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

The Plaza de España is one of Seville’s major landmarks, along with the Cathedral and the Golden Tower (Torre del Oro) and is listed as a Cultural Interest Site. It was designed by Aníbal González as part of the María Luisa Park, chosen as the fairgroundfor the 1929 Ibero-American Exhibition. It is the largest open square in Seville and was designed in the Regionalist style in predominantly brick and ceramic.

Naboo? A District in Seville?

In Episode II: Attack of the Clones, (2002), the monumental Plaza de España was transformed into Theed, the capital of Naboo, the planet ruled by Queen Amidala. In the famous scene in the galactic movie, Anakin and Amidala talk about their relationship while strolling through the square. Naturally, in post-production, the classical tiles depicting the regions of Spain were removed.

Truth be told, it was merely a two-minute scene, and not a crucial one in the film. But, that matters little. The fact is that the peerless beauty of the Plaza de España was enough to captivate George Lucas and persuade him to shoot a scene there with two of the leading stars in the saga. And, naturally, the endearing droid, R2-D2, was also included.

The shoot took place in September 2000 and was completed in practically two days, long enough to create upheaval in Seville after a legion of actors, producers, technicians and others descended on the city, joined by thousands of onlookers and those jostling to secure a part as extras in the legendary galactic saga. In the end, only some 50 privileged people were selected as extras, by which they managed to become immortalised as citizens of Naboo strolling through the square.

Seville – A Film Set

The Plaza de España has also featured in other films, including Lawrence of Arabia (1962) and The Dictator (2012). However, there are also other monuments that have become enshrined on the big screen for posterity, serving as backdrops for such stars as Tom Cruise, or characters like Captain Alatriste. But, what did George Lucas, Ridley Scott or Agustín Díaz Yanes see in Seville that prompted them to choose it as a set for their movies? The city’s cultural and urbanistic wealth, its cuisine, good communications network, excellent climate and plethora of leisure offerings are not only ideal for filming, but also for a getaway at any time of the year.

The Reales Alcázares are yet another frequent backdrop in the city’s film history, having acted as a splendid setting for such movies as Reds, by Warren Beatty, Alatriste, by Agustín Díaz Yanes and 1492: Conquest of Paradise, by Ridley Scott, who also directed Kingdom of Heaven there. It is the oldest royal palace still in current use in Europe. Peter I commissioned its building in the 14th century and its interior houses vestiges of the three most prominent cultures in the Iberian Peninsula during the Middle Ages – Jewish, Arab and Christian.

Other Seville landmarks that have been immortalised in filmmaking include the Cathedral, built over a former mosque and the third largest church in Christendom, in addition to La Giralda, the Indies Archive and the Santa Cruz District. These buildings, sited in the old city, formed the backdrop to Knight and Day, a heady movie directed by James Mangold, featuring Tom Cruise and Cameron Díaz fleeing from their enemies on motorbike. The same set was used for several scenes in the Spanish film, Nadie conoce a nadie, by Mateo Gil, starring Eduardo Noriega, Jordi Mollà and Natalia Verbeke. Lastly, and also within the world of Spanish cinema, we have Carmen, whose main star is Paz Vega. In this movie, the scenes in the tobacco factory were shot in the present-day Seville University Rectorate. The building is well worth visiting. Erected in the 18th century, it is second in size only to El Escorial in all of Spain.

Make haste to relive those moments in cinema history. And, now that we are graced with the premiere of Episode VII: The Force Awakens, what better way to pay tribute to the saga by visiting the stunning setting of one of its films? Come to Seville with Vueling and may the force be with you!

Text by ISABELYLUIS Comunicación

Images by Turismo de Sevilla