Those roving travellers who, on a visit to the capital of the Auvergne-Rhône-Alpes region, are unsated by delving into its past in the streets of Vieux Lyon, rambling through the bohemian district of La Croix-Rousse – which once hosted the silk workshops that earned the city fame and identity – or visiting the Institut Lumière, where the seventh art took its first tentative steps, and would instead like to discover the Lyon of the future, should make a point of heading for the Lyon Confluence.

At the tip of the peninsula where the Rhône and Saône rivers meet on their passage through Lyon lies the city’s most avant-garde district, the site of state-of-the-art architectural structures designed by a host of national and international architectural studios.

In its beginnings, the Confluence was an industrial precinct with numerous warehouses which gradually fell derelict. Over the last few years, this neighbourhood has been redeveloped, becoming what is now the apple of Lyon’s eye. This has been achieved by implementing a large-scale urban renewal project which has become a new focus of interest for both the Lyonese and tourists alike. Guided by the precepts of sustainability and creativity, the project features some highly interesting constructions and the district has taken on a markedly new lease of life, attracting businesses, restaurants and the odd hotel, and the project still has a long way to go.

Le Cube Orange is one of the icons of the district and one of the first surprises to hit newcomers to the area. The work of French architects Jakob + Macfarlane Architects, this huge building has a giant, cone-shaped hole gouged out of it, its function being both aesthetic and to provide light and ventilation. Another landmark and sequel to the Cube Orange, as it is designed by the same architects, is the Euronews HQ, although here one’s attention is struck by its loud green colour and this time the building’s rectangular facade is pierced by two holes. Another construction which made an impression on us during our stroll through La Confluence was Dark Point, the work of French architect Odile Decq, where the structure seemingly reaches out to embrace the river.

La Sucriére acts as a counterpoint to the aforementioned shot of cutting-edge architecture. Once a factory warehouse for storing sugar, it has now been refurbished and converted into an exhibition space for mainly art and creative works in general.

The itinerary culminates in the Musée des Confluences, unveiled in December 2014 and housed in a building characterised by the deconstructivist architectural style of the Austrian Coop Himmelb(l)au. Shaped to resemble a cloud, the museum is dedicated to natural history and societies. The permanent collection comes from the Museum of Lyon and features exhibits ranging from ethnographic artefacts to natural science objects.

And, if all that hasn’t quite quenched your sightseeing thirst, you can always go on a heady shopping spree in the district’s emblematic shopping complex – the largest in Lyon – namely the Pôle de Commerces et Loisirs Confluence which, apart from countless stores, is also the site of numerous restaurants, cinemas, gyms, etc.

Now that you know about Lyon’s most avant-garde neighbourhood, book your Vueling here and discover it for yourself.

Text by Los Viajes de ISABELYLUIS

Images by Jean-Pierre Dalbéra, Anthony V.

By Laia Zieger from Gastronomistas

If you've visited to Brussels, you're sure to have noticed that chocolate is a serious matter here. It is one of the city's emblems that has also earned it world fame in the dessert sector. But, with so many choices, where should you go to try the best chocolate in Brussels? Around the Place du Grand Sablon and its surrounding areas is where there is the greatest concentration of really high-standard chocolate shops. They are all rivals in the exclusivity and quality of their raw materials, in speciality and creativity. One of the most visible signs of chocolate power in Brussels is that the establishments that make this confectionery close late at night and open every day of the year. There's no rest for the sweet-toothed.

• Patrick Roger (Place du Grand Sablon, 43). Ultra-luxurious, this shop is a real gallery of art dedicated to chocolate. The chocolate artist and flavour sculptor - as Roger introduces himself - expresses all of his mastery in impressive and enormous cocoa figures that are displayed at the premises and are only for aesthetic purposes. But let's not forget what's important: they are distinguished by delicious and very fine chocolates, that seem simple but hide extraordinary complexity: they combine up to 14 different products to obtain a unique flavour.
A special mention for the little plain chocolate squares with lime and basil ganache. Speechless.

•Wittamer(Place du Grand Sablon, 6, 12, 13). Four generations of the same family have devoted themselves to making delicious traditional chocolates and cakes, but also to innovating and adapting to new trends. They make their almost 100 different chocolates (some with seasonal ingredients or inspired by current events) with cocoa ‘grands crus’. El Pavé de Bruxelles (plain chocolate filled with Brazilian-style praline and caramel), registered as the firm's own recipe, is their most famous chocolate. But the most daring idea, without a doubt, is their bar covered in fried grasshoppers sprinkled with gold...

•Maison Pierre Marcolini. (Rue des Minimes, 1). Rather than a chocolate shop, it is a cocoa jeweller's shop. The hundreds of different chocolates they make are on display behind glass. To make his products, the Master Marcolini brings the most delicious raw materials from the five continents.
There are also limited editions for celebrating special events and current affairs.

•Neuhaus.(Rue Lebeau 79). The history of this brand is very curious. Jean Neuhaus settles in Brussels in 1857 and, with his brother, opens a chemist on the prestigious Galerie de la Reine. To disguise the taste of the medicines, he decides to cover them with a layer of chocolate. It's not known for sure how, but one day he substitutes the drugs with fresh cream and so creates the first filled chocolate, which he calls praline, and which is one century old this year. It is an immediate success and this recipe spreads as a chocolate classic in cake shops all over the world.

• A little further from the Place du Grand Sablon, we find Zaabär (Chaussée de Charleroi, 125), which defines itself as a chocolate and spice shop. In fact, its name is inspired by the Arabic word bazaar - a market where you can find numerous condiments. The speciality of this firm are chocolate bars flavoured with spices (the plain chocolate ones with cinnamon, Guérande salt or Szechuan pepper are incredible). The point that differentiates Zaabär is that it organises chocolate-making workshops (there are ones for learning to make truffles, cakes…). Ideal for groups and families visiting Brussels, or simply foodies searching for new experiences.

Makes you want to go, right? Do it! Check out our prices here!

Situated some 75 kilometres south of Florence, Siena is a must-visit spot on any route through Tuscany. The architectural beauty of its historic centre, designated a World Heritage Site by UNESCO in 1995, is one of its major draws. A former marketplace, the Piazza del Campo –popularly known as Il Campo – is the undisputed centrepiece of the city’s social life and the ideal point of departure for sightseeing in Siena.

The square was paved in 1327 and divided into nine sections, one for each of the Noveschi – the nine oligarchs that ruled the city. It still transports the visitor to medieval times, due in part to the buildings around its perimeter, notably the Palazzo Pubblico and Torre del Mangia. The former, also known as the Palazzo Comunale, was built in the early 14th century. Located on the south side of the square, it houses the Museo Civico. The campanile on this palace is called the Torre del Mangia. A veritable icon of the city, its height of 102 metres affords the best panoramic views of Siena. At the top of the square is the Fonte Gaia, built to facilitate the channelling of water to the city centre. The fountain now on the site is a replica of the original, sculpted by Jacopo della Quercia, while the original is on view in the museum at Santa Maria della Scala.

A Medieval Tradition Which Never Ages

This square is actually the centre stage of one of the defining moments in the life of this beautiful Tuscan city – the celebration of the Palio di Siena. Every year the festivity attracts both locals and hordes of tourists, eager to relive a tradition which never seems to have aged. The focal point of this famous race is the Piazza del Campo. Once it is adorned with all the celebratory trappings, including flags and people dressed in period costumes, it is well nigh impossible for visitors to avoid feeling swept back to another time in history.

The key dates for the Palio, the origins of which go back to the 16th century, are2 July,with the running of the Palio di Provenzano (in honour of the Madonna of Provenzano), and16 August,when it is the turn of the Palio dell’Assunta (in honour of the Assumption of Mary). These are the two dates you need to jot down in your diary if you want to experience the most authentic moments in the life of Siena, or as dates to avoid, if you don’t fancy being swamped by crowds. On those two days, the Piazza del Campo is transformed into a thrilling, fast-paced horse race which actually only lasts for a mere two minutes. The participants consist of representatives of the sixteen contrade (parish districts), who vie for the honour of seizing the palio, a silk standard. By way of a warm-up in the days preceding the race, all sorts of competitions are held in a festive mood around the city, enhanced by the sight of colourful period costumes.

Visiting the City

Apart from the highly popular Piazza del Campo, Siena also has other interesting sights worth seeing on your visit to the city. One such landmark is the Duomo (Siena Cathedral), in Italian Gothic style, which houses works by Pisano, Donatello, Michelangelo and Bernini. One unusual feature is to be found in the floor, which has 56 panels depicting Biblical scenes, some of which can only be viewed in September and October as they are covered for conservation purposes. Also in the Piazza del Duomo is the Museo dell’Opera, with sculptures that were previously housed in the Cathedral, and the Santa Maria della Scala complex, a former hospital which now houses three museums – the National Archaeological Museum, the Siena Contemporary Art Centre and a Children's Art Museum.

Book your Vueling to Florence and head for Siena to coincide with the city’s festivities.

Text by Los Viajes de ISABELYLUIS

Image by Janus Kinase

In addition to its canals, the dockside in the old harbour, the Gravensteenor Castle of the Counts of Flanders, the City Hall and the Korenmarkt, one of Ghent’s major attractions is an altarpiece. Granted, it might not sound overly exciting or novel at first glance. If we add that it is one of the masterpieces of Flemish painting and the cornerstone in the transition from medieval to Renaissance art, it might start arousing some interest. And, that it is one of the artworks which, in the course of history, has been stolen most often, as well as having travelled through many countries, you are bound to see it in a different light.

The masterpiece in question is the Polyptych of The Adoration of the Mystic Lamb,also known as the Ghent Altarpiece, the work of the brothers Hubert and Jan van Eyck. It is located on the high altar in St Bavo Cathedral and was executed in 1426, commissioned by Joost Vijdt and his wife, Lysbette Borluut. The altarpiece consists of 12 panels painted in oil on both sides and measuring 3.5 m high by 4.6 m wide. It remains closed most of the year, and is only opened on festive holidays, revealing all its splendour. The paintings on the outer panels are more sober, with a marked sculptural air, the central theme being the Annunciation. A noteworthy highlight of the inner panels is their colouring, with a Deësis of Christ the King, the Virgin Mary and John the Baptist as the prominent upper feature, and the Adoration of the Lamb in the lower centre. Without going into the subject, the symbology and details behind the scenes of the altarpiece would fill a whole book.

The startling vicissitudes affecting this artwork date from 1566, when the retable had to be dismantled and concealed in the City Hall to preserve it from an assault by Calvinist iconoclasts.

In 1781, the two upper panels, depicting Adam and Eve, were removed from the ensemble, as Joseph II of Bohemia and Hungary found the nakedness of the figures disagreeable. In the 19th century, the panels were replaced with clothed versions of Adam and Eve, executed by the Belgian painter, Victor Lagye.

In 1800, the Napoleonic troops regarded it as the spoils of war – the wings were sectioned off and sold, while the central panels ended up in the Louvre. Once Napoleon had been defeated, the panels were restored to their rightful place in Ghent. But not for long.

In 1816, the vicar of St Bavo sold several of the side panels, which passed through a number of hands before coming into the possession of Wilhelm II, King of Prussia. They ended up being displayed at the Kaiser Friedrich Museum in Berlin. To provide a better view of them, the panels were sectioned lengthwise to reveal the obverse and reverse sides in the same plane. At the end of the First World War, among the multitude of artworks Germany was forced to return were these panels, which were again replaced in their original site.

In 1934, the panel of The Just Judges was stolen and a ransom of one million Belgian francs was demanded for its safe return, but the deal was rejected. It is still missing to this day and has been replaced by a copy, the work of the Brussels Fine Arts Museum curator, Jef Van der Veken.

Needless to say, the altarpiece was not left unscathed by the Second World War either, forming part of the large-scale plunder perpetrated by the Nazis. After a complex hunt for stolen art undertaken by the so-called “Monuments Men”, it was located in the Altaussee salt mine in the Austrian Alps.

The altarpiece is currently being restored, so not all the panels are on display in St Bavo Cathedral. To make up for this, those interested can follow the restoration project live in the Ghent Fine Arts Museum (MSK).

Now that you’re up to speed with all the ins and outs behind this marvellous artwork, we recommend you get hold of a Vueling and see it for yourself. And, don’t leave it too long, in case it gets stolen again!

Text by ISABELYLUIS Comunicación