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La compra de vivienda por extranjeros se hundirá un 50% en el segundo semestre

Las restricciones impuestas por los gobiernos europeos a los viajes hacia España tendrán una víctima colateral: el mercado de la vivienda. La compra de pisos por parte de extranjeros ya se está resintiendo por los rebrotes y, según el portal Pisos.com, se hundirá un 50% en la segunda mitad del año. El portal inmobiliario publicó ayer un estudio que estima que entre junio y diciembre los extranjeros comprarán 25.000 casas menos respecto al mismo periodo del año pasado. Un desplome que estará motivado por el hundimiento del turismo en particular y de la economía española en general. Los compradores foráneos han contado con un importante peso en el sector residencial durante los últimos años. Según el Consejo General del Notariado, en el segundo semestre de 2019 alcanzaron las 50.522 operaciones, representando el 18,7% de las adquisiciones de vivienda realizadas en el país durante ese periodo, y en línea con el promedio registrado entre los años 2012 y 2018. Desde Pisos.com esperan que esta tendencia se rompa por completo. Sobre todo, porque el 40% de las operaciones de compraventa acometidas por extranjeros son realizadas por inversores que no residen en España. Las «dificultades de movilidad entre países» provocan que esas operaciones queden ahora en el aire, explica el portal inmobiliario. Especialmente preocupantes son las políticas acometidas por Reino Unido, que ha recomendado directamente no viajar a España. Una medida que ha tenido un gran impacto en el turismo y que también lastrará al sector inmobiliario. Según los datos del Notariado, durante la segunda mitad de 2019 los británicos protagonizaron el 13,2% de las compras realizadas por extranjeros. Por regiones, Baleares, Canarias y la Comunidad Valenciana son las tres comunidades que acumulan un mayor número de operaciones inmobiliarias protagonizadas por extranjeros. «Es lógico que esto ocurra en cualquier mercado inmobiliario del mundo por la propia naturaleza del producto que se comercializa en este sector y su elevado precio, lo que hace indispensable que la compra sea in situ», explica Ferran Font, director del servicio de estudios de Pisos.com.
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California Gov. Gavin Newsom and Vice President-elect Sen. Kamala Harris visited the site of the Creek fire on September 15. | Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images California Gov. Gavin Newsom must choose a candidate for Harris’s Senate seat from a crowded field. Now that Kamala Harris has been elected vice president, the fight for her Senate seat is on. A packed field of candidates is currently pitching California Gov. Gavin Newsom: Per the state’s laws on Senate vacancies, Newsom is able to appoint a new lawmaker to the job who will serve out the remaining two years of Harris’s term. Whoever’s picked will be able to run for the seat in 2022 as well. “There’s a hundred chores that I’d prefer. I’m not kidding,” Newsom has previously said. “This is not something that I wish even on my worst enemy, because you create enemies in this process you know, not just friends. And it’s a vexing decision. 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Two campaigns for the Senate seat, briefly explained There is growing pressure for this appointee to provide much-needed representation in the very white and very male Senate: Some lawmakers and grassroots organizations are urging Newsom to choose a Latino person, while others would like him to choose a Black woman. Many groups are focused on this Senate seat because of how rarely such opportunities come along in California, a diverse state with an extensive bench of Democratic talent that’s previously had to wait years for an opening. (Former Sen. Barbara Boxer, also a white woman, had held her seat for more than two decades prior to Harris’s election in 2016.) 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Gavin Newsom and former all-star pitcher Fernando Valenzuela at Dodger Stadium in Los Angeles after the Dodgers won the 2020 World Series. Alex Padilla, California secretary of state Many experts believe California Secretary of State Alex Padilla is probably Newsom’s most likely pick to succeed Harris. Padilla, who is Latino, has a multitude of credentials working in his favor: He’s been elected to a statewide office, he’s from Southern California, and he recently did a strong job overseeing the state’s election processes. Both of California’s senators have come from the San Francisco Bay Area since 1992, so some experts believe Newsom will pick someone from the Los Angeles area. Padilla, who grew up in Los Angeles and the San Fernando Valley, would fit that bill. Padilla, 47, served on the Los Angeles City Council from 1999 to 2006, then in the state Senate from 2006 to 2014. 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Becerra, 62, had served in the House for over two decades before he was appointed as the state’s Attorney General when Harris vacated the position in 2016. He’s represented multiple Southern California districts near Los Angeles, given redistricting during his tenure, and also chaired the House Democratic Caucus. Becerra had also previously worked as as a deputy Attorney General for the state’s Justice Department and served one term as a member of the California assembly. In his current role, he’s known for taking on Trump: Becerra has led more than 100 lawsuits against the administration including challenges to the travel ban and the president’s attempted rollback of the Deferred Action for Childhood Arrivals program. Erin Schaff/Getty Images Rep. Barbara Lee stands with Vice President-Elect Kamala Harris at a memorial service for the late Supreme Court Justice Ruth Bader Ginsburg. Lee is a candidate for Harris’s replacement in the US Senate. Barbara Lee, US House member, 13th District Lee — a Black woman who’s represented part of the Bay Area for decades — shares some similarities with Harris but is viewed as more progressive than the vice president-elect. Lee is a top choice among groups that would like to see a Black progressive woman appointed. A former co-chair of the Congressional Progressive Caucus, Lee has represented Oakland and much of Alameda County in the House of Representatives since 1998, and previously served in the state legislature. Her record is firmly on the left, and her votes on war powers have garnered attention: She was the only member of Congress to vote against the use of force against terrorists in 2001, and in 2019, GovTrack ranked her the furthest left of all US representatives. Her age, however, could be an issue — at 74, she is older than roughly 85 percent of current US senators. Jahi Chikwendiu/The Washington Post via Getty Images Rep. Karen Bass, who was on the shortlist for Joe Biden’s running mate, is now a candidate to replace the woman who Biden selected, Kamala Harris, in the US Senate. Karen Bass, US House member, 37th District Rep. Karen Bass, 67, saw her national profile go way up when she was considered one of the top contenders for Biden’s vice presidential pick earlier this year. A former community organizer, Bass has represented a Southern California House district since 2011 and served as the state Assembly speaker prior to that. Bass — who was the first Black woman elected to that role — has been praised for her ability to work across party lines, while championing strong progressive ideas. She’s currently the chair of the Congressional Black Caucus and was a chief author of the George Floyd Justice in Policing Act, a measure Democrats introduced to address police reform this past year. Bass experienced some scrutiny during the vice presidential search, when footage emerged of her speaking favorably of former Cuban leader Fidel Castro, comments she’s since walked back. During her time in the House, she has focused on criminal justice reform and child welfare policies — both areas she could continue to work on in the Senate. Chip Somodevilla/Getty Images Rep. Ro Khanna campaigns for Bernie Sanders in the 2020 Democratic presidential primaries. Ro Khanna, US House member, 17th District Ro Khanna is another pick that would satisfy many progressives. Khanna, like Harris, is of South Asian descent, as a child of Indian immigrants. Khanna, 44, had not held elected office prior to being elected to Congress in 2016, in a district that includes much of Silicon Valley. He worked in the Commerce Department for two years during Obama’s first term. Notably, Khanna is among just six representatives who do not take campaign money from PACs or corporations, and he was a national co-chair for Vermont Sen. Bernie Sanders’s 2020 presidential campaign. The Justice Democrats, a progressive PAC founded by leaders from Sanders’s 2016 campaign, have insisted that Newsom nominate Khanna to Harris’s seat. The PAC that helped fuel the rise of New York Rep. Alexandria Ocasio-Cortez posted on Twitter that “[Khanna’s] voice in the Senate would be a major boost for our movement for justice.” Sanders himself also voiced support for Khanna, tweeting that he “has a bold vision for America and is a proven fighter for working people.” Tom Williams/CQ-Roll Call via Getty Images Rep. Katie Porter at a House Oversight and Reform Committee hearing in January 2020. Katie Porter, US House member, 45th District Rep. Katie Porter — after serving in the House for one term — has established herself as a vocal progressive willing to take on Trump administration officials and business leaders. Porter, who is a white woman, was among the wave of Democrats elected to the House in 2018, and she’s since successfully defended her battleground district, which covers part of Orange County. Porter, 46, was a consumer protections attorney prior to joining the House, and now sits on the House Oversight and Financial Services Committees. She — and her whiteboard — have become synonymous with the pointed questioning of witnesses including CDC Director Robert Redfield and Consumer Financial Protection Bureau Director Kathy Kraninger. She’d also previously worked to help distribute relief to California families in the wake of the 2008 financial crisis and is a tenured law professor at the University of California Irvine. Genaro Molina/Los Angeles Times/Getty Images Port of Long Beach executive director Mario Cordero, left, and Mayor Robert Garcia stand on the new Gerald Desmond Bridge under construction in Long Beach on September 24. Robert Garcia, mayor of Long Beach Long Beach may not be California’s most well-known city. But the port city just south of Los Angeles is among the 50 most populous in the country, and its mayor, the 42-year-old Peruvian American Robert Garcia, is on the Senate shortlist. Garcia wouldn’t be the first mayor from a non-major city to make a name for himself this year — former South Bend, Indiana, Mayor Pete Buttigieg outlasted most of the Democratic primary field in his presidential campaign. Garcia is openly gay, and he is both the first Latino and first gay mayor of Long Beach. He and his mother immigrated to the Los Angeles area from Lima, Peru, when he was 5. 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Maya Lin’s Vietnam Veterans Memorial was conceived in 1981, six years after the United States had withdrawn from the conflict. Michael Arad and Peter Walker’s 9/11 memorial broke ground at the site of the World Trade Center in 2006, almost five years after the attacks.But there are downsides to waiting. A traumatic event is an author of its own memorial; as a famous anecdote attests, when a Nazi soldier asked Pablo Picasso if he had made Guernica, the famous painting the artist created during the month following the Luftwaffe’s bombing of its Basque namesake in 1937, Picasso replied, “No, you did.” The feelings, facts, and ideas available during a calamity dissipate as it ebbs. The temptation arises to contain tragedy in a tidy box, closing the book on its history.[Read: There are no nostalgic Nazi memorials]Rather than await a design competition for a real memorial, we wanted to see, in the brutal heaviness of the moment, how some of the nation’s most exciting designers might memorialize this time. We commissioned three pieces from artists who straddle the lines between art and architecture, design and social justice, technology and manufacturing to speculate on the question What might a COVID-19 memorial be? These are the results.Refik Anadol Studio – Memory GlobeRefik ANadol believes a memorial should offer more than mere memory. It should also remind people how to be better. “We need to attract attention to something we should have done during COVID,” Anadol told me. “Reported better. And created an archive of data.”Making people feel, rather than rationalize, about data has been Anadol’s calling card. “ISS Dreams,” for example, transforms millions of images taken from the International Space Station into flowing waves of sandy dunes, as if the Earth itself were just the granules of another world’s shifting desert.So Anadol wanted a COVID-19 memorial to use data as a material. In a pandemic, the narrative is in the data, he told me. But COVID-19 data have been heterogeneous and hard to come by, covered in a constant mist of misinformation. That failure becomes the subject of the studio’s proposed memorial: After the pandemic ends, its visitors could visualize the virus’s journey. To prototype the idea, Anadol and his colleagues aggregated and cleaned data from sources such as Johns Hopkins University and HealthMap, and then floated glowing representations of infections and deaths above their locations on a transparent globe. Pelin Kivrak, one of Anadol’s studio collaborators, reminds me that monuments become sites of pilgrimage. “People go to memorials not just to remember but also to feel a certain way,” she said.In this case: small in the face of the virus’s destructive smallness. Anadol imagines an installation with a 20-foot sphere atop a smaller, cylindrical plinth, animating the virus’s growth over time with LED lights. Organic blobs of viral spread float in an atmosphere above the planet’s surface. The boundaries of countries and continents appear on the surface only when representations of infections and deaths rise above them, a stark reminder of how humankind activates and carries the virus. Where it dies out—the ultimate goal of pandemic management—the monument also erases any trace of its human carriers on Earth, who vanish back into their ordinary lives.[Read: When do memorials help?]It’s a fantasy, of course. The data aren’t good enough; the uncounted infections and excess deaths will be lost to history. The memorial would therefore mark not only SARS-CoV-2’s infected or dead human beings, but the political, infrastructural, and logistical blunders that made the pandemic so much worse than it might have been otherwise.Anadol acknowledges that a memorial to the virus itself—not its victims—risks downplaying or even trivializing its impact. In response, he ponders the idea of a control room in its base for a single human operator, who might manipulate the timeline or zoom in on particular locations. It’s a reminder of how precious a truly centralized, shared repository of infection data might have been. Anadol also speculates that individuals could add their own photographic materials to the memorial.Visitors to the memorial would encounter a 20-foot-diameter sphere with a single-operator control room. (Refik Anadol Studio)But Kivrak is less apologetic about putting information rather than people at the center of the design. “When we talk about the Holocaust, it’s an ongoing problem. It doesn’t go away,” she says. A physical memorial honoring a hypothetical data standard for instantly sharing the spread of a deadly virus suggests a long-term function for the project: as a visualization of any future pandemic, via actual, live data-collection methods perfected after COVID-19 wanes. Many memorials invoke the promise never to forget. When it comes to pandemics, the best way to keep that promise would be to build an infrastructure that makes a repeat of this year impossible.Rael San Fratello – 29CuCV-19 Ronald Rael distinctly remembers the smell of copper pennies, back when they were still made out of copper. “I later discovered that it’s not the smell of the metal itself,” he told me, “but of all the bodies that have touched the penny.” It’s disgusting, he admitted, but also alluring. You can’t help but touch it, smell it—even become tempted to taste it.Rael San Fratello, the studio he and fellow artist and architect Virginia San Fratello started, thrives on repurposing such ordinary materials. In 2019, the pair installed three pink teeter-totters across the gaps in the border wall, offering Americans and Mexicans a literal fulcrum on which to balance their common humanity. Through their fabrication studio, the two also bring together novel and historical materials and construction practices, such as robot-extruded mud structures. “When we 3D print with coffee, chardonnay or curry, the objects we make are incredibly fragrant,” San Fratello says. “The scent of these otherwise ubiquitous designs gives them meaning.”Quarantine has limited our ability to use smell and touch for communion, so she and Rael became interested in finding a way to replicate the experience. That’s where pennies come in: Copper is an antiviral—a quality with obvious symbolism in the moment—and one that evolves over time, developing a patina as it interacts with water and air. So the pair latched on to it as a material. Rael San Fratello’s first idea was a pragmatic one: a traditional memorial made of copper molded into a bulbous, organic wall. The copper material would invite the touch lost to quarantine. Outdoors, it could develop a green or purple patina. “If touched constantly,” San Fratello said, “the patina might never occur, and the memorial will remain shiny.”Even so, a wall etched with names feels like a mismatch for COVID-19. Whom, exactly, would such a monument include? “I feel like it’s too conventional,” Rael told me. It’s a symptom of memorialism more broadly. Memorials and monuments have to lure visitors, draw attention, inspire photographs, structure space. Unless they don’t. Perhaps, Rael and San Fratello concluded, a memorial could be distributed to the people instead. A thing that you could touch all around the world, in every city or town, given that each one will have been touched by the pandemic. “It could be something as simple as a doorknob or a balustrade—something mundane,” Rael said. “Something anyone would touch and recall this moment.”But Rael couldn’t shake the idea of the copper penny. So personal and portable. He recalled a hundred-year-old wooden nickel his grandmother had kept, a token for a church anniversary. He had also recently started smelting down aluminum cans, and he found that friends were inexplicably drawn to the resulting ingots, many asking if they could take one home as a keepsake of nothing in particular. “What if all we need is a copper ball?” he wondered. A keepsake that anyone—that everyone—could have. One that might act as a proxy for the touches and smells that the virus prohibits, too. But how do you distribute a copper object to everyone on Earth? The logistics seem impossible. They also correspond exactly with the coordination needed to distribute a vaccine that would successfully inoculate the planet’s population. Perhaps the cure could come with the token that might preserve its own memory, like a talisman.Three renderings of possible copper memorial talismans. Virginia San Fratello and Ronald Rael imagine that 3-D printing could allow each person’s object to be unique to them. (Rael San Fratello)People have an attachment to the objects they make and use. They embed memories and carry them forward too. This one would conform to the shape of the human hand, both begging for touch and changing in response to it. “Every memorial would become completely unique and individualized over time,” San Fratello said. “Each memorial would be personal.” Such an expanded spirit of memorialization would include many more people than just the dead—the families, the friends, the caregivers, and the healthy, whose persistence will, hopefully, outlive the virus. Could the vessel that delivers the vaccine itself become the memorial? Rael wondered aloud to me. “It’s the one thing that would touch everybody but not touch anyone else.”Sekou Cooke – Unmonument“People will be affected by, and may still die of, COVID 20 or 30 years from now,” Sekou Cooke reminds me. That makes any memorial to the virus incomplete or temporary. We will never know exactly how many people SARS-CoV-2 infects or kills.“So let’s change the question completely,” Cooke said. “Instead of designing a memorial to COVID-19, can we fundamentally question the nature of memorials themselves?” For one thing, humankind needs the pandemic to be temporary. For another, the Black Lives Matter protests that accompanied the pandemic over the summer also amplified an ongoing revelation about monuments and memorials in America: Many of them were deeply racist in the first place.[Read: America’s first memorial to the victims of lynching]Cooke, an architect and a professor at Syracuse University’s School of Architecture, has been grappling with architecture’s racist legacy his whole career. He advocates for a new method, hip-hop architecture, as an alternative. It’s all about setting aside expectations. “People want to know what a hip-hop building looks like,” Cooke told me. But that question misses the point: “Most of the time, hip-hop is about the process.” A lived experience of struggle informs art. When applied to architecture, hip-hop becomes a lens through which to inspire new design ideas, in which Black people can develop a different relationship to the built environment. “We can create something totally new,” he said.The unmonument would take over existing sites of memorial and commerce, such as Times Square, depicted above. (Sekou Cooke)When it comes to a COVID-19 monument, Cooke proposes an “unmonument” instead, one that samples from Black Lives Matter and other protest movements and spreads their DNA like a different kind of virus. “It first attacks our memorials to false leaders, then real ones, then attacks the monuments of capitalism and consumerism and industries too weak to resist,” Cooke wrote in a statement.It would start at the Robert E. Lee Monument in Richmond, Virginia—a statue that graffiti and chalk have already redecorated. Rather than tear down the statue, Cooke wants to repurpose it. He would erect scaffolding around it, along with fencing and barricades, materials often used to stave off vandalism. Once installed, visitors would add elements atop: photographs, keepsakes, or other reminders of people affected by the pandemic—or by unchecked police violence, or by the neglect of declining economic outcomes.From there, the memorial would expand to other locations, feeding off of other, even more hallowed sites of tribute, culture, and commerce. The Lincoln Memorial, perhaps, or even Times Square, although the design could take root anywhere; Cooke is more interested in facilitating its natural growth than prescribing sites in advance. He likens the process to erosion, wearing away the significance of these older structures. “Their histories are tainted,” Cooke said. As a result of his intervention, he hopes these monuments, and monuments in general, would cease to honor existing structures of power. True to the spirit of hip-hop, a statue, a memorial, a block, a whole district become materials to be remixed anew.To some eyes, Cooke’s design might not even look like a design. That’s a good sign that the hip-hop architectural practice is working as intended. The designer’s agency doesn’t come from defining the form and function of a place from the top down, but by inviting the bottom-up reuse of monumental spaces: in the design of the circulation paths that funnel people through them in new ways; in defining how materials can adorn the site; in the organizing needed to inspire people to assemble there in the first place.The Black Reconstruction Collective, a loose group of which Cooke is a member, has taken a similar approach to a forthcoming MoMA show on architecture and Blackness in America. Instead of curating a showcase for its 10 members, whom the museum curators invited, the group decided it was more important to give the platform away to other Black architects and designers enacting projects on this theme, but without the collective’s power. It’s the opposite inclination that famous starchitects would adopt, given such a platform. “I’m actually all for blowing things up and starting things again,” Cooke said. “Architecture can completely reinvent itself from the ground up, but it has to do so by dismantling its most conservative institutions.” Including the inclination to build a memorial to the COVID-19 tragedy in the first place. Instead of a memorial to the pandemic, build a memorial to memorials instead. As we begin to forget the things we’ve long memorialized, Cooke writes, we begin to remember ourselves.
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