What do Ben Hur, La Dolce Vita, Gangs of New York and Nine have in common? At first glance, we might think… nothing, but, if we pay attention to the credits, we will see they were all shot at Cinecittá. For many of us, these film studios, located on the outskirts of Rome, are inevitably associated with the name of the great Federico Fellini, but they have also been a privileged host to some of the best moments in cinema history, and the spot where a large number of movie stars converged.

This “Cinema City” was built in 1937 after the previous studios were destroyed in a fire, the cause of which has never been accounted for. The construction project was commissioned to the engineer, Carlo Roncoroni, and the architect, Gino Peressutti. The aim was to build a veritable city of the seventh art, capable of competing with Hollywood itself, which would turn Italian cinema into a worldwide beacon. It should be noted that Mussolini’s Fascist regime was in power at the time and, like Germany, the Italian regime regarded cinema as a powerful propaganda tool.

Fortunately for us, not everything produced there was regime propaganda as it eventually became the place that witnessed the passage of great names in the history of Italian cinema – Roberto Rossellini, Federico Fellini, Vittorio De Sica and Luchino Visconti.

Production came to a halt when the Second World War broke out, and the premises were even put to a different use. Two years before the war came to an end, Cinecittá was occupied by the Nazis and converted into a concentration camp for civilians. It was subsequently bombarded by Allied forces and then turned into a shelter for internally displaced people. All this upheaval led to the loss of most of the technical equipment and machinery once housed in the studios.

After weathering those dark years, Cinecittà gradually evolved into its period of greatest splendour. First, it became the site of grand American productions, featuring such unforgettable movies as Ben Hur,Quo Vadis? and Cleopatra. Second, this was where the careers of the great figures of Italian cinema unfolded. And, the presence of the Americans brought a fresh lease of life and modernity to the Eternal City, as so accurately portrayed in Fellini’s La Dolce Vita.

But all golden ages have their expiry date and the number of large-scale productions began to wane in the seventies, losing out to television. The fact is that the trend of block-buster productions started falling behind, while Italian cinema gradually ceased to be a major player on the world scene. Despite this, the studios can still boast of having been involved in such movies as The Godfather III, by Francis Ford Coppola (1988), The English Patient, by Anthony Minghella (1996), Gangs of New York, by Martin Scorsese (2002), The Passion of the Christ, by Mel Gibson (2004) and the popular television series,HBO Rome (2005-2007).

On a curious note and perhaps as a symbol of our times, Cinecittá is currently the premises of the house and set of Grande Fratello, the Italian version of Big Brother, a contest which has become one of the great television hits.

Cinecittá is now a place of pilgrimage for any film-lovers worth their salt, although what remains to experience is merely an exercise in nostalgic reunion with a period in which cinema was different. It is also a good excuse for taking the whole family along to teach the new generations some cinema history and show them one of its landmark venues. In addition to its sets and some of the most popular set designs, visitors can also see the exhibitions hosted in the Fellini Building.

Nowadays, it might feel weird to stroll through those almost ghostly spaces, tinged with the decadence of time, and try to relive the period in which the great American film stars walked those corridors. What is guaranteed though is the flush of excitement one feels when catching sight of its stunning, iconic entrance.

Ready for a trip to the cinema? Check out your Vueling to Rome here.

Text by ISABELYLUIS Comunicación

Images by Jean-Pierre Dalbéra, Carlo Mirante

The Esposizione Universale Roma, better known by its acronym, EUR, is one of those areas lying off the tourist track which would not fit any stock image of the Eternal City. No Roman ruins, Baroque churches, Renaissance palaces or narrow back streets – here you will find broad avenues set along orthogonal axes and a regular layout, and large buildings with simple lines that adhere to the Fascist model on which the district’s design was based, alternating with large, more recent constructions.

The district dates back to the nineteen thirties, when Mussolini decided to commission an urban expansion project on the south side of Rome in preparation for the World Fair of 1942. The idea was also to commemorate the twentieth anniversary of the Fascist “March on Rome” (1922). The project was originally known as E42 and some of the best contemporary architects were engaged, including Giuseppe Pagano, Luigi Piccinato, Luigi Vietti, Ettore Rossi and Marcello Piacentini, who was the head of the project. The assignment adhered to a design of Fascist ideological inspiration and combined rationalism with a simplified form of neoclassicism.

Work on the project was disrupted by the outbreak of World War II, while the 1942 World Fair was never held. Construction work on the buildings resumed in the fifties and sixties and the area was earmarked for a different purpose, which still holds true today, as it operates as a business district. In this respect it preempted similar projects in such cities as London or Paris.

The most alluring reason for visiting the EUR district nowadays is to see some of the original constructions and to appreciate the contrast they strike with the landmarks in ancient Rome. Among the most noteworthy buildings is the Palazzo della Civiltà Italiana, also known as the Palazzo della Civiltà del Lavoro (Palace of Labour Civilisation) or Colosseo Quadrato (Square Colosseum), one of the most emblematic exponents of Italian Fascist architecture. Unveiled on 30 November 1940, it was purpose-built to host the Mostra della Civiltà Romana and was designed by the architects, Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano. In the end, the exhibition was cancelled and the building remained derelict until 1953, when it was finally opened to the public. Ever since restoration work that lasted from 2003 to 2008, the building has housed the headquarters of luxury fashion label Fendi.

Another interesting example of Fascist architecture is the Palazzo dei Congressi (Palace of Congresses), designed by Adalberto Libera. The interior was decorated by Achille Funi and the Futurist artist, Gino Severini. Built from 1938 to 1954, it is now an exhibition area and also hosts congresses and other events.

Other buildings worth seeing on your visit include the Basilica dei Santi Pietro e Paolo, the work of Arnaldo Foschini, and the Palazzo degli Uffici, the only building to be completed before the war, which has an air-raid shelter inside.

Among the museums worth visiting in the EUR is the Museo della Civiltà Romana (Museum of Roman Civilisation), a colossal building which houses a stunning ensemble of model reconstructions of ancient Rome.

Book your Vueling to Rome and treat yourself to a tour of some of the city’s lesser known areas, like the EUR district.

Text by Los Viajes de ISABELYLUIS

Images by FaceMePLS, Sebastian Baryli, Alexandre Delbos

Santander is making its debut, a long overdue debut at that. The project, commissioned in 2012 by the deceased Emilio Botín, was slow in taking shape and transforming the waterfront of Santander bay, until it was finally unveiled on 23 June this year. A good thing is worth waiting for, or so they say, so this might well be the key to the secret of the Botín Centre, which has materialised in the Cantabrian capital and imbued this beautiful city of northern Spain with a cultural boost and a new lease of life.

A Signature Building
The first thing that strikes the eye about this new cultural space is the building housing it. The architectural project was obviously intended to not go by unnoticed and it drew both praise and criticism, like anything which entails a certain element of risk. This work by the Pritzker prizewinning Renzo Piano, who happens to be truly enamoured of Santander, was developed in conjunction with the studio of Spaniard Luis Vidal. It has endowed the city with a touch of modernity in one of its most emblematic spots – its bay. The building comprises two large volumes, connected by an ensemble of walkways and spaces that act as a main distributor. The western volume houses a big, 2,500 m² exhibition hall, with shopping and restaurant areas in the basement. The smaller module on the east side, which will be given over to educational activities, sports a large, protruding terrace with splendid vistas over Santander bay. Supported on pillars, which make it look as if floating in the air, its highlight is the large glazed frontage, affording privileged views of the coastline and the city, while the outer cladding is rendered in white porcelain shards.

However, this fabulous building, which acts to articulate the city centre with the harbour, doesn’t quite steal the show on its own. Its construction has been paralleled by an extension to the Pereda Gardens, located in the vicinity of the Botín Centre, which has seen its surface area increased from two to four hectares. Landscape gardener Fernando Caruncho and artist Cristina Iglesias have been tasked with making the approach walk to this new cultural space a veritable delight on the senses.

The City’s New Exhibition Venue
The Botín Centre made its debut with two opposing exhibitions – one classical, dedicated to the great master of modern painting, Goya, with his drawings as the centrepiece, and the other, more contemporary show dedicated to Carsten Höller, the first monographic of this Belgian artist’s work to date in Spain. Running parallel are a number of scheduled activities of all kinds, from workshops to film screenings, concerts, etc.

Ahead lies a long road and the project has spawned the question of whether it will experience the “Guggenheim effect”, providing yet another enticement to travellers on their visit to Santander, as well as giving extra momentum to tourism and the city itself. For the time being it has become the talk of the town this summer, as well as the venue that is willy-nilly pulling in visitors from among both locals and holiday-makers.

Fire up for an escape to Santander to discover this new art centre – book your Vueling here.

Text by Los Viajes de ISABELYLUIS

The Galician district of Salnés, in the province of Pontevedra, has the honour of being the cradle of one of Spain’s supreme varieties of white wine – albariño. Made from the grape variety of the same name, these wines are young, fresh and fruity, with the right touch of acidity, making for a delightful experience on the palate and pairing to perfection with one of the region’s main products – seafood. Apart from the wines, touring this grape-growing region is packed with enticements as the land is redolent with spectacular scenery, dominated by the presence of the Arousa estuary and its typical country homes, known as pazos, as well as its hórreos (granaries raised on stilts), its cuisine and, needless to say, the affable character of its people.

You are bound to have a host of experiences in the numerous wine cellars you will encounter on your way. The Pazo de Rubianes is the most spectacular example by far. Designated a “Garden of International Excellence”, and with a history going back 600 years, this priceless country manor is surrounded by gardens likely to enchant any nature lover. For its part, the magnificent example of 16th-century Galician stately home that is the Pazo de Señoráns will take you back in time. In the town of Sanxenxo stands the Adega Eidos, built in a far more modern style than the preceding ones as its facilities date from 2003. It affords some excellent views of the Pontevedra estuary. Also built in more contemporary style is Paco & Lola Wine Cellar and Vineyards, founded in 2005, with over 22 hectares given over to vineyards and wines increasingly more in vogue.

And, in between moving from one wine cellar to the next, we recommend stopping off at the Cambados Wine Museum where you can learn about the history, art, geography, grass-roots culture and all viniviticultural aspects of the Rías Baixas DO.

A Pause Along the Way
Man does not live by wine alone and at some point you will need to refuel, so your best option is to do so in the typical ambience of a local pazo. One such manor that is well worth visiting is the Pazo Carrasqueira, a fine example of typical Galician architecture. Built in the 18th century, it has now been turned into a nine-room hotel, with its own albariño cellar of course. Another interesting option is Lagar de Costa, a family winery with lodgings that offer a tour of their vineyards and the island of A Toxa.

The Festa do Albariño in Cambados
Each summer the heartland of albariño wine production is given over to the Festa do Albariño in Cambados.Designated a Tourist Interest Site in 1990, this is the crowning event related to albariño wine-making. What started out in 1953 as a contest between wine producers, promoted by Bernardino Quintanilla Álvarez and Ernesto Zarate, is currently a full-blown festival, with concerts and all kinds of activities suited to all audiences. This year the festival takes place from 2 to 6 August and provides the ideal excuse for tasting the great local albariños in an incomparable setting and ambience, a great final fling after a route through this spectacular wine-growing region.

Book your Vueling to Santiago de Compostela, less than an hour away from Cambados, and gear up to tour this viticultural region dotted with pazos and homesteads full of charm and great wines.

Text by Los Viajes de ISABELYLUIS