-GARDE

BISUTERA CARGADA DE COLOR


Llega el verano, y nuestra mente nos traslada a pases clidos, baados por el color y la exuberancia. La bisutera se contagia de esa imaginacin: pierde su timidez y se vuelve voluminosa y colorista, con matices cristalinos. En las imgenes, algunas de las pulseras que Ramn Santaeularia ha creado para esta poca del ao. 3 Colourful Costume Jewellery. Summer is here and our minds transport us to hot countries, bathed in colour and exuberance. Costume jewellery has been imbued with such imagination, losing its timidness and becoming colourful and voluminous, with crystalline touches. Some of the pictures show bangles created by Ramn Santaeularia for this time of the year.

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ELEGANTES Y ATEMPORALES
Relojes-brazalete: es una de las tendencias ms claras de los nuevos relojes femeninos de la temporada. El de la imagen de la derecha es el nuevo Festina F16337-2 de la coleccin Milano, con brazalete de acero a modo de pulsera con eslabones, que se integra en la caja rectangular. A los lados, la caja est decorada con dos hileras verticales de circonitas. A la izquierda otro reloj estilo brazalete. En este caso, de la coleccin Lady Cool de Lotus. El brazalete de acero cuenta con un recubrimiento PVD gold y tiene forma de pulsera, decorada con una hilera de eslabones con circonitas engarzadas. La esfera es de diseo minimallista, en color plata, y contiene circonitas a modo de ndices. 3 Elegant and intemporal. Bracelet-wrist watches: this is one of the most obvious trends in womens watches this season. The picture on the right is the new Festina Milan Collection F16337-2, with a steel strap in the form of a bracelet with links which merge into the rectangular case. On the sides, the case is decorated with two vertical rows of zircons. On the left is another bracelet-style match. In this case from the Lady Cool Collection by Lotus. The strap is in steel and is covered by PVD gold plating and is in the form of a bracelet, decorated with a row of links with mounted zircons. The sphere is minimalist in design, in silver, with zircons marking the hours.

IPHONE 3GS, EL MS RPIDO Y POTENTE HASTA EL MOMENTO


Apple ha presentado su nuevo iPhone 3G S, repleto de nuevas caractersticas como una mayor velocidad y rendimiento hasta el doble de rpido que el iPhone 3G con mayor duracin de batera, con una cmara autofocus de 3 megapixels y alta calidad, grabacin de vdeo de fcil uso y manos libres con control por voz. El iPhone 3G S incluye el nuevo iPhone OS 3.0, el sistema operativo ms avanzado del mundo con ms de 100 nuevas capacidades como bsqueda con spotlight y teclado apaisado, entre otras muchas. El iPhone 3G S multiplica la capacidad con un modelo de 16 GB y un nuevo modelo de 32 GB. 3 New 3G S iPhone, the speediest and most powerful iPhone invented to date. Apple has just presented its new 3G S iPhone, supplied to the full with new characteristics such as greater speed and performance even twice the speed of the 3G Phone with a longer battery lifespan, with a 3 megapixel, high quality self-focusing device, customer-friendly video recording facility and no hands and with a voice control feature. The 3G S iPhone includes the new iPhone OS 3.0, the most advanced operative system in the world with more than 100 new capacities, such as Search with Spotlight, an oblong keyboard, amongst others. The 3G iPhone multiply capacity with a 16Gb model and a new, 32 Gb model.

Y SU COMPETENCIA LANZA EL PALM PRE


El Palm Pre ha llegado pisando fuerte: acompaado con el nuevo sistema operativo de la compaa Palm: la plataforma webOS. Su pantalla multitctil de 3,1 pulgadas esconde un teclado fsico que se despliega deslizndose. Cuenta con GPS, conectividad Wi-Fi, memoria interna de 8 GB, cmara de fotos de 3 megapxeles, salida de auriculares para escuchar msica Es, desde luego, una herramienta muy potente, con capacidad, a travs de la plataforma webOS, para consultar desde el mvil todas las citas, contactos, calendarios, que podamos tener almacenados en el ordenador de casa, en el porttil, en la oficina 3 And, the competition launches the Palm Pre. The Palm Pre has arrived with force: accompanied by a new operative system from the webOS platform. The tactile 3.1 inch screen hides a physical keyboard that unfolds sliding out. It has GPS, Wi-Fi connectivity, an 8 Gb internal memory, 3 megapixel photographic camera, headphone connection for listening to music, etc. It is, undoubtedly, a very powerful tool, with great capacity, working from the webOS platform, for consultation from the mobile regarding all appointments, contacts, calendars, agendas, etc., that we may have stored in our home computer, laptop, desktop computers, etc.

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VANGUARDIAS AVANT-GARDE

VESTIDO: LA PRENDA ESTRELLA DEL VERANO


Frescos, divertidos, prcticos Los vestidos se han convertido en la prenda estrella del verano. De tirantes, con amplios escotes, estampados Los de la imagen son de la diseadora espaola Fina Lafrageta, con cortes y tejidos modernos y exclusivos. 3 Dresses: the star garment for summer wear. Fresh, pleasant, practical Dresses have become the star garment this summer. With shoulder straps, wide necklines, prints The pictures show dresses by the Spanish fashion designer, Fina Lafrageta, in modern and exclusive styles and fabrics.

MODA FRESCA, TAMBIN PARA ELLOS


La libertad en el vestir se va abriendo hueco tambin en los armarios masculinos. Adems de trajes mucho ms livianos y de tejidos frescos, para aquellas ocasiones que lo requieran, los hombres de hoy pueden vestir tranquilamente bermudas, chanclas o camisetas de tirantes. En la imagen, una propuesta de Burberry. 3 Cool fashion, also for the lads. Freedom to wear what one likes is also creeping into mens wardrobes. In addition to much lighter suits in cooler fabrics, for those occasions that require them, men nowadays can happily go about in Bermudas, flip-flops and tank-tops. A proposal by Burberry is illustrated here.

70 ESTAR

REFINADAS LNEAS MASCULINAS


La coleccin Quadro, de la marca relojera suiza Candino, incluye una serie de crongrafos de acero que hacen un guio a la esttica de los aos cincuenta gracias a su estilo anguloso, deportivo y urbano. Estos modelos masculinos presentan refinados contrastes en los materiales empleados, que resaltan sus caractersticas ms esenciales: cajas de lneas depuradas y esferas con gran facilidad de lectura. El modelo de la imagen presenta una caja redonda de acero y correa de piel de cocodrilo marrn. La esfera es de color plata, con tres subesferas en color bronce. Destacan los ndices y las agujas, tambin de color bronce. 3 Refined masculine lines. The Quadro Collection, by the Swiss match brand, Candino, includes a series of steel chonos which are a recognition of theFifties style, due to their angular, sporty, urban styling. These masculine models present refined contrasts in the materials used, which highlight their most essential characteristics: simply designed cases and easily readable spheres. The model in the picture has a round face and crocodile strap. The sphere is in silver, with three sub-spheres in bronze. The indicators and hands stand out, also in bronze.

AIRE PURO, TAMBIN EN CASA


La mala calidad del aire y la contaminacin ambiental son temas que preocupan cada vez ms, especialmente a las personas alrgicas. Sorprendentemente, una casa u oficina puede estar hasta cinco veces ms contaminada que el exterior. Las construcciones actuales estn muy bien aisladas, pero a veces no permiten que los contaminantes presentes en las casas salgan al exterior. Los purificadores de aire pueden ser la solucin, porque eliminan las partculas de polvo, gases txicos y malos olores de los ambientes cerrados, aliviando los sntomas de alergia y facilitando la respiracin. Funcionan aspirando aire sucio a travs de una rejilla de entrada y hacindolo pasar por un sistema de filtros que eliminan hasta un 99 por ciento de las partculas de polvo, polen, caros, caspa de animales y humo, adems de los agentes qumicos presentes en la pintura, barnices y productos de limpieza.El de la imagen es de la marca Bonaire, avalada por la British Allergy Foundation, y tiene un precio de entre 69 y 199 euros. 3 Fresh air, also at home. Bad quality air and environmental pollution are subjects that cause increasing concern, particularly amongst allergic people. Surprisingly enough, a home or office can be five times more polluted than the outside. Present-day buildings are very well insulated but sometimes do not allow the contaminating substances in the home to be released outside. Air filters may be the solution because they eliminate dust, toxic gases and bad smells in confined areas, relieving the allergic symptoms and easing breathing. They work by extracting the contaminated air through an entry mesh, making it pass through a system of filters that eliminate up to 99 per cent of the dust particles, pollen, mites, animal dandruff and smoke, in addition to the chemical agents present in paints, varnishes and cleaning products. The illustration shows a Bonaire air filter, endorsed by the British Allergy Foundation and on sale for between 69 and 199 euros.

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EUROSTARS HOTELS

AGENDA CULTURAL AGENDA

A Corua / Corunna
EXPOSICIN. ANTES DE AYER Y PASADO MAANA: O LO QUE PUEDE SER PINTURA HOY Una reflexin sobre cul es el lugar actual de la pintura y cules han sido los ms recientes avances tericos y formales que ha experimentado en los ltimos aos. Esta exposicin colectiva se formula como un caleidoscopio de propuestas de diferentes medios y formatos. MUSEO DE ARTE CONTEMPORNEO UNIN FENOSA. MACUF AVDA. ARTEIXO, 171 T (+34) 981 17 87 00 HASTA EL 6 DE SEPTIEMBRE 3 EXHIBITION. THE DAY-BEFORE-YESTERDAY AND THE DAY-AFTER-TOMORROW: OR WHAT CAN BE THE PAINTING OF TODAY A ponderation about what is the current situation of painting and what are the most recent theoretical and formal advances experienced by painting over the last few years. This collective exhibition is displayed as a kaleidoscope of proposals in a diversity of media and formats. UNTIL 6 SEPTEMBER

Quinquis de los ochenta. Cine, prensa y calle. 3 Eighties smalltime films, press reviews and street-life delinquency.

Len / Leon
EXPOSICIN. KYONG PARK. LAS NUEVAS RUTAS DE LA SEDA Las Nuevas Rutas de la Seda es un proyecto de estudio e investigacin que explora, a partir de diferentes viajes, los nuevos paisajes urbanos de rpida expansin y transformacin que estn emergiendo en ciudades y regiones asiticas. Kyong Park documenta las evidencias fsicas de las transiciones urbanas a travs de fotografas, videos y entrevistas. MUSAC AVENIDA DE LOS REYES LEONESES, 24 T (+34) 987 09 00 00 out on this masterpiece by Rembrandt has motivated the Belgian Royal Museum of Fine Arts to show this gem of a painting from the 17th century to the public, together with other portraits painted by Rembrandt. UNTIL 27 SEPTEMBER HASTA ENERO DE 2010 3 EXHIBITION. KYONG PARK. THE NEW SILK ROUTES The New Silk Routes is a study and research project that explores, taking as a starting point different journeys, the new urban cityscapes in rapid expansion and transformation that are emerging in Asian cities and regions. Kyong Park is documenting the physical evidence of the urban transitions by means of photographs, videos and interviews. UNTIL JANUARY 2010

SOFA. MNCARS C/ SANTA ISABEL, 52 T (+34) 91 467 50 62 HASTA EL 31 DE AGOSTO 3 EXHIBITION. PETER FISCHLI / DAVID WEISS. ARE ANIMALS PERSONS? This exhibition is composed of a selection of pieces made by the artists themselves and is focused on the main characters of their early works, Bear and Rat. These characters, who have had presence at different times in both Fischli's and Weiss artistic careers, have served to question art as an alternative system of obtaining knowledge and positioning themselves on the fine line that divides fiction and reality, at an ironical distance. UNTIL 31 AUGUST

3 EXHIBITION. EIGHTIES SMALL-TIME FILMS, PRESS REVIEWS AND STREET-LIFE DELINQUENCY. This exhibition offers a view of the small-time delinquency movies that reached its peak between 1978 and 1985, focusing the relationship on the feedback in the newspapers of the time. The exhibition also acts as a faithful mirroring of the urban, social, political and economic transformations which thrashed the country during that period. UNTIL 6 SEPTEMBER

Mlaga / Malaga
EXPOSICIN. JULIO GONZLEZ. LOS LMITES DEL METAL Una muestra antolgica de 52 obras del artista cataln, desde sus aos de juventud modernista hasta su plenitud de vanguardia: dibujos, pinturas, joyas y esculturas provenientes de la coleccin del Instituto Valenciano de Arte Moderno (IVAM). FUNDACIN PICASSO. MUSEO CASA NATAL PLAZA DE LA MERCED, 15 T (+34) 95 206 02 15 HASTA EL 30 DE SEPTIEMBRE 3 EXHIBITION. JULIO GONZLEZ. THE LIMITS OF METAL An anthological display of 52 pieces of work by this Catalonian artist, from his youthful period of modernism through to his avantgarde maturity: drawings, paintings, jewellery and sculptures, loaned by the Institute of Modern Art of Valencia (IVAM). UNTIL 30 SEPTEMBER

Budapest
EXPOSICIN. ROBERT CAPA Uno de los fotgrafos del siglo XX de mayor relieve, Robert Capa, naci en Budapest, el 22 de octubre de 1913, como Endre Ern Friedmann. El museo de Arte Contemporneo de su ciudad natal ofrece una exposicin de las nuevas adquisiciones del autor. LUDWIG MZEUM OF CONTEMPORARY ART PALACE OF ARTS, H-1095, KOMOR MARCELL U. 1. T (+36) 1 555 3444 HASTA EL 11 DE OCTUBRE 3 EXHIBITION. ROBERT CAPA. One of the greatest photographers of the 20th century, Robert Capa was born in Budapest, on October 22, 1913, as Endre Ern Friedmann. A selection from a new acquisition, about 30 pictures, is shown in this exhibition. UNTIL 11 OCTOBER

Barcelona
EXPOSICIN. QUINQUIS DE LOS OCHENTA. CINE, PRENSA Y CALLE Esta exposicin ofrece una mirada sobre el cine quinqui, que vivi su apogeo entre 1978 y 1985, centrndose en su relacin de retroalimentacin con la prensa de la poca. La exposicin acta, adems, como reflejo fiel de las transformaciones urbansticas, sociales, polticas y econmicas que azotaron Espaa en aquel periodo. CENTRE DE CULTURA CONTEMPORNIA DE BARCELONA C/ MONTALEGRE, 5 T (+34) 93 306 41 00 HASTA EL 6 DE SEPTIEMBRE
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Bruselas / Brussels
EXPOSICIN. REMBRANDT. RETRATO DE NICOLAES VAN BAMBEECK La reciente restauracin de esta obra de Rembrandt sirve al Museo Real de Bellas Artes de Blgica para mostrar al pblico esta joya de la pintura del siglo XVII, junto con otros retratos realizados por el pintor. MUSES ROYAUX DE BEAUX ARTS DE BELGIQUE 3, RUE DE LA RGENCE T (+32) 2 508 32 11 HASTA EL 27 DE SEPTIEMBRE 3 EXHIBITION. REMBRANDT. PORTRAIT OF NICOLAES VAN BAMBEECK. The recent restoration work carried

Madrid
EXPOSICIN. PETER FISCHLI / DAVID WEISS. SON LOS ANIMALES PERSONAS? La exposicin se realiza a partir de una seleccin de piezas hecha por los propios artistas y se centra en los protagonistas de sus primeras obras, Oso y Rata. Estos personajes, presentes en diferentes momentos de la trayectoria artstica de Fischli y Weiss, les han servido para cuestionar el arte como sistema alternativo de conocimiento y posicionarse sobre la fina lnea entre ficcin y realidad, con distancia e irona. MUSEO NACIONAL CENTRO DE ARTE REINA

N ueva York / N York ew


EXPOSICIN. RON ARAD No Discipline es la primera muestra retrospectiva norteamericana de relevancia de la obra de Arad. Entre los diseadores ms influyentes de nuestra poca, Arad (britnico, nacido en Israel, 1951) destaca por su curiosidad temeraria acerca de las formas, estructuras, tecnologa y materiales, y por la naturaleza verstil de su obra, que abarca desde el diseo industrial, piezas de estudio trabajadas manualmente, esculturas, arquitectura e instalaciones multimedia. La experimentacin incansable de Arad, con el uso de materiales de todo tipo -desde el acero, el aluminio y el bronce, hasta los termoplsticos, cristales, fibra ptica...-, as como su radical reinterpretacin de algunos de los ms establecidos arquetipos del mobiliario -desde las butacas y mecedoras hasta las lmparas de mesa y de araa-, le ha colocado a la vanguardia del diseo contemporneo. La exposicin muestra aproximadamente 140 piezas que incluyen objetos de diseo, modelos arquitectnicos y vdeos La mayora de los objetos mostrados en la exposicin se exhibe en una estructura monumental diseada especialmente por Arad y desarrollada por Michael Castellana, de Ron Arad Associates, y cedida para la exposicin. P.S.1 CONTEMPORARY ART CENTER. MOMA 22-25 JACKSON AVE AT 46TH AVE T (+718) 784 2084 FROM 2 AUGUST TO 19 OCTOBER

N ueva York / N York ew


EXPOSICIN. LUTZ BACHER. MY SECRET LIFE La carrera artstica de Bacher est marcada por intervenciones contenidas, si bien comprensivas, hacia el entramado de las exposiciones, destacando su particular combinacin del trabajo y el contexto. En esta muestra encontramos obras realizadas desde 1970 hasta la fecha, ordenadas segn una secuencia que tiene en la galera de la segunda planta del museo su epicentro. P.S.1 CONTEMPORARY ART CENTER. MOMA 22-25 JACKSON AVE AT 46TH AVE T (+718) 784 2084 HASTA EL 14 DE SEPTIEMBRE 3 EXHIBITION. LUTZ BACHER. MY SECRET LIFE Bachers career is marked by restrained yet comprehensive interventions into exhibition frameworks, highlighting her particular pairing of work and context. For P.S.1, works from the mid 1970s to the present are organized according to the sequential layout of the Second Floor Main Gallery, with its central hall as the installations frenetic epicenter. UNTIL 14 SEPTEMBER

T (+44) 78 12 33 HASTA EL 14 DE SEPTIEMBRE 3 EXHIBITION. LAURENT GRASSO With the use of audiovisual art forms, Grasso composes unreal landscapes, spaces that defy any concept that can be captured by the senses. In this installation, Grassos recreations are based on the audibly captured sounds from which various scientific experiments, from the forties onwards, have tried to explore the sound of the Universe. UNTIL 14 SEPTEMBER 2009

Sevilla / Seville
EXPOSICIN. PROHIBIDO EL CANTE. FLAMENCO Y FOTOGRAFA Desde finales del siglo XIX, numerosos fotgrafos se han interesado por el flamenco. Esta exposicin que toma la primera parte de su ttulo, Prohibido el cante, de una advertencia que se poda leer en muchas tabernas durante el franquismo rene ms de 200 fotografas de ochenta y seis autores que, en distintas pocas y por motivos diversos, se han acercado a este arte. CENTRO ANDALUZ DE ARTE CONTEMPORNEO. MONASTERIO DE LA CARTUJA C/AMRICO VESPUCIO, 2 T (+34) 955 03 70 70 HASTA EL 31 DE AGOSTO 3 EXHIBITION. SINGING FORBIDDEN. FLAMINGO AND PHOTOGRAPHY Since the end of the 19th century, numerous photographers have shown interest in Flamenco art. This exhibition - which takes the first part of its title, Singing Forbidden, from a warning sign in many taverns during the Franco regime - shows over 200 photos by 86 photographers who, in different periods and for diverse reasons, have approached this art form. UNTIL 31 AUGUST 3 EXHIBITION. RON ARAD The Museum of Modern Art presents Ron Arad: No Discipline, the first major U.S. retrospective of Arads work. Among the most influential designers of our time, Arad (British, b. Israel 1951) stands out for his daredevil curiosity about form, structure, technology, and materials and for the versatile nature of his work, which spans industrial design, hand-crafted studio pieces, sculpture, architecture, and mixed media installations. Arads relentless experimentation with the use of materials of all kinds-from steel, aluminum, and bronze, to thermoplastics, crystals, fiberoptics, and LEDs-as well as his radical reinterpretation of some of the most established archetypes in furniture-from armchairs and rocking chairs to desk lamps and chandeliers-has put him at the forefront of contemporary design. The exhibition will feature approximately 140 works, including design objects, architectural models, and videos. Most of the objects featured in the exhibition will be displayed in a monumental structure specially designed by Arad and developed with Michael Castellana from Ron Arad Associates, and loaned to this exhibition. FROM 2 AUGUST TO 19 OCTOBER

Pars / Paris
EXPOSICIN. LAURENT GRASSO Con el empleo del audiovisual, Laurent Grasso compone paisajes irreales, espacios que desafan cualquier concepto que puedan captar los sentidos. En esta instalacin, las recreaciones de Grasso se basan en las captaciones sonoras que varios experimentos cientficos, desde los aos cuarenta, han tratado de explorar el sonido del Universo. CENTRE POMPIDOU PLACE GEORGES-POMPIDOU 75004

la revista de eurostars hotels magazine 73

HABITACIN 507 | ROOM 507

Luis Bustos
ENDURANCE (EPLOGO)
Endurance (eplogue)

Luis Bustos ha creado para nosotros un eplogo a su novela grfica recin publicada: Endurance. La legendaria expedicin a la Antrtida de Ernest Shackleton. 3 Luis Bustos has created for us an epilogue to his recently published illustrated novel Endurance, the legendary Antarctic Expedition led by Ernest Shackleton.

Luis Bustos, nacido en Madrid en 1973 y residente en Barcelona, es ilustrador, dibujante de cmics y grafista. Autodidacta, comparti sus inicios profesionales en las artes grficas con la colaboracin en diversos fanzines, editoriales y agencias de publicidad. Ha creado junto a David Muoz la serie Rayos y Centellas (Camaleon Ediciones) y el lbum Residuos (Glnat). Sus trabajos como autor completo son Espop!, una serie satrica sobre la msica pop para la revista musical RockdeLux, y las peripecias de un villano loco en Zorgo (Dibbuks). Tambin ha publicado ilustraciones e historietas en numerosas revistas y peridicos, destacando Nosotros somos los muertos y El Pas de las Tentaciones, as como su reciente trabajo de ilustracin en el libro juvenil Los Gamopelusidas (Bamb). Con su ltimo trabajo en forma de novela grfica, Endurance (Planeta De-Agostini), se estrena como autor completo con la narracin de la odisea antrtica del explorador britnico Sir Ernest Shackleton.
3 Luis Bustos, born 1973 in Madrid and resident in

Endurance es la historia de un fracaso. Pero tambin de una victoria. La de 27 hombres a las rdenes del explorador britnico Ernest Shackleton a bordo del navo Endurance. La expedicin imperial trasantrtica de 1914 tena como objetivo cruzar por vez primera la Antrtida en trineo. Sus protagonistas terminan viviendo una increble historia de supervivencia. Era el final de la edad heroica y el principio de un mundo nuevo. 3 Endurance is the story of a failure. But it is also a victory; that of 27 men under the orders of British explorer, Ernest Shackleton, on board the Endurance. The objective of the 1914 Imperial Antarctic Crossing expedition was to cross the Antarctic for the first time on a sledge. Its main characters are forced to experience an incredible survival story. This was the end of the heroic period and the beginning of a new era.

Barcelona, is an illustrator, comics artist and graphic designer. Self-taught, he divided his professional beginnings in graphic arts, collaborating in various fanzines, publishers and advertising agencies. Together with David Muoz, the series Rayos y Centellas (Sparks & Lightening), (Camaleon Editions) and the album Residuos (Residue), (Glnat) were created. His work as comprehensive author are Espop!, a satirical series on pop music for the music magazine RockdeLux and the mishaps of a crazy rascal in Zorgo (Dibbuks). He has also published illustrations and comic strips in a number of magazines and newspapers, out of which Nosotros somos los muertos (We are the dead) and El Pas de las Tentaciones (El Pais Temptations) are worthy of mention, in addition to his recent illustration work in the childrens book, Los Gamopelusidas (Bamb). With his latest work in graphic novel format, Endurance (Planeta De-Agostini), he makes his debut as an all-in-one writer/illustrator with the narrative of the British explorer, Sir Ernest Shackletons Antarctic nightmare.

FOTO: SERGI FUSTER

74 ESTAR

TO MY SHIPMATES. SIR ERNEST SHACKLETONS SEARCH AND DISCOVERY. A heart attack cut short Shackletons life at dawn on 5th January 1922. It is 15th February 1874: Ernest Henry Shackleton is born into an Irish family in Kilkee House. It is 1891: At the age of 17 years of age, young Ernest enrols in the Merchant Navy. 1902: Under the orders of Captain Scott, Shackleton, sick and weary, experiences his first failure. In 1904 he marries Emily Dorman, with whom he was to have three children. 1910: Shackleton becomes acquainted with Rosalind Chetwynd, a parallel relationship that was to last until his death. October 1915: The Endurance advances with difficulty between ice floes in the Weddell Sea. 30th August 1916: Keeping his promise, he rescues the rest of the crew of the Endurance who were waiting for him on Elephant Island. 1918: Aged and increasingly fonder of drink, he is sent on a military expedition to Murmansk in Russia, in charge of Arctic transport. 1919: Shackleton and Edward Saunders prepare South, a narrative of his journeys to the Antarctic. 17th September 1921. He gathers his most trustworthy men and sails with the Quest on his fourth and last Antarctic adventure. It is 4th January1922: With no concrete plans of action, Shackleton and the Quest arrive in Grytviken. Past, moving memories come to the surface amongst the adventure-seekers. Ernest, you are not well. You should take things easy. Ha, ha! You always want me to give up something. What do you want me to give up now?
la revista de eurostars hotels magazine 75

EUROSTARS HOTELS

DIRECTORIO DIRECTORY

Alicante
Eurostars Mediterrnea Plaza #### Plaza del Ayuntamiento, 6 03002 Alicante T (+34) 965 210 188 F (+34) 965 206 750 info@eurostarsmediterraneaplaza.com Moderno hotel ubicado en un edificio clsico de Alicante, frente al Castillo de Santa Brbara. 3 A modern hotel placed in one of Alicantes classical building in front of the Santa Barbara Castle.

Barcelona
Eurostars Grand Marina ##### GL Moll de Barcelona, s/n Edificio Oeste 08039 Barcelona T (+34) 936 039 000 F (+34) 936 039 090 info@eurostarsgrandmarina.com El hotel emblema de Eurostars Hotels, lleno de referencias y guios al arte y la cultura, est situado en el Complejo de Ocio y Negocios del World Trade Center. 3 The Eurostars Hotels flagship is an hotel full of art and cultural references. It is located in the World Trade Centre Leisure and Business Complex.

Barcelona
Eurostars Angl #### Angl, 60 08017 Barcelona T (+34) 932 069 944 F (+34) 932 069 945 info@eurostarsangli.com Un hotel de diseo en la zona alta de Barcelona en cuyo interiorismo priman los juegos de contrastes. 3 A design hotel situated in the north area of Barcelona, in which predominates the play of transparencies.

Barcelona
Eurostars Cristal Palace #### Diputaci, 257 08007 Barcelona T (+34) 934 878 778 F (+34) 934 879 030 info@eurostarscristalpalace.com Situado en plena Ruta del Modernismo, a escasa distancia de dos de las ms renombradas obras de Antoni Gaud: la Casa Mil (La Pedrera) y la Casa Batll. 3 It is right in the centre of the Modernism Route, close to Antoni Gauds two most renowned works: the Casa Mil (La Pedrera) and the Casa Batll.

Barcelona
Eurostars Gaud #### Consell de Cent, 498-500 08013 Barcelona T (+34) 932 32 02 88 F (+34) 932 32 02 87 info@eurostarsgaudi.com Recientemente inaugurado en el corazn del Eixample barcelons, con un interiorismo inspirado en la esttica modernista que populariz Antoni Gaud. 3 This hotel recently opened in the heart of Barcelonas Eixample area. Its interior design is inspired by the modernist art made popular by Antoni Gaud.

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Bruselas / Brussels
Eurostars Montgomery ##### Avenue de Terveuren, 134 1150 Brussels (Belgium) T (+32) 0 2741 85 11 F (+32) 0 2741 85 00 info@eurostarsmontgomery.com Descubra un elegante y lujoso hotel de 63 habitaciones concebidas para satisfacer las necesidades de los ms exigentes viajeros. Se encuentra privilegiadamente ubicado en el centro de Bruselas. 3 Discover an intimate and luxurious hotel of 63 elegant rooms intended for the most demanding travellers. It is situated in privileged area in Brussels downtown.
76 ESTAR

Bruselas / Brussels
Eurostars Grand Place #### Boulevard Anspach 159-163 1000 Brussels (Belgium) T (+32) 0 2512 81 00 F (+32) 0 2514 30 97 info@eurostarsgrandplace.com Situado en pleno centro, a menos de dos minutos de la popular Grand Place, el Manneken Pis y algunos de los principales restaurantes y museos de la capital belga. 3 The popular Grand Place, the Manneken Pis, some of the best restaurants and most important museums in the Belgian capital are less than two minutes from the hotel.

Bruselas / Brussels
Eurostars Sablon #### Rue de la Paille / Strootstraat, 2-8 1000 Brussels T (+32) 251 36 040 F (+32) 251 18 141 info@eurostarssablon.com Pequeo y confortable hotel de estilo clsico, situado en el corazn de Bruselas junto a los principales puntos de inters turstico y de negocios. 3 A small, comfortable hotel in classical style set in the heart of Brussels next to the main places of interest for tourists and business

Budapest
Eurostars Budapest Center #### Kossuth Lajos,7 1053 Budapest (Hungra / Hungary) T (+34) 902 23 00 11 info@eurostarsbudapestcenter.com Hotel moderno y funcional de innovador diseo interior situado en una de las principales arterias del centro histrico de Budapest y a slo 500 metros del ro Danubio. 3 A modern, functional hotel with an innovative interior dcor, located on one of the main thoroughfares of the historical centre of Budapest and just half a kilometre from the river Danube.

Buenos Aires
Claridge Hotel ##### Tucumn, 535 C1049AAK Buenos Aires (Argentina) T (+54) 11 4314 7700 F (+54) 11 4314 8022 inforeservas@claridge.com.arg Un clsico de la hostelera bonaerense con ms de 60 aos de historia. Ofrece, entre otras instalaciones, 157 habitaciones decoradas en un elegante estilo ingls. 3 A Buenos Aires classic in hotels with over 60 years of history. Amongst other facilities, offers 157 renovated rooms, decorated in elegant English style.

Le hacemos sentir como en casa en 30 ciudades en Europa y Amrica


We make you feel as if you were at home in 30 cities in Europe and America

Barcelona
Eurostars Laietana Palace #### Va Laietana, 17 08002 Barcelona T (+34) 932 687 940 F (+34) 933 190 245 info@eurostarslaietanapalace.com Un palacete de estilo neoclsico con una privilegiada ubicacin, junto al Barrio Gtico de Barcelona y en las inmediaciones de la Catedral. 3 This small, neoclassical style palace has a privileged location next to the Gothic Quarter (Barrio Gtico) in the vicinity of the Cathedral.

Barcelona
Eurostars Mitre ### Bertrn, 9-15 08023 Barcelona T (+34) 932 121 104 F (+34) 934 189 481 info@eurostarsmitre.com Destaca por su funcionalidad y acogedoras instalaciones y por su ubicacin en una de las ms tranquilas zonas residenciales de la capital catalana. 3 It is situated in one of Barcelonas most peaceful residential neighbourhoods. The Eurostars Mitre stands out for its functional and comfortable facilities.

Barcelona
Eurostars Barber Parc #### Carretera Nacional 150 km 6.7 (Sector Baricentro) 08210 Barber del Valls (Barcelona) T (+34) 937 003 900 F (+34) 937 003 910 info@eurostarsbarberaparc.com Un moderno establecimiento cuyo entorno e instalaciones lo convierten en el escenario ideal para congresos, convenciones y eventos sociales. 3 A modern hotel with ideal facilities for helding congresses, conventions and all other kind of social events.

Barcelona
Eurostars Parc del Valls #### Artesans, 2-8 Parque Tecnolgico. 08290 Cerdanyola del Valls (Barcelona) T (+34) 936 920 661 F (+34) 936 920 482 info@eurostarsparcdelvalles.com El Eurostars Parc del Valls destaca por su decoracin minimalista, su cuidada zona ajardinada y por una completa oferta de salones. 3 Eurostars Parc del Valls stands out for its minimalist decoration, its welltended landscaped area and its wide range of function rooms.

Barcelona
Eurostars BCN Design ##### Passieg de Grcia, 29 08023 Barcelona T (+34) 93 344 45 55 F (+34) 93 272 58 98 info@eurostarsbcndesign.com Ubicado en un antiguo edificio de poca en pleno Passeig de Grcia, el Eurostars BCN Design es un pequeo hotel boutique de elegante y moderna decoracin. 3 Set in a mature building of the period right on the Passeig de Gracia, the Eurostars BCN Design is a small, boutique hotel with an elegant, modern interior decoration.

Crdoba / Cordova
Eurostars Las Adelfas #### Avda. de la Arruzafa, s/n 14012 Crdoba/Cordova T (+34) 957 277 420 F (+34) 957 272 794 info@eurostarslasadelfas.com Tras una completa renovacin de sus instalaciones, el Eurostars Las Adelfas brinda a sus clientes una perfecta combinacin de relax y confort. 3 Eurostars Las Adelfas facilities have been completely refurbished, to offer clients a perfect combination of relaxation and comfort.

Crdoba / Cordova
Eurostars Ciudad de Crdoba #### Avda de Cdiz, s/n 14013 Crdoba T (+34) 957 013 600 F (+34) 957 013 601 info@eurostarsciudaddecordoba.com Su ubicacin en la principal va de entrada a la ciudad de Crdoba permite un rpido acceso al centro histrico de la ciudad. 3 Its location on the citys main access road enables clients to enjoy a fast access to the city centre.

Crdoba / Cordova
Eurostars Maimnides ### Torrijos, 4 14003 Crdoba/Cordova T (+34) 957 471 500 F (+34) 957 483 803 info@eurostarsmaimonides.com Sus habitaciones, con espectaculares vistas a la Mezquita, y el resto de las instalaciones se impregnan del estilo mozrabe que abunda en su entorno. 3 The rooms, with their spectacular views of the cathedral, and the rest of the hotels facilities are imbued with the Mozarabic style that abounds in their setting.

A Corua / Corunna
Eurostars Ciudad de la Corua #### Juan Sebastin Elcano, 13 (antes P Adormideras) 15002 A Corua/Corunna T (+34) 981 211 100 T (+34) 981 212 100 F (+34) 981 224 610 info@eurostarsciudaddelacoruna.com Completamente renovado durante 2003, el hotel se erige majestuoso en la zona residencial de Adormideras, junto a la Torre de Hrcules. 3 Completely refurbished in 2003, this hotel stands majestically in the Adormideras residential area, next to the Tower of Hercules.

Huelva
Eurostars Tartessos #### Avenida Martn Alonso Pinzn, 13 21003 Huelva T (+34) 959 282 711 F (+34) 959 250 617 info@eurostarstartessos.com Ubicado en la principal avenida de Huelva, y justo al lado del Palacio de Congresos Casa Coln, su restaurante frece una amplia carta, incluyendo vinos excelentes. 3 Siutated on Huelvas main thoroughfare and next door to the Casa Coln Congress Hall, its restaurant offers a wide range of local products as well as a select wine list.
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EUROSTARS HOTELS

DIRECTORIO DIRECTORY

Len / Leon
Eurostars Len #### Velzquez, 18 24005 Len/Leon T (+34) 987 20 85 20 F (+34) 987 20 85 26 info@eurostarsleon.com Hotel de nueva construccin situado en las inmediaciones de los principales focos de inters histrico-cultural de Len. 3 This is a newly built hotel situated close to the main points of historical and cultural interest in Leon.

Lisboa / Lisbon
Eurostars Das Letras ##### Rua Castilho, 6-12. 1250069 Lisboa / Libon. T (+34) 954 460 660 F (+34) 954 373 753 / info@eurostarsdasletras.com En pleno centro histrico, este establecimiento, de estilo moderno y funcional, cuenta con fitness center y una completa oferta de salones. 3 Placed in the historical centre of Lisbon, this modern, functional style stablishment is provided with fitness centre and a complet selection of reception rooms.

Lucca
Eurostars Toscana #### Viale Europa, 1135 55100 Lucca (Italia) T (+39) 0583 317 81 F (+39) 0583 317 894 info@eurostarstoscana.com El Eurostars Toscana es un establecimiento de decoracin moderna y elegante que responde a la perfeccin tanto a las necesidades del cliente de negocios como del vacacional. 3 The Eurostars Toscana Hotel is an hotel of elegant and modern decoration that responds to the needs of the business clients as well as the vacation ones.

Madrid
Eurostars Madrid Tower ##### Cuatro Torres Business Area Paseo de la Castellana, 261 28046 Madrid T (+34) 902 23 00 11 info@eurostarsmadridtower.com Este lujoso hotel ocupa 30 plantas de la Torre SyV. Cuenta con 474 habitaciones y dispone, entre otros servicios, de un restaurante gastronmico con las mejores vistas panormicas de Madrid. 3 This luxurious hotel takes up 30 floors of the SyV Tower, contain 474 rooms and offer an important variety of services, as a a gastronomic restaurant with the best Madrids panoramic.

Madrid
Eurostars Zarzuela Park #### Daro Aparicio, s/n 28023 Madrid T (+34) 91 211 49 00 F (+34) 91 211 49 01 info@eurostarszarzuelapark.com La bella zona residencial de Moncloa, en la que se encuentra este hotel de nueva construccin, rodeado de jardines, ofrece la tranquilidad y el reposo que todo cliente busca. 3 This newly built hotel surrounded by gardens is situated in the beautiful Moncloa residential area, which offers the relaxation sought by all clients.

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Munich / Mnchen
Eurostars Grand Central #### Arnulfstrasse, 35 80335 Munich / Mnchen (Alemania / Germany) T (+34) 902 23 00 11 info@eurostarshotels.com El Eurostars Grand Central es un espectacular hotel de impactante arquitectura y moderno interiorismo. Se encuentra situado en el extremo este de la capital bvara y prximo a la estacin de trenes. 3 The Eurostars Grand Central is a spectacular hotel with striking architecture and modern interior decoration. It is strategically located at the east end of the Bavarian capital, close to the railway station.
78 ESTAR

N ueva York / N york ew


Exchange Hotel #### 129 Front Street New York, 10005 T (+212) 742 00 03 F (+212) 742 01 24 info@exchangehotel.com Un hotel boutique de moderno diseo, ubicado en pleno distrito financiero de Manhattan. Cuenta con 55 amplias habitaciones y suites modernamente decoradas y equipadas con la ltima tecnologa. 3 A boutique hotel of modern design, in the heart of the Manhattan business district. It has 55 spacious guestrooms and suites, decorated in contemporary style.

N ueva York / N york ew


Dylan Hotel ##### 52 East, 41st Street New York, 10017 (EE UU / USA) T (+212) 3380 500 F (+212) 3380 569 reserve@dylanhotel.com Este hotel boutique es el ejemplo perfecto de elegancia contempornea. Situado en pleno Midtown Manhattan, se encuentra prximo al MoMA o Time Square, entre otros atractivos tursticos. 3 This boutique hotel is a perfect example of contemporary elegance. Situated right in Midtown Manhattan, it is close to the MoMA, Central Station or Times Square.

Ourense / Orense
Eurostars Auriense #### Cumial, 12 32915 Ourense T (+34) 988 234 900 F (+34) 988 245 001 info@eurostarsauriense.com La amplia oferta de salones del hotel, con capacidad para hasta 300 invitados, brinda las mximas facilidades para la realizacin tanto de bodas y banquetes como de congresos y convenciones. 3 The wide variety of function rooms, with capacity for 300 guests, provides optimum facilities for weddings and banquets or for congresses and conferences.

Ourense / Orense
Hotel Monumento Monasteiro San Clodio #### San Clodio 32420 Leiro (Ourense) T (+34) 988 485 601 F (+34) 988 485 604 info@monasteriodesanclodio.com El primer Hotel Monumento de Galicia, ocupa un antiguo monasterio cisterciense del siglo XII, en el corazn de la comarca del Ribeiro, y cuenta con dos claustros de estilos barroco y renacentista. 3 Galicias first Monument Hotel is located in the heart of the Ribeiro province. This 12th century Cistercian monastery has two Baroque and Renaissance cloisters

Princesa, 58 principal 08003 Barcelona T (+34) 93 295 42 38 F (+34) 93 295 53 70 info@eurostarshotels.com www.eurostarshotels.com

Descubra ms en www.eurostarshotels.com
Y can find out more at www.eurostarshotels.com ou

Madrid
Eurostars Gran Madrid #### Av. de la Vega, 22 28100 Alcobendas (Madrid) T (+34) 912 008 484 F (+34) 912 008 485 info@eurostarsgranmadrid.com Rodeado de las ms importantes nuevas zonas de negocios de Madrid, se trata de un hotel de negocios con todos los detalles de un hotel con encanto. 3This is a business hotel with charming features surrounded by Madrids most important new business districts.

Mlaga / Malaga
Eurostars Astoria ### Comandante Bentez, 5 29001 Mlaga T (+34) 951 014 300 F (+34) 951 014 301 info@eurostarsastoria.com El Eurostars Astoria se encuentra al lado del Centro de Arte Contemporneo de Mlaga (CAC) y a cinco minutos del prestigioso Museo Picasso. 3 Eurostars Astoria is very close to the Centro de Arte Contemporneo (CAC Mlaga) and five minutes walking from the brand new Museo Picasso.

Mxico / Mexico
Eurostars Blue Tulum ##### GL Carretera Costera, Tulum Ruinas. Punta Allen, Lote 47 77780. Tulum Quintana Roo T (+52) 984 871 1000 F (+52) 984 871 1001 info@eurostarsbluetulum.com El mejor todo incluido Gourmet del Caribe mexicano. Equipado con 96 elegantes suites con jacuzzi, tres restaurantes y un y exclusivo spa con vistas al mar. 3 The best all included gourmet on the Mexican Caribbean. This hotel offers 96 elegant suites equipped with Jacuzzi, three -la-carte restaurants and a full-scale, exclusive spa centre with sea views.

Mxico D.F.
Eurostars Suites Reforma #### Ro Amazonas, 78 06500 Mexico D.F. T (+ 52) 55 66 98 77 F (+ 52) 55 66 97 43 info@eurostarssuitesrforma.com Un moderno hotel de 36 suites de ms de 40 metros cuadrados, completamente renovado en 2007. Est situado en un edificio del arquitecto mexicano Heriberto Izquierdo. 3 A modern hotel with 36 suites measuring over 40 square metres, completely renovated in 2007. It is situated in a building designed by the Mexican architect Heriberto Izquierdo.

Mxico D.F.
Eurostars Zona Rosa Suites ##### Londres, 115 Colonia Jurez, 06600 Del. Cuauhtemoc. Mxico D.F. T (+52) 55 50 80 07 00 F (+52) 55 50 80 07 99 info@eurostarszonarosasuites.com Privilegiadamente ubicado en el centro de la denominada Zona Rosa, el hotel de 60 suites destaca por un estilo vanguardista y por un servicio impecablemente personalizado. 3 Setting in the centre of the area known as the Zona Rosa (Pink Zone), the hotel comprising 60 suites stands out for its avantgarde style and its impeccable personalized service.

Palencia
Eurostars Diana Palace #### Avda. de Santander, 12 34003 Palencia T (+34) 979 018 050 F (+34) 979 018 059 info@eurostarsdianapalace.com De factura funcional y nueva construccin, se ubica en el centro histrico de Palencia, a poca distancia de la Catedral y otros monumentos de alto valor histrico y artstico. 3 This newly built hotel has a functional style. It is located in Palencias historical centre, just a short walk from the Cathedral and other monuments of great historical value.

Pars / Paris
Eurostars Panorama ### Rue des Messageries, 9. 75010 Paris T (+33) 1 47 70 44 02 F (+33) 1 40 22 91 09 info@eurostarspanorama.com Un encantador edificio neoclsico en una de las calles ms tranquilas y cntricas del corazn de Pars, convertido en un pequeo hotel de diseo. 3 A delightful neo-classical building in one of the quietest and centrally located streets in the heart of Paris, converted into a small design hotel.

Porto / Oporto
Eurostars Das Artes #### Ra do Rosario, 160 4050-521 Oporto/Porto T (+351) 222 071 250 F (+351) 222 071 259 info@eurostarsdasartes.com Este impresionante edificio, reformado en su totalidad, est rodeado de algunas de las ms prestigiosas galeras de arte y la zona histrica de Museos de la capital del Alto Douro. 3 This impressive, completely refurbished building is situated in the heart of Porto. It is surrounded by some of the most prestigious art galleries and the Alto Douro capitals historical museum area.

Praga / Prague
Eurostars Thalia ##### Nrodn Trida, 13 11000 Praha (Repblica Checa/Czech Republic) T (+420) 221 011 333 F (+420) 221 011 334 info@eurostarsthalia.com Un lujoso hotel que ocupa un edificio clsico del siglo XIX ubicado en el centro de la ciudad de Praga. Cuenta con 124 habitaciones de diseo equipadas hasta el ms mnimo detalle. 3 A luxurious hotel housed in a classical 19th century building in the centre of Prague. It has 124 beautifully designed rooms, fully equipped to the tiniest detail.

Praga / Prague
Eurostars David #### Nplavn, 6 12000 Praha 2 (Repblica Checa/Czech Republic) T (+420) 222 51 61 50 F (+420) 222 51 61 51 info@eurostarsdavid.com Situado en pleno corazn histrico de Praga, este hotel desprende todo el encanto del impresionante edificio neo-renacentista en el que se ubica. 3 Set right in the heart of the historical city centre of Prague, this hotel is imbued with all the charm of the impressive NeoRenaissance building in which it is housed.

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EUROSTARS HOTELS

DIRECTORIO DIRECTORY

Princesa, 58 principal 08003 Barcelona T (+34) 93 295 42 38 F (+34) 93 295 53 70 info@eurostarshotels.com www.eurostarshotels.com

Descubra ms en www.eurostarshotels.com
Y can find out more at www.eurostarshotels.com ou

Regensburg
Park Hotel Maximilian #### Maximilianstrasse, 28 93047 Regensburg (Alemania/Germany) T (+49) 941 5685-0 F (+49) 941 52 9 42 info@parkmaximilianhotel.com Uno de los ms emblemticos hoteles de la ciudad, enmarcado en uno de los edificios de estilo rococ con ms clase de toda la regin de Baviera. 3 One of the citys most representative hotels, set in one of the most elegant Rococo buildings in the whole of Bavaria.

Roma / Rome
Eurostars Roma Congress #### Via Prenestina, 944/c 00155 - Roma/Rome T (+39) 06 22 79 91 F (+39) 06 22 88 794 info@eurostarsromacongress.com Un hotel de negocios dotado de 238 habitaciones, un restaurante, nueve salas de reuniones y un espectacular centro de convenciones con capacidad para acoger eventos de hasta 500 personas. 3 A brand new hotel with 238 rooms, a haute cuisine restaurant, nine meeting rooms and a spectacular convention centre seating up to 500 attendees.

Roma / Rome
Eurostars International Palace #### Via Nazionale, 46 00184 Roma/Rome T (+39) 06 48 93 99 60 F (+39) 06 48 93 02 29 info@eurostarsinternationalpalace.com Majestuoso y elegante establecimiento de estilo renacentista de principios del siglo XIX, totalmente renovado, ubicado en el corazn de la Ciudad Eterna. 3 A totally refurbished, majestic and elegant establishment in the renaissance style that enjoys a privileged location close to the main tourist, cultural and leisure attractions of Rome.

Roma / Rome
Eurostars Domus Aurea ### Via Volturno, 30-32-34 00185 Roma/Rome T (+39) 06 47 82 60 12 F (+39) 06 47 82 62 01 info@eurostarsdomusaurea.com De modernas instalaciones y privilegiada ubicacin, el hotel se erige en una de las calles ms antiguas de Roma, a tan slo 100 metros de la Estacin Termini y muy prximo al centro comercial e histrico. 3 The hotel has modern facilities and a privileged location in one of the citys oldest streets. It is only 100 metres from Termini Station and very close to the historical and shopping centre.

Segovia
Eurostars Plaza Acueducto #### Avda Padre Claret, 2-4 40001 Segovia T (+34) 921 413 403 F (+34) 921 436 999 info@eurostarsplazaacueducto.com El establecimiento se enmarca en un edificio de nueva construccin que presume de incomparables vistas al Acueducto y se sita junto a las puertas del casco antiguo. 3 The property is framed in a newly build construction, that prides itself on its incomparable views over the Aqueduct. It is also next to the doors of the ancient town center of Segovia.

Sevilla / Seville
Eurostars Isla de la Cartuja #### Estadio Olmpico-Edificio Sureste, Puerta G. Isla de la Cartuja 41092 Sevilla T (+34) 954 081 700 F (+34) 959 250 617 info@eurostarsislacartuja.com Moderno establecimiento cuyas inatalaciones gozan de privilegiadas vistas al terreno de juego del Estadio Olmpico de Sevilla, sede de grandes acontecimientos deportivos o conciertos musicales. 3 A modern establishment, with privileged views over the grounds of the Seville Olympic Stadium, venue for great sports events or concerts.

Sevilla / Seville
Eurostars Regina ### San Vicente, 97 41002 Sevilla/Seville T (+34) 954 907 575 F (+34) 954 907 562 info@eurostarsregina.com Un edificio de tpico estilo arquitectnico sevillano reformado en 2001 acoge este hotel situado en el centro de la ciudad, frente al parque de La Cartuja y a escasa distancia del Puente de la Barqueta. 3 This hotel is housed in a building that has typical Seville-style architecture. It was refurbished in 2001, and is located in the centre of Seville, facing La Cartuja Park and close to the Puente de la Barqueta.
80 ESTAR

Toledo
Eurostars Toledo #### P San Eugenio, s/n 45003 Toledo T (+34) 925 282 373 F (+34) 925 282 374 info@eurostarstoledo.com El Eurostars Toledo es un confortable establecimiento de nueva construccin y diseo vanguardista desde el que visitar los ms emblemticos lugares de la ciudad. 3 The Eurostars Toledo is a comfortable newly built hotel which an avant-garde design. Interesting visits to the citys most emblematic sites can be made from the hotel.

Valencia
Eurostars Gran Valencia ##### Valle de Ayora, 3 46015 Valencia T (+34) 963 050 800 F (+34) 963 050 809 info@eurostarsgranvalencia.com Inaugurado en 2004, el hotel se enmarca en un nuevo edificio de concepcin vanguardista y cuidado interiorismo, en una de las reas ms prsperas y de mayor expansin de la ciudad del Turia. 3 The hotel was opened in 2004 and it is located in one of the most prosperous, expanding areas in Valencia. The hotel is housed in a new, avant-garde building, with impeccable interior design.

Viena / Vienna
Eurostars Vienna #### Ottakringer Str., 34-36 1170 Viena/Vienna T (+43) 01 404 55 811 F (+43) 01 404 55 888 info@eurostarsvienna.com Clasicismo y modernidad se dan cita en este hotel cuyas instalaciones se renovaron totalmente en 2004. Est situado a tan slo 10 minutos del centro histrico, comercial y financiero de Viena. 3 Classicism and modernity are combined in this hotel, whose facilities were refurbished in 2004. It is situated only 10 minutes from Viennas historical, shopping and business centre.

Zaragoza
Eurostars Plaza Delicias ### Los Fayos, 11 50017 Zaragoza T (+34) 976 34 04 40 F (+34) 976 31 54 22 info@eurostarsplazadelicias.com Moderno y funcional establecimiento de nueva construccin situado frente a la Estacin del AVE de Delicias y a escasos minutos del centro histrico de la ciudad y de la Baslica del Pilar. 3 A newly-built, modern, functional establishment, located opposite the Delicias high speed (AVE) railway station and just a few minutes away from the historical city centre and the Pilar Basilica.

HOTELES DE CINE MOVIE HOTELS


Breve encuentro (Brief Encounter) 1944 (Reino Unido/ Great Britain). Dirigida por (directed by) David Lean. Guin (script): Noel Coward, Anthony Havelock-Allan, David Lean, Ronald Neame. Con (with): Celia Johnson, Trevor Howard, Stanley Holloway, Joyce Carey.

Un lugar de trnsito, un lugar en el que detenerse


A place of transit, a place in which to linger

Un espacio de trnsito: el que conforman una estacin de tren y la cafetera de un hotel. Dos desconocidos: un ama de casa, Laura, y un mdico, Alec. Una casualidad cuyas consecuencias nos hacen pensar que no fue tal, sino ms bien cosa del destino. Sobre estos tres elementos se asienta el argumento de la primera pelcula de David Lean, el aclamado director de entre otras Doctor Zhivago. El Royal Station Hotel, en la localidad britnica de Carnforth, acta como co-protagonista de la historia, cobrando una gran relevancia para la trama, junto con la estacin de tren. Este escenario conforma casi un estado de nimo, una constante sensacin de trnsito, de cosa momentnea. Los personajes, dos personas casadas, Laura (Celia Johnson) y Alec (Trevor Howard), quedan atrapados en ese instante fugaz que se produce cada tarde de jueves, cuando coinciden en el andn del tren. El carcter pasajero de ese lugar se convierte para ellos en un tiempo en suspenso. Ambos, terminan por descubrir en esos encuentros semanales que estn enamorados, y ambos deben de afrontar el dilema que se plantea entre esa certeza y sus principios morales, esto es, el compromiso con sus respectivos cnyuges. Gran parte de la pelcula se rod en la propia cafetera del Royal Station Hotel, anexa a la estacin de tren, en ese lugar de paso que, para dos personas cuyos pasos se han detenido de repente, se convierte en un lugar nico en el que desearan quedarse para siempre, mientras el resto del mundo a su alrededor va y viene.
82 ESTAR

A stopping place: which can be a railway station and a hotel caf. T people who do not know each other: a housewife, wo Laura; a doctor, Alec. A coincidence, but of which the consequences make us think it was not the case, rather instead, just fate. In the argument of this first film by David Lean the acclaimed director of, amongst other movies, Dr. Zhivago The Royal Station Hotel, in the British locality of Carnforth, is the co-protagonist of a story in which the scenario becomes of great relevance for the plot, together with the railway station. Indeed, this scenario almost constitutes a state of mind, a constant sensation of transit, of a momentaneous thing. The leading actors, two married personas, Laura (a role played by Celia Johnson) and Alec (Trevor Howard) are trapped in that fleeting instance that is produced every Thursday, when they coincide at the station. The transitional character of that place becomes for them a suspended period of time- Both of them, married as they are, end up discovering in those weekly encounters that they are in love and both must face the dilemma that arises between that certainty and their moral principles; that is, the commitment with their respective spouses. A large part of the film was shot in the Royal Station Hotel caf, annexed to the station itself, in that transit area which, for two people who have suddenly stopped in their tracks, becomes a unique place where they would wish to stay on for ever while the rest of the world that surrounds them just carries on.

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DEPARTMENT STORES - GRANDES ALMACENES

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