You could visit London twenty times a year and discover a completely new city full of fascinating places every time. The 32 boroughs of the UK’s capital are home to 9 million people–half of whom originally hail from other countries–and up to 300 different languages are spoken in its streets. This city of cities, this world in miniature centred around the Thames has so much more to offer than just fish and chips, a walk in Hyde Park, a West End musical or a visit to the British Museum.

Modernism emerged in the late-19th and early-20th century, marking a break in style with the past, in line with the prevailing cosmopolitan, entrepreneurial mindset of the moment.

In 1883, the city needed to expand, leading to the construction of its famous Ensanche district,which spans the present-day streets of Juana de Vega,Picavia,Feijoo, Plaza de Lugo and Plaza de Pontevedra.

With the wealth they had acquired from foreign trade, the local bourgeoisie commissioned luxury residences in this new area, modelled on those of Vienna, Paris, Prague, Budapest and Berlin, in an outward show of their prosperity and cultural pursuits. This enabled them to distinguish themselves from the old Corunnan aristocracy, who still lived in the Ciudad Alta and Ciudad Vieja districts in dilapidated mansions with dark rooms, lacking proper ventilation or glazed window balconies, with their backs to the sea and to modernity.

Strictly speaking, Modernism came to the city in 1906 with the arrival of the Cuban architect, Ricardo Boán y Callejas, and the Corunnan architect ,Antonio López Hernández, who brought the new trends in building design from Austria, Switzerland and Germany. They also brought journals, catalogues and photos from those countries featuring designs by the Austrian, Otto Wagner, and the Belgian, Victor Horta.

One of the most striking features of these houses are the female faces adorning some of the buildings that are still standing. They were mostly inspired by the countenance of an English lady, Elizabeth Siddal, the wife of the Pre-Raphaelite painter, Dante Gabriel Rossetti. She was immortalised in the guise of her languid, enigmatic beauty and her long tresses following her death from an overdose of laudanum, a mixture of opium and alcohol.

Modernism in A Coruña was influenced by the ornamental style of the English architect, Owen Jones (1808-1874). Local artists decorated the facades and doorways with irises, horse-chestnut leaves, water plants, roses and camellias in multi-coloured garlands which seem to reach out to the passer-by and lavish pleasure on the senses.

Galleries are awash with the Mackintosh Rose motif of Charles Rennie Mackintosh, as well as twirling, sap-bearing plant stems. The transparent glass surfaces spread out among them like dragonfly wings. However, Japanese influences also come to the fore in the form of embossed irises, reeds and butterflies on lilies, star-shaped holly leaves and lotus flowers framing windows and lifts, by way of a country-like, ecological architecture. Enjoy a Modernist route through the city – download the guide here.

Modernist Top 5 in A Coruña

1. Casa Rey (1911)

The work of Julio Galán, his architecture distils the essence of the glass city. The rippling cornice, the Mudéjar inspired glazed ceramics and the wrought iron balconies made in the Wonenburger foundry make it a veritable dolls house for the ladies of those times that adorned its balconies with their head-dresses of gardenias and palm leaves. Chocolate was one of the exotic wares shipped from the Indies and other colonies to the port of A Coruña, and chocolateries dating from that period are still open to the public on the streets of Riego de Agua, Plaza de Lugo and Estrecha de San Andrés. Hence the origin of the popular Corunnan demonym ofcascarilleiros(huskers),an allusion to the cocoa husks which filled the streets with their aroma. Plaza de María Pita, 12.

2. Casa Molina (1915)

Designed by Rafael González Villar. The building was the home of Don Raimundo Molina, a representative of Royal Dutch Lloyd and consul of the Netherlands. He was also the father of the well-known mayor, Don Alfonso Molina. Influenced by the Italian Modernism of Turin, the garlands and draped ribbons of the building form a theatrical final curtain to the Old City. C/ Santiago, 2.

3. Kiosko Alfonso (1912)

Also designed by Rafael González Villar, this is a magnificent example of early-20th-century recreational architecture. With its rectangular floor plan, it operated as a café, music hall and cinema, the central screen of which divided the auditorium into two rooms. In the first room, the audience saw the positive film, while a negative of the film could be viewed at a lower fee from the other. Converted into an exhibition hall in 1982, the original Modernist decoration is still intact, including dragons which surround and immerse the audience in a world of mystery and fantasy. Jardines de Méndez Núñez.

4. Compostela, 8 (1910)

Also the work of Julio Galán Carbajal. The foyer, with access at no. 8 Calle Compostela, is the most striking entrance hall in the city. Walls, ceilings and the archway leading into the lift turn the space into an original stuccowork greenhouse, brimming with intertwined water plants, lotuses, lilies and irises. The lions at the entrance, the eagle and the caryatids on the cornice form a symbolic defence of the house’s residents, reminiscent of ancient Persian palaces.

5. Plaza de Lugo, 13 (1912)

Lastly, this bourgeois residence designed by Antonio López Hernández, linked to the family of the Corunnan actor, Fernando Casado Arambillet (better known as Fernando Rey), features overflowing ornamentation as an outward show of the economic prowess of its residents. It is theatrically adorned with a large garland of roses, leading the eye towards the huge female caryatid dominating the ensemble. The decorative syntax makes this the most beautiful building in A Coruña.

Don’t wait to see these Modernist architectural jewels in A Coruña. Check out our flights here.

Turismo A Coruña

Berlin is synonymous with art. You don’t need to go much further to bump into someone who, after the fall of the Berlin Wall, has journeyed to the capital of Germany in search of an opportunity. With almost 450 galleries, 20,000 artists and over 3,000 exhibitions yearly, Berlin is experiencing an art boom. It heads the European art scene by a mile.

Gossip has it that over the last 20 years a new art gallery has been opened every week. Faced with that trend, no wonder that, over the last 12 years, Berlin’s galleries have joined forces to launch the Berlin Gallery Weekend (from 29 April to 1 May 2016) – the first of its kind – subsequently replicated in Paris, Vienna and Barcelona. We visited the city to see it for ourselves and spent three days packed with inaugurations, talks, parties and social events at special times to showcase the latest productions. This, just when spring is descending on the city and its streets start casting their gaze outwards.

Zero budget: admission to the galleries and other areas is free-of-charge.

Recommendation: hire a bicycle – distances become shorter when negotiated on two wheels. The city is big and the galleries string out from east to west, although centred mainly on Berlin Mitte, Kreuzberg and Potsdamer Straße. We began our tour – map in hand!

Berlin’s Epicentre – Auguststraße in Mitte

Auguststraße is lined with trendy restaurants and art galleries. This is the historic centre of Berlin; hence its name – Mitte, meaning middle. There we came across the KW Institute for Contemporary Art, a former margarine factory repurposed as an emerging art lab for mapping the latest trends. Right next door, the collector, Thomas Olbricht, presents his private collection, me Collectors Room, an area of 1,300m² with exhibits ranging from works by Cindy Sherman to exotic objects worthy of a curio cabinet. Long-standing venues, including the widely acclaimed Eigen + Art, blend in with the newcomers, like Kicken Berlin and neugerriemschneider, and the elegant building of Sprüth Magers on Oranienburger Straße, bringing a breath of fresh air to the local scene.

One of the latest venues to burst in on the scene, which features the epitome of a fusion between art and gastronomy, is the Jüdische Mädchenschule (Jewish Girls’ School). Housed in this building – which reopened in 2012 after falling into disuse – is theMichael Fuchs Galerieand a number of restaurants which form a nexus between the past and present. Among these isThe Kosher Class Room,which offers traditional Sabbath dishes on the menu, andMogg Deli,the best place for indulging in a good pastrami sandwich.

Before leaving the centre and heading for Kreuzberg, we made a compulsory stop at Clärchens Ballhaus. Opened in 1913, this dance hall is a veritable Berlinese legend which survived two World Wars and numerous Nazi clampdowns. Young and old, tourists, locals, good and bad dancers – there is something infectious about Clärchens which makes you feel at home there!

Around Checkpoint Charlie

Near the Berlin Wall’s most famous checkpoint and also the Jüdisches Museum (Jewish Museum) and halfway between Kreuzberg and Mitte, lies the Galerienhaus. This former Lufthansa headquarters which became a centre for political asylum-seekers in the nineties, houses 11 contemporary art galleries on its various levels. If you chance to go there, be sure to see the Gallerie Nordenhake, the Gallerie ŻAK | BRANICKA and the historic Konrad Fischer Gallery. Although initially founded in Düsseldorf, like so many other galleries in the Rhinelands, it ended up moving to the capital.

A few minutes away in the Mitte direction lies one of the trendiest venues in the area, the VeneKlasen/Werner Gallery, founded by the New Yorker, Michael Werner, who brought a piece of the Chelsea scene to Berlin, making it more spacious, more professional and… more expensive.

Before leaving Kreuzberg, we visited the Church of St Agnes which now houses the König Galerie. Built in the Brutalist style, it was acquired by Johann König and opened to the public as an art gallery in 2015. Here, in what appears to be the end of the white cube, a good itinerary is guaranteed.

Potsdamer Straße – A Trendy Art Boom

We came to Schöneberg, on the old west side, where for many years galleries and creative projects have been mushrooming, taking up every available square metre. The fact is it seems to be a surefire win-win formula – the venues are mutually beneficial in that their accretion and synched opening and inauguration times draw ever more visitors. Among the galleries you simply cannot pass up are the Supportico Lopez and Esther Schipper. However, if time is at a premium and you need to make a choice, head straight for the Isabella Bortolozzi Galerie. The Italian artist opened her gallery in 2008 in the former apartment where the actor and singer Hans Albers lived from 1946 to 1948. The premises have been preserved virtually intact. The walls are lined with wood panelling and secret recesses, which act as a backdrop.

Art galleries housed on a fifth floor without a lift in reclaimed buildings; exhibitions which can only be reached by crossing two patios and three doors… the list goes on and on. If you’re planning to visit the city within the prescribed timeframe, check out the full programme and our daily flights to Berlin. Happy Gallery Weekend!

Text by Núria Gurina for Los Viajes de ISABELYLUIS

Photos by Marco Funke, Genial23, Axel Schneider, Wolfgang Staudt

Those who think cultural tourism is a 21st-century invention are well off course – Venice invented it long ago. Intent on setting the city under the international spotlight, the first International Art Exhibition ever was held there in 1895. That is, the Venice Biennale, which has continued until this day.

The undisputed artificer of the avant-garde art pulse – Documenta notwithstanding – the Biennale has run into its 57th edition without losing steam. Six months full-out, from 13 May to 26 November, during which the city is invaded by contemporary art, which takes over both land and sea. What with vaporetti, churches and palazzi, we visited the city of canals to soak up the latest trends, soon to descend on museums and art galleries across half the globe. Let the Grand Tour begin!

Survival Manual

A cautionary word to all navigators – moving through the Biennale is no mean feat. The key – comfortable footwear, strategically placed accommodation and solid planning. The offerings are boundless and the spaces, gargantuan.

The main facilities are located at the Arsenale and the Giardini di Castello. Those are the sites of the official exhibition, Viva Arte Viva, as well as many of the 85 national pavilions dotting the island. And, as if that weren’t enough, the list is augmented by countless top-notch parallel exhibitions and events that have staked out their territory in the city’s historic buildings.

My advice – keep calm and don’t get flustered. The marathon only comes around every two years. Set aside three days on your agenda and you won’t succumb in the attempt. Take up lodgings in the area of Il Castello, the Biennale’s hard core, thereby avoiding vaporetto tickets. And, have a notebook on you and a camera with fully charged batteries so you can review the sights once you’re back home.

In the Giardini – the Cream of the Crop

Separating the wheat from the chaff can be exhausting. By way of a warm-up, we headed south-east, to the confines of the city. Located there are the Giardini di Castello, Venice’s green lung par excellence and the preserve of the national pavilions (a somewhat archaic idea, a reminder that the current Biennale is an updated version of the classical trade fairs of yesteryear). The fact is that in Venice each state has its own building to showcase to the world the cream of the crop of its contemporary art production, by way of an Art Olympics where the winner manages to show the most muscle.

While the Biennale is all about art, it is in fact also about power and architecture. In terms of the latter, some pavilions shine with a light of their own. Not to be missed are the Finland pavilion, built in timber modules by the luminary, Alvar Aalto, the father of modern Scandinavian architecture; the Austrian pavilion, the work of Josef Hoffmann who, together with Gustav Klimt, founded the Vienna Secession, and that of The Netherlands, its open forms highlighting the minimalist elegance of 1950s neoplasticism.

But, let’s get back to art and to the most talked-about offerings. The Golden Lion for the Best Pavilion was awarded to Germany, where artist Anne Imhof installed a glass floor under which performances displaying the world “as a kennel” take place. France depicts a musical space and recording studio, Studio Venezia, an installation designed by Xavier Veilhan where musicians and artists from all over the world perform. And Austria draws all the camera flashes with a lorry standing on its nose by Erwin Wurm, a playful proposal in a pavilion redolent with sculptures which visitors can interact and have fun with.

The Off Programme

Side shows, parallel exhibitions, talks, dialogues, performances and film cycles – no body is built to withstand Venice. Indeed, the official programme is rivalled by a series of first-rate artistic proposals staged in churches, foundations and museums around the city. Here, then, are the juiciest offerings in the Off-Biennale 2017.

Damien Hirst has hit Venice with a two-fold proposal. At collector François Pinault’s art spaces, the Punta della Dogana and the Palazzo Grassi, he has installed his latest eccentricities,including an 18-metre-high sculpture which rises into the firmament. In keeping with the British artist we are familiar with, his show is pure spectacle, and the perfect excuse to visit two historic buildings overlooking the Grand Canal.

The tiny island of San Giorgio Maggiore surrenders unconditionally to Michelangelo Pistoletto. A key figure of Arte Povera and one of the most prominent Italian artists, Pistoletto presents One and One Makes Three, an exhibition housed in an abbey designed by Palladio where he showcases a selection of his works created between the 60s and the present, also featuring his popular “Venus of the Rags”.

We wind up our marathon tour at the Palazzo Fortuny, a Venetian Gothic gem which rises between the Rialto Bridge and St Mark’s Square. This former home and studio of painter Marià Fortuny houses both the artist’s collection and temporary exhibitions. This time around, it is the turn of Intuition, a collective display dedicated to the evocative power of art and featuring such great names as André Breton, Joan Miró, Vassily Kandinsky, Marina Abramovic and Anish Kapoor.

Thus far our review of the Biennale, a centennial event which reinvents itself each year and showcases art to suit all tastes, interests and theories. We’re off to the canals!

Book your Vueling to Venice here

Text by Núria Gurina

Photos by: Andrea Avezzù, Jean-Pierre Dalbéra, Francesco Galli, g.sighele, imagea.org, Erin Johnson