NOVEDADES

The treasures of mid-century American architecture have long been celebrated. Less appreciated has been the landscape design that provides the framing for these masterworks. But more than frame, landscape architecture is an art worthy of the spotlight, particularly at mid-century, when the notion that “gardens are outdoor spaces for people to live in” was championed and brought to the fore; now gardens and landscapes are not just external attributes to the house but a continuation of it and its living spaces in a relationship of symbiosis, with its pools and terraces, its winding lawns, and its partly enclosed room-like spaces flanked by brick or stone or plantings in a range of colors and forms.

A comprehensive look at Istanbul-based interior designer Zeynep Fadillioglu’s most striking projects, from a modern minimalist mosque to the city’s largest luxury hotel. Renowned for her striking, multilayered projects that are rich in materials, arts, and crafts, Zeynep Fadillioglu’s interiors express a bold contemporary sophistication and modern understanding of traditional values. Born and raised in Istanbul, Fadillioglu studied computer science and then art history and design at London’s Inchbald School of Design before setting up her design company in Istanbul. Today, having designed many notable landmarks, she is one of the most sought-after designers both at home and abroad. Her thoughtful, creative, and interdisciplinary approach to interior design bridges history, community, cities, climate, and culture with meticulous attention to detail and to storytelling.

Aunque fraguadas sobre todo entre 1858 y 1861, las Rimas están integradas por piezas compuestas a lo largo de casi quince años, hasta el momento de la muerte de Bécquer, sin alcanzar una ordenación definitiva. Los temas dominantes son los propios de la poesía amorosa de todos los tiempos, como la melancolía y la incomunicación, modulados por toda la tradición aprendida (desde el clasicismo grecolatino hasta los romanticismos de escuela, pasando por la literatura del Siglo de Oro) y prestando atención a procedimientos propios de la literatura de consumo, como el sentimentalismo del folletín, la dramatización de la vida privada, la métrica de la zarzuela o el tono de la poesía alemana y de la balada de mediados de siglo.