Estar Magazine Nº 14

nMERo 14 | VERano-otoo 2011
ENTREVISTA VolkER kuTSchER INTERVIEW MuJERES EN lA cIENcIA WoMEN IN ScIENcE JulIo llAMAZARES DESTINo BERlN DESTINATIoN BERlIN
la revista de eurostars hotels magazine
hollywood: un siglo de cine hollywood: 100 years of movies

ISSUE 14 / SUMMER-aUtUMn 2011
EDITORIAL
Amancio Lpez Seijas

Presidente del Grupo Hotusa Chairman of Hotusa Group
En esta edicin de la revista ESTAR andamos a vueltas con una cifra redonda: 100. se es el nmero de aos que han transcurrido desde la creacin del estudio de cine Nestor Motion Picture Company, hito que viene a ser considerado como el nacimiento oficial de Hollywood, en su calidad de industria cinematogrfica. Y cien aos han transcurrido desde que la cientfica Marie Curie recibiera el premio Nobel de Qumica. Dos efemrides de muy distinto cariz, que nos sirven para acercarnos a dos realidades completamente diferentes. La historia de Hollywood, un mundo que ha encarnado el glamour y la mitomana por excelencia, es la historia de la manifestacin artstica de mayor calado en el siglo XX y, a la vez, la de una industria en el sentido ms literal del trmino, concebida como un perfecto engranaje que incluso recuerda en sus primeros aos a la industria automovilstica. Por su parte, el centenario del Premio Nobel que recibi Marie Curie nos sirve para asomarnos a una realidad que nos habla del escaso eco que han obtenido las mujeres en el mbito de la ciencia y la investigacin, as como la abundancia de trabas y obstculos que han tenido que superar muchas de las cientficas ms brillantes. Ms all del nmero cien, Berln es el otro eje del presente nmero de ESTAR. En estas pginas, proponemos un recorrido por la capital alemana y su enorme oferta cultural y de ocio. La ocasin la brinda la reciente apertura del flamante cinco estrellas de Eurostars en Berln. En nuestro afn de ofrecer una visin lo ms amplia posible de las realidades artsticas, culturales e histricas, situaremos nuestro foco en la apasionante poca de la Repblica de Weimar. Entrevistamos al escritor alemn Volker Kutscher, que ha concebido una saga de novela negra berlinesa que arranca en 1929 y termina en 1936. Kutscher es profesor de historia, lo que da a sus novelas un riguroso contenido documental de aquellos aos.
In this edition of ESTAR Magazine we are toying with a round figure: 100. That is the number of
years that have elapsed since the creation of the movie studio, Nestor Motion Picture Company, a milestone that is generally considered as the official birth of Hollywood, in its category as the headquarters of the film industry. And, a hundred years have elapsed since scientist Marie Curie received the Nobel Prize for Chemistry. T anniversaries of very distinct calibre, which help us to approach two completely different wo realities. The history of Hollywood, a world which has personified glamour and the cult of the myth above all others, is the history of the most significant artistic manifestation of the 20th century and, at the same time, that of an industry in the most literal sense of the word, conceived as a perfect mechanism that even, in its earliest years, is reminiscent of the car industry. On the other hand, the centenary of the Nobel Prize received by Marie Curie reveals a reality that tells us about the scarce recognition obtained by women in the spheres of science and research, in addition to the abundance of setbacks and obstacles that many of the most brilliant women scientists have had to overcome. Further afield than the one hundred figure, Berlin is the other axis of this edition of ESTAR. From these pages we propose a tour through the German capital and its enormous cultural offer. The occasion is provided by the recent opening of the stunning Eurostars five-star hotel in Berlin. In our desire to offer as wide a vision as possible of the artistic, cultural and historical realities, we set our spotlight on the exciting era of the Weimar Republic. We interview German writer Volker Kutscher, who has conceived a saga of Berlinbased thrillers, starting in 1929 and ending in 1936. Kutscher is a professor of history, which guarantees that his novels are endowed with a rigorously documented background of the period.
la revista de eurostars hotels magazine 03
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Estar, la revista de Eurostars Hotels Edita: Eurostars Hotels Presidente: Amancio Lpez Seijas. Coordinador: Hctor Oliva. 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: Aresogrfico / director de Arte: david Regueras. Redaccin y colaboradores: Violeta Bru, Carlos Surez, Andrs Gonzlez, nora Vergara, Mara Corisco, Jess Aguado, ngel Bermejo, Antonio Sierra, Teresa P. de Vega, Javier Lazcano. Asesora en Arte: Laura Arias Serrano / Fotografas: Guillermo navarro. / Ilustraciones: Miguel Ibarz / Edicin grfica: Klaus Winkel, Miguel Machine. Traduccin al ingls: Elena Gordon. IMAGEn dE PORTAdA: Extraos en un tren (Cordon Press). COVER IMAGE: Strangers on a Train (Cordon Press). 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: EMF2011
descargue la revista de Eurostars Hotels 3 download the Eurostars Hotels magazine http://blog.eurostarshotels.com/estar-magazine-en-pdf
04 Estar
Working in the cinema was shameful; it was the most disgusting thing. Thank God television has been invented.

Trabajar en el cine era vergonzoso, era lo ms despreciable. Gracias a Dios, se ha inventado la televisin.

Billy Wilder
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Sumario Contents | Nmero Issue 14 | Julio July 2011

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Cinco Sentidos | Five Senses Firma Invitada | Authorship Julio Llamazares Sexto Sentido | Sixth Sense Hollywood cumple cien aos Hollywood celebrates its 100th aniverary Perspectivas | Perspectives Mujeres en la ciencia y en la investigacin Women in science and research Relato | Story Desayuno incluido Por Ins Gonzlez Breakfast included By Ins Gonzlez Mundo Eurostars | Eurostars World Entrevista | Interview Volker Kutscher Destino | Destination Berln | Berlin Hoteles Eurostars Hotels Placeres | Pleasures Vanguardias | Avant-garde Directorio Eurostars | Eurostars Directory Hoteles de cine | Movie Hotels
cinco sentidos five senses

La tradicin moderna inaugura eL museo thyssen de mLaga
Se pueden ver obras de Monet, Picasso, Matisse o Mir, entre otros. El Museo Thyssen de Mlaga (www.carmenthyssenmalaga.org) inaugur en junio su primera exposicin temporal: La tradicin moderna en la Coleccin Carmen Thyssen. Monet, Picasso, Matisse, Mir, que presenta una seleccin de las obras ms contemporneas de la Coleccin Carmen Thyssen-Bornemisza. El recorrido est estructurado en torno al arte espaol de entre 1890 y 1960, aunque tambin figuran algunos ejemplos relevantes del arte internacional. El objetivo que se persigue es establecer un dilogo entre las principales propuestas plsticas protagonizadas por artistas espaoles y determinadas corrientes europeas y americanas que jugaron un papel fundamental en la configuracin de la modernidad en Espaa. La exposicin se estructura en seis secciones que glosan las tendencias ms representativas del arte de aquellos aos en Espaa: Fin de siglo, Retorno al Mediterrneo, Vanguardias, Arte nuevo, Del surrealismo al informalismo y Abstraccin lrica y arte normativo. 3 Modern tradition opens the Thyssen Museum of Malaga. The Thyssen Museum of Malaga (www.carmenthyssenmalaga.org) opened its first temporary exhibition in June: Modern tradition in the Carmen Thyssen Collection: Monet, Picasso, Matisse, Mir, a show that presents a selection of the most contemporary pieces of work from the Carmen ThyssenBornemisza Collection. The display is structured around Spanish art between 1890 and 1960, although some relevant examples of international art also figure. The objective pursued here is to establish a dialogue between the main plastic proposals headed by Spanish artists and certain European and American currents which played an essential role in the configuration of modernity in Spain. The exhibition is arranged in six sections, comprising the most representative trends of the art of the time in Spain: End of Century, Return to the Mediterranean, Avant Garde, New Art, From Surrealism to Informalism and Lyrical Abstraction, and Normative Art.
06 Estar
eL nueva york de ai WeiWei

Una exposicin de la Asia Society hace un recorrido fotogrfico del artista en la ciudad Ai Weiwei: New York Photographs 19831993 es el nombre de la exposicin que acoge la Asia Society en su sede neoyorkina (http://asiasociety.org/centers/new-york). La muestra comprende una seleccin de 227 instantneas tomadas por el clebre artista chino que reflejan la historia, la cultura y la atmsfera del Nueva York de la dcada de 1980. Se trata de una exposicin sin precedentes que por primera vez exhibe esta serie de imgenes de Ai Weiwei en la ciudad. Ai Weiwei es uno de los artistas conceptuales ms provocadores e influyentes de la China actual. Antes de convertirse en un reconocido artista y activista, Ai Weiwei viva en un pequeo apartamento en barrio del East Village de Nueva York. 3 The New York of Ai Weiwei. Ai Weiwei: New York Photographs 19831993 is the name of the exhibition housed by the Asia Society at its NewYork headquarters (http://asiasociety.org/centers/ new-york). The display comprises a selection of 227 snapshots taken by this famous Chinese artist, which mirror the history, culture and atmosphere of the 1980s in New York. This is an unprecedented exhibition in that for the first time this series of New York Photographs by Ai Weiwei. He is one of the most provocative and influential conceptual artists in present-day China who. Before becoming a renowned artist and activist, Air WeiWei lived in a small apartment in the East Village district.
La BienaL de venecia se rinde a La esPectacuLaridad

El pabelln alemn, Len de Oro a la Mejor participacin nacional Son 89 los pabellones nacionales presentes en la Bienal de Venecia se inaugur el 4 de junio y permanecer abierta hasta el 27 de noviembre- y 83 los artistas internacionales participantes, la mayora jvenes y europeos o residentes en Europa, con una importante presencia femenina. La Bienal (www.labiennale.org/en/Home.html) es una de las citas de mayor calado en el panorama europeo. Como en otras ediciones, las propuestas ms reflexivas y espirituales (como la de Schlingensief para Alemania o la de Christian Marclay para la colectiva IlliminaZioni, ambas premiadas con los Leones de Oro) conviven con las que apuestan por la espectacularidad por encima del contenido. El Len de Oro a la Mejor Participacin Nacional concedido al pabelln de Alemania constituye un reconocimiento a Christoph Schlingensief (fallecido repentinamente en agosto de 2010), representante del pas. Culpa y reflexin poltica se entremezclan en las propuestas conceptuales de Schlingensief, muy interesado por Beuys, el movimiento Fluxus y la pera. 3 The Venice Biennale gives way to the spectacular. There are 89 pavilions from different countries at the Venice Biennale opened on 4th June and which will continue through to 27th November and 83 international artists participating, the majority young and European, or resident in Europe, with a notable presence of women artists. The Biennale (www.labiennale.org/en/Home.html) is one of the appointments of the greatest scope on the European panorama. As in other editions, the most reflexive and spiritual proposals (such as that by Schlingensief for Germany or that by Christian Marclay for the IlliminaZioni collective, both Golden Lion award-winners) coexist with those that choose the spectacular before the content. The Golden Lion for the Best Participation Country awarded to the German pavilion, constitutes recognition of Christoph Schlingensief (he died suddenly in August of last year). Guilt and political reflection are intermingled in the conceptual proposals by Schlingensief, much influenced by Beuys, the Fluxus movement and the opera.
czanne y Pars, una infLuencia recProca

Casi un centenar de obras del pintor vanguardista, en el parisino Museo de Luxemburgo Czzane, a quien sus coetneos calificaban como solitario, pasaba largas temporadas en la Provenza. Sin embargo, esto no le impeda mantener estrechos lazos con Pars y los ambientes artsticos que bullan en la ciudad. All, se relaciona con Pisarro, Guillaumin, Renoir o Monet, y especialmente con su gran amigo mile Zola. El Museo de Luxemburgo de Pars (www.museeduluxembourg.fr/), con la colaboracin del Museo de Bellas Artes de Pars y prstamos excepcionales del Museo de Orsay, rene 80 obras del pintor con el objeto de mostrar guionizada su trayectoria y sus grandes temticas: ambientes de Pars, los paisajes de le-de-France, los desnudos, retratos y naturalezas muertas. La muestra arranca el 12 de octubre y se prolonga hasta bien entrado 2012. 3 Czanne and Paris, a reciprocal influence. Czanne, who his peers qualified as a solitary man, spent long periods in Provence. However, this did not prevent him from maintaining close ties with Paris and the artistic ambiances that seethed in the French capital. There, he struck friendships with Pisarro, Guillaumin, Renoir or Monet, and in particular with Emile Zola, who was a great friend of his. The Luxembourg Museum of Paris (www.museeduluxembourg.fr/), in collaboration with the Fine Arts Museum of Paris and exceptional loans from the Orsay Museum, form a collection of 80 works of art by the painter which aim to show his progression and six most important themes: the ambiances of Paris, le-de-France landscapes, nudes, portraits and still life. The exhibition begins on 12th October and will continue well into 2012.
DVD | blu ray
La economa no es un ente abstracto, ni mucho menos Inside Job

Guin y Direccin: Charles Fergusson. Narrador: Matt Damon. (Estados Unidos)
Charles Fergusson no slo explora en este documental las causas de la crisis financiera de 2008, sino que identifica a algunos de sus responsables a travs de una extensa investigacin y de entrevistas a financieros, polticos y periodistas. A veces parece que las responsabilidades se diluyen detrs de eufemismos y entes abstractos, como los mercados financieros, esos que arrinconan contra las cuerdas a pases enteros. Pero en el documental se nos muestra a esos responsables de la crisis, con nombres y apellidos, y comprobamos que son, al mismo tiempo, beneficiarios de la misma. Inside Job cuenta con el testimonio de inversores como George Soros y William Ackman, economistas como Nouriel Roubini, Raghuram Rajan y Simon Johnson, y del entonces director gerente del FMI, que tratan de arrojar luz sobre las acciones y omisiones que desembocaron en una crisis financiera y econmica internacional. Fergusson seala en su cinta a economistas, ejecutivos de los grandes bancos y polticos que impulsaron la toma de riesgos para obtener mayores rentabilidades en los activos financieros. Cuando el director de la cinta recogi el Oscar al Mejor Documental comenz su discurso diciendo: Disclpenme, pero debo arrancar sealando que tres aos despus de que estallara nuestra horrible crisis causada por el fraude financiero masivo, ni un solo ejecutivo ha sido encarcelado. 3 Economy is by no means an abstract thing. Inside Job
Script and Direction: Charles Fergusson. Narrator: Matt Damon. (U.S.A.)
Fergusson does not only explore the causes of the 2008 financial crisis but in addition, identifies and interviews the responsible parties (or, anyway, several of them). There are times when it appears that responsibilities are diluted amidst euphemisms and abstract denominations, such as financial markets, i.e. those that push whole countries against the ropes. But in this documentary we are shown the people responsible for the crisis, with their full names, people who we can identify and discover that they are, at one and the same time, favoured by the situation. Inside Job has the benefit of testimonies by investors like George Soros and William Ackman, economists like Nouriel Roubini, Raghuram Rajan and Simon Johnson and the then Managing Director of the IMF, Dominique Strauss-Kahn, who try to throw some light on the actions and/or omissions that led to the international, financial and economic crisis. Fergusson points his finger at economists, executives from the big banks and politicians, who propelled the taking of risks in order to obtain greater yields from their investments. When the director of this documentary went up to receive his Academy Award for The Best Documentary, he began his speech by saying: You must excuse me, but I have to start by pointing out that three years after the eruption of this terrible crisis of ours, caused by a massive financial scam, not a single executive has been imprisoned.
08 Estar
El discurso del rey Direccin: Tom Hooper. Intrpretes: Colin Firth, Geoffrey Rush. (Gran Bretaa) Una de las pelculas de 2010 se construye sobre los elementos bsicos y clsicos del cine: un buen guin y una interpretacin soberbia. Colin Firth interpreta al duque de York, convertido en rey tras la abdicacin de su hermano, el filonazi Eduardo VIII. Para desempear su funcin, deber superar su tartamudez. 3 The Kings Speech Director: Tom Hooper. Cast: Colin Firth, Geoffrey Rush. (U.K.) One of the movies of 2010 is constructed upon the basic, classical elements of movie-making: a good script and superb acting. Colin Firth plays the part of the Duke of York, who became King after the abdication of his brother, Nazi-follower Edward VIII. He would try to correct his stuttering.
El cisne negro Direccin: Darren Aronofsky. Intrpretes: Natalie Portman, Vincent Cassel (EE UU) Poco se puede decir del argumento de esta pelcula sin desbaratarla para el espectador porque se trata precisamente de uno de esos guiones con sorpresa final. El film parece construido a la medida de Natalie Portman, que interpreta a una bailarina de ballet: ella sola y el guin sostienen todo el entramado. 3 Black Swan Director: Darren Aronofsky. Cast: Natalie Portman, Vincent Cassel (U.S.A.). Little can be said about the plot in this movie without spoiling it for the spectator because it is precisely one of those stories with an amazing end which The film appears to have been made to measure for Natalie Portman, who plays the part of a ballet dancer; she alone and the script bear the weight of the entire plot.
Ms all de la vida Director: Clint Eastwood. Intrpretes: Matt Damon, Ccile de France (EE UU). Clint Eastwood ha recibido crticas muy dispares con esta pelcula. Narra paralelamente la historia de tres personajes que han tenido algn tipo de contacto con la muerte, entre ellos, un norteamericano (interpretado por Matt Damon) con el don de poder comunicarse con los muertos. No deja de ser interesante. 3 Hereafter Director: Clint Eastwood. Cast: Matt Damon, Ccile de France (U.S.A.). Clint Eastwood has received very different critiques with this film. It tells parallel stories of three characters who have had some kind death experience; amongst them, an American (Matt Damon) who has the ability to communicate with the dead. An interesting movie.
Una vez ms, MINI brilla por su fascinante variedad de modelos en el segmento de los automviles pequeos. Ahora, MINI presenta su primer coche biplaza que se suma a la gama de productos de la marca. El MINI Coup: traslado autntico de los genes deportivos de la marca a un concepto automovilstico moderno y nueva interpretacin de un coche deportivo perteneciente al segmento de automviles especialmente compactos. El coup de la gama MINI se distingue por su maniobrabilidad extraordinariamente gil y las mejores prestaciones de la gama.
MINI gives the small car segment another fascinating injection of variety with the presentation of the first two-seater in the brands current model range. The MINI Coup represents the faithful transposition of the brands sporting DNA into a cutting-edge vehicle concept with a new interpretation of the super-compact sports car class; unrivalled handling agility and the best performance figures in the model portfolio. New expression of the distinctive MINI design with extremely high emotional appeal; unique proportions created by distinctive helmet roof design; extraordinarily sporty presence with sharply raked A-pillars; hallmark MINI structuring of body, wrap-around glass areas and superimposed roof; characteristic design principles and exclusive MINI details underline its brand identity. First three-box MINI with strikingly stepped rear end in the classic style of a gran turismo; sporty, flat coup silhouette; sits up to 52 millimetres lower than the MINI; new, faithful expression of the hallmark MINI design language; distinctive roof form with optimised aerodynamic properties thanks to integrated roof spoiler; first MINI with an active rear spoiler to optimise airflow at higher speeds; rear spoiler extends automatically at 80 km/h (50 mph). John Cooper Works aerodynamic kit as standard. Strict two-seater concept with extended stowage and loading capacity behind the driver and passenger seats; large, variable-use luggage area; large throughloading facility into the passenger compartment; wide and extremely high-opening tailgate makes loading easier.
Inconfundible diseo de MINI de nueva expresin, de imagen capaz de despertar grandes emociones. Proporciones nicas gracias a la forma del techo a semejanza de un casco. Formas marcadamente deportivas con columnas A muy inclinadas. Esttica tpica de MINI: clara separacin entre el cuerpo de la carrocera, la superficie acristalada circundante y el techo que descansa sobre esa superficie. Los rasgos de diseo caractersticos y diversos detalles exclusivos de MINI acentan la pertenencia a la marca. Primer MINI con diseo de tres volmenes, con la zaga llamativamente marcada al ms puro estilo clsico de un Gran Turismo. Silueta plana y deportiva, propia de un coup (este modelos es 52 milmetros ms bajo que el MINI). El techo insina la forma de un casco y lleva integrado un deflector posterior. El el primer MINI con alern de funcionamiento automtico (se activa a partir de una velocidad de 80 km/h) para optimizar el guiado de aire a altas velocidades. El kit aerodinmico John Cooper Works viene de serie. Diseo consecuente de coche biplaza, con espacio para llevar objetos diversos detrs de los dos asientos. Maletero de grandes dimensiones y utilizacin verstil. Amplio paso entre el maletero y el habitculo para transportar objetos largos. Portn posterior con gran ngulo de abertura, para introducir objetos ms fcilmente en el maletero.
libros | books

Por (by) Andrs Gonzlez
LOS ENAMORAMIENTOS Por JAVIER MARAS (Editorial Alfaguara)

Es como aquella historia de un hombre y una mujer, que nunca son un solo hombre ni una sola mujer, pese a Ovidio. Parafraseando al autor, quin no ha deseado, malmetido, amenazado, acabado e, incluso, asesinado; quin no ha determinado, manoseado, ejecutado con objeto, con anhelo y con descaro por amor. Personalmente no recomendara el libro a adolescentes del Ministerio de Justicia, ni a mi vecina matrona, no por resquemor, sino porque la habilidad insidiosa de Maras inocula su veneno con la destreza de un mecnico del automvil, siempre tan pedigeos en sus facturas y tan solcitos en sus desmanes. Es un libro amargo y mordaz, asesinato incluido; una fbula moral para aquellos que dicen amarse y de veras se aman, con todas sus desgraciadas consecuencias. 3 Falling in love, by Javier Marias (Alfaguara Publishers). It is like that story about a man and a woman, who are never just one man or one woman, despite Ovid. Paraphrasing the author, who has not desired, interfered, threatened, finished and, even, murdered; who has not made decisions, pawed, done with a purpose, with longing and with cheek, for love? Personally, I would not recommend this book to any teenagers or civil servants, or to my midwife neighbour, not for any feelings of resentment but rather because of Javier Marass insidious ability to inoculate his poison with the dexterity of car mechanic, always so cadging in their invoices and so solicitous in their gestures. This is a bitter, scathing book, with a murder thrown in; a moral fable for those who say they love each other and who really do love each other, with all the wretched consequences. La bofetada CHRISTOS TSIOLKAS RBA Editores Hugo es un nio malcriado, como casi todos, y su comportamiento es repelente. Para solucionarlo, o compras su psicologa pre-delincuente con toda suerte de cochinadas de azcar o le pegas una sacudida. La segunda opcin es siempre incorrecta, y el amigo familiar que la ejercita desencadena una furia de sentimientos que sirve de coartada para desmenuzar las miserias de los matrimonios contemporneos. 3 The slap in the face CHRISTOS TSIOLKAS RBA Publishers Hugo is a spoilt child, as are almost all children, and his behaviour is disgusting. These things can be solved via two antagonistic formulas: bribing his pre-delinquent psychology with all kinds of sugary rubbish or giving him a good spanking. The second option is always incorrect and the friend of the family who carries it out unleashes a fury of feelings that serve as an alibi for reducing to crumbs the miserable existence of contemporary marriages.
Solar, por IAN McEWAN.(Editorial Anagrama) Nadie nos haba dado aviso de que la vida era tan rastrera, tan baja, tan minuciosa en sus conjuras y, acaso, tan inhabitable. Puede que la condicin de cientfico sea incompatible con la de capitalista, pero a buen seguro no lo es con la de adltero, asesino ni rastrero egosta, caractersticas todas del protagonista, cuyo calentamiento s puede decirse que es global. Novela intrigante, intrigada, intransigente, como debe ser. 3 S olar, by IAN MCEWAN. (Anagrama Publishers) Nobody had warned us that life was so despicable, so base, so meticulous in its spells and, when it comes to it, so uninhabitable. Perhaps the condition of being a scientist is incompatible with being a capitalist, but for sure it is not that of a adulterer, murderer or a despicable egotist, all of which are characteristics of the protagonist whose warming, one could say, is global. An intriguing, intricate, diehard novel, as it should be.
Gorka Lejarzegui
Lisbeth Salas
10 Estar
El ao de Saeko KYOICHI KATAYAMA Editorial Alfaguara Japn es mucho decir para su simple nombre, donde junto al rito de los cerezos se celebra la muerte decorosa del amante. Alegora del mundo en crisis, contemplamos la empecinada lucha por la mujer querida y el desairado olvido de la dignidad laboral, de los sinsabores ms arduos; la pugna por un territorio sentimental que se diluye como los das en el frgil horizonte de las noches. 3 The year of Saeko KYOICHI KATAYAMA (Alfaguara Publishers) Japan contains so much in a simple name, where together with the rite of the cherry blossom, the decorous death of the lover is celebrated. The allegory of a world in crisis, we contemplate the stubborn fight for the woman we love and the disregarded forgetfulness of dignity in our work, of the most arduous tasks; the struggle for a sentimental territory which dissolves like the days on the fragile horizon of the nights.
MsiCA | MUsiC
Soundtrack for a Winters Tale. THE BRIGHT. Y en este mundo tan apesadumbrado, tan relapso a los placeres sutiles, grupos como The Bright se permiten el lujazo de un disco feliz, manso y brillante, entre la tierna corona de la manzanilla y el flojo amanecer de los amantes perseguidos. Estos leoneses son lo ms parecido a un Bloody Mary en un Aston Martin, momentos antes del precipicio. 3The bright soundtrack for a winters tale, by THE BRIGHT. In this world so weighed down with its plight, such a relapse into subtle pleasures, groups like The Bright allow themselves the super luxury of a happy, serene, brilliant disc, something between the tender crown of camomile and the soft dawn of pursued lovers. In this world where misfortune seems to reign, or the shadow of it, where showing ones disagreement implies being fettered, this group from Leon is the most similar sensation to a Bloody Mary in an Aston Martin moments before the precipice.
CON LOS OJOS CERRADOS Ala Malikian & Fernando Egozcue Quintet
Las cosas bien hechas, bien parecen, deca mi padre. Y precisamente esa factura es la que el por momentos zngaro violn del armenio y la guitarra lunfarda del bonaerense demuestran sin pudor, pues tampoco el deshielo es ni inhibido ni hipcrita, salvo en poltica. Tanto da si son los jadeos entrecortados del tango el sustrato sobre el que crece la hierba, como que sea el jazz quebrado y apenas dibujado quien la meza, cuando las cosas se disfrutan el personal se lo pasa de miedo. Son buenos y no les importa serlo. Los dems que arreen. 3 WITH CLOSED EYES. Ara Malikian & Fernando Egozcue Quintet. Things that are done well look well, as my father used to say. And that is precisely what the Armenian gypsys violin and the colloquial guitar from Buenos Aires show, without any embarrassment, since a thawing process is neither inhibited nor hypocritical, except in politics. Its all the same whether the half-choked moans of the tango is the soil upon which the grass grows, or if its the barely sketched out cadence of cracked jazz. When things are pleasurable, people have a fantastic time. These people are good and they dont mind being good. The rest just have to put up with it.
21 ADELE Adele es lo ms parecido a Ryta Hayworth si las caderas fuesen los compases en la clave de do, en la de fa o en la repblica de sol. Suena como una samaritana negra que ha dejado la religin porque slo le ofreca un trozo del paraso. 3 21 ADELE Adele would most resemble Rita Hayworth if her hips were the strains of a treble or a bass clef or that of the republic of sol. She sounds like a black Samaritan who has left religion because it only offered her a slice of paradise.
Handmade HINDI ZAHRA Aquellos que disfrutamos de las pelculas en blanco y negro, quienes salimos a las calles recin lloviznadas o aquellos que entretienen su espera con un tabaco nada disimulado, quiz podamos deletrear un nuevo placer en nuestras vidas a lo menos dispersas: Zahra. 3 Handmade HINDI ZAHRA Those of us who enjoy black and white films, who come out onto the streets after a drizzle or those who while our time away with an unconcealed cigarette, perhaps we could spell out a new pleasure in our lives, however unfocused: Zahara.
firma | signature
JUVENtUD, DIVINO tEsOrO

Glory days of youth
Julio Llamazares
Julio Llamazares (1955, Len, Espaa). Poeta, novelista y periodista, obtuvo en 1976 el Premio de Poesa Jorge Guilln por Memoria de la nieve. Fue finalista del Premio Nacional de Literatura con su primera novela, Luna de Lobos. Su ms reciente publicacin, Tanta pasin para nada (Alfaguara), recoge doce relatos y una fbula. 3 Julio Llamazares (1955, Len, Spain). Poet, novelist and journalist, he obtained in 1976 the Jorge Guilln Poetry Prize for his Memory of the Snow. He was a National Literature Prize finalist with his first novel, Wolf Moon (Luna de Lobos). His latest publication, So much Passion for Nothing (Alfaguara), is a collection of twelve tales and a fable.
12 Estar
ocas imgenes hay ms patticas que la del hombre o la mujer maduros que, en su resistencia a aceptar el paso del tiempo, se visten y se comportan como los jvenes tratando as de asimilarse a ellos. Suele ocurrir despus de un divorcio, de un cambio brusco de situacin o de un romance tardo, pero tambin, sin necesidad de ello, en personas con el complejo de Peter Pan muy acentuado, que son millones en nuestra sociedad. En las pginas de un peridico, por ejemplo, un reputado escritor teorizaba recientemente sobre el desapego que, en opinin de l, los jvenes espaoles sienten por la pintura y las dems artes. Segn V. (inicial del escritor terico), los jvenes ya no leen, ni escuchan msica clsica, ni se extasan ante un cuadro de Monet o de Mir porque el tiempo que ahora discurre es incompatible con la majestad, la jerarqua y la lentitud. Es ms, segn V., tampoco cuadra con la reflexin, la concentracin y la linealidad. Pero el diagnstico de V. no termina ah. Consecuente con su razonamiento, culpa a la escuela de esa situacin a la vez que acusa a los adultos (l no lo es, a lo que parece) de no saber entender que la cultura de hoy es la que bulle en La Red y no en las artes tradicionales, que pertenecen ya al siglo XX. Conmueve tanta radicalidad en un asunto tan complicado, pero conmueve an ms en un escritor que ya no cumplir los sesenta y ocho aos. Pero eso es lo de menos. Lo que de verdad sorprende es que alguien piense que la pintura ya no interesa a los jvenes, todo porque en un museo no haba uno solo viendo una exposicin. No ser yo quien intente demostrar aqu que la afirmacin no es cierta (al contrario que V., yo s he visto a muchos jvenes visitando exposiciones de pintura), pero s quiero reflexionar sobre algo que me llama la atencin desde hace tiempo; y es esa sacralizacin de la juventud que vive nuestra sociedad y que conduce a que todo lo que los jvenes hacen sea aceptado inmediatamente por los dems. Y, al revs, a que todo aquello que los jvenes ignoran o desprecian se considere intil y periclitado. As, si los jvenes no leen no slo no debe ser contemplado como apata, sino como la constatacin de que la literatura ha muerto. Si los jvenes no acuden a exposiciones (tampoco lo hacen muchos adultos), no ser porque tienen otros intereses, sino porque la pintura es un arte fuera de moda. Si los jvenes, en fin, en lugar del cine o el teatro prefieren la pantalla de sus ordenadores, no ser porque sta les proporciona gratis lo que en aquellos cuesta dinero, sino porque el teatro y el cine son ya antiguallas de nuestra historia. La conclusin sera intachable si no fuera que la historia demuestra lo contrario. Basta mirar veinte aos atrs (o cuarenta, cuando V. era joven de verdad) para ver que los jvenes de entonces tampoco lean demasiado ni acudan a exposiciones formando colas; al revs, lean menos que los de ahora y vean menos pintura, entre otras muchas razones porque el nivel educativo de Espaa era menor. Y a nadie se le ocurri decir en aquel momento que la literatura y el arte haban pasado de moda. Internet, la globalizacin de la informacin, la transformacin que el mundo ha experimentado con la aparicin de nuevas tecnologas han cambiado ciertamente la relacin del hombre con la cultura (no slo la de los jvenes), pero ello no significa que la literatura y el arte hayan dejado de tener sentido. Que cambie su formulacin, que los soportes sobre los que se trasmite sean distintos a los de tiempo atrs slo indica que se han transformado stos, no que lo que trasmiten haya perdido inters. Lo digan as los jvenes o lo diga un adulto como yo.
here are few images more pathetic than those of mature men and women who, resisting acceptance of the elapsing of time, dress and behave as though they were youngsters, thus trying to assimilate their youthfulness. It usually happens after a divorce, a sudden change of situation or a late romance but, also, without any need to do so, in persons with a much accentuated Peter Pan complex, of which there are millions in our society. In the tabloids, for example, a reputed writer recently theorized about the indifference, in his opinion, felt by young people with regard to painting and the other arts. According to V. (the initial of the name of our theorizing writer), young people in Spain no longer read or listen to classical music, nor do they fall into ecstasies over a painting by Monet or Mir, because the period in which we are living is incompatible with majesty, hierarchy or slowness. Moreover, according to V., it also does not fit in with reflection, concentration and linearity. But V.s diagnosis does not end here. In consequence with his reasoning, he blames this situation on the schools while, at the same time, accusing adults (he, apparently, is not an adult himself) of not being able to understand that todays culture is that which is buzzing around the Internet and not is not related to the traditional arts, which already belong to the 20th century. Such radicalism in so complicated an issue shocks one, although it shocks one even more in a writer who has passed the age of sixty-eight. But that is the least of it all. What really is amazing is that anyone should think that painting does not interest young people, just because in some museum there was not a single young person visiting an exhibition. It will not be I who tries to demonstrate here that such an affirmation is incorrect (contrary to V. I have indeed seen plenty of young people visiting a painting exhibition), but I do want to reflect upon something that has attracted my attention for some time, i.e. the turning of youth into a sacred cow, which is what our society is doing and which results in everything done by young people being immediately accepted by the rest. And, reversely, all that young people ignore or despise is considered useless or outdated. Hence, if young people do not read, not only should it not be taken as apathy but rather as confirmation that literature is dead. If young
A nadie se le ocurri decir en aquel momento que la literatura y el arte haban pasado de moda. 3 To nobody at that time had it occurred to say that literature and art had gone out of fashion.
people to not go to exhibitions (many adults do not go either), it will not be because they have other interests but that painting is an outmoded art. If young people, in summary, prefer their computer screens to the cinema or theatre, it will not because this provides them free with what in the latter case they would be charged for, but instead because the theatre and the cinema are old relics of our history. The conclusion would be impeccable were it not for the fact that history demonstrates the opposite. It only requires a backward glance to twenty years ago (or forty, when V. was really a young man) to comprehend that young people in those days also did not read very much or go to see exhibitions, queuing up outside to go in; on the contrary, they read less than todays younger generation and saw less paintings, amongst numerous, other reasons because the educational level of the Spanish population was inferior. And to nobody at that time had it occurred to say that literature and art had gone out of fashion. Internet, the globalization of information, the transformation that the world has experienced with the appearance of new technologies has indeed changed the relationship of mankind with culture (not only with young people), but that does not mean to say that literature and art have ceased to have any meaning. The fact that their formulation has changed; that the supports upon which they are transmitted are different from those of earlier times only indicates that the former has been transformed, not that what is being transmitted has lost interest. Whether stated by young people or by an adult like myself.
SEXTO SENTIDO | SIXTH SENSE

carlos surez texto / words cordon press, prisma edicin grfica/images edition
Un momento del rodaje de El enemigo pblico (Warner Bros., 1931), pelcula protagonizada por Jean Harlow, James Cagney y Edward Woods. 3 An image from the filming of Public Enemy (Warner Bros., 1931). From left to right: Jean Harlow, James Cagney and Edward Woods.
Hollywood cumple 100 aos

A lo largo de un siglo los grandes estudios que levantaron la fbrica de sueos crecieron, vivieron su poca de esplendor y, desde entonces, han luchado para mantener su hegemona en el cine mundial. Hollywood celebrates its 100th birthday
Throughout the course of a century, the great movie studios which created the dream factories grew, lived their era of splendour and, ever since, have struggled to maintain their supremacy in the cinema worldwide.
la revista de eurostars hotels magazine15
Es 1911. El cine no ha cumplido la mayora de edad, pero lleva camino ya de convertirse en un espectculo de masas. Las salas de proyeccin y los espectadores se multiplican cada ao y los primeros estudios se ven obligados a producir cada vez ms pelculas. Pars, Berln, Londres y Nueva York son entonces los grandes centros de produccin. Sin embargo, en octubre de ese ao un pequeo estudio, la Nestor Motion Picture Company, decide trasladarse California. Un clima mejor menos das de lluvia y ms horas de luz facilita y abarata los rodajes, y la distancia les libra de la persecucin de los detectives y abogados de Thomas Alva Edison, al que las productoras cinematogrficas tienen entonces que pagar royalties (medio centavo por cada centmetro de pelcula impresionada) por su patente como terico inventor del cine. Nestor Motion elige un pequeo barrio de Los ngeles para levantar su estudio, concretamente el cruce de las calles Sunset Boulevard y Gower Street, desde donde luego arrancar el paseo de la fama. Acaba de nacer Hollywood. A partir de ah comienzan a multiplicarse los estudios. Un ao despus Carl Laemmle funda Universal Studios, que con apenas meses compra la Nestor Company, y Famous Players Film, de la que saldr Paramount Pictures. En 1915 se crean Fox Films (el germen de la 20th Century Fox) y Metro Pictures (que con la productura de Louis B. Mayer y Goldwyn Pictures se convertir en la Metro-Goldwyn-Mayer). En 1918 los hermanos Warner levantan su primer estudio, tambin en Sunset Boulevard, y en 1919 otros hermanos, Harry y Jack Cohn, crean el embrin de lo que ser la Columbia y construyen su estudio en Gower Street. En 1919 Charles Chaplin, Douglas Fairbanks, Mary Pickford y D. W. Griffith forman United Artists, en teora para desafiar el creciente poder de los grandes estudios de la poca. En 1928, con la creacin de la RKO, estn ya las ocho majors de Hollywood: cinco grandes (Paramount, MGM, Warner, 20th Century Fox y RKO) y tres medianas (Universal, United Artist y Columbia). Ha nacido el denominado studio system, una nueva forma de hacer cine. No es slo un cambio geogrfico: con Hollywod llega una nueva filosofa. Los
Abajo, Charles Chaplin, Douglas Fairbanks, Mary Pickford y D.W. Griffith, en la firma con la que nace la United Artists. 3 In 1919, Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists.
estudios conciben el cine como una industria ms, basada, como el resto, en la eficacia empresarial y la racionalizacin econmica, todo lo contrario de lo que parecera indicar el lema que la MGM coloca bajo su len: Ars gratia artis (el arte por el arte). No slo producen las pelculas (tres cuartas partes de los ttulos estrenados a finales de los aos treinta), se convierten tambin distribuidores, lo que les permite obligar a las salas a contratar paquetes en los que se mezclan films de xito con ttulos menos comerciales, y se hacen en muchos casos con la propiedad directa de cadenas de exhibicin norteamericanas. Cambia adems la forma de producir. La divisin de trabajo, la especializacin de los tcnicos y la filmacin de escenas segn el orden de produccin (y no del guin literario) copian los mtodos de las cadenas de montaje de la industria automovilstica. Los productores se convierten adems en autnticos dioses. Los jefes de los estudios, como Irving Thalberg (Universal y MGM), David O. Selznick (MGM, Paramount, RKO) o Darryl Zanuck (Warner y 20th Century Fox) tendrn poder para hacer y deshacer a su antojo: modifican guiones, contratan y despiden directores o intervienen en el montaje acortando o alargando metrajes. En el lado contrario, el director se convierte en muchos casos en un simple especialista en llevar a imgenes el guin literario, un artesano a las rdenes del estudio. Prueba del poder de los productores es que hasta 1941 lo que conocemos como Oscar a la Mejor Pelcula (Best Picture) premia la produccin ms destacada (Outstanding Production), un signo del que todava queda rastro: an hoy es el productor quien lo recoge. Los actores son otra pieza ms del engranaje. Durante toda la poca dorada (entre los aos treinta y los cincuenta), las estrellas estn ligadas a los estudios por contratos de exclusividad, generalmente de siete aos, que hacen que la imagen de determinados actores se asocie a un estudio concreto: Katharine Hepburn o Robert Mitchum (con RKO), Clark Gable, Greta Garbo o Spencer Tracy (con MGM), Gary Cooper o Marlene Dietrich (con Paramount), Marylin Monroe o Gregory Peck (con Fox) o James Cagney o Edward G. Robinson (con Warner).
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It is 1911. The cinema has not yet come of age but is already on
the way to becoming a form of mass entertainment. Picture houses and spectators multiply year by year and the first film studios find themselves forced to produce more and more movies. Paris, Berlin and New York are, at that time, the most important production centres. However, in October of that year a small studio, the Nestor Motion Picture Company, decides to move to California. A better climate less rainy days and more light hours facilitate and reduce shooting costs and the distance frees them from the persecution of Thomas Alva Edison detectives and lawyers, to whom cinema producers then had to pay royalties (a halfcent per each centimetre of processed film) for the patent rights as theoretical inventor of the cinema. Nestor Motion Pictures chose a small district of Los Angeles to found its studio, specifically the Sunset Boulevard and Gower Street junction, from where in later years the famous Walk of Fame was to start. Hollywood had just been born. From that time onwards studios proliferated. One year later, Carl Laemmle founded Universal Studios which, after a mere few months of existence, bought up Nestor Motion Pictures, and the Famous Players Film Company which was to become the commencement of Paramount Pictures. In 1915 Fox Films were created (the beginnings of 20th Century Fox) and Metro Pictures (which, together with the Louis B. Mayer Production Company and Goldwyn Pictures were to become Metro-Goldwyn-Mayer). In 1918 the Warner Brothers established their first studio, also on Sunset Boulevard and, in 1919 another pair of brothers, Harry and Jack Cohn, created the embryo of what was later to become Columbia Pictures and set up their studio on Gower Street. In 1919, Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists, in theory to compete with the increasing power of the great studios of the era. In 1928, with the creation of RKO, the eight Hollywood majors were already in existence: five big studios (Paramount, MGM, Warner, 20th Century Fox and RKO); three of medium size: (Universal Studios, United Artists and Columbia Pictures). The studio system had been born, a new form of film-making.
Jean Harlow. A la derecha, Humphrey Bogart e Ingrid Bergman. 3 Jean Harlow. On the right, Humphrey Bogart and Ingrid Bergman.
It was not just a geographical change: with Hollywo-
od a new philosophy had arrived. Studios conceived the cinema as yet another industry, based as do the rest on business efficiency and economic rationale, quite the contrary to what the MGM motto beneath its roaring lion appeared to represent: Ars gratia artis (art for the sake of art). Not only did they produce movies (by the end of the thirties, three-quarters of the all the titles shown), they also became distributors, which thus allowed them to force picture houses to buy packages in which they mixed successful films with less commercial products and, in many cases they became the direct owners in America of cinema chains. The production process was also changed. The work division, the specialisation of technicians and the filming of scenes following production order (instead of the script) imitated the assembly line methods of the car industry. Producers also become virtual gods. Studio chiefs such as como Irving Thalberg (Universal and MGM), David O. Selznick (MGM, Paramount, RKO) or Darryl Zanuck (Warner and 20th Century Fox) had the power to do and undo as they wish: modify scripts, hire and fire directors or remake films cutting or extending footage. On the other hand, the film director in many cases became simply a specialist in converting a script into images, a craftsman obeying studio orders. Proof of the power of the producers is that up to 1941, what we know as the Oscar for the Best Picture really made the award to the Most Outstanding Production, a tradition that still today bears its trace: even nowadays it is the producer who collects the award. The actors and actresses formed yet another cog in the wheel. Throughout the Golden Era (between the thirties and the fifties) movie stars were attached to studios through exclusive contracts, usually for seven years, thus associating a series of actors and actresses with specific studios: Katharine Hepburn or Robert Mitchum (with RKO), Clark Gable, Greta Garbo or Spencer Tracy (with MGM), Gary Cooper or Marlene Dietrich (with Paramount), Marilyn Monroe or Gregory Peck (with Fox) or James Cagney or Edward G. Robinson (with Warner Bros.).
A la vez que cambia la forma de producir, Hollywood va dando forma tambin al producto:
el sistema de montaje en cadena alcanza a los contenidos. La reutilizacin del material decorados, vestuario y la especializacin de directores, tcnicos e incluso actores favorece el auge de las pelculas de gnero, adems de cierta especializacin temtica de los estudios: musical ( MGM), comedias (Paramount), terror (Universal), cine familiar (Fox) o cine negro (Warner). La eficacia y la racionalidad empresarial lleva a Hollywood a tomar en buena parte de sus pelculas el camino de un cine para todos los pblicos, simple, lineal y previsible; alejado del riesgo basado en best sellers literarios que aseguren la taquilla o en films que ya han tenido xito (remakes) y propenso a recurrir a esquemas estereotipados (boy meets girl) y al ineludible happy end. El Cdigo Hays, con el que los estudios se autorregulan a partir de 1934 para, en teora, evitar la censura gubernamental, obliga a que la historia termine moralmente bien, adems de limitar la aparicin de escenas de sexo o desnudos en pantalla (ni siquiera el ombligo) o las crticas a la religin y las blasfemias. El Hays Code librar a los estudios de la competencia de los films independientes y europeos, en general ms abiertos en temas morales, y los productores saben que los espectadores esperan una historia con final feliz y que el happy end es parte inseparable del xito.
Entre los aos treinta y cincuenta, las estrellas de Hollywood estn ligadas a los estudios por contratos de exclusividad. Arriba, Ava Gardner; a la derecha, James Stewart; abajo, Mary Pickford. 3 Between the thirties and the fifties movie stars were attached to studios through exclusive contracts. On top, Ava Gardner; on the right, James Stewart; below, Mary Pickford.
En 1948 la sentencia Paramount del Tribunal Supremo establece que la posicin de dominio de los estudios sobre la produccin, distribucin y la exhibicin de pelculas viola la ley antimonopolio y obliga a las majors a deshacerse de los cines. Terminan tambin los contratos en exclusividad del star system: los estudios se ven obligados a pagar mejor para conservar a sus estrellas (James Stewart, por ejemplo, se lleva la cuarta parte de los beneficios de sus filmes con la Universal) y muchos actores crean sus propias productoras. La caza de brujas expulsa de la industria a algunos de los mejores profesionales y mancha de modo vergonzante la reputacin de Hollywood, surgen los sindicatos y comienza a resultar ms barato rodar fuera de Estados Unidos. Pero ser la televisin la que ponga fin a la Edad de Oro. Una frase de Norma Desmond, la actriz en la que Gloria Swanson se autointerpreta en El Crepsculo de los Dioses I am big. Its the pictures got smaller. Yo soy grande. Son las pelculas las que se han hecho pequeas define claramente el cambio. Las majors su hegemona absoluta en el cine mundial sobrevivirn, pero nada volver a ser lo mismo.
Sin embargo, de pronto, todo cambia.
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Los jefes de los estudios tenan poder para hacer y deshacer a su antojo: modificar guiones, contratar y despedir directores... 3 Studio chiefs had the power to do and undo as they wish: modify scripts, hire and fire directors or remake films.
A la izquierda, Cary Grant. Abajo, Loretta Young. 3 On the left, Cary Grant. Below, Loretta Young.
While production methods were being changed,
Hollywood was also giving the product a different form. The assembly line system was, likewise, reaching the contents. The reuse of material dcor, costumes and the specialisation of directors, technicians and even actors and actresses favoured the advent of different genres in pictures, in addition to a certain specialisation in themes by the studios themselves: musicals (MGM), comedies (Paramount), terror films (Universal), films for all the family (Fox) or thrillers (Warner Bros.) Business efficiency and rationale induced Hollywood, to a certain extent, to concentrate on movies for every kind of audience, simple, single-track, foreseeable; no risks taken based on best-sellers which ensured a good box-office draw or on films that had been successful in their day (remakes) and which tended to take recourse to stereotyped plots (boy meets girl) and to the inevitable happy ending. The Hays Code, which became the guidelines for motion pictures as from 1934, theoretically to avoid governmental censorship, forced plots to end morally right, in addition to limiting sex scenes or nudes on the screen (not even navels) or criticisms on religion or any kind of blasphemy. The Hays Code thus freed the studios from European and experimental film competition, in general more open in terms of morality, and producers knew that spectators expected a story with a happy ending, an inseparable part of its potential success.
In 1948 the Paramount sentence issued by the Supreme Court established that the studios position of dominance over the production, distribution and exhibition of motion pictures violated the antitrust law and forced the majors to rid themselves of their cinema chains. It was also the end of contract exclusivity with the stars. Studios were forced to pay better fees to keep their stars (James Stewart, for example, was to pocket one quarter of the profits earned from his films with Universal) and many actors and actresses created their own production companies. The Witch Hunt later threw some of the best professionals out of the film industry and shamefully smeared Hollywood reputation; the syndicates then appeared and it began to be cheaper to shoot outside the United States. However, it was television that put an end to the Golden Age. The quotation made by Norma Desmond, the actress that Gloria Swanson portrays in Sunset Boulevard: I am big. Its the pictures got smaller clearly defines the change. The big studios their pre-eminence in worldwide picture-making were to survive, although nothing would ever be the same.
Nevertheless, everything was soon to change.
Los primeros estudios se asientan entre Sunset Boulevard y Gower Street. 3 The first major studios were founded in the Sunset Boulevard and Gower Street junction.
a la prdida de espectadores provocada por la televisin (en 1955 la mitad de los hogares norteamericanos tiene ya televisor), despus, a partir de los ochenta, al vdeo y los sucesivos sistemas de reproduccin (DVD, Blue-ray). Y, desde finales del siglo pasado, a internet. En esa carrera por mantener su status, los grandes estudios reducen el nmero de pelculas por ao y se vuelcan en producciones ms espectaculares que puedan competir con los otros medios: grandiosos dramas histricos en los cincuenta, cine de catstrofes en los setenta y, ms tarde, films de anticipacin, aventuras y animacin digital que permitan despliegues de efectos especiales. Paralelamente, Hollywood recurre a las sucesivas innovaciones tecnolgicas cinemascope (1953), sonido dolby (1971) y THX (1983), o el cine en 3-D, hoy en su momento estelar para tratar de sobrevivir frente a los otros medios. Sin embargo, pierden por el camino su independencia de medio siglo. A partir de los aos sesenta se suceden las compras y absorciones peregrinas a veces que llevarn, por ejemplo, a Columbia caer en manos de Coca-Cola, y a Universal, en las de la distribuidora de licores canadiense Seagram. En esa carrera desaparece RKO (comprada por Paramount), United Artist, que cierra en 1980 y, recientemente, MGM, en quiebra desde 2009. Por el contrario, crece imparablemente Disney. Pero sern tambin los nuevos medios la televisin, los sucesivos soportes de grabacin e internet los que paradjicamente salven a las majors. Los derechos de sus pelculas cobran valor ante la necesidad de contenidos y, a partir de los noventa, los grandes estudios comienzan a caer en manos de grandes conglomerados de comunicacin. En 1989 Warner se fusiona con Time y Sony compra Columbia, a la que aadir en 2005 MGM. News Corporation se hace con la Fox, Viacom adquiere Paramount en 1993 (a la que sumar Dreamworks) y en 2000 Vivendi compra Universal para fusionarla con la cadena de televisin NBC. Fueron grandes: produjeron la mayor parte de las pelculas con mayor recaudacin de la historia. Y siguen sindolo, integradas ahora en conglomerados de comunicacin: de las 30 pelculas ms taquilleras estrenadas en la ltima dcada, 25 (todas salvo 5 ttulos de Disney) fueron producidas por alguna de las cinco supervivientes: Fox Corporation, Viacom (Paramount/ RKO/Dreamworks), Time-Warner, Sony (Columbia-MGM) y Vivendi-Universal.
A lo largo del siguiente medio siglo, la exhibicin en salas tendr que enfrentarse, primero,
Prcticas oligopolsticas, productores tirnicos, guiones rehechos con la vista puesta en las cuentas de resultados... Las majors han sido y son una implacable mquina de obtener dinero a cualquier precio. Pero no solo eso. Entre las intrigas palaciegas y los asesinatos de la Italia del Renacimiento surgieron la Capilla Sixtina o la Gioconda. Hollywood nos deja Ciudadano Kane, Casablanca, Historias de Filadelfia o El Padrino, la filmografa de Lubisth o Wilder, Hitchcock o Ford, la pasin por el cine negro, frases inolvidables, momentos mgicos, risa, emocin o miedo, y actrices y actores con los que soar.
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Throughout the subsequent half-century, the showing of movies in picture houses was faced, first of
all, with the loss of spectators, due to the influence of television (in 1955, half of U.S. homes already had a TV set), later, from the eighties onwards, to the appearance of the video and successive reproduction systems (DVD, Blue-ray) and, finally, from the end of the past century, to Internet. In this race to maintain their status, the big studios reduced the number of films produced per year and devoted themselves to more spectacular productions that could compete with other media: the grand historical dramas of the fifties, the catastrophes of the sixties and, later on, futuristic, adventure and digital animation movies which allowed the deployment of special effects. In parallel, Hollywood took recourse to successive technological innovations Cinemascope (1953), Dolby Sound (1971) and THX (1983), or todays 3-D, now at its peak in order to survive in the face of the other media. Nonetheless, on the way they were to lose their independence of half-a-centurys standing. From the sixties, buys and mergers sometimes quite alien were to bring Colombia, for instance, to fall into the hands of Coca-Cola or Universal to become the property of the Canadian liquor corporation, Seagrams. During this race, RKO was to disappear (bought by Paramount), United Artists was to close in 1980 and, more recently, MGM, bankrupt for over a year. On the contrary, Disneys growth seemed to be unstoppable. But it was also to be the new media television, the successive recording systems and Internet that, paradoxically, were to save the big studios. Movie rights gained value in the light of the need to provide contents and, as from the nineties, the studios started to fall into the hands of the major communication conglomerations. In 1989 Warner Bros. merged with Time and Sony bought up Colombia, to which in 2005 it was to add MGM. News Corporation bought Fox, Viacom acquired Paramount in 1993 (to which it would add Dreamworks) and, in 2000, Vivendi bought Universal Studios to merge it with the NBC TV channel. They were truly great: they produced the majority of the 50 most lucrative movies in history. And they continue to be great, integrated as they are in the communication conglomerates: of the 30 films having recorded the best box office sales over the last decade, 25 (except 5 Disney titles) were produced by one of the five survivors: Fox Corporation, Viacom (Paramount/RKO/Dreamworks), Time-Warner, Sony (Columbia-MGM) and Vivendi-Universal.
Oligopolistic practices, tyrannycal producers, scripts re-written with the balance sheet in mind... The major
studios were and are relentless machines for obtaining money at any price. But that was not all. From within the palace intrigues and murders of Renaissance Italy emerged The Agony and the Ecstasy or The Mona Lisa Smile. Hollywood leaves us Citizen Kane, Casablanca, The Philadelphia Story or The Godfather, films produced by Lubitsch or Wilder, Hitchcock or Ford, the passion for thrillers, those unforgettable phrases, magic moments, laughter, excitement or fear and, actors and actresses with whom to dream.
En Sunset Boulevard Norma Desmond (Gloria Swanson) describa en una frase un gran cambio: Yo soy grande. Son las pelculas las que se han hecho pequeas. A la izquierda, William Holden con el len de la MGM. 3 The quotation made by Norma Desmond (Gloria Swanson) in Sunset Boulevard defined a change in Hollywood: I am big. Its the pictures got smaller. On the left, William Holden with the lion of MGM.
PERSPECTIVAS | PERSPECTIVES
emilia marcos texto/words archivo imgenes / images
mujeres en ciencia y en investigacin

Women in science and research
Marie Curie reciba hace cien aos el premio N obel de Qumica. Es un buen momento para hacer un pequeo balance de la situacin de las mujeres en la investigacin y la ciencia. A hundred years ago, Marie Curie received the N obel Prize in Chemistry. This is a good moment in time to take stock of the situation of women in research and science.
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Barbara McClintok, Premio Nobel en Medicina en 1983. 3 Barbara McClintok was awarded the Nobel Prize for Medicine in 1983.
Hace ahora cien aos, en 1911, Marie Curie reciba el Premio Nobel de Qumica. Pero fue unos aos antes, en 1903, cuando lleg a ser todo un referente al convertirse en la primera mujer que reciba un Nobel: el de Fsica que comparti con su marido, Pierre Curie, y con Henri Becquerel. Hasta ese momento, unos cuantos nombres jalonaban ya la historia de la mujer en la ciencia: Hipatia de Alejandra, Sophie Germain o Ada Lovelace, entre ellas. Desde entonces, la figura de la mujer, escasamente representada en las esferas ms altas de casi cualquier actividad, tampoco se prodiga en los niveles superiores de la investigacin cientfica. Las dificultades de la mujer para destacar en cualquier mbito de la vida pblica, profesional o poltica han sido tambin importantes a lo largo de la historia. Han sido pocas las que han despuntado y, en algunos casos, sus mritos no han sido reconocidos. Es el caso, por ejemplo, de Sophie Germain (1777-1831), matemtica, fsica y filsofa francesa. Pionera en la teora de la elasticidad, su trabajo respecto al ltimo teorema de Fermat (tambin llamado el teorema de Sophie Germain) sent las bases para matemticos que exploraron el tema cientos de aos despus. Sin embargo, siempre trabaj de forma independiente porque su condicin de mujer no le permiti desarrollarse como acadmica. Tenemos otro ejemplo en Lisa Meitner (1878-1968), fsica austriaca que descubri la fisin nuclear. Pero no fue ella, Now just a hundred years ago, Now just a hundred years ago, in 1911, Marie Curie received the Nobel Prize in Chemistry.
But it was some years earlier, in 1903, when she became a celebrity as the first woman to win a Nobel award: in Physics, together with her husband, Pierre Curie and Henri Becquerel. Up to that date, several names adorn the history of women in the world of science: Hypatia of Alexandria, Sophie Germain or Ada Lovelace, amongst them. And, since then, the woman figure, so scarcely represented in the highest spheres of any activity, likewise, does not appear too frequently in the upper echelons of scientific research. The difficulties faced by women to stand out in any walk of life in public, professional or political circles, have also been huge throughout history. Very few have made a name for themselves and, in some cases, their achievements were not even acknowledged. This is the case, for example, of Sophie Germain (1977.1831), French mathematician, physicist and philosopher. A pioneer in the elasticity theory, her work on Fermats Last Theorem (also known as the Sophie Germain Theory) laid out the groundwork for mathematicians to explore the subject hundreds of years later. She worked independently because her condition as a woman did not allow her to develop an academic career.
sino su colega Otto Hann, quien recibi el Premio Nobel precisamente por este descubrimiento. Uno de los casos ms polmicos y uno de los ms claros ejemplos de cmo el comit del Nobel ha ignorado durante muchos aos los logros llevados a cabo por mujeres. Meitner rechaz en su da trabajar en el proyecto Manhattan, que termin con el desarrollo de la primera bomba nuclear. Por su parte, la mayor aportacin a la ciencia de Rosalind Frankling (1920-1958), biofsica y cristalgrafa inglesa fue obtener la imagen de una molcula de ADN. Pero uno de sus colegas, Maurice Wilkins, mostr esa imagen (sin permiso ni conocimiento de Rosalind) a los cientficos James Watson y Francis Crik. La imagen les permiti construir un modelo de ADN y entender la estructura de la molcula. Wilkins, Crick y Watson recibieron el Nobel por ese descubrimiento en 1962, algunos aos despus de la muerte de Franklin.
A pesar de todo, mujeres como las anteriormente citadas, o como la estadounidense Grace Hopper (la primera persona que desarroll un compilador para lenguaje computacional, el Cobol) han ido escribiendo pginas de la historia de la investigacin y de la ciencia. Pginas que ahora continan escribiendo otras grandes cientficas como la primatloga Jane Godall (Reino Unido, 1934), considerada la mayor experta en chimpancs del mundo y que an hoy contina con sus interesantsimas investigaciones. Una de las ms destacadas cientficas del siglo XX, todo un referente en la ciencia europea, es la italiana Rita Levi-Montalcini (nacida en 1909). En 1986 Levi-Montalcini consegua el Premio Nobel en Fisiologa y Medicina, junto con Stanley Cohen, por su descubrimiento sobre el factor de crecimiento del nervio. Adems es, desde 2001, senadora vitalicia de su pas. En Espaa, hoy da destacan cientficas como Margarita Salas, una de las ms importantes investigadoras en el campo de la bioqumica y la gentica molecular, o Mara Blasco, recientemente nombrada directora del CNIO (Centro Nacional de Investigaciones Oncolgicas), uno de los
We have another example in Lisa Meitner (1878-1968). Lisa was the Austrian physicist who discovered nuclear fission. But it was not her but her colleague, Otto Hahn, who was awarded the Nobel Prize, precisely for this discovery; one of the most glaring examples of how the Nobel committee has ignored womens scientific achievements. Later on, she refused to work in the Manhattan project which ended in the development of the first nuclear bomb. On the other hand, Rosalind Frankling (1920-1958), a British biophysicist and X-ray crystallographer, obtained the image of a DNA molecule. But one of her colleagues, Maurice Wilkins, showed this image (without Rosalinds knowledge or permission) to scientists James Watson and Francis Crik. The image allowed them to build a DNA model and to understand molecular structure. Wilkins, Crick and Watson were awarded the 1962 Nobel Prize for this discovery, years after the death of Rosalind Franklin.
Despite all, women such as those described, or like the American Grace Hopper (the first person to deve-
Lisa Meitner, descubridora de la fisin nuclear. 3 Lisa Meitner discovered nuclear fissin.
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lop a compiler for computer language: the Cobol) have forged pages of history in research and science. These pages now continue to be imprinted by other celebrated women scientists, such as primtologist Jane Godall (U.K., 1934), considered to be the greatest expert in the world on chimpanzees and who, even now continues with her fascinating research work. One of the most outstanding scientists of the 20th century, a reference in European science matters, is the Italian Rita Levi-Montalcini (born in 1909). In 1986, Levi-Montalcini won the Nobel Prize in Physiology and Medicine, together with Stanley Cohen, for her discovery of the nerve growth factor. What is more, since 2001she has been serving as a Senator for Life in her home country. In Spain, researchers like Margarita Salas, one of the most important scientists working in the field of biochemistry and molecular genetics, recently appointed Director of the CNIO (National Oncology Research Centre), or Mara Blasco. Blasco is contributing significant results for science in telomeres and telomerase enzymes and the role played by the former in cancer and aging processes. The scientific catalogue is, obviously, much larger: from Ada Lovelace or BarbaraMcClintok, to Jocelyn Bell Burnell, through Rosalyn Sussman Yalow, Carol W. Greider or Maria Goppert-Mayer. All of these women have made highly important contributions to the progress of scientific research.
The interest to promote the equality of gen-
Walter Benjamin en la Biblioteca Nacional de Pars (1939). Foto: Gisle Freund. 3Walter Benjamin en la Biblioteca Nacional de Pars (1939). Foto: Gisle Freund.
centros de investigacin sobre el cncer ms importantes del mundo. Blasco est realizando importantes aportaciones a la ciencia centradas en los telmeros y la telomerasa y la funcin que los anteriores desempean en el cncer y el envejecimiento. El catlogo de cientficas ilustres es, obviamente, ms amplio: desde Ada Lovelace o Barbara McClintok (Premio Nobel de Medicina en 1983), hasta Jocelyn Bell Burnell, pasando por Rosalyln Sussman Y alow, Carol W. Greider o Maria Goppert-Mayer. Todas ellas han realizado importantes aportaciones al avance de la ciencia, aunque en muchos casos no hayan obtenido el merecido reconocimiento.
El inters por promover la paridad
de gnero en todos los mbitos, particularmente en la ciencia y la tecnologa, comenz en Estados Unidos en los aos setenta. All se cre (en 1971) la Association for Women in Science una asociacin que rene mujeres con un objetivo comn: conseguir que la ciencia y la tecnologa en Amrica resulte ms accesible para todo tipo de personas. Estados Unidos y Canad comenzaron a recopilar estadsticas separadas por sexo de forma sistemtica, desde 1981. A comienzos de los aos noventa, la Comisin de las Naciones Unidas sobre la Ciencia y la Tecnologa consider que una de las tres cuestiones principales de las que deba ocuparse era la de gnero. En Europa ese inters surge en los aos ochenta con iniciativas concretas en Alemania, los pases nrdicos y el Reino Unido. A estos esfuerzos se une posteriormente una sensibilizacin general de la Unin Europea que culmina con la creacin del Grupo de Helsinki en 1999, con el objetivo de examinar la situacin de las mujeres en ciencia en 30 pases. Entonces se tena la impresin generalizada de que haba un nmero insuficiente de mujeres que se dedicaban a la ciencia y de que los puestos de mayor responsabilidad cientfica estaban ocupados por hombres. Sin embargo, haba un factor de peso que impeda que se interviniera en este asunto: la falta de datos. La Comisin Europea se propuso remediarlo con la ayuda del Grupo de Helsinki. El plan de accin para promover la igualdad de gnero en esta rea incluy la elaboracin por un grupo de expertos del informe ETAN, publicado en el ao 2000. Tras estudiar la situacin de las mujeres en la ciencia y la tecnologa en diversos pases europeos, conclua que la infrarrepresentacin de las mujeres amenaza los objetivos cientficos de alcanzar la excelencia, adems de ser un derroche y una injusticia. Adems de revelar las dificultades que afrontaban las mujeres en la ciencia, las estadsticas sacaron a la luz otra tendencia interesante, como reconoce Tiia Raudma, miembro de la Unidad de Ciencia, Cultura y Gnero de la Direccin General
ders in all walks of life, particularly in science and technology, commenced in the U.S.A. in the seventies. In that country (in 1971) the Association for Women in Science was founded, an association that unites women with a common objective: to achieve making science and technology accessible to all kinds of people. The United States and Canada began, systematically from 1981, to elaborate separate statistics according to genders. By the beginning of the nineties, the U.N. Science & Technology Commission considered that one of the three major questions which should be addressed was that of gender. In Europe, interest in the issue arises in the eighties with concrete enterprises in Germany, Scandinavia and the U.K. These efforts were to be followed later with a general sensitizing of the European Union, which was to be culminated with the creation of the Helsinki Group in 1999, with the objective of examining the situation of women in science in 30 countries. At the time, a general impression existed that there were insufficient numbers of women devoted to science and that the positions of greatest responsibility were occupied by men. Nonetheless, a weighty factor existed that prevented any intervention in the issue: the lack of data. The European Commission proposed remedying the matter with the help of the Helsinki Group. The plan of action to promote equality of gender in this area included preparation by a group of exports of the ETAN Report, published in 2000. Following study of the situation of women in science and technology in various European countries, it concluded that under-representation of women threatens scientific objectives to attain excellence, in addition to being a waste and an injustice. In addition to revealing the difficulties faced by women in science, statistics brought out into the open another interesting trend, as recognized by Tiia Raudma, a member of the Unit of Science, Culture and Gender of the European Commission Research General Directorate: in countries that invest in research and development, the salaries of male researchers are usually higher, wherefore mostly men (hence, less women) do research work. On
Cuanto ms se asciende en la jerarqua acadmica, menor es la proporcin de mujeres. 3 The higher goes on academic hierarchy; the lower is the proportion of women.
Jane Goodall, primatloga. Arriba, Grace Hooper, la primera desarrolladora de un compilador para un lenguaje computacional. 3 Jane Goodall, primatologist. Up, Grace Hooper was the first person to develop the compiler for computer languaje.
Silvia Torres-Peimbert, astrnoma, premiada en 2011 con el LOral-Unesco Awards For Women in Sciencie. Abajo, Anne LHuillier, matemtica, tambin premiada en 2011 con el LOral-Unesco Awards For Women. 3 Silvia TorresPeimbert, astronomer. She received in 2011 the LOral-Unesco Awards For Women. Below, Anne LHuillier, mathematician; she was also awarded.
de Investigacin de la Comisin Europea: en los pases que invertan ms en investigacin y desarrollo, los sueldos de los investigadores suelen ser ms elevados, por lo que son ms los hombres (y menos las mujeres) que se dedican a la investigacin. En cambio, en pases que invierten menos en ciencia, tambin suelen ofrecer una remuneracin ms baja a sus cientficos; en estas naciones suele haber ms mujeres dedicada a esta profesin. Desde entonces, el Grupo de Helsinki contina elaborando estadsticas e informes de los pases que lo componen con el fin de promover el debate y el intercambio de experiencias sobre medidas y polticas ideadas y aplicadas en los mbitos local, regional, nacional y europeo con el fin de fomentar la participacin de la mujer en la carrera cientfica y la investigacin. En sus informes ha destacado que, a pesar de que los diferentes pases cuentan con infraestructuras cientficas distintas y diferentes medidas en materia de igualdad, s existen algunos factores comunes que favorecen esa desigualdad estructural. Uno de ellos es el desequilibrio, a favor de los hombres, en los rganos que adoptan decisiones sobre poltica cientfica y entre quienes evalan los nuevos proyectos y los candidatos a puestos superiores en la carrera cientfica. Por eso en algunos pases, entre ellos Espaa, se han tomado decisiones en este sentido que estn dando ya los primeros resultados. En el informe Mujeres investigadoras 2010, elaborado por el CSIC (Consejo Superior de Investigaciones Cientficas) en Espaa, el presidente de la entidad, Rafael Rodrigo, reconoca que la proporcin de mujeres en los niveles superiores de la investigacin ha crecido sustancialmente desde la publicacin en Espaa de la orden que obliga a que los rganos de seleccin de personal tengan una composicin paritaria. El CSIC, explica Rodrigo, ha cumplido cuidadosamente esta Orden nombrando tribunales con una representacin equilibrada entre ambos sexos, como prueba la presencia del 49% de mujeres en los tribunales de 2009, cuando en 2001 era del 21,4%. Disponer de datos, elaborar leyes que fomenten la paridad, educar en la igualdad, facilitar la conciliacin entre la vida familiar y la profesional, facilitar el reingreso de la mujer en la carrera cientfica despus de dedicar un tiempo a sus hijos son algunas de las medidas que se estn poniendo en marcha en distintos pases para lograr que las cosas cambien. A grandes rasgos, se dice en el informe del grupo de Helsinki Polticas nacionales sobre mujeres y ciencia en Europa, puede afirmarse que las mujeres son mayora entre los estudiantes. Aunque sigan siendo minora en algunas disciplinas cientficas y en ingeniera, su presencia es mayoritaria en las ciencias mdicas y biolgicas. Cuanto ms se asciende en la jerarqua acadmica, menor es la proporcin e mujeres. En realidad, puede afirmarse que las mujeres constituyen en todos los casos una pequea minora de las personas que ocupan los puestos cientficos de mayor responsabilidad. Finalmente, aunque no existen cifras concretas que recojan el efecto de la maternidad sobre la carrera cientfica, es decir, si hay diferencias entre
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the other hand, countries that invest less in science also tend to offer lower remuneration to their scientists; in these nations there are usually more women in the profession. Since then, the Helsinki Group continues to prepare statistics and reports from the countries that comprise the group, with a view to promoting debate and exchange of experiences regarding the measures and policies elaborated and applied in local, regional, national and European spheres in order to encourage the participation of women in scientific and research careers. Gender Equality in decision-making organisms: essential. In its reports it highlights that, despite different countries having different scientific infrastructures and different yardsticks in equality issues, there are certain common factors that favour this structural inequality. One of then is the imbalance, in favour of men, on the part of the organisms that adopt decisions on scientific policies and evaluate new projects and assess candidates to occupy high positions in scientific enterprises. Therefore, in some countries Spain amongst them decisions have been taken in this context, which are already showing their preliminary results. In Women in Research 2010, a report prepared by CSIC (Higher Council for Scientific Research) in Spain, the president, Rafael Rodrigo, acknowledges that the proportion of women in top levels of research has increased substantially since publication of the mandate that obligate staff selection departments to maintain gender equality. CSIC, explains Rodrigo, has meticulously complied with this mandate appointing panels composed of a balanced representation of genders, as proven by the presence of 49% of women on panels in 2009 while, in 2001, the proportion was 21.4%. Data availability, the creation of laws that encourage gender equality, education in equality, facilitating conciliation between family and professional life, facilitating the return of women to scientific careers after having spent time rearing their children... these are some of the measures that are being implemented in different countries to achieve changes. Overall, says one of the latest Helsinki Group reports, National Policies on Women and Science in Europe, affirmation can
Lisa Meitner descubri la fisin nuclear; sin embargo, fue su colega Otto Hahn quien recibira el N obel en 1944. 3 Although Lisa Meitner discovered nuclear fission, her colleague Otto Hahn was awarded the 1944 N obel Prize.
mujeres con hijos y mujeres sin hijos, estudios realizados en diferentes pases muestran que las mujeres con descendencia tardan ms en lograr el reconocimiento acorde a sus mritos, mientras que esta circunstancia entre los hombres es irrelevante y, en ocasiones, hasta positiva: la afectividad, cubierta por una familia estable, favorecera la produccin y la carrera profesional de los hombres mientras parece retrasar y dificultar la de las mujeres. El impacto de la maternidad est pendiente de anlisis detallados en la Unin Europea, y tener datos claros es importante para llevar a cabo polticas concretas. Pero lo cierto es que hay manifestaciones palpables de estas diferencias, como, por ejemplo, el estudio de parejas cientficas y sentimentales: comparten familia y trabajo, y muestran sistemticamente a las mujeres de esas parejas en un segundo plano pblico como profesionales: hombres y mujeres con la misma formacin y que, por alguna razn, el sistema parece disuadir a las mujeres a la hora de rescatar para s un protagonismo y reconocimiento similar al de su pareja. Haremos bien en poner todos los medios para que la sociedad no se pierda tantas aportaciones que pueden hacer la mujeres al desarrollo, a la investigacin y a la ciencia. Que no se pierda, en el futuro, ninguna Marie Curie.
ConClusiones del estudio europeo she figures

She Figures es la publicacin que el Grupo de Helsinki realiza peridicamente con las estadsticas recogidas en los diferentes pases que lo componen. La ltima edicin es de 2009 (las anteriores fueron en 2003 y 2006). Entre sus principales conclusiones encontramos las siguientes:
Las mujeres continan siendo una minora en la investigacin cientfica: un 30%. En la Unin Europea, el porcentaje de mujeres investigadoras crece ms rpidamente que el de hombres (6,3% anual para las mujeres en el periodo 2002-2006; frente al 3,7% de los hombres). Lo mismo se puede decir en cuanto al crecimiento del porcentaje de mujeres en el total de los cientficos e ingenieros (6,2% anual, frente al 3,7 para los hombres). Como media, en la Unin Europea, las mujeres representan el 37% del total de los investigadores en la Universidad; el 39% en el sector pblico y el 19% en el sector privado. En todos los casos, se producen movimientos positivos tendentes a la igualdad. En los ltimos aos ha habido un crecimiento del nmero de investigadoras en prcticamente todos los sectores; pero es especialmente importante en ciencias mdicas (+5,6% en el sector privado y +12% en el sector pblico); en humanidades; ingenieras y tecnologas y en ciencias sociales. Las mayores ratios de mujeres investigadoras en la empresa privada se encuentran en temas relacionados con agricultura y medicina; las ms bajas, en ingeniera y tecnologa. La carrera acadmica de la mujer contina marcada por una intensa segregacin vertical: la proporcin de mujeres estudiantes universitarias (55%9 y graduadas (59%) es mayor que la de hombres; pero ellos las superan en cuando se llega a niveles superiores. Las mujeres representan slo el 44% del personal acadmico de grado inferior; el 36% de los titulados y el 18% de los catedrticos. Como media, slo el 13% de las instituciones dedicadas a la investigacin o la ciencia de alto nivel estn dirigidas por mujeres y slo el 9 por ciento de las universidades. En sus rganos directivos figura un 22% de mujeres.
be made that women are in the majority amongst students. Although they continue to be in a minority in some scientific areas and in engineering, their presence is in the majority in medical sciences and biology. The higher one goes in academic hierarchy; the lower is the proportion of women. In fact, it can be affirmed that women comprise in all cases a small minority of the persons who occupy the scientific positions of greatest responsibility. Finally, although there ar no concrete figures that reflect the effect of maternity over scientific careers, i.e. if there are differences between women with children and women without children, studies carried out in various countries show that women with children take longer to achieve the recognition their merits deserve, whilst this circumstance amongst men is irrelevant and, at times, even positive: the emotional state, supported by stable family life, favours production and the professional career of men while appearing to delay and hinder that of women. The impact of maternity is pending detailed analysis in the European Union and it is important to have clear data in order to implement the correct policies. However, there are certainly palpable manifestations of these differences, as for example, the study of scientific work and emotional partners: they share family life and work and systematically show how the women forming such couples take second place as professionals; i.e. men and women having the same training where, for some reason, the system appears to dissuade women to obtain similar prominence and recognition to that of their partners. We should do all we can to implement all possible measures to avoid society losing so many of the contributions that women can make to development, to research and to science. We would not want to lose any future Marie Curies.
ConClusions of the european study she figures

She Figures is a publication prepared periodically by the Helsinki Group with statistics collected in the different countries belonging to it. The latest edition is from 2009 (the previous editions were in 2003 and 2006). Amongst its main conclusions we find the following:
Women continue to be a minority in scientific research: 30%. In the European Union, the percentage of women researchers grows quicker than that of men (6.3% annually for women during the period 2002-2006, against 3.7% for men). The same can be said about the growth of the percentage of women amongst the total number of scientists and engineers (an annual 6.2% against 3.7% of men). On average, in the European Union, women represent 37% of the total of University researchers, 39% of the total in the public sector and 19% in the private sector. In all cases, positive movements are being produced which tend towards equality. Over the last few years there has been an increase in the number of researchers in practically all sectors; but this is particularly important in the medical sciences (+5.6% in the private sector and +12% in the public sector); in Humanities; in engineering and the technologies and in social sciences. The greatest ratios of women researchers in private companies is to be found in issues concerning agriculture and medicine; the smallest in engineering and technology. Academic careers for women continue to be marked by an intense vertical segregation: the proportion of women university students (55%) and graduates (59%) is greater than that of men; but men outnumber women when it comes to the higher levels. Women only represent el 44% of academic staff on the lowest rung; 36% of lecturers and 18% of professors. On average, only 13% of the institutions dedicated to research or science on higher level is headed by women and only 9% of universities; the proportion of women on their governing bodies is only 22%.
RELATO | STORY
El I Concurso de Relatos Breves Eurostars Hotels es una iniciativa que busca premiar y reconocer la creatividad de nuestros huspedes. En esta primera edicin se han presentado un total de 145 relatos, 145 historias diferentes con un denominador comn: la accin se desarrolla en un hotel. La originalidad, el esfuerzo creativo y la variedad son caractersticas comunes de las obras que han concursado. Todos los textos se han publicado en el blog del certamen (blog.eurostarshotels.com/concursorelatos-breves) y los usuarios han tenido la posibilidad de votar por sus favoritos. El ganador del concurso fue el relato Desayuno Incluido, cuya autora es Ins Gonzlez, alojada en el Eurostars i-Hotel de Madrid. El jurado eligi esta obra entre los 10 relatos ms votados por los usuarios. El premio para la ganadora ha sido de 3.000 euros. Paralelamente, el autor de la obra ms votada ha ganado una estancia de un fin de semana para dos personas en el Hotel Eurostars Das Letras de Lisboa, un establecimiento dedicado a los grandes autores de la literatura universal. La segunda edicin ya est en la cocina, a punto de ser servida. Mantente atento. The First edition of the Eurostars Hotels Short Story Competition is an enterprise that wishes to award and acknowledge the creativity of our guests. In this first edition a total of 145 stories were presented, 145 different stories with a common denominator: the action takes place in a hotel. The originality, the creative effort and the variety are common characteristics in the competing entries. All the texts have been published in the competition blog (blog.eurostarshotels.com/concurso-relatos-breves) and users have had the opportunity of voting for their favourites. The winner of the competion was Breakfast Included (Desayuno Incluido), written by Ins Gonzlez, who had been accommodated at the Eurostars i-Hotel in Madrid. The jury chose this text from the ten stories which received the most votes from surfers. The winner received 3,000 euros for her work and, in addition, a weekend for two at the Hotel Eurostars Das Letras in Lisbon, a hotel dedicated to the great writers of universal literature. The second edition is already in the pot, ready to be served. Keep your eyes open!
M
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e gusta leer su correo electrnico. s que est mal, pero me siento poderosa.
Han pasado ya diecisis meses desde que lo dejamos. Bueno, desde que l me dej, porque lo cierto es que yo no le hubiera dejado nunca, yo hubiera seguido a su lado toda la vida. no nos hemos vuelto a ver desde entonces y an reviso su correo todos los das unas cuatro o cinco veces. es tonto, me dio su contrasea un da de borrachera y se olvid completamente despus. su contrasea es larga, muy larga, es su fecha de cumpleaos unida a la fecha de la boda de sus padres y a la del cumpleaos de su perro, pero entonces yo eso no lo saba. solo oa nmeros. Diecisis caracteres que recit teatralmente subido en aquel banco de la Plaza de olavide, haciendo equilibrios, con la litrona en una mano y el canuto en la otra, arrodillndose con los doses y dando un trago despus de los unos, sin poder imaginarse que yo, mientras le contemplaba obnubilada, repeta en silencio cada cifra y las iba apuntando en mi telfono mvil.
ahora est tonteando con una tal isabela, y le gusta, Dios mo, le gusta mucho. lee los correos que ella le enva enseguida, antes incluso que los que recibe de su entrenador. cada vez que lo pienso me muero un poco. esa isabela sabe cmo tratarle. Maite y carmen, las dos que vinieron despus de m, estaban locas por l. todas nos volvemos locas por l, pero a Maite y a carmen se les notaba demasiado. la desesperacin emanaba de cada rengln que le escriban, y si hay algo que l deteste en este mundo es una mujer desesperada. las compadec de corazn, s que lo hice; no sent celos, lo juro, ni siquiera un pellizquito. isabela tambin le quiere, pero sabe disimularlo. no puedo soportar que le interese tanto. Me gustara que se muriera, aunque, bien pensado, si ella dejara de existir de repente, es muy posible que l ya la quisiera para siempre. Mejor que siga viva. los muertos no fallan y s que ella lo har. antes o despus fallar; l no-
i ConCurso de relatos BreVes eurostars Hotels

Desayuno incluido
first edition eurostars Hotels sHort story Competition Breakfast included

sixteen months have elapsed since we parted. Well, since he left me, because to be truthful, i would never have left him, i would have stayed by his side for the rest of my life. We havent met since then and i still check his e-mails every day, four or five times. Hes silly. He gave me his password one day when he was drunk and completely forgot about it afterwards. His password is long, very long, its the date of his birthday together with the date his parents were married and his dogs birthday but, at the time, i didnt know that. i just heard numbers. sixteen of them that he recited dramatically, standing on that park bench in olavide square, doing a balancing act with a litre bottle of beer in one hand and a joint in the other, going down on his knees with the twos and taking a swig after the ones, not even imagining that i, while watching him in a daze, silently repeated each number and took note of them on my mobile phone. now, hes playing around with a girl called isabela, and he likes her. My god, he likes her a lot. He reads the emails she sends him immediately, even before those he receives from his coach. every time i think about it, i die a little. that isabela knows how to treat him. Maite and carmen, the two who came after me, were crazy about him. We all went crazy about him but with Maite and carmen, it was all too obvious. Desperation oozed from every line they wrote to him and, if there is anything in this world he hates its a desperate woman. i pitied them from the bottom of my heart, yes i did; i wasnt jealous, i swear, not even the tiniest bit. isabela also loves him, but she knows how to pretend. i cant bear how he interests her so much. i would like her to die, although on second thoughts, if she suddenly stopped existing, its quite possible he would then love her for ever. Better she keeps alive. the dead dont make mistakes and i know she will. sooner or later she will make a mistake; he will notice that she loves him and then hell forget about her, as he did with me, because he also liked me a lot. i also kept my distance and replied to his e-mails briefly and half-heartedly, like she does now.
like reaDing His e -Mails. i know its wicked, but it makes me feel powerful.
RELATO | STORY DESAYUNO INCLUIDO BrEAkfASt INCLUDED
tar que le quiere, entonces la olvidar, como le pas conmigo, porque yo tambin le gustaba mucho. tambin mantena las distancias y le contestaba emails escuetos y desganados, como ella hace ahora. la ha invitado a pasar la noche en un hotel. cuando vi la confirmacin de la reserva en su bandeja de entrada ayer por la noche me dio un vuelco el corazn. no acabo de acostumbrarme a esto. Ha incluido un desayuno completo, con lo rata que es. Dieciocho euros ms para impresionarla. aquella noche que me torc un tobillo en el Tupperware, yo no tena un solo euro en el bolsillo, pero l s, l acababa de cambiar 50 para comprarse tabaco, le vi con mis propios ojos, y aun as volvimos andando. Media hora a pasos cortos, l sujetndome y yo dando saltitos absurdos desde Malasaa hasta la puerta de nuestra casa. Y a isabela le compra un desayuno as por las buenas. necesito verla. s que no debera, pero me muero de ganas. la reserva es para hoy. son ya las doce del medio da pero le conozco y s que no llegarn antes de las dos. Y aqu estoy yo, con el corazn encogido y un agujero fro en el estmago, sorbiendo un poleo menta mientras les espero ya dentro de la cafetera, parapetada tras un peridico. Hay tres personas ms, he tenido suerte, pens que estara vaca. Huele a tostadas, la luz es tenue y la decoracin minimalista, muy de su gusto. le va a encantar el panel iluminado que sostiene la barra del bar, el rosa es su color preferido. ah estn. Me muero. Me tiembla el pulso, no debera haber venido. isabela es rubia, tiene la nariz respingona, lleva unos vaqueros grises y sandalias de tacn. Me la imaginaba ms alta. apenas sobrepasa el metro cincuenta. a l se le ve feliz. le oigo preguntarle si le gusta, ella asiente sin mucho entusiasmo, coge la llave y se dirige al ascensor muy digna. l la sigue mansamente. intenta besarla al llegar a su lado y ella le rechaza con una sonrisa. Definitivamente esta isabela sabe tratarle. el ascensor sube hasta la cuarta planta y yo me quedo como un pasmarote en la entrada sin saber muy bien qu hacer. la recepcionista me dirige una mirada interrogante. Ya estoy llamando la atencin. Pulso el botn y le doy la espalda. Voy a subir. el pasillo de la cuarta planta est decorado con la misma pulcritud que la cafetera. lo recorro despacito parndome delante de cada puerta. silencio, silencio, silencio. Por fin les oigo en la ltima, en la 438. el corazn me late tan violentamente que parece que vaya a salrseme del pecho. las piernas me tiemblan y comienzo a verlo todo borroso. Me siento en el suelo mareada y de repente la puerta se abre y salen los dos abrazados. l me mira con infinita sorpresa y cuando por fin consigo incorporarme para improvisar una explicacin, isabela se le adelanta y me planta una sonora bofetada en la mejilla izquierda que me deja sin habla. l la abraza protector antes de que yo pueda reaccionar, y sin dirigirme una sola palabra desaparecen de nuevo en la habitacin. Yo an me quedo unos segundos de pie, enfrente de la 438, como en un sueo, escuchando las carcajadas que retumban detrs de la puerta.
30 Estar
He has invited her to spend the night at a hotel. When i saw the booking confirmation in his in-tray yesterday night, my heart missed a beat. im not accustomed to this. He included full breakfasts, tightfisted as he is. eighteen euros extra in order to impress her. that evening, when id twisted my ankle at the Tupperware do, i didnt have a single euro in my pocket, but he did, he had just changed a 50-euro note to buy cigarettes, i saw him with my own eyes, but even so we walked home. Half-an-hour of hobbling, he supporting me and i hopping along with absurd little steps from Malasaa to the front door of our house. and he buys isabela a breakfast, just like that. i must see her. i know i shouldnt, but im dying to do so. the booking is for today. its twelve noon, but i know him and he wont be there before two oclock. and here am i, with my heart bleeding and an icy hole in my stomach, sipping a mint tea while i wait for them here in the cafeteria, taking shelter behind a newspaper. there are another three persons here, ive been lucky, i thought it would be empty. it smells of toast, the light is dim and the decoration minimalist, much to her liking. she will love the illuminated panel that holds up the bar, pink is her favourite colour. there they are. im going to die. My pulse rate is galloping, i shouldnt have come. isabela is blonde, with a snub nose; shes wearing grey jeans and sandals with high heels. i imagined her as being taller. she hardly goes over the one-metre-fifty mark. and he is looking happy. i hear him ask her if she likes it, she assents without
much enthusiasm, picks up the key and makes her way to the lift, very dignified. He follows her tamely. He tries to kiss her as he reaches her side and she rejects him with a smile. Definitely, this isabela girl knows how to treat him. the lift goes up to the fourth floor and i stand there like a statue in the entrance not quite knowing what to do. the receptionist throws me an inquiring glance. im attracting attention already. i press the button and turn my back on her. im going to go up. the passage on the fourth floor is decorated in the same clean style as the cafeteria. i walk through it slowly, stopping in front of each door. silence, silence, silence. at last i hear them in the end room, in the 438. My heart is beating so wildly it feels like it is just about to jump out of my chest. My legs are trembling and everything starts to look blurred, i slip down onto the floor feeling faint and suddenly the door opens and the two of them come out hugging each other. He looks at me with infinite surprise and when i am finally able to get up in order to improvise an explanation, isabela steps forward and gives me a resounding slap on my left cheek that leaves me speechless. He gives her a protecting embrace and before i am able to bring my senses together and without uttering a single word, they disappear back into the room. i keep standing there for a few seconds, in front of the 438, as in a dream, listening to the peels of laughter that echo behind the door.
mundo eurostars world

Eurostars Hotels, con el arte y la cultura. Art and Culture in Eurostars Hotels.
Los huspedes de eurostars hoteLs tienen dos concursos abiertos: fotografa y reLatos El Premio Eurostars Hotels de Fotografa celebra este
ao su sexta edicin
prEmios
awards
Estn en marcha dos nuevas ediciones de los concursos Eurostars Hotels dirigidos en exclusiva a nuestros clientes. Los ms imaginativos pueden presentar sus imgenes al VI Premio Eurostars Hotels de Fotografa, convocado conjuntamente con Olympus. Hay 10 fantsticas cmaras y noches gratuitas en hoteles Eurostars para los diez primeros. El plazo de presentacin de fotos concluye el 16 de diciembre de 2011. Para nuestros huspedes ms literarios, la cadena ha convocado el II Concurso de Relatos Breves Eurostars Hotels. La primera edicin, concluida en marzo de 2011, fue un gran xito en calidad y seguimiento. Eso nos ha animado a no demorar en la convocatoria de la segunda edicin. Los relatos presentados no deben exceder de mil palabras y la accin debe desarrollarse en un hotel. Los usuarios del blog de Eurostars Hotels votan por los relatos de su preferencia, y un jurado escoger el relato ganador entre los textos ms votados. El plazo para colgar relatos en el blog finaliza en marzo de 2012: pero, atencin, cuanto antes presentes tu relato, ms posibilidades tendrs de recabar ms votos. Encontrars ms informacin en recepcin o en tu habitacin. 3 Guests of Eurostars Hotels can enter two competitions: photography and short stories. New editions of both Eurostars Hotels competitions are now open exclusively to our guests. The most imaginative can present their images for the 6th edition of the Eurostars Hotels Photograph Award, run jointly with Olympus. Ten fantastic cameras and free hotel nights at Eurostars hotels are awaiting the first ten prize-winners. The entry dead-line closes on 16th December 2011. For our more literary guests, the chain has opened the second edition of the Eurostars Hotels Short Stories Competition. The first edition, which finalized in March 2011, was a huge success in both quality and volume. This has motivated us to not delay in calling the second edition. Stories for the competition should not exceed one thousand words and the action should take place in a hotel. Readers of the Eurostars Hotels blog can vote for their favourite stories and a panel of judges will choose the winning story from the texts that receive the most votes. The deadline for sending in stories to the blog is March 2011; but, take note: the sooner you present your story, the greater the possibilities of gathering more votes.Further information can be found at the reception desk or in your hotel room.
32 Estar
eL cLaridge acoge a Las mejores actrices argentinas en eL cicLo ciudad ViVa

El Gobierno ha seleccionado nuestro establecimiento por la calidad artstica de los eventos que suele ofrecer
FoTo
El Gobierno de la Ciudad de Buenos Aires ha seleccionado el Claridge Bar, perteneciente al Hotel Claridge, para realizar el Ciclo Ciudad Viva. En l, las mejores actrices argentinas del momento recitan textos de autores nacionales con el fondo de piano o violn. El Gobierno ha seleccionado el Claridge por la calidad artstica de los eventos que ofrece el hotel. El ttulo de este ciclo hace alusin al nombre de un programa de radio de los aos sesenta, en el que escritores, artistas y cineastas expresaban sus emociones sobre la ciudad de Buenos Aires. Algunas de las actrices presentes en los martes estelares del Claridge son Elena Tasisto (en la imagen), Leonor Benedetto, Ana Mara Cores, Mnica Galn o Mara Jos Mentana. 3 The Claridge houses the best argeninean actresses for the Living City Cycle. The Authorities of the City of Buenos Aires have selected the Claridge Bar, belonging to the Claridge Hotel, for performing the Living City Cycle. During this cycle, the best Argentinean actresses of the moment will recite passages by national authors, with accompanying piano or violin music. The authorities have selected the Claridge on account of the artistic quality of the events offered by the hotel. The title of this cycle alludes to the name of a sixties radio programme in which writers, artistes and movie-makers expressed their feelings regarding the city of Buenos Aires. Some of the actresses performing in the star Claridge Tuesdays are Elena Tasisto, Leonor Benedetto, Ana Mara Cores, Mnica Galn or Mara Jos Mentana.
eurostars hoteLs: con ritmo y a todos Los paLos

La cadena apuesta por una variada oferta musical en sus establecimientos.
msiCa
musiC
Desde los tangos del Claridge a las noches de pera del Eurostars Grand Marina; desde las sesiones de piano del Eurostars Madrid Tower a las veladas de jazz del Eurostars Berln. La cadena cree en el poder de la msica para aquietar a las fieras, para enaltecer los nimos, para soar, para enamorarsey para homenajear los grandes momentos. Trabajamos para que en nuestros hoteles suene la msica en el momento adecuado. 3 Eurostars Hotels: with rhythm and all classes of music. From the Claridge tangos to the Eurostars Grand Marina opera soires; from the Eurostars Madrid Tower piano evenings to the Eurostars Berlin jazz nights. This hotel chain believes in the power of music to calm the beasts, to raise ones spirits, to dream, to fall in love... and to pay tribute to those great moments. We work so that the sound of music rings through our hotels at the right moment. El Hotel Claridge de Buenos Aires ha tomado la estela del Premio Grand Marina de Fotografa y del Premio Eurostars Hotels de Fotografa para organizar un concurso temtico de fotografa en torno a la gran pasin nacional: el ftbol. El Concurso Fotogrfico Claridge Hotel 2011 ofrece 6.000 pesos en premios a las instantneas que mejor logren plasmar el tema del concurso: Argentina, pasin y ftbol. El concurso est circunscrito a personas de nacionalidad o residencia en Argentina. Ms informacin en www.claridge.com.ar 3 The third Eurostars photography competition has been launched: passion for Football. The Claridge Hotel in Buenos Aires has followed in the wake of the Grand Marina Photography Prize and the Eurostars Hotels Photography Award to organize a photography competition on the theme of the great national passion: Football. The 2011 Claridge Hotel Photography Competition offers 6,000 pesos in prizes for the pictures that best interpret the theme of the competition: Argentina, passion and football. The competition is limited to people of Argentinean nationality or resident in Argentina. More information at www.claridge.com.ar
nace eL tercer concurso fotogrfico de eurostars: La pasin deL ftboL

El Hotel Claridge de Buenos Aires convoca su certamen en torno a un tema de enorme inters en Argentina.
FoTo
pHoTo
exposiciones exhibitions
eurostars HoteLs
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 Abigail Lpez Enrech (arte@hotusa.es)
Josep Mara Codina
Los lienzos-piel de Josep M Codina, en el Eurostars Grand Marina Josep Mara Codina expresa su reflexin pictrica sobre el paso del tiempo y cmo ste influye en nuestros cambios morfolgicos. Ms all del pincel, en las obras de Codina hay tambin arrugas, cicatrices y marcas que dan paso a mltiples interpretaciones. Sus cuadros son un poco lienzo y un poco piel, y nos hablan de la fragilidad humana. Hasta otoo de 2011. 3 Canvas-skins by Josep M Codina, at the Eurostars Grand Marina. Josep M. Codina expresses his pictorial reflections on the elapsing of time and how this influences the physical changes that take place in us. Beyond the paintbrush, in Codinas work there are also wrinkles, scars and marks that allow for multiple interpretations. His pictures are part canvas and part skin: a skin that separates and protects us and which speaks of human fragility. Codinas artwork fills the Eurostars Grand Marina through to the autumn of 2011. La portuguesa Rosa Pereira llena de colores el Eurostars das Artes de Oporto Pereira ha expuesto en Berln, Bruselas, Madrid, Miami, Tokyo... As como la abstraccin nace de la profundizacin en la realidad, los trabajos de la artista portuense extreman en esa profundizacin: los colores se sobreponen de tal forma que deshacen las imgenes mediante la conjucin de sensibilidad y expresividad. Hasta septiembre de 2011. 3 The Portuguese painter, Rosa Pereira, fills the Oporto Eurostars das Artes with colour. As abstraction is born from delving deep into reality, paintings by Rosa Pereira go to the extreme in this deep search: colours are superimposed upon each other in such a way as to disperse images through a conjunction of sensitivity and expressivity. Pereira has held exhibitions in Berlin, Brussels, Madrid, Miami, Tokyo...The collection is on display at the Eurostars Das Artes, in Oporto, through to September 2011. Las percepciones del rostro, en el Eurostars Cristal Palace Si la cara es el espejo del alma, la artista Rosa Mara Montolo da en la diana, porque la pintora catalana escoge rostros de diferentes personajes para plasmar en ellos sus emociones y sentimientos. De ah sus ttulos: Mirando, Soando, Pensando. Es mediante las percepciones como interpretamos el mundo exterior. Percepciones est en el Eurostars Cristal Palace de Barcelona hasta septiembre de 2011. 3 Perceptions of the face, at the Eurostars Cristal Palace. If the face is the mirror of the soul, artist Rosa Mara Montolo hits the target, because this painter from Catalonia chooses the faces of different personalities to embody in them her emotions and feelings. Hence their titles: Looking, Dreaming, Thinking. It is by means of these perceptions that we interpret the outside world. Perceptions will be on show at the Eurostars Cristal Palace in Barcelona through to September 2011. Lajos Csert, el Gaud hngaro, en el Eurostars Budapest Center Con la coleccin Contacto, el escultor Lajos Csert rinde tributo a la naturaleza. Fiel seguidor de Antonio Gaud, Csert exalta las formas y los colores de la vida natural, con un especial esmero por la originalidad, ms propio de la poca de las primeras vanguardias, con el modernismo y el art nouveau. La exposicin cuenta con diferentes piezas de vidrio soplado, porcelana y mrmol. Puede verse en el Eurostars Budapest Center hasta julio de 2011. 3 Lajos Csert, the Hungarian Gaud, at the Eurostars Budapest Center. With the collection entitled Contact, sculptor Lajos Csert pays tribute to nature. A faithful follower of Antonio Gaud, Csert exalts the forms and colours in nature, with particular care given to originality, more akin to the early avant-garde period, to Modernism and Art Nouveau. The exhibition contains various items of blown glass, porcelain and marble. On display at the Eurostars Budapest Center through to July 2011.
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 Abigail Lpez Enrech (arte@hotusa.es)
Rosa Pereira
Rosa Mara Montolo
Lajos Csert
34 Estar
Exposicin 100% BarcElona: 10 aos dEl prEmio Eurostars Grand marina dE FotoGraFa El Eurostars Grand Marina celebra los 10 aos de su Premio de Fotografa con una gran exposicin retrospectiva frente a la barcelonesa Plaza de Sant Jaume
El Hotel Eurostars Grand Marina y el Ayuntamiento de Barcelona han organizado conjuntamente una exposicin retrospectiva de los 10 aos del Premio Grand Marina de Fotografa. Bajo el ttulo 100% Barcelona, la exposicin recoge las 100 series fotogrficas premiadas a lo largo de estos diez aos de concurso. 100% Barcelona es un homenaje a las infinitas caras de Barcelona. Y, claro est, tambin al infinito talento de aquellos que saben captar su esencia en imgenes. La exposicin puede visitarse en la Sala Ciutat del Ayuntamiento de Barcelona (Carrer de la Ciutat, 2), junto a la Plaza de Sant Jaume, del 18 de julio al 18 de septiembre de 2011. Toda la exposicin est realizada con materiales reciclados. Los visitantes pueden votar por el trptico que ms les guste entre los expuestos, de tal modo que al trmino de la exposicin tendremos un ganador popular de los diez primeros aos del premio. El Premio de Fotografa Eurostars Grand Marina es todo un referente en la ciudad catalana. Reconocidos personajes como Manolo Vzquez Montalbn, Joan de Sagarra, Pedro Madueo o Carlos Prez de Rozas han formado parte del jurado. 3 100% Barcelona exposure: 10 years of the Eurostars Grand Marina Photography Prize. The Eurostars Grand Marina Hotel and the Barcelona City Corporation have jointly organized a retrospective exhibition covering the 10 years of the Eurostars Grand Marina Photography Prize. Going by the title 100% Barcelona, the exhibition displays the 100 series of award-winning photographs stretching over the ten years that the competition has been held. 100% Barcelona is a tribute to the infinite number of faces of Barcelona and, of course, to the infinite talent of those who are able to capture its essence in images. The exhibition can be visited at the City Councils Sala Ciutat de Barcelona (Carrer de la Ciutat, 2), next to Plaza de Sant Jaume, from 18th July to 18th September 2011. The entire exhibition has been made using recycled materials. Visitors will be able to vote for the triptych they like best from those on display, so that when the exhibition finalizes, we shall have a popular winner of the ten years existence of the competition. The Eurostars Grand Marina Photography Prize is of renown in the Catalonian capital. Well-known celebrities such as Manolo Vzquez Montalbn, Joan de Sagarra, Pedro Madueo o Carlos Prez de Rozas have formed part of the panels of judges.
entrevista | interview
jess aguado texto/words guillermo navarro fotos/images
36 Estar
The trhiller is the best method of penetrating the most hidden parts of any society
VOLKER KUTSCHER
La novela negra es el mejor mtodo para adentarse en la parte oscura de la sociedad
contradicciones en los que mi protagonista, el comisario Gereon Rath, se adentra en los ambientes ms lgubres de la noche berlinesa y sus clubes nocturnos de finales de los aos veinte y principios de los aos treinta, en una Alemania donde las libertades de una sociedad moderna y sexualmente emancipada chocan con los elementos ms reaccionarios de lo que luego ser el nazismo, dice el escritor alemn Volker Kutscher (Lindlar ,1962) sobre su serie de ocho novelas de trama criminal, cada una ambientada en un ao, de 1929 a 1936. Kutscher, escritor y periodista, licenciado en Filologa Germnica, Filosofa e Historia por las universidades alemanas de Wuppertal y Colonia, tiene previsto publicar este ao en Espaa la segunda entrega de sus ocho novelas que abarcan desde la cada de la Repblica de Weimar hasta el asentamiento pleno de Hitler en el poder y que llevar probablemente el ttulo de Muerte en Berln, tras haber publicado su primera entrega, titulada Sombras sobre Berln. Kutscher parece disfrutar llevando al lector a emprender un viaje a un tiempo de la reciente historia alemana que no deja de plantear preguntas incmodas, que bien deberan servir a cualquier sociedad del futuro para intentar evitar que se repitan ciertos captulos negros de la Humanidad. Al mismo tiempo intenta no olvidarse de hacer un retrato muy plural y enriquecedor de todas las clases sociales y del lumpen de un Berln tan fascinante como aterrador en la poca de entreguerras en Alemania. Durante este viaje, el escritor reconoce que, para l, cada libro es una aventura y slo sabes si has logrado algo realmente bueno cuando lo has terminado.
Me gustara viajar a esa poca si tuviera un ticket de vuelta. Es un mundo lleno de
I would like to travel back to that period if I had a return ticket. It was a world
full of contradictions in which my protagonist, Superintendent Gereon Rath, goes deep into the most dismal ambiances of Berlin nightlife and its night clubs of the end of the twenties and beginning of the thirties, in a Germany where the liberties of a modern, sexually emancipated society clash with the most reactionary elements of what was later to become Nazism, says the Verman writer Volker Kutscher (Lindlar, 1962), referring to his series of eight crime novels, each one set in a particular year, from 1929 to 1936. Kutscher, writer and reporter, with degrees in German, Philosophy and History by the Universities of Wuppertal and Cologne, has plans to publish in Spain the second of his eight novels this autumn stretching from the fall of the Weimar Republic to Hitlers full establishment in power and which will probably bear the title of Death in Berlin after having published his first, entitled Shadows over Berlin, a year-and-a-half ago. Volker Kutscher appears to enjoy enticing the reader to make a journey back to a time in recent German history which never ceases to pose uncomfortable questions, which should really serve for any future society to try to avoid repeating certain ill-fated chapters in Humanity. At the same time, he attempts to make a very plural and enriched portrait of all the social classes and the underworld of a Berlin as fascinating as it was terrifying in the era between the wars in Germany. During this voyage, the writer recognizes that for him, each book is an adventure and you only know if you have achieved something really good once you have finished it.
vOLKer KUtsCHer
En su pas ya ha publicado tres novelas y va por la cuarta, que comienza en 1932. Qu le interesa de los aos veinte o treinta de Alemania? Hay muchas cosas que me fascinan de esa poca y, en un principio, ni siquiera es el trasfondo poltico-histrico, sino la poca en s misma. El Berln de esos aos lo empec a conocer a travs del escritor Erich Kstner, que en muchas de sus obras tiene a la ciudad de Berln como protagonista. De ah surge mi inters, que se vio incrementado luego a travs Alfred Dblin y su obra Berln Alexanderplatz. Se puede decir que Kstner y Dblin son sus padres literarios? Creo que sera muy exagerado decir eso. Dblin es un escritor muy verstil y adems, vanguardista; yo no aspiro a tan altas cotas. Son autores a los que leo con mucho gusto. Es verdad que, de nio, me marc Kstner por sus libros infantiles, pero tambin Mark Twain con su arte de contar aventuras en Tom Sawyer y Huckleberry Finn. Pero usted no se queda en un retrato social del Berln de la poca, quiere entrelazar mundos y continentes? Cuando me traslad a vivir a Berln, me dediqu a buscar un poco las huellas literarias de esos escritores y me vi sorprendido al encontrarme con sitios, esquinas prcticamente idnticas a las de los aos veinte descritas en las novelas de Kstner. El caso es que siempre me fascinaron esos aos de Berln y, al mismo tiempo, me interesaba mucho la dcada de los veinte y treinta de Amrica, la poca tpica de los gangsters de Chicago, Nueva York o Dubln. De repente un da empec a pensar cmo sera intentar trasladar el mito del Berln de esos aos a la poca americana porque ese mundo tambin me fascinaba. Y cmo surgi la idea de mezclar esos dos mundos? La idea para hacer esto me lo dio una pelcula de Fritz Lang, titulada M, el V ampiro de Dsseldorf, de 1931, un thriller psicolgico sobre un asesino compulsivo, y otro largometraje que acababa de ver, Camino a la perdicin, protagonizado por Tom Hanks y dirigida por Sam Mendes. Aqu es donde surgi la idea de intentar mezclar estos dos mundos que comparten una poca. Se trata del Berln de la poca nazi y el Nueva York de los gangsters judos, y dej que ambos mundos confluyeran. Cmo surgi la idea de escribirlo en una serie de ocho novelas ? Al juntar material me di cuenta de que era imposible meterlo en una novela y surgi la idea de convertirlo en una serie. Despus pens en situar el comienzo de la trama en los aos 1931 y 1932, justo antes de la dictadura, y entonces me convenc a m mismo de que sera mucho ms interesante y emocionante mostrar el camino de la disolucin de la democracia alemana de Weimar hasta llegar a la dictadura de Adolf Hitler. A finales del veintinueve ya se empezaba a vislumbrar la divisin de los trabajadores, sobre todo entre comunistas y socialdemcratas, lo que result clave posteriormente en la victoria de los nazis. Al final la Historia parece un elemento clave en su trama, no? Intento incluir todo el contexto poltico social en el fondo de la historia e incluso se mezclan en la trama criminal sin llegar a convertirse en su argumento principal. El comisario Gereon Rath se ve envuelto en aquellas protestas que para m son muy importantes porque reflejan el ambiente de aquellos aos de transformacin de Berln, desde los felices y estables aos veinte, que van de 1923 hasta llegar al fatdico 1929, el ao de la hiperinflacin y de los disturbios y el estallido de la crisis econmica.
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In Germany you have already published three novels and you are working on the fourth, which commences in 1932. What is it that interests you about the twenties or thirties in Germany? There are many things about that period that fascinate me and, in principle, it is not even the political-historical background but rather the era in itself. I began to learn about the Berlin of that time through the writer Erich Kstner who, in many of his books, uses the city of Berlin as the protagonist. That is from where my interest was kindled, later increased through Alfred Dblin and his Berlin Alexanderplatz. One could say then that Kstner and Dblin are your literary ancestors? I think it would be a great exaggeration to say that. Dblin is a very versatile writer and, moreover, he is very avant-garde whereas I dont aspire to such heights. They are authors that I read with great pleasure. Its true that as a child, Kstner impressed me with his childrens books, but so, also, did Mark Twain with his art of narrating adventures in Tom Sawyer and Huckleberry Finn. But you do not limit yourself to a social portrait of Berlin in that era. Do you want to intertwine worlds and continents? When I moved to Berlin to live I spent time sussing out some of the literary footprints left by these authors and I was surprised to find spots, corners practically intact, as they were in the twenties, as described in Kstners novels. The fact is that those years in Berlin always fascinated me and, at the same time, I was also most interested in the twenties and thirties in America, the typical gangster era of Chicago, New York or Dublin. Suddenly, one day I began to think about how it would be to try and transpose the Berlin myth of those years to the American gangster period because that world also fascinated me. And how did the idea of mixing those two worlds arise? The idea to do this came to me through a 1931 Fritz Lang film called M, the V ampire of Dsseldorf, a psychological thriller about a compulsive murderer and another movie that I had just seen, Road to Perdition, directed by Sam Mendes. Here is where the idea arose to try to mix those two worlds that share an era. Its about the Berlin of the Nazi period and the New York of the Jewish gangsters, and I let both worlds come together. How did the idea arise of writing about it in a series of eight novels? When gathering material together I realised that it was impossible to put it all into one story and so the idea of making it a series came to being. Afterwards came the idea of starting it off in the years 31 and 32, just before the dictatorship, and then I convinced myself that it would be more interesting and exciting to describe the pathway to the collapse of the Weimar democracy up to the Hitler dictatorship. By the end of 29, one could already catch a glimpse of the division between workers, particularly between Communists and Socialdemocrats, which later became a key factor in the victory of the Nazis. In the end, History appears to be a key element in the plot, doesnt it? I try to include the whole political and social context in the historical background and, in addition, this becomes mixed in with the criminal part of the plot but without turning into its main argument. Superintendent Gereon Rath becomes involved in those protests that for me are very important because they mirror the atmosphere of those years of transformation in Berlin from the sweet, stable twenties, which go from 23 to the fatal 29, the year of the megainflation and the riots and the outbreak of the economic crisis.
A la izquierda, el general Schleicher abandona su residencia oficial tras ser reemplazado por Adolf Hitler en su cargo de Canciller (1933). Abajo, un cartel promocional del partido Nacionalsocialista. 3 On the left, Major-General Kurt von Schleicher left his official residence after being replaced by Hitler as Chancellor. Below, a promotional poster of the National Socialist Party.
Cmo entremezcla en sus tramas personajes ficticios y reales de aquella poca de la historia alemana? Mis historias son, ante todo, ficticias, pero es cierto que incluyo algunos personajes reales para darle veracidad y sentido al contexto en el que transcurren las tramas. Lo nico que tuve claro es que, debido a que la situacin estaba marcada por la poltica, tena que citar algunos nombres reales de algunas personalidades con responsabilidades al frente de algunas instituciones clave, como la polica, para mostrar la evolucin de los acontecimientos histricos. La nica gran excepcin que hice en la segunda novela fue incluir a Konrad Adenauer, que entonces era el alcalde de Colonia. La mayora de la gente en Alemania lo identifica como el primer canciller alemn de la postguerra. Utilizo la figura de Adenauer para demostrar que en la poca anterior a los nazis tambin haba figuras polticas importantes y que la historia podra haber sido diferente si otras personas hubieran estado en otras posiciones. Lo cree usted de verdad? Parece que, mirando en retrospectiva, a Alemania no le hubiera quedado otra opcin que caer en manos de Hitler y eso es algo que yo no comparto. Est claro que la democracia era dbil y que tena pocas posibilidades de sobrevivir, precisamente por la crisis econmica, pero no estaba escrito que tuviera que sucumbir a los nazis. How do you mix fictitious and real characters from that period of German history in your plots? My stories are, above all, fictitious, but its true that I include some real characters to give sense and veracity to the context in which the plots develop. The only thing I had clear in my mind was that because the situation was marked by politics, I had to cite some real names of some of the personalities with responsibilities in the key institutions, like the police, to show the evolution of the historical happenings. The only important exception I made in the second novel was including Konrad Adenauer, who was then the Mayor of Cologne. The majority of people in Germany identify him as first post-war German Chancellor. I use the figure of Adenauer to demonstrate that in the period before the Nazis there were also important political figures and that History could have been different if other persons had been in other positions. Do you really think so? It seems that in retrospect, Germany had no option but to fall into Hitlers hands and that is something I dont go along with. Its obvious
vOLKer KUtsCHer
Intento incluir todo el contexto poltico y social en el fondo de mis novelas. 3 I try to include the whole political and social context in the historical background of my novels.
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Tiene usted la impresin de que en Europa el final de la Repblica de Weimar es una poca ms desconocida? Creo que la poca del nazismo siempre es ms interesante, est claro, aparece en todas pelculas, aunque muchas veces se eche mano de los tpicos para acercarse a esa poca. En el fondo lo que ms miedo da es el gran respaldo social que obtuvo el nazismo, que muchas personas normales, padres y madres, respaldaran este tipo de fascismo. Esto es una pregunta que siempre me ha dado que pensar y que todava me planteo. Cmo pudo pasar que un grupo inicialmente pequeo como las nazis, tomados casi a broma al principio, fuera capaz de fascinar a tanta gente y aumentar el nmero de adeptos tan rpidamente? Se dirige usted a un pblico en concreto? En realidad no me dirijo a nadie de antemano. Hago lo que realmente me interesa, que es moverme en ese mundo, es lo que me apasiona y para nada es mi intencin dar lecciones de moralidad: son, en todo caso, lecciones de historia. Se pueden entender sus libros sin ser un amante de la Historia? Se pueden entender las tramas perfectamente sin conocer la historia de Alemania. Es cierto que, si uno tiene mejores conocimientos en este sentido, quiz pueda disfrutar algo ms y entender qu est pasando en el trasfondo de la trama. Adems reconozco que aprovecho la trama criminal para acercar a un pblico de lectores jvenes a las grandes preguntas de ese momento. Cmo se pudo llegar a esto? Para m sa sigue siendo la pregunta clave que siempre relaciono con el Tercer Reich. Sigo sin entender como una nacin tan culta como la alemana pudo caer en manos de una dictadura de brbaros. Esto todava me inquieta. El personaje es clave para este acercamiento? S, sin duda. Intento acercarme poco a poco a los aos de la dictadura alemana desde el punto de vista de un personaje de la poca para vivirlo a travs de l. Y es la novela negra el mejor camino para acercarse a estos ambientes srdidos del Berln de aquella poca? S, considero que la novela negra es el mejor mtodo para adentrarse en las partes ms ocultas de cualquier sociedad, y analizar diferentes clases sociales, porque los crmenes se dan en todo tipo de clases sociales. En la primera novela me adentro en el ambiente de los rusos del exilio en Berln, y en la segunda me meto ms en lo que son los clubes nocturnos ilegales y la industria pornogrfica. La tercera novela da ms una visin de las bandas criminales juveniles, de cmo intentan sobrevivir a una sociedad que le ha dado la espalda. Su protagonista, el personaje del comisario, no es una figura limpia de culpas... El comisario intenta mantenerse al margen de la poltica aunque se empieza a dar cuenta de que esto no es posible. En el fondo comparte esta actitud con muchos alemanes que inicialmente tampoco quisieron saber nada de poltica y eso es algo que en el fondo permiti que los nazis llegaran al poder. Por eso mi comisario es una especie de conejillo de Indias, no es un demcrata convencido, pero tampoco un anti demcrata, sino ms bien alguien que quiere escabullirse de los problemas. Ni simpatiza con los nazis ni con los comunistas. Es una figura que tiene grandes dficits. Es un mentiroso compulsivo: miente y, con mentiras piadosas, intenta mantenerse a flote.
that democracy was weak and had few possibilities of survival, precisely because of the economic crisis, but that it had to succumb to the Nazis was not written down beforehand. Do you have the impression that in Europe the end of the Weimar Republic is a little-known period? I think the Nazi era is always more interesting, of course, it appears in all the movies, although often enough clichs are resorted to in order to get closer to this period. Deep down, what is most frightening is the enormous social backing that Nazism obtained; that so many normal people, fathers and mothers, backed this type of fascism. This is a question that I have always pondered over and which I still pose myself: how could it happen that an initially small group like the Nazis, almost taken as a joke to begin with, were able to fascinate so many people and increase the number of supporters so rapidly? Are you targeting any concrete public? In actual fact Im not targeting anyone beforehand. I do what really interests me, which is moving around in that world; its what enthuses me and in no way is it my intention to give history lessons or point out anything. In my books there are no lessons in morality, they could be, anyway, history lessons. Can one understand your books without being a lover of history? The plots can be understood perfectly well without knowing the history. Its true that if one has better knowledge of history, maybe one can enjoy it more and understand what is happening in the background. Whats more, I admit that I take advantage of the crime story to bring closer an audience of young readers to the great questions of that moment. How could they have done this? For me this continues to be the key question that I always relate to the Third Reich. I still cannot understand how a nation as cultured as Germany could fall into the hands of a dictatorship of barbarians. That still disturbs me. Is the main character the key to this approach? Yes! Undoubtedly. I try, little by little, to approach those years of the dictatorship from the viewpoint of a character from that period, in order to experience them through him. And, is the thriller the best path to follow in order to approach those sordid Berlin scenarios of the period? Yes, I do consider that the thriller is the best method of penetrating the most hidden parts of any society and to analyze different social classes, because crimes can be found in any type of social strata. In the first novel I made my way into the ambiance of the exiled Russians in Berlin and, in the second I get into the illegal night clubs and the pornographic industry. The third novel gives more of a vision of the criminal youth gangs and how they try to survive in a society that has turned its back on them. Their protagonist, the Superintendent, is a figure not entirely free of fault... The Superintendent tries to keep on the fringe of politics although he begins to comprehend that it is not possible. Deep down he shares this attitude with many Germans who initially also did not want to be bothered with politics and that is something that, essentially, allowed the Nazis to come into power. For that reason, my Superintendent is a kind of Guinea pig; not a convinced democrat but also not an anti-democrat but rather someone who wants to wriggle out of problems. He neither sympathizes with the Nazis nor with the Communists. He is a figure with great deficiencies. He is a compulsive liar, he lies and with white lies tries to profit and keep his head above water.
destino | destinAtion BERLN BERLIN

clara istillarty texto/words klaus winkel fotos/images
Cpula del Reichstag, diseada por Norman Foster. 3 The Reichstag, renovated and restructured, is crowned with a new cupola designed by Norman Foster.
BERLN. MODERNIDAD URBANA

La calle como escenario de arte, de ocio, de un estilo de vida que busca la cercana de las multitudes. Berln es esa extraa ciudad del norte de Europa, sin horarios, en la que la cultura bulle sobre el asfalto.
The streets as a scenario for art, leisure, as a lifestyle that seeks an approach with the masses.Berlin is a strange city in northern Europe without timetables, in which culture bubbles on the asphalt.
BERLIN. URBAN MODERNITY
la revista de eurostars hotels magazine00 49
Arena Badespeacht: una piscina flotante sobre el ro Spree. 3 The Arena Badespeacht, a floating swimming pool on Spree River.
Berln se ha convertido en una suerte de meca europea de la modernidad. Un hito ineludible en esa red de centros urbanos por los que pulula la fauna ms cool, alrgica a cualquier superficie que no sea el asfalto y cuyos medios de transporte predilectos son el metro, el taxi y el avin. La capital alemana es destino de fin de semana para un gran nmero de urbanitas que consideran que el mundo termina all donde empieza el primer atisbo de chalet adosado o incivilizada naturaleza. Y, especialmente, para aquellos que ven el espacio pblico como un escenario de encuentro y diversin. Y as es Berln: un espacio urbano amable, abierto; una ciudad ordenada que, a diferencia de otras, no est pensada nicamente para transitar de tienda en tienda, sino para estar en el sentido ms amplio de la palabra, casi a cualquier hora del da. El bullicio en la calle no conoce horarios: de hecho, es de las pocas ciudades del norte de Europa donde se puede cenar en un restaurante despus de las diez de la noche. Los berlineses viven su ciudad, y eso es algo que empapa al visitante que pone sus pies en ella. Cualquier lugar bares, terrazas, parques, jardines... es bueno para sentarse a pasar el rato.
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Museo de diseo Los Archivos de la Bauhaus. A la izquierda, Alexanderplatz (Plaza Alexander). 3 Bauhaus Design Museum Archives. On the left, Alexanderplatz (Alexander Square).
Berlin has become a kind of European Meca of modernity. An unavoidable landmark in that network of urban city centres through which swarm the coolest of human fauna, allergic to any kind of surface that is not asphalt and whose preferred means of transport are the metro, the taxi and the airplane. The German capital is the weekend destination for a large number of urbanites who consider that the world ends there where one catches the first glimpse of a semi-detached or of any uncurbed nature. And, particularly, for those who see in public spaces a scenario for meeting and having fun. And this is what Berlin is like: a friendly, open urban space; an orderly city which, unlike others, is not planned solely for trotting from one shop to another but, instead, to be there in the widest sense of the word at almost any time of the day: the street buzz has no timetables in fact, it is one of the few cities in northern Europe where one can dine in a restaurant after ten oclock at night. Berliners vibrate with their city and that is something that impacts the visitor who steps into it: any place bars, terraces, parks, gardens... is fine for sitting down for a spell. Amongst those spots, the floating swimming pool is a highlight together with the artificial sand beach that surrounds it in the Spree river,
Entre esos lugares, cabe destacar la piscina flotante junto A la playa de arena artificial circundante en la ribera del ro Spree, ubicada en el barrio de Treptow, en Kreuzberg, al oeste de la ciudad, donde confluyen mercadillos, conciertos, teatro y barcos-bares flotantes. Lo cierto es que las orillas del Spree son el espacio de ocio favorito en verano: estn plagadas de terrazas emplazadas sobre superficies de arena, con hamacas, sombrillas, msica en directo..., y son tambin el escenario en el que se celebra el SandSation, un festival de esculturas de arena que se celebra de junio a agosto y en el que participan artistas venidos de todo el mundo. La exposicin ocupa una extensa franja de terreno entre la nueva estacin central de trenes y la Cancillera Federal.
Palacio de Charlottenburg, una terraza sobre el ro Spree y Puerta de Brandeburgo. 3 Charlottenburg Palace, a terrace on Spree River and the Brandeburg Gate.
algo tan desenfadado como el SandSation y siguiendo por el Festival de Msica Clsica al Aire Libre, que se celebra entre el 7 y el 12 de julio en la plaza Gendarmenmarkt; la Larga Noche de los Museos, el 27 de agosto (todos los museos pblicos abren de seis de la tarde a dos de la madrugada); el Art Forum, una feria de arte contemporneo que se celebra en el Centro de Ferias y Congresos Messe Berlin y en numerosos museos y galeras berlineses (del 30 de septiembre al 2 de octubre); el Festival de Luz (del 12 al 23 de octubre), en el que unos sesenta monumentos se
Desde julio hasta final de 2011, la ciudad ser un hervidero de eventos, citas de ocio y culturales. Comenzando por
set in the Treptow district, in Kreuzberg, west of the city, where street markets, concerts, theatre and floating barge-bars form a whole. A Spanish studio of architects took part in the floating swimming pool project. But, in addition to Treptow, it is a fact that the banks of the Spree are the favourite leisure area in summertime. It is dotted with terraces on its sandy surfaces, with hammocks, parasols, live music... and also the scenario where the SandSatioin is held: a festival of sand sculptures which is held from June to August in which many artists take part. The exhibition occupies an extensive stretch of land between the new central railway station and the Federal Chancery. Summertime in Berlin knows no rest. And the same is true of the rest of the year.
From July to the end of 2010, the city will be a cauldron of events, leisure and cultural appointments. Starting with something as uninhibited as the SandSatioin and followed by the Open Air Classical Music Festival, held between the 7th and 12th of July in Gendarmenmarkt square; the Long Museum Night on 27th August (all the public museums remain open from six in the afternoon to two oclock at night); the Berlin Art Forum, a contemporary art fair held in the Messe Berlin Art and Congress Hall and in the numerous museums and art galleries in Berlin (from 30th September to 2nd October); the Festival of Light (12th to 23rd October) in which some sixty monuments can be rediscovered from a new angle, thanks to their special illumination, or the Berlin JazzFest, a traditional festival (which this year holds its 47th edition) housing concerts in clubs and movie sessions. So, any time is good for visiting this European capital. And for enjoying Berlin streets and
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En la Isla de los Museos se encuentran algunas de las galeras ms importantes de la ciudad. 3 Some of the most important art galleries are located in the Museums Island.
pueden volver a descubrir desde una nueva perspectiva gracias a una iluminacin especial, o el JazzFest Berln, festival tradicional (cumple este ao 47 ediciones) que abarca conciertos en clubes y sesiones de cine. As que cualquier momento para visitar la capital europea es bueno. Y para disfrutar de las calles de Berln y de su oferta artstica y cultural. No en vano, la ciudad es, hoy por hoy, uno de los enclaves del arte contemporneo. El ao pasado, en la feria de arte ms prestigiosa de Europa, Documenta Kassel, una de cada dos obras era made in Berln. La capital alemana ha atrado en los ltimos aos a jvenes artistas de todo el mundo. Por todas partes surgen nuevos estudios y espacios para el arte. El que los alquileres sean baratos no deja de ser un factor importante (aunque ya comienzan las primeras escaladas de precios), pero lo decisivo es el ambiente especial de la ciudad entre el Este y el Oeste, la vida palpitante, la apertura. Berln juega en la primera divisin del arte, junto con Nueva York y Londres. En las calles Brunnenstrasse y Zimmerstrasse o en el barrio Scheunenviertel no paran de aparecer nuevas galeras, y tras ellas, llegan los coleccionistas. Este torrente artstico se desarrolla en un entorno nico en el mundo, una suerte de museo vivo en el que, a pie de calle, confluyen dos recorridos culturales muy distintos. En lo que fue el Berln comunista existen an hoy testimonios de la poca, como la avenida Unter den Linden. En toda la zona predomi-
their artistic and cultural offer: not in vain is the city one of the contemporary art enclaves these days. Last year, in the most prestigious art fair in Europe, Documenta Kassel, of each two pieces of work exhibited, one was bore the made in Berlin tag. The German capital has, in recent years, attracted young artists from all over the world. New studios and spaces for art emerge all over the place. The fact that rents are cheap has been an important factor (although prices have already begun to rise), but the decisive point is the special atmosphere of a city straddled between West and East, the throbbing lifestyle, the opening. Berlin plays in the premiere league of art, together with New York and London. In Brunnenstrasse and Zimmerstrasse, or in the Scheunenviertel district, new galleries continually open and, after them the collectors appear. This artistic torrent takes place in an artistic environment that is unique in the world, a kind of living museum in which, at street level, two very different cultural streams meet. In what was once Communist Berlin there is still evidence of that era, such as the Unter den Linden Avenue. In the whole area there is a predominance of 18th and 19th century buildings which reflect the wealthy past. Another of the most representative buildings is the Humbold University (where Marx and Einstein once studied). On the other hand, there are buildings like the Komische Oper (the comic operahouse) or the Staatsoper (state operahouse). With its eight centuries of history, at the least it causes some shocks, though it is not surprising that the city possesses such an amalgam
nan los edificios de los siglos XVIII y XIX, que reflejan la riqueza pasada: la Universidad de Humboldt (all estudiaron Marx y Einstein), la Komische Oper (la opera cmica) o la Staatsoper (pera estatal).
amalgama de estilos arquitectnicos.Tras la particin de Berln entre las potencias aliadas (Francia, Estados Unidos y Gran Bretaa) y la Unin Sovitica, en el lado Este proliferaron las construcciones de estilo moscovita. El mejor ejemplo es la Avenida Carlos Marx, que empez a construirse en 1951. El primer gran proyecto de la jven Repblica Democrtica de Alemania era un bulevar ostentoso con grandes bloques de edificios destinados a viviendas para los obreros. Por su parte, el barrio Spandauer Vorstadt, marcado por la pobreza hasta bien avanzado el siglo XX, se ha convertido en uno de los barrios de moda de la nueva Berln. En el ao 1904 se construyeron aqu, en estilo modernista, los patios de Hacke. La idea era edificar varios solares creando un conjunto de edificios comunicado por patios interiores. Aparte de viviendas, haba tiendas y talleres, as como instituciones culturales. Tras la cada del muro, el complejo fue rehabilitado intentando restablecer esta diversidad. Hoy, adems de cines y un teatro, hay cafs y boutiques. En gran parte de la ciudad, y a pesar de la devastacin de la Segunda Guerra Mundial, se conservan los vestigios de la poca de la Alemania Imperial. El edificio ms representativo es el Reichstag, construido en estilo neo-renacentista entre 1884 y 1894, hoy sede del parlamento. Los escudos en la entrada oeste representan los pases alemanes que formaban parte de l. Desde 1895 a 1932, el parlamento se reuna all; en 1933, el Reichstag qued calcinado en un incendio y durante los ltimos das de la guerra se transform en campo de batalla. El edificio est completamente rehabilitado y reestructurado, coronado por la nueva cpula del arquitecto Norman Foster. Tambin se reconstruy con bastante esmero el castillo de Charlottenburg, la residencia ms grande que se conserva de la estirpe Hohenzollern, y uno de los pocos monumentos prusianos en la parte antiguamente oeste de la ciudad. Sobre el ao 1700, se construy en un entorno rural el castillo original, an llamado Lietzenburg. En 1943, el castillo sufri graves daos en los bombardeos. Despus de terminar la guerra, casi fue derribado, pero finalmente se acord reconstruirlo.Vale la pena tomarse un tiempo para la visita del castillo y los jardines de estilo barroco, un estilo ms a sumar en una ciudad cuyos contrastes la hacen nica.
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Con ocho siglos de historia, cuando menos, convulsa, no es de extraar que la ciudad atesore una
of architectural styles. After the partition of Berlin between the Allies (France, the U.S.A. and Gt. Britain) and the Soviet Union, in East Berlin Muscovite-style buildings began to proliferate. The best example is the Karl Marx Avenue, construction of which commenced in 1951. The first great project of the young Democratic Republic of Germany was an ostentatious boulevard with enormous blocks of buildings destined to be housing for workers. Otherwise, the Spandauer Vorstadt district, marked by its poverty until well into the 20th century, has become one of the fashionable districts in new Berlin. In 1904, in Modernist style, the Hacke courtyards were built. The idea was to construct over several plots creating a set of buildings connected up by inside courtyards. Apart from housing, there were shops and workshops, as well as cultural institutions. After the fall of the Wall, the complex was renovated in an attempt to re-establish this diversity. Nowadays, in addition to cinemas and a theatre, there are cafs and boutiques. The first of the courtyards, decorated with tiles designed by the architect August Endrell, is the most impressive. In a large part of the city, despite the devastation of World War II, vestiges of the Imperial German era still remain. The most representative building is the Reichstag, built in neo-Renaissance style between 1884 and 1894, nowadays the headquarters of the German Republic. The coats of arms on the western entrance represent the German regions that formed part of it. The construction of this parliament building was already vehemently criticized in its day, in particular by the Emperor himself, Wilheml II, who feared that the building could discredit the castle where he resided. From 1895 to 1932, Parliament would meet there; in 1933, the Reichstag was burned to the ground and during the last days of the war, it became a battleground. The building was completely renovated and restructured and crowned with a new cupola designed by Norman Foster. The Charlottenburg castle was also rebuilt with great care; the largest residence preserved of the Hohenzollern lineage and one of the few Prussian monuments in the former western zone of the city. Around the year 1700, the original castle was built in a country setting, still called Lietzenburg. In 1943 the castle was badly damaged by bombing. After the war it was about to be demolished but, finally, rebuilding was agreed. It is worth taking some time to visit the castle and its baroque-style gardens, yet another style to add to a city in which the contrasts make it so unique.
La Nueva Galera Nacional, obra de Mies van der Rohe. Arriba, la Plaza de los Gendarmes. 3 The New National Gallery, a masterpiece by Mies van der Rohe. Top, the Gendarmes Square.
MUSEOS MUSEUMS
Neues Museum (Nuevo Museo). Integra el Museo Egipcio, el Museo de Prehistoria y la Coleccin de Antigedades Clsicas. Aqu se encuentra el busto de la reina Nefertiti. Bodestrae. Berlin-Mitte T (+49) 30 266 42 42 42 Pergamonmuseum (Museo de Prgamo). Rene algunos de los tesoros arqueolgicos ms valiosos del mundo, como el altar de Prgamo y la puerta de Ishtar. Am Kupfergraben, 5. Berln-Mitte T (+49) 30 2090 5577 Alte Nationalgalerie (Antigua Galera Nacional). Alberga cuadros de los periodos del realismo, del impresionismo y de la poca romntica, entre los que encontramos algunos de Monet, Cezanne, Renoir y Manet. Bodestrae, 1-3. Berln-Mitte T (+49) 302 090 5577 Gemldegalerie (La Pinacoteca). Obras de van Eyck, Bruegel, Durero, Rafael, Tiziano, Caravaggio, Rubens, Rembrandt, Vermeer y muchos ms. Matthikirchplatz 4/6. Tiergarten T (+49) 302 66 29 51 Museo de Diseo Los Archivos de la Bauhaus. Construido segn planes del fundador de la Bauhaus, Walter Gropius, el museo es la referencia para este movimiento creativo de los aos 20. A pocos pasos encontramos una obra maestra del famoso arquitecto Mies van der Rohe, tambin miembro de la Bauhaus: la nueva Galera Nacional. Klingelhferstrae 14. 10785 B. T (+49) 302 54 0020 Neues Museum (New Museo). It includes the Egyptian Museum, the Prehistoric Museum and Collection of Classical Antiquities. Here is where the bust of Queen Nefertiti is to be found. Bodestrae. Berlin-Mitte T (+49) 30 266 42 42 42
Pergamonmuseum (Pergamon Museum). Housed under the same roof are some of the most valuable archaeological collections: treasures such as the Pergamon Altar and the Ishtar Gate. Am Kupfergraben, 5. Berlin-Mitte T (+49) 30 2090 5577 Alte Nationalgalerie (Old National Gallery). Houses paintings comprising different periods of realism, impressionism and romanticism. Amongst the artists on display are the French masters, Monet, Cezanne, Renoir and Manet. Bodestrae, 1-3. Berln-Mitte T (+49) 302 090 5577 Gemldegalerie (Picture Gallery). Masterpieces by Van Eyck, Bruegel, Durer, Raphael, Titian, Caravaggio, Rubens, Rembrandt, Vermeer and many others. Matthikirchplatz 4/6. Tiergarten T (+49) 302 66 29 51 Bauhaus Design Museum Archives. Built following plans by the Bauhaus founder, Walter Gropius, the Bauhaus research centre and museum is a reference for this creative movement of the twenties. A short distance away from the museum there is a masterpiece by the famous architect, Mies van der Rohe, also a member of the Bauhaus, the New National Gallery. Klingelhferstrae 14. 10785 B. T (+49) 302 54 0020
muralla que cercaba Berln hasta 1860. La puerta de Brandeburgo, como hoy la conocemos, se construy en 1789 en estilo clasicista, inspirada en los Propleos de Atenas. La Plaza de los Gendarmes. El conjunto arquitectnico est considerado como uno de los ms valiosos de Alemania: en l encontramos edificios de los siglos XVIII y XIX. En los extremos sur y norte se alzan dos iglesias casi gemelas, siendo una la francesa y la otra la alemana. Los patios de Hacke y Spandauer Vorstadt. Conjunto de patios de manzana comunicados entre s, algunos de marcado estilo modernista. En su interior son muy frecuentados sus cafs. Tambin encontramos cines y un teatro. Berliner Dom. El templo data de 1894. La remodelacin de la iglesia no fue terminada hasta despus de la Segunda Guerra Mundial y, aunque se encontraba en el territorio de la RDA, una gran parte de los fondos provinieron de Alemania del Oeste, donde el Dom se consideraba un patrimonio comn de la poca prusiana. Horario: Lunes a sbado de 9.00 a 20.00, y los domingos de 12.00 a 20.00. Potsdamer Platz. Convertida en tierra de nadie por la divisin del muro, tras la reunificacin alemana volvi a ocupar el rango de un centro importante de la vida econmica de Berln. Toda la zona fue edificada en pocos aos, colaborando varios arquitectos famosos en la construccin de los edificios ultra-modernos. Reichstag. Built in neo.Renaissance style between 1884 and 1894 by architect, Paul Wallot. Burnt to the ground in 1933, the building has been completely renovated and refurbished and, finally, crowned with a new cupola designed by architect Norman Foster. The Reichstag and its cupola can be visited from 8.00 to 24.00 (last session at 22.00). The Brandeburg Gate. This is the last gate remaining from the 13 gates in the wall surrounding the city of Berlin until 1860. This one was used for collecting municipal excise tax and, moreover, to control its inhabitants
and prevent desertion by soldiers stationed in the city. Both the ancient city wall and the square opposite date from 1730, however, the Brandeburg Gate, as we know it today, was built in neo-classical style in 1789, inspired by the Athens Propylaea. The Gendarmes Square. The architectural complex is considered as one of the most valuable in Germany: here we find buildings from the 18th and 19th centuries. The Hacke courtyards and Spandauer Vorstadt district. A complex of inter-communicated courtyards in Modernist style. Several cafs can be found inside and there are some cinemas and a theatre. Berln Dom. This church dates from 1894. Reconstruction of the church was not finished until many years after the Second World War and, even though it was RDA territory, a large part of the funds come from Western Germany as the Dom is considered to be a common heritage of the Prussian era. Timetable: Monday to Saturday from 9.00 to 20.00and Sunday from 12.00 to 20.00. Potsdamer Platz. Turned into a no-mans land through the division of the city, after reunification it regained its status as the important business hub of Berlin. The whole area was rebuilt in very few years, counting on the cooperation of various famous architects for the construction of ultra-modern buildings.
Un fragmento del Muro de Berln y el Museo de Prgamo. 3 A fragment of Berlin Wall and the Pergamon Museum.
QU viSitar What to viSit

Reichstag. Construido en estilo neorenacentista entre 1884 y 1894 por el arquitecto Paul Wallot. En 1933 qued calcinado en un incendio. Hoy, el edificio est completamente rehabilitado y reestructurado, coronado por la nueva cpula del arquitecto Norman Foster. La visita del Reichstag y de la cpula es posible desde las 8 a las 24 horas (ltimo acceso a las 22 horas). Puerta de Brandeburgo. Es la ltima puerta restante de las trece de una
cOMEr y dOrMir Eat and SlEEp

Eurostars Berln HHHH Friedrichstrasse 99 10117 Berln / Berlin t (+49) 895 165 741 847 info@eurostarsberlin.com
eurostars BerLIN
Spectacular, contemporary and business-designed

The Eurostars Berlin is the new star in the Eurostars firmament that sparkles in the economic heart of Europe: 221 guestrooms and 900 m2 for events.
EspEctacular, contEmpornEo y businEss

El Eurostars Berlin es la nueva estrella del firmamento Eurostars que brilla en el corazn econmico de Europa: 221 habitaciones y 900 metros cuadrados para eventos.
eurostars BerLIN
Un espectacular hotel de negocios ha nacido en el corazn de Europa. Una nueva estrella europea: un nuevo Eurostars. Situado en plena Friedrichstrasse, en Berln-Mitte, el Eurostars Berlin abri sus puertas en primavera de 2011. Se trata de un cinco estrellas de espectacular arquitectura y vanguardista diseo interior. Su fachada acristalada filtra luz natural a todo el establecimiento. El hotel consta de 221 habitaciones, amplias y elegantemente equipadas, que se distribuyen en nueve plantas. El Eurostars Berlin dispone de restaurante gastronmico, ms de 900 m2 de salones, lobby, bar de diseo, piscina climatizada, fitness center y parking interior. Con estas caractersticas, el Eurostars Berlin est llamado a convertirse en todo un referente de la ciudad. El hotel cuenta con una suite presidencial de 90 m2 y una quincena de suites, todas ellas con pequeos detalles como baera de hidromasaje, calientatoallas y muebles de estilo italiano. Uno de los mayores atractivos del hotel es su capacidad para albergar reuniones de empresa: ocho salas de reuniones, luz natural y equipos audiovisuales de ltima tecnologa. El Eurostars Berlin est emplazado en pleno centro de la A spectacular business hotel born into the beating heart of Europe. A new European star: a new Eurostars establishment. Located right on Friedrichstrasse, in Berlin-Mitte, the Eurostars Berlin opened its doors in the spring of 2011. This is a five-star category hotel with striking architecture and avant-garde interior design. Its glass-encased faade irradiates natural daylight throughout the establishment. The hotel contains 221 spacious and elegantly equipped guestrooms, distributed over nine floors. The Eurostars Berlin offers a gourmet restaurant, over 900 m2 of lounges, a design lobby bar, heated pool, fitness centre and indoor parking. Bearing these attributes, the Eurostars Berlin is destined to become a city landmark. The hotel has a 90 m2 presidential suite, fifteen normal suites, all fitted with appliances such as hydro-massage bathtubs, towel-heaters and furnished in Italian style. One of the major attractions of the hotel is its capacity for holding corporate meetings: eight meeting rooms, natural daylight and the latest in audiovisual equipment.
se trata de un cinco estrellas de diseo interior vanguardista. 3 this is a five-star category hotel with avant-garde interior design.
Eurostars Berlin HHHHH Friedrichstrasse, 99 10117 Berlin T. (+49) 30 7017 360 info@eurostarsberlin.com www.eurostarsberlin.com
capital alemana, en la zona comercial ms distinguida de la ciudad y muy cerca de los principales puntos de inters, como la Isla de los Museos, el Bundestag o la Puerta de Brandenburgo, apenas a 10 minutos a pie. Frente al hotel se halla la estacin de tren de Friedrichstrasse, un ncleo de transporte de primer orden. La terminal conecta directamente con el aeropuerto de Schnefeld y con el Messe Berlin ICC Internationales Congress Centrum. El Eurostars Berlin est tematizado alrededor de la arquitectura berlinesa. Berln es una capital mundial de la arquitectura. Lo fue ya antes de la unificacin alemana de 1871, lo fue en la poca de la Bauhaus y, con ms bro y vigor que antao, lo contina siendo hoy. Por ello, en sus habitaciones, el hotel rinde homenaje a la riqueza arquitectnica de la ciudad, e incluso propone un juego a sus huspedes.
The Eurostars Berlin is situated in the very hub of the German capital, in the most distinguished shopping area and very close to the main points of interest, such as the Museum Island, the Bundestag or the Brandenburg Gateway, a mere 10-minute walk away. Opposite the hotel is the Friedrichstrasse railway terminal, a first-class transport centre that connects up directly with the Shnefeld airport and with the Messe Berlin ICC Internationales Congress Centrum. The Eurostars Berlin was designed with Berlin architecture in mind. Berlin is a world-class architectural capital, which it already was before the 1871 unification, as it was in the Bauhaus period and, with greater verve and vitality than in yesteryears, it continues to be so today. For this reason, the hotel, in all its rooms, pays tribute to the citys wealth of architecture and even proposes its guests a game to play.
el origen del vino se sita, hace 6.000 aos, en las laderas del cucaso y en las riberas del volga. 3 the origin of wine is situated some 6,000 years ago, on the slopes of the caucasus and on the banks of the volga..
placeres | pleasures LA CAtA wine tAsting

Primitivo di manduria alberello 2007. Traemos en esta edicin uno de los mejores vinos de 2010 elaborados en la regin italiana de Puglia, segn el acuerdo unnime de la prensa especializada de aquel pas. Se trata de un tinto de gran cuerpo con un bouquet rico, de color rub intenso. En boca desprende sabores afrutados y terrosos; picante regusto. 3 Primitivo di manduria alberello 2007. We introduce you in this edition to one of the best 2010 wines produced in the Italian region of Puglia, according to the unanimous agreement of the specialised media in that country. This is a full-bodied red wine with a rich bouquet, of an intensely ruby hue. In the mouth it releases fruity, earthy flavours and has a piquant aftertaste.
Historia del vino (I): la Edad Media The History of Wine (I): The Middle Ages
La produccin de vino es algo casi consustancial a la civilizacin. El cultivo de la vid parece remontarse al Neoltico, y los estudios arqueolgicos apuntan a que el origen del vino se sita, hace unos 6.000 aos, en las laderas del Cucaso y en las riberas del Volga. De aqu, el cultivo se extendi por Sumeria, Mesopotamia, India y China. En su expansin hacia el Oeste encontrara su apogeo: Palestina, Israel, Egipto y Creta refinaron las tcnicas de elaboracin, y los fenicios propagaron la bebida por todo el Mediterrneo. Grecia, y especialmente Roma, llevara la cultura del vino por prcticamente toda Europa, y a los romanos se debe precisamente la aparicin de los primeros grandes viedos en Centroeuropa y en todos los actuales pases del Mediterrneo. Curiosamente, en la Edad Media, la invasin de las tribus brbaras, ms proclives a la cerveza, supuso un retroceso de los cultivos de uva, salvo en pequeos reductos en manos de rdenes religiosas, que precisaban de esta bebida para celebrar la Eucarista. As, lejos del carcter festivo en la Antigedad, durante siglos el vino se limit a smbolo religioso. Precisamente los monjes, asentados en lugares aislados a menudo altos llevaron las vias a zonas geogrficas donde no eran frecuentes las vides, dando lugar a variedades de uvas capaces de resistir climas ms duros que los de la costa mediterrnea. De esta forma, en la Baja Edad Media naceran los viedos del Rhin, Borgoa o Piamonte, muchos de ellos ligados al Camino de Santiago (en Espaa: Burgos, Galicia, Navarra o La Rioja). The production of wine is practically inseparable from civilization. The cultivation of vines appears to date from the Neolithic period and archaeological studies have it that the origin of wine is situated some 6,000 years ago, on the slopes of the Caucasus and on the banks of the Volga. From here, cultivation spread through Sumeria, Mesopotamia, India and China. In its expansion towards the west, it was to reach its peak: Palestine, Israel, Egypt and Crete refined wine-making techniques and the Phoenicians propagated the beverage around the Mediterranean. Greece and, especially, Rome, were to spread the wine culture throughout most of Europe and, it is to the Romans that we owe the appearance of the first great vineyards in Central Europe and all the Mediterranean countries. Strangely enough, during the Middle Ages invasions by tribes of Barbarians, more inclined towards ale, represented a decline in the cultivation of grapes, except in small enclaves in the hands of the religious Orders, who required this drink for celebrating the Eucharist. Thus, far from being of a festive nature in ancient times, for centuries wine was merely a religious symbol. It was precisely the monks who, having settled in isolated spots often in high altitudes took vines to geographical areas where such plants were not normally found, therefore giving rise to varieties of grapes that were resistant to harsher climates than the Mediterranean coast. This way, in the Lower Middle Ages, the Rhineland vineyards were born, and so were those in Bourgogne or the Piamonte, many of them linked to the Santiago Way (in Spain: Burgos, Galicia, Navarre or Rioja).
La gastronoma cordobesa gusta de abastecerse de productos deL campo. 3 cordova gastronomy prefers using produce from the countryside.
placeres | pleasures PROPUESTAS PROPOSALS

La cadena Eurostars dispone de tres establecimientos con restaurante en Crdoba: Eurostars Las Adelfas, Eurostars Ciudad de Crdoba y Eurostars Maimnides. Adems, en verano de 2011 est prevista la apertura del Eurostars Patios de Crdoba. Nuestros restaurantes ofrecen recetas tradicionales cordobesas y andaluzas, junto a platos de la cocina internacional. 3 The Eurostars chain provides three establishments with restaurants in Cordova: Eurostars Las Adelfas, Eurostars Ciudad de Crdoba and Eurostars Maimnides. In addition, it is planned to open the Eurostars Patios de Crdoba this summer 2011. Our restaurants offer traditional recipes from Cordoba and Andalusia, together with international cuisine.
Cocina cordobesa: fogones con historias Cordova cuisine: Kitchens with history
La cocina cordobesa es tan rica como la historia de la ciudad que la alberga. Por los fogones
de Crdoba pasan, como si de una procesin de tratara, las distintas pocas de la ciudad, desde las carnes, tan apreciadas en poca romana, a las mezclas agridulces caractersticas de la cocina rabe, las especias del norte de frica y hasta la tradicin culinaria andaluza. La gastronoma cordobesa gusta de abastecerse de los productos del campo, sin olvidar la carne de la sierra, como sus famosos embutidos y el jamn ibrico del Valle de los Pedroches. El protagonismo de las verduras y las hortalizas se concreta en la familia estelar de los gazpachos, la tradicional sopa fra de hortalizas crudas. El gazpacho es hijo de la poca de Al-Andalus, cuando Crdoba, bajo la dinasta Omeya, se convirti en la mayor ciudad de Europa Occidental. El gazpacho se sirve de aperitivo en los meses de verano. El gazpacho ms cordobs es sin duda el salmorejo, elaborado a base de tomate maduro, miga de pan, ajo, aceite y vinagre, y servido comnmente con tropezones de huevo duro y virutas de jamn. Los llamados platos cortijeros conforman parte de la esencia cordobesa. Entre ellos destacan el carnerete, las migas o el potaje de habas secas. Contra lo que parecera indicar su nombre, el carnerete no contiene carne: es una receta campestre elaborada a base de patata, ajo y aceite de oliva. Junto a los mencionados, los manjares cordobeses ms afamados son el rabo de toro estofado, que en su origen se cocinaba tras la corrida con los bravos muertos en el ruedo, y el flamenqun, un frito a base de trozos de jamn enrollados en lomo de cerdo. Los vinos de la zona gozan de la denominacin de origen de Montilla-Moriles. Destacan por ser vinos secos y aromatizados, y entre sus variedades se encuentran el fino, el amontillado, el palo cortado, el oloroso o el Pedro Ximnez. En los postres se aprecian las dos grandes influencias del pasado histrico de la ciudad: de origen cristiano son las perrunas y los pestios; de origen rabe, los alfajores y el pastel cordobs.
Cordova cuisine is as rich as the history of the city that it stems from. Through its kitchens, as though it were a procession, the different periods of the city parade, from its meats so highly praised in the Roman era to the sweet and sour delicacies of Arab cuisine, to the spices from northern Africa, ending with the culinary tradition of Andalusia. Cordova gastronomy prefers using produce from the countryside, not to forget meat bred in the mountains, like its famous sausages and Iberian ham from the Valley of Pedroches. The leading role of vegetables is materialised in the star performances of the Gazpacho, the traditional cold soups made from raw vegetables. The Gazpacho is a descendant of the Al-Andalus era, when Cordova, then governed by the Omeya dynasty, became the largest city of Western Europe. Gazpacho is served as an appetizer during the summer months. The most typical type of Gazpacho in Cordova is, without doubt, Salmorejo, made basically from ripe tomatoes, bread, garlic, oil and vinegar, normally served with chopped, hard-boiled egg and slivers of ham. The dishes known as Cortijeros (farmhouse style) form part of the essence of Cordova, amongst them particularly, Carnerete, Crumbs or the dried bean hotpot. Contrary to what one might expect, the Carnerete does not contain meat: it is a peasant recipe based on potato, garlic and olive oil. Together with those already mentioned, the most celebrated Cordova delicacies are the bulls tail casserole which was originally cooked after a bullfight, taken from the dead animals lying in the arena, and the Flamenqun, a fried meat dish combining pieces of ham rolled inside pork filets. The wines from this area are certified Denomination of Origen Montilla-Moriles. They are outstanding for being dry wines with strong aromas, amongst which are the well-known Fino, Amontillado, Palo Cortado or Pedro Ximnez. In the desserts one can appreciate the two major influences of the citys historical past: of Christian origin are the Perrunas and the Pestios; of Arab origin the Alfajores and the famous Cordova pastry.
vanguardias avanT-gardE
Art Dec pArA el pelo
As son algunos de los accesorios que Franck Provost ha diseado con motivo de la 64 edicin del Festival de Cannes. Se trata de joyas para el cabello realizadas a mano y baadas en oro (como la peineta Art Dec de la imagen) o en plata. Varias de las estrellas presentes en el festival completaron sus peinados con alguna de las piezas de esta nueva coleccin. 3 Art Deco for the hair. To give an idea of some of the accessories designed by Franck Provost for the 64th edition of the Cannes Festival, they are jewels for the hair, crafted by hand and coated in gold (like the Art Deco backcomb in the picture) or in silver. Several of the film stars attending the festival completed their hair-dos with pieces from this new collection.
DeportivAs con Diseo De ArmAni estilo mArinero

El estilo marinero sigue siendo uno de los bsicos de la temporada: camisetas y jerseys con las mticas franjas en blanco y marino o rojo y blanco y combinados con pantalones vaqueros, azules o blancos. La camiseta es de Wornby y los pantalones, de Meltin Pot. 3 Sailor style. Sailor style continues tobe one of the basics for this season: T-shirts and jumpers with the classical navy-andwhite or red-and-white stripes combined with blue jeans or white pants. The T-shirt is by Wornby and the trousers by Meltin Pot. ZigTech es una zapatilla deportiva de alta tecnologa que incorpora ahora una novedad: el diseo de Emporio Armani, que reinterpreta las anteriores versiones de Reebok. Estn concebidas para correr y ofrecer la posibilidad de entrenamientos ms prolongados gracias a su tecnologa con suela en zig-zag, tanto para hombre como para mujer. 3 Armani-designed trainers. ZigTech is a hi-tech sports trainer incorporating a novelty: design by the Armani Emporium, which reinterprets former Reebok designs. They are conceived for running and offer the possibility of longer training sessions through their zigzag tread technology, for both men and women.
58 Estar
colores AleGres
Si hay algo que define la moda de este verano son los colores fuertes y alegres. Eso es lo que ofrece este pantaln creado por el diseador gallego Jos Castro para la firma Siempreesviernes, o el vestido camisero de Piluca Barrero. 3 Merry colours. If there is something that defines this summers fashion it is the bright and merry colour schemes. This is what is offered by the trousers created by Jos Castro - a designer from Galicia for the firm Siempreesviernes (every day is friday), or the shirt-dress by Piluca Barrero.
sillAs con premio

Josep Llusc ha diseado la silla Trama, que ha conquistado el primer premio de la IIDA (International Interior Design Association) en la edicin 2011 Award of Excellence. Realizada en polipropileno, utilizando una tecnologa de inyeccin de gas, le ha permitido, no slo un diseo muy personal, sino tambin optimizar factores como el peso y la calidad del acabado. Entre sus seas de identidad, el respaldo con transparencias que ofrecen una imagen de ligereza, adems de una gran comodidad. 3 Prize-winning chairs. Josep Llusc has also designed the Trama chair, which won the 2011 IIDA (International Interior Design Association) Award of Excellence. Made in polypropylene using an injected gas technique, which has allowed him to achieve not only a very personal design, but also optimization of factors such as weight and high quality finish. Amongst its features is the backrest: providing transparency that gives lightness, in addition to great comfort.
escriturA exclusivA
Plumas lacadas en negro que incorporan la tecnologa de cierre clip haciendo juego con bolgrafo tipo roller pen: se trata de una nueva propuesta elegante y moderna de Cristian Lay. 3 Exclusive writing. A lacquered-in-black fountain pen incorporating clip-close technology, forming a set with a roller ball pen: a new, elegant, modern proposal by Cristian Lay.
GAfAs De sol retro

Son el accesorio imprescindible del verano y, adems, necesarias para protegerse de los efectos perjudiciales de los rayos del sol. Cada vez ms sofisticadas, con aspecto retro: ms grandes, de formas redondeadas, de pasta o de aviador. Las de la imagen son de Isotoner. 3 Retro sunglasses. They are an indispensable accessory for this summer and, what is more, necessary for protection against the pernicious effects of strong sunlight. Ever more sophisticated, with a retro air: bigger, rounder, framed in plastic or pilot style. Those illustrated are by Isotoner.
directorio directory
eurostars hotels
Alicante
Eurostars Mediterrnea Plaza HHHH 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.
Alicante
o ev
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Eurostars Lucentum HHHH Av. Alfonso X El Sabio, 11 03002 Alicante T (+34) 966 590 700 F (+34) 966 590 710 info@eurostarslucentum.com Un hotel de referencia y gran capacidad en plena zona comercial y de negocios de Alicante, frente al Mercado Central. 3 An emblematic hotel with great capacity in the heart of the shopping and business area of Alicante, opposite the Central Market..
Barcelona
Eurostars Grand Marina HHHHH 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 HHHH 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 HHHH 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 Parc del Valls HHHH 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 well-tended landscaped area and its wide range of function rooms.
60 Estar
Barcelona
Eurostars BCN Design HHHHH 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.
Barcelona
Eurostars Executive HHHH Calle Marie Curie 08210 Barber del Valls (Barcelona) T (+34) 93 700 39 00 F (+34) 93 700 39 10 reservas@eurostarsexecutive.com Un moderno hotel de negocios en el corazn del Valls, junto a los principales parques empresariales y prximo al Circuit de Catalunya. 3 A modern, business hotel in the heart of the Valls region, next door to the business parks and close to the Catalunya Racetrack.
Barcelona
Eurostars Ramblas Boquera HHH Rambla de Sant Josep, 91 08002 Barcelona T (+34) 933 435 461 F (+34) 933 435 342 info.boqueria@eurostarshotels.com Cuando se est en el puro centro, todo gira alrededor de uno. Colorido, diseo y atrevimiento para un hotel tan coqueto y tan fresco que hasta tenemos un mercado en la recmara. 3 When you are right in the center, everything circulates around you. Colour, design and daring features for a hotel so charming and fresh that we even have a market in the pantry.
Berln/ Berlin
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Eurostars Berlin HHHHH Friedrichstrasse, 99 10117 Berln / Berlin (Alemania / Germany) T (+49) 30 7017 360 F (+49) 30 7017 36100 info@eurostarsberlin.com 221 habitaciones, 15 suites, 8 salas de reuniones y piscina climatizada: atributos de lujo para el nuevo faro de la hotelera berlinesa. 3 221 guestrooms, 15 suites, 8 meeting rooms and a heated swimming pool: luxurious attributes for the new beacon of the Berlin hotel industry.
Le hacemos sentir como en casa en 33 ciudades en Europa y Amrica
We make you feel as if you were at home in 33 cities in Europe and America
Barcelona
Eurostars Gaud HHHH 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. 3This hotel recently opened in the heart of Barcelonas Eixample area. Its interior design is inspired by the modernist art made popular by Antoni Gaud.
Barcelona
Eurostars Laietana Palace HHHH 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. 3This small, neoclassical style palace has a privileged location next to the Gothic Quarter (Barrio Gtico) in the vicinity of the Cathedral.
Barcelona
Eurostars Lex HHHH Buenos Aires, 49-51 08902 LHospitalet de Llobregat (Barcelona) T (+34) 933 318 679 F (+34) 933 326 667 info@eurostarslex.com Un hotel de 46 habitaciones y gimnasio que hace justicia a la ciudad: atrevido, moderno, colorista y con un diseo que deslumbra y, a la vez, acoge. 3 A hotel with gym and 46 rooms that does justice to the city: daring, modern, colourful and with the kind of design that dazzles, though at the same time, is warming.
Barcelona
Eurostars Mitre HHH 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 HHHH 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.
Bruselas / Brussels
Eurostars Montgomery HHHHH 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.
Bruselas / Brussels
Eurostars Grand Place HHHH 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. 3The 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 HHHH 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 HHHH Kossuth Lajos,7 1053 Budapest (Hungra / Hungary) T (+361) 328 52 00 F (+361) 268 00 01 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 HHHHH 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.
eurostars hotels
Crdoba / Cordova
Eurostars Las Adelfas HHHH 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 HHHH 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 HHH 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
Huelva
Eurostars Ciudad de la Corua HHHH 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.
Eurostars Tartessos HHHH 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.
Madrid
Eurostars Zarzuela Park HHHH 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.
Madrid
Eurostars Gran Madrid HHHH 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. 3 This is a business hotel with charming features surrounded by Madrids most important new business districts.
Madrid
Eurostars i-Hotel HHHH Virgilio, 4 28223 Madrid T (+34) 91 272 30 60 F (+34) 91 518 60 66 reservas@i-hotelmadrid.com Situado en plena Ciudad de la Imagen de Madrid, junto al centro de ocio Kinpolis, es un hotel moderno y de diseo con restaurante y pistas de pdel. 3 Located right in Madrids City of the Image, next to the Kinepolis amusement centre, this is a modern, design hotel with a restaurant and paddle-tennis courts.
Mlaga / Malaga
Eurostars Astoria HHH 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 D.F.
Eurostars Suites Reforma HHHH 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.
62 Estar
Princesa, 58 principal 08003 Barcelona T (+34) 93 295 42 38 F (+34) 93 295 53 70 info@eurostarshotels.com www.eurostarshotels.com
Las Palmas de Gran Canaria
Len / Leon
Eurostars Las Canteras HHHH Portugal, 68 35010 Las Palmas de Gran Canaria T (+34) 928 224 062 F (+34) 928 270 784 reservas@eurostarslascanteras.com Situado en primera lnea de la playa de Las Canteras, en Las Palmas, un hotel para disfrutar durante sus vacaciones o para dar un toque diferente a sus eventos. 3 Located front line on Las Canterasbeach, in Las Palmas, a hotel for enjoying a holiday or for giving a fresh touch to your events.
Eurostars Len HHHH 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 HHHHH 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 HHHH 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 HHHHH 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.
Mxico D.F.
Eurostars Zona Rosa Suites HHHHH 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 avant-garde style and its impeccable personalized service.
Munich / Mnchen
Eurostars Grand Central HHHH 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.
N ueva York / N york ew
Eurostars Wall Street HHHH 129 Front Street New York, 10005 T (+212) 742 00 03 F (+212) 742 01 24 info@eurostarswallstreet.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. 3A 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
Ourense / Orense
Dylan Hotel HHHHH 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.
Eurostars Auriense HHHH 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.
eurostars hotels
Ourense / Orense
Hotel Monumento Monasteiro San Clodio HHHH 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.
Palencia
Eurostars Diana Palace HHHH 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.
Eurostars Panorama HHH 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 neoclassical building in one of the quietest and centrally located streets in the heart of Paris, converted into a small design hotel.
Pars / Paris
Porto / Oporto
Eurostars Das Artes HHHH 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.
Porto / Oporto
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Eurostars Oporto HHHH Rua do Mestre Guilherme Camarinha, 212 4200 Porto T (+351) 225 072 090 F (+351) 225 072 099 reservas@eurostarsoporto.com Un nuevo hotel de referencia en Oporto, con amplios apartamentos y muy bien conectado con los principales puntos de inters de la ciudad. 3 A new representative hotel in Oporto, providing spacious apartments and very well connected with the major places of interest in the city.
Praga / Prague
Eurostars Thalia HHHHH 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. 3A 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.
Roma / Rome
Eurostars Domus Aurea HHH 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.
Roma / Rome
Eurostars Saint John HHHH Via Matteo Boiardo, 30 00185 Roma (Italia) T (+39) 0697997045 F (+39) 0697997070 info.hotelsaintjohn@eurostarshotels.com Elegancia, diseo y mximo confort en el centro de la Citt Eterna: entre el Colosseo y San Giovani Laterano. 3 Elegance, design and the utmost confort in the heart of the Citt Eterna: between the Coliseum and Saint John Lateran.
Santiago de Compostela
Segovia
Eurostars San Lzaro HHHH Rua Fernando de Casas Novoa s/n. 15703 Santiago de Compostela T (+34) 981 551 000 F (+34) 981 571 141 info@eurostarssanlazaro.com Comunicado directamente con el Palacio de Congresos y situado en el punto donde el peregrino alcanza su meta, el Eurostars San Lzaro, con 132 habitaciones, es la mejor opcin turstica y de negocios. 3 Directly connected to the Palace of Congresses and located where pilgrims reach the end of their journey, this hotel, with 132 rooms, is the top choice for both tourists and business travellers.
Eurostars Plaza Acueducto HHHH 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 HHHH 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 HHH 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.
64 Estar
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
You can find out more at www.eurostarshotels.com
Praga / Prague
Eurostars David HHHH 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 buildingin which it is housed.
Ratisbona / Regensburg
Roma / Rome
Park Hotel Maximilian HHHH 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.
Eurostars Roma Congress HHHH 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 Roma Aeterna HHHH Via Casilina,125 00176 Roma (Italia / Italy) T (+34) 902 23 00 11 info@eurostarsromaaeterna.com Un hotel de negocios de alto standing que ocupa el histrico y emblemtico edificio de la Societ Farmaceutica Serono, en el barrio del Pigneto de Roma. 3 A business hotel of high standing, set in an historical, emblematic building, once the headquarters of the Societ Farmaceutica Serono, in the Pigneto district of Rome.
Roma / Rome
Prxima apertura Forthcoming opening
Eurostars International Palace HHHH 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.
Crdoba /Cordova
Toledo
Eurostars Toledo HHHH 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 HHHHH 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, avantgarde building, with impeccable interior design.
Viena / Vienna
Eurostars Embassy HHHH Landstrasser Hauptstrasse, 120 1030 Viena (Austria) T (+43) (01) 715 18 58 F (+43) (01) 715 19 11 info@eurostarsembassy.com 67 habitaciones junto al Palacio Belvedere. En la ciudad considerada con mejor calidad de vida del mundo, no poda un Eurostars, cntrico y elegante, a la altura de las circunstancias. 3 67 rooms near the Belvedere Palace. In the city considered as having the best lifestyle in the world, a Eurostars hotel has to be present, centrally located and elegant, as demanded by the circumstances.
Viena / Vienna
Eurostars Vienna HHHH 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 HHH 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.
Eurostars Patios de Crdoba HHHH Diario de Crdoba, 13 14002 Crdoba www.eurostarspatiosdecordoba.com Un elegante establecimiento que recorre la historia de la ciudad, desde la poca romana y la Crdoba del califato hasta nuestros das. Apertura prevista en verano de 2011. 3 An elegant establishment that recalls the citys history, from the Roman era and the Caliphate of Cordova to the present day. Forthcoming opening in the summer of 2011.
hoteles de cine MoVie hotels

Trainspotting (Trainspotting). 1996 (Reino Unido / United Kingdom). Dirigida por (directed by) Danny Boyle. Guin (script): John Hodge (a partir de la novela homnima de Irvine Welsh). Con (with): Ewan McGregor, Robert Carlyle, Johny Lee Miller, Ewen Bremer.
Unos huspedes poco recomendables

Some not very recommendable guests
Trainspotting es una de esas pelculas que adquieren el calificativo de icono generacional. El argumento, su iconoclasta lenguaje narrativo y una direccin que imprime un ritmo frentico la encumbraron en los aos noventa como una pelcula de culto. Supuso el salto definitivo de Ewan McGregor, cuyo personaje, Mark Renton, es, a la vez, narrador. Renton, un joven escocs adicto a la herona al igual que el resto de sus amigos, reflexiona sobre su vida: seguir a la masa y llevar una existencia normal es algo complicado, sobre todo cuando ests enganchado. Dentro del grupo hay un psicpata alcohlico y violento, un joven desesperado, un mujeriego con un conocimiento enciclopdico de Sean Connery y un entusiasta de las caminatas y de Iggy Pop. Con sus monlogos surrealistas, su ingenuidad y locura, Renton nos introduce lentamente en este mundo de adictos, contndonos sus tejemanejes y pilleras, su visin catica y particular del mundo. Los cinco amigos van de un lado a otro, trapichean, se buscan la vida, pasan las tardes pinchndose y construyendo teoras fuera de cualquier lgica... Su adiccin es el motor y el fin de todo cuanto hacen. En uno de esos trapicheos con camellos, el grupo se hace con una bolsa de dinero que bien podra servirles para cubrir el precio de sus adicciones durante un ao. Pero no dejan de ser unos delincuentes de poca monta, y enseguida se dan cuenta de que ha sido una muy mala idea. Renton (McGregor) logra, sin embargo, huir con el dinero de la habitacin de un hotel en el que milagrosamente han logrado hospedarse porque, con su aspecto, cuesta pensar que el Royal Eagle de Londres (donde se rod esta escena) admitiera a tan poco recomendables huspedes. El Royal Eagle y sus inmediaciones (Craven Road, en Bayswater) fue el escenario del rodaje de esta escena en la que el antihroe Renton es capaz de traicionar a todos por asegurarse su dosis de herona. Trainspotting is one of those films that acquire the qualifier of a generational icon. The plot, its devastating narrative lan-
guage and a direction that imposes a frenzied rhythm, was exalted in the nineties as a cult movie. It signified the jump to fame of Ewan McGregor, playing the part of Mark Renton who is, at the same time, the narrator. Renton, a young Scottish heroin addict - as are the rest of his friends - philosophises about his life: following the masses and living a normal existence is somewhat complicated ... especially when you are hooked. Amongst the group of friends there is an aggressive, alcoholic psychopath, a desperate young lad, a womanizer with an encyclopaedic knowledge of Sean Connery and a hiking enthusiast who loves Iggy Pop. Renton introduces us little by little into this world of addicts, telling us about their shady deals and dirty tricks, their particular, chaotic vision of the world, their hilarious monologues, their ingenuity and madness. The friends go from pillar to post, fiddling, earning what they can, spending evenings jabbing themselves and pondering... Their addiction is the driving force and the finality of all that they do. In one of those shady dealings with some drug peddlers, the group makes off with a bag of money which could readily be used to cover the cost of their addictions for a whole year. But they are really third-rate delinquents who rapidly discover that this was a very bad idea. Renton (McGregor), nevertheless, manages to escape with the money from the hotel room in which he has miraculously achieved accommodation because, looking the way they does, it is hard to believe that the Royal Eagle in London (where this scene was shot) would admit such non-recommendable guests. The Royal Eagle and its surroundings (Craven Road in Bayswater) was the scenario for the sequence in which the anti-hero, Renton, shows he is capable of betraying everybody in order to ensure his dose of heroin.
82 Estar
Claude Monet (Pars, 1840 - Giverny, 1926), La casa entre las rosas (detalle), 1925.
14 de junio 16 de octubre de 2011
Calle Compaa, 1029008 MlagaTelfono 902 303 131info@carmenthyssenmalaga.orgwww.carmenthyssenmalaga.org

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nMERo 14 | VERano-otoo 2011

la revista de eurostars hotels magazine

hollywood: un siglo de cine hollywood: 100 years of movies

Amancio Lpez Seijas

Sumario Contents | Nmero Issue 14 | Julio July 2011

cinco sentidos five senses

eL nueva york de ai WeiWei

La BienaL de venecia se rinde a La esPectacuLaridad

czanne y Pars, una infLuencia recProca

la revista de eurostars hotels magazine 07

cinco sentidos five senses

DVD | blu ray

La economa no es un ente abstracto, ni mucho menos Inside Job

cinco sentidos five senses

LOS ENAMORAMIENTOS Por JAVIER MARAS (Editorial Alfaguara)

la revista de eurostars hotels magazine 11

JUVENtUD, DIVINO tEsOrO

SEXTO SENTIDO | SIXTH SENSE

Hollywood cumple 100 aos

la revista de eurostars hotels magazine15

SEXTO SENTIDO | SIXTH SENSE

It was not just a geographical change: with Hollywo-

SEXTO SENTIDO | SIXTH SENSE

Sin embargo, de pronto, todo cambia.

While production methods were being changed,

Nevertheless, everything was soon to change.

SEXTO SENTIDO | SIXTH SENSE

la revista de eurostars hotels magazine21

mujeres en ciencia y en investigacin

la revista de eurostars hotels magazine 23

The interest to promote the equality of gen-

El inters por promover la paridad

ConClusiones del estudio europeo she figures

ConClusions of the european study she figures

i ConCurso de relatos BreVes eurostars Hotels

first edition eurostars Hotels sHort story Competition Breakfast included

RELATO | STORY DESAYUNO INCLUIDO BrEAkfASt INCLUDED

la revista de eurostars hotels magazine 31

mundo eurostars world

eL cLaridge acoge a Las mejores actrices argentinas en eL cicLo ciudad ViVa

eurostars hoteLs: con ritmo y a todos Los paLos

nace eL tercer concurso fotogrfico de eurostars: La pasin deL ftboL

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

Josep Mara Codina

Rosa Mara Montolo

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Me gustara viajar a esa poca si tuviera un ticket de vuelta. Es un mundo lleno de

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destino | destinAtion BERLN BERLIN

BERLN. MODERNIDAD URBANA

BERLIN. URBAN MODERNITY

la revista de eurostars hotels magazine00 49

destino | destinAtion BERLN BERLIN

destino | destinAtion BERLN BERLIN

destino | destinAtion BERLN BERLIN

QU viSitar What to viSit

cOMEr y dOrMir Eat and SlEEp

Spectacular, contemporary and business-designed

EspEctacular, contEmpornEo y businEss

placeres | pleasures LA CAtA wine tAsting

placeres | pleasures PROPUESTAS PROPOSALS

DeportivAs con Diseo De ArmAni estilo mArinero

sillAs con premio