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

The Bauhaus is to Tel Aviv what Art Deco is to Miami or Modernism is to Barcelona, an unmistakeable identity trait which is the pride and joy of the city’s inhabitants. We came across more than 1,000 buildings in the length and breadth of the city, which stretches for 50 square kilometres.

Bauhaus Comes To Tel Aviv

The relationship between Tel Aviv and the Bauhaus goes back to the 1930s when, coinciding with the rise of the Nazi party, many Jewish architects decided to leave their homeland and try their luck elsewhere. At that time, the future metropolis was a young city with an urge to expand and to tap its full potential. The so-called White City – as the area housing these buildings is known – was built between the early 1930s and 1948 to an urban layout designed by Sir Patrick Geddes, based on the principles of modern organic urbanism. The likes of Walter Gropius, the founder of the Bauhaus in Weimar, and of Arieh Sharon, Shlomo Bernstein and Shmuel Mestechkin, arrived in Tel Aviv and drew up an elaborate, ambitious urban plan which enabled the directives of this style to be adapted to the arid surroundings of the site and to its Mediterranean context. Thus, the light, fresh air of this architecture consorted to perfection with the thirst for renewal and creativity that characterised what would become the new State of Israel as of 1948.

Preservation – A New Challenge

The buildings were designed in light colours – generally white – leaving open-air pillars for the wind to blow unfettered through the lower part of the buildings, while recessed windows were fitted to check the passage of heat. The Bauhaus of Tel Aviv is also characterised by its straight lines, its symmetry and a minimalist style which even today tends to amaze visitors on account of its simplicity and overall character. The fact is that, faced with a new cultural context, those architects designed an exceptional set of buildings which became highly representative of the modern architecture movement.

Despite the large number of such buildings scattered about the city, their state of preservation is somewhat precarious. In fact, over 4,000 of these buildings were originally erected, so many of them clearly did not survive. Hence, concerted endeavours have been under way in recent years to restore over 1,000 extant constructions to their original state. It is a slow, arduous task, as most of them are private property and have not been touched since their completion some 70 or 80 years ago.

The Best Examples In the City

Given the large number of surviving buildings, the best thing is to plan an itinerary before embarking on a search of Bauhaus buildings in the city. Some of the most prominent examples are on the Rothschild Boulevard, and on Bialik and Dizengoff Street, but you are advised to first visit the Bauhaus Center to get the relevant information. They have books and maps on the subject and you can find out about the free tour organised by the City Hall on Saturdays called the Tel Aviv-Bauhaus Walking Tour.

To round off your visit, be sure to visit the Bauhaus Museum on Bialik Street which is useful for gaining insight on the impact which the Bauhaus of Tel Aviv has had on the rest of the world.

Text by Aleix Palau for Los Viajes de ISABELYLUIS

Situated in the Veneto region in the north of Italy, Verona is a must-see city for those visiting the area. A stroll through its streets and past its monuments transports the traveller to a host of bygone times, from imperial Rome – this was Julius Caesar’s leisure resort – through the Middle Ages, the Renaissance and the periods of French and Austrian rule, up to the present. A rich historic past which has left its mark in the form of buildings, streets and squares, deservedly listed as World Heritage by UNESCO.

The City and its River

Verona is set on a meander of the river Adige, straddled by bridges such as the Ponte Pietra, the sole surviving Roman bridge in the city, and the Ponte Scaligero, with its characteristic battlements. The latter is part of the Castelvecchio, a medieval castle that currently houses one of the city’s leading museums.

Verona and its Roman Past

Noteworthy among the vestiges of Verona’s Roman past is the Arena, an amphitheatre dating from the 1st century AD where gladiators fought. Since 1913 it has been hosting activities more commensurate with our times, notably opera, performed in the summer from June to September. The large size of the amphitheatre, with a seating capacity of 30,000, is suitable for spectacular stage scenery, so don’t miss out on this memorable experience. We also recommend visiting the Roman Theatre, sited on the banks of the river Adige, which is currently part of the National Archaeological Museum. Like the Arena, in summer it becomes a venue for cultural activities; in this case, stage plays.

Thronging Piazzas, Impossible Love Affairs and Places of Worship

In the heart of the historic city lies the Piazza delle Erbe. Built over the old Roman forum and typified by picturesque white sunshades set above the market stalls, this unique spot is always teeming with people. Located in this square are such outstanding buildings as the Baroque Palazzo Maffei, the Torre dei Lamberti, affording magnificent views of the city from its rootop, and the beautifully frescoed facades of the Mazzanti Houses.

The Arco della Costa leads into the Piazza dei Signori, also known as the Piazza Dante, which was the centre of the city’s political activity during the 16th century. Preserved here, among other buildings, are the Palazzo della Ragione and Palazzo di Cansignorio, the seat of political power of the Scala family and the Venetians.

Not far from these magnificent squares, in the Via Capello, stands a landmark no visitor should miss, as it was immortalised in one of Shakespeare’s most popular works and has enshrined Verona as a prime destination for romantics. I’m refering, naturally, to the well-known setting for Romeo and Juliet. Juliet’s House is well worth visiting, although it is no mean feat having to jostle with hordes of other tourists in such a small patio. It does, however, have its charm.

As for religious architecture, not to be missed is the Basilica of San Zeno Maggiore, one of the masterpieces of Romanesque architecture in northern Italy, and the Duomo, also dating from the Romanesque (12th-century), which houses Titian’s Assumption of the Virgin Mary.

Time for Gastronomy

Not everything boils down to walking and sightseeing. You also need to get your strength back and enjoy the region’s culinary delights. We recommend you try the pastissada, a horsemeat stew, the origins of which go back to Roman times.

For those seeking a quicker, more refreshing break, what better than to stop at the Gelateria Zeno Gelato e Cioccolato, located in the Piazza San Zeno, to have one of their magnificent ice-creams.

Ready for a getaway to Verona? Come and discover this gem of Veneto. Check out our flights here.

Text by ISABELYLUIS Comunicación

Images by Spencer Wright, Lorenzo Blangiardi, Elescir, Kosala Bandara, FotoCla., Jorge Cancela, Allie_Caulfield, Son of Groucho

Marseille is full of surprises, or at least that’s the feeling you get when venturing into the city. This gateway to the Mediterranean has much more to offer than what is apparent at first sight. For starters, it has two harbours – the Vieux Port (Old Port), enclosed and fortified, a vestige of times when the coastline was invaded by pirates and hostile nations. And, the new – and larger – harbour which opens out to the sea and is a symbol of contemporary times. The elegant buildings lining the city’s streets have an unkempt, decadent yet inspiring air, while the fishing quarters smack of new trends in the guise of art galleries and cafés, and avant-garde spaces such as the MuCEM (Museum for the Civilisations of Europe and the Mediterranean) and the Villa Méditerranée, attesting to Marseille being much more than just a port city. And, in the midst of all this stands the highlight of this article, one of the works which prompts many architects to pilgrimage to Marseille –Le Corbusier’s Cité Radieuse.

This huge building, recently designated a World Heritage Site by UNESCO, together with 16 other architectural works by Le Corbusier, is one of the essential icons of modern architecture and one of the artificer’s major achievements. In this massive and equally beautiful colossus in concrete, the precursor of Brutalist art and ideologue behind architecture as we know it today successfully shaped the vertical city he had dreamed of, which he named the Unité d’habitation (Housing Unity). This was the first in a succession of similar residential buildings which were subsequently erected in Nantes-Rezé (1955), Berlin-Westend (1957), Briey (1963) and Firminy (1965).

Cité Radieuse, known locally as La Maison du Fada (The Nutter's House), is a large apartment block located in the south of Marseille on the Boulevard Michelet. It was designed in 1945 and built from 1947 to 1952. It is made up of 337 duplex apartments distributed over twelve storeys. Apart from its residential function, Le Corbusier also incorporated amenities into the design, including a commercial area on the seventh and eighth floors, gardens, a paddling pool, a gym, a theatre and a nursery on the spectacular rooftop. The edifice was built in rough-cast concrete and its standout feature are the supporting pilotis or piers, as well as the polychromed decoration on the balconies which set up a rhythm across the facade.

Most of the apartments are now private property, although sightseers are allowed to visit the common areas of the building. On the seventh and eighth floors you can see how most of the commercial units have been turned into design and architects studios. An exception to this is La Ventre de l’Architecte, a luxury restaurant affording splendid views of Marseille and the coast. The crowning touch is provided by another communal area, the rooftop, an area of surprises where architectural forms have been turned into spectacular sculptures affording views over the city. A pilot apartment can be visited as part of a guided tour, but be sure to book in advance with the Marseille Tourist Office. Those who would like to broaden their experience of the Cité Radieuse can stay overnight at the Hotel Le Corbusier, housed in the building itself.

Don’t miss the chance to visit Marseille and its architectural jewel, the Cité Radieuse. Book your Vueling here!

Text and photos by Los Viajes de ISABELYLUIS