{"id":23113,"date":"2012-07-12T06:13:18","date_gmt":"2012-07-12T06:13:18","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=23113"},"modified":"2018-04-24T12:17:01","modified_gmt":"2018-04-24T10:17:01","slug":"the-sounds-of-silence-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/","title":{"rendered":"The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide"},"content":{"rendered":"

<\/p>\n

\"\"<\/a>[1]<\/sup><\/sup><\/span><\/strong><\/p>\n

The Sounds of Silence<\/strong><\/p>\n

\u00a0En 1952, en el Maverick Hall, una peculiar sala de conciertos situada entre los \u00e1rboles, en medio de los bosques del estado de Nueva York, un pianista se sienta ante el piano para interpretar una pieza. La pieza se titula 4’33\u00bb, cuatro minutos treinta y tres segundos y la firma John Cage.<\/p>\n

La hoy tan famosa como infame pieza, mantuvo a los asistentes al concierto, en la que \u00e9sta no era la \u00fanica pieza, en vilo, o mejor dicho, en inquieta espera, mientras el int\u00e9rprete levantaba y cerraba la tapa del piano siguiendo las indicaciones de la partitura ayudado por un cron\u00f3metro. Se sentaba, cerraba la tapa del teclado, pon\u00eda en marcha el cron\u00f3metro y al cabo de un rato, paraba el cron\u00f3metro y volv\u00eda a abrir la tapa. Repite esta operaci\u00f3n otras dos veces m\u00e1s con intervalos distintos: 33″-2’40\u00bb-1’20\u00bb. No hab\u00eda tocado una sola nota, el \u00fanico sonido que pod\u00eda o\u00edrse en la sala era el producido por los propios asistentes (murmullos, quejas, respiraci\u00f3n\u2026), los del int\u00e9rprete \u00abejecutando\u00bb los movimientos que la pieza requer\u00eda y los que se filtraban a la sala desde el bosque que la rodeaba.<\/p>\n

Un a\u00f1o antes Cage hab\u00eda visitado la c\u00e1mara anecoica de la universidad de Harvard, esperando \u00abo\u00edr\u00bb el silencio absoluto. Lo que no esperaba era o\u00edr dos tipos de sonidos, uno grave y otro agudo. El grave correspond\u00eda a su flujo sangu\u00edneo circulando y el agudo a su sistema nervioso. \u00abNo existe esa cosa llamada silencio\u00bb, \u00abel silencio no es ac\u00fastico\u00bb sentenciaba.<\/p>\n

El silencio no existe, como no existe el vac\u00edo, en uno hay murmullos y vibraciones y en otro hay part\u00edculas y ondas. Pero ambos constituyen una herramienta b\u00e1sica de construcci\u00f3n de dos artes de creaci\u00f3n: la m\u00fasica y la arquitectura.<\/p>\n

Robert Rauschenberg iniciaba en 1951 su serie de \u00abWhite Paintings\u00bb con las que pretend\u00eda poner de manifiesto la esencia de la pintura y la exposici\u00f3n de la experiencia art\u00edstica pura. Al igual que ocurrir\u00eda m\u00e1s tarde con las piezas de Cage, aqu\u00ed los cuadros, pintura blanca sobre lienzo, captaban las condiciones ambientales y \u00e9stas interfer\u00edan en su contemplaci\u00f3n (seg\u00fan palabras del propio Rauschenberg), enriqueciendo la experiencia. Ambos, Cage y Rauschenberg, intercambiaron sus mutuas experiencias e iniciaron una nueva etapa en sus respectivas artes con la aparente demolici\u00f3n de las bases de ambas.<\/p>\n

Pero Rauschenberg no fue el primero en pintar blanco sobre blanco, o negro sobre negro, tratando de poner en evidencia el fin de la pintura (al menos como hasta entonces se estaba realizando). Ya en 1915 Kasimir Malevich, declar\u00f3 el fin de la pintura con su suprematista \u00abcuadrado negro\u00bb (al que seguir\u00eda \u00abcuadrado blanco sobre fondo blanco\u00bb en 1918), proponiendo esta vanguardia como \u00absistema completo de construcci\u00f3n del mundo\u00bb.<\/p>\n

Estamos ante experiencias l\u00edmite sobre las que refundar, o reformular, las condiciones de un arte determinado que, aparentemente, hab\u00eda llegado a un momento de crisis. Momentos en los que, por condiciones de entorno, por agotamiento del modelo o por investigaci\u00f3n personal sobre el devenir de las mismas, se hace necesario un replanteamiento. Algunos lo creer\u00e1n necesario y otros no, pero la evoluci\u00f3n de las circunstancias o el movimiento creado son agentes muy activos y generalmente imparables.<\/p>\n

En 1959, cuatro a\u00f1os despu\u00e9s de haber iniciado su \u00abprop\u00f3sito experimental\u00bb (y aqu\u00ed enlazamos con el constructivismo como proceso art\u00edstico de revoluci\u00f3n social frente al suprematista de esencialidad art\u00edstica), Jorge Oteiza da por concluida su actividad escult\u00f3rica por haberse quedado, seg\u00fan sus propias palabras, \u00absin escultura entre las manos\u00bb. Oteiza culmina as\u00ed su proceso de \u00abdesocupaci\u00f3n espacial\u00bb al que le hab\u00eda llevado la b\u00fasqueda del vac\u00edo del espacio interior de la materia, o mejor dicho, al vaciamiento de la escultura.<\/p>\n

Cage, Rauschenberg, Malevich y Oteiza, un variado elenco que une m\u00fasica, pintura y escultura, en una actitud en constante b\u00fasqueda hacia un prop\u00f3sito de reformulaci\u00f3n y evoluci\u00f3n sobre las premisas establecidas en sus respectivos campos. Una actitud de evoluci\u00f3n constante que se cuestiona a si misma, frente a posiciones establecidas y c\u00f3modas que, aunque v\u00e1lidas en su momento, acabaron siendo cuestionadas.<\/p>\n

Los silencios, los vac\u00edos y la reducci\u00f3n esencial son v\u00e1lidas met\u00e1foras de la necesidad actual de reformulaci\u00f3n, evoluci\u00f3n, transici\u00f3n, etc. que la actual situaci\u00f3n nos plantea como retos.<\/p>\n

La arquitectura, ausente en esta comparativa de artes, no por que no se puedan hallar ejemplos igualmente did\u00e1cticos, si no por consciente exclusi\u00f3n, es la que parece estar m\u00e1s necesitada ahora de ser repensada. Un modelo de profesi\u00f3n est\u00e1 en crisis, quiz\u00e1s no solo por la ausencia del encargo, si no por propio agotamiento de si misma. Nuevas generaciones acceden a un panorama de arquitectura sin apenas construcci\u00f3n y deben adaptar sus m\u00faltiples capacidades a un nuevo escenario que, en parte, tienen que ayudar a crear.<\/p>\n

Entre el vac\u00edo y el silencio hay espacios y palabras, todos ellos necesarios. Saltemos al vac\u00edo, escrib\u00eda al final de un art\u00edculo anterior, pero gritando, a\u00f1ado ahora, para romper el silencio.<\/p>\n

jorge meijide . arquitecto
\na coru\u00f1a. julio de 2012<\/p>\n

notas:<\/span>
\n[1] Partitura de 4\u201933\u201d, John Cage, 1952.<\/span><\/p>\n

\"\"<\/a>[1]<\/sup><\/sup><\/span><\/strong><\/p>\n

The Sounds of Silence<\/strong><\/p>\n

In 1952, in the Maverick Hall, a peculiar room of concerts placed between the trees, in the middle of the forests of the New York State, a pianist sits down before the piano to interpret a piece. The piece is entitled 4 ‘ 33 \u00ab, four minutes thirty three second and the signature John Cage.<\/p>\n

Today so famous as infamous piece, it supported the assistants to the concert, in that this one was not the only piece, in vilo, or rather, in anxious wait, while the interpreter was raising and closing the lid of the piano following the indications of the score helped by a chronometer. It was sitting down, was closing the lid of the keyboard, was starting the chronometer and after awhile, was stopping the chronometer and was returning to open the lid. This operation repeats others with different intervals: 33 \u00ab-2 ‘ 40 \u00ab-1 ‘ 20 \u00ab. It had not touched an alone note, the only sound that could be heard in the room was the produced one for the own assistants (ripples, complaints, breathing \u2026), those of the interpreter \u00abexecuting\u00bb the movements that the piece was needing and that were filtering to the room from the forest that was surrounding it.<\/p>\n

One year before Cage had visited the chamber anecoica of Harvard’s university, expecting \u00abto \u00abhear\u00bb the absolute silence. What was not waiting was to hear two types of sounds, the serious and different sharp one. The serious one was corresponding to his blood flow circulating and the sharp one to his nervous system. \u00abThis thing called silence does not exist\u00bb, \u00bb the silence is not acoustic \u00bb it was pronouncing.<\/p>\n

The silence does not exist, since the emptiness does not exist, in one there are ripples and vibrations and in other one there are particles and waves. But both constitute a basic tool of construction of two arts of creation: the music and the architecture.<\/p>\n

Robert Rauschenberg was initiating in 1951 his series of \u00abWhite Paintings\u00bb with which it was trying to reveal the essence of the painting and the exhibition of the artistic pure experience. As it would happen later with Cage’s pieces, here the pictures, white painting on linen, they were catching the environmental conditions and these were interfering in his contemplation (according to words of the own Rauschenberg), enriching the experience. Both, Cage and Rauschenberg, exchanged his mutual experiences and initiated a new stage in his respective arts with the apparent demolition of the bases of both.<\/p>\n

But Rauschenberg was not the first one in painting white on white, or black on black, trying to put in evidence the end of the painting (at least since till then it was realized). Already in 1915 Kasimir Malevich, declared the end of the painting with his suprematista \u00bb black square \u00bb (whom white square would follow \u00bb on white bottom \u00bb in 1918), proposing this forefront as \u00abcomplete system of construction of the world \u00ab.<\/p>\n

We are before experiences limit on that to re-found, or to re-formulate, the conditions of a certain art that, seemingly, had come to a moment of crisis. Moments in which, for conditions of environment, for depletion of the model or for personal investigation on to develop of the same ones, a rethinking becomes necessary. Some of them will believe it necessarily and others not, but the evolution of the circumstances or the created movement they are very active and generally unstoppable agents.<\/p>\n

In 1959, four years after having initiated his \u00bb experimental intention \u00bb (and here we connect with the constructivismo as artistic process of social revolution opposite to the suprematista of esencialidad artistic), Jorge Oteiza gives for his sculptural activity concluded for having remained, according to his own words, \u00bb without sculpture between the hands \u00ab. Oteiza reaches this way his process of \u00bb spatial dispossession \u00bb to which it had taken to him the search of the emptiness of the interior space of the matter, or rather, to the voidance of the sculpture.<\/p>\n

Cage, Rauschenberg, Malevich and Oteiza, a varied index that joins music, painting and sculpture, in an attitude in constant search towards an intention of reformulation and evolution on the premises established in his respective fields. An attitude of constant evolution that questions to if same, opposite to established and comfortable positions that, though valid in his moment, they ended up by being questioned.<\/p>\n

The silences, the emptinesses and the essential reduction are valid metaphors of the current need of reformulation, evolution, transition, etc. That the current situation us raises as challenges.<\/p>\n

The architecture, stay away in comparative this one of arts, not for that they could not find equally didactic examples, if not for conscious exclusion, she is the one that seems to be more needed now of being rethought. A model of profession is in crisis, probably not only for the absence of the order, if not for own depletion of if same. New generations accede to a panorama of architecture without scarcely construction and must adapt his multiple capacities to a new scene that, partly, they have to help to create.<\/p>\n

Between the emptiness and the silence there are spaces and words, necessary all of them. Let’s jump to the emptiness, he was writing at the end of a previous article, but shouting, I add now, to break the silence.<\/p>\n

jorge meijide . architect
\na coru\u00f1a. july 2012<\/p>\n

notes:<\/span>
\n[1] Score 4\u201933\u201d, John Cage, 1952.<\/span><\/p>\n

<\/p>\n

\"\"<\/a>[1]<\/sup><\/sup><\/span><\/strong><\/p>\n

The Sounds of Silence<\/strong><\/p>\n

A hoxe tan famosa como infame peza, mantivo aos asistentes ao concerto, na que esta non era a \u00fanica peza, en albas, ou mellor devandito, en inqueda espera, mentres o int\u00e9rprete levantaba e pechaba t\u00e1paa do piano seguindo as indicaci\u00f3ns da partitura axudado por un cron\u00f3metro. Sent\u00e1base, pechaba t\u00e1paa do teclado, po\u00f1\u00eda en marcha o cron\u00f3metro e ao cabo dun intre, paraba o cron\u00f3metro e volv\u00eda abrir t\u00e1paa. Repite esta operaci\u00f3n outras d\u00faas veces m\u00e1is con intervalos distintos: 33″-2’40\u00bb-1’20\u00bb. Non tocara unha soa nota, o \u00fanico son que pod\u00eda o\u00edrse na sala era o producido polos propios asistentes (murmullos, queixas, respiraci\u00f3n\u2026), os do int\u00e9rprete \u00abexecutando\u00bb os movementos que a peza requir\u00eda e os que se filtraban \u00e1 sala desde o bosque que a rodeaba.<\/p>\n

Un ano antes Cage visitara a c\u00e1mara anecoica da universidade de Harvard, esperando \u00abo\u00edr\u00bb o silencio absoluto. O que non esperaba era o\u00edr dous tipos de sons, un grave e outro agudo. O grave correspond\u00eda ao seu fluxo sangu\u00edneo circulando e o agudo ao seu sistema nervioso. \u00abNon existe esa cousa chamada silencio\u00bb, \u00abo silencio non \u00e9 ac\u00fastico\u00bb sentenciaba.<\/p>\n

O silencio non existe, como non existe o baleiro, nun hai murmullos e vibraci\u00f3ns e noutro hai part\u00edculas e ondas. Pero ambos constit\u00faen unha ferramenta b\u00e1sica de construci\u00f3n de d\u00faas artes de creaci\u00f3n: a m\u00fasica e a arquitectura.<\/p>\n

Robert Rauschenberg iniciaba en 1951 a s\u00faa serie de \u00abWhite Paintings\u00bb coas que pretend\u00eda po\u00f1er de manifesto a esencia da pintura e a exposici\u00f3n da experiencia art\u00edstica pura. Do mesmo xeito que ocorrer\u00eda m\u00e1is tarde coas pezas de Cage, aqu\u00ed os cadros, pintura branca sobre lenzo, captaban as condici\u00f3ns ambientais e estas interfer\u00edan na s\u00faa contemplaci\u00f3n (segundo palabras do propio Rauschenberg), enriquecendo a experiencia. Ambos, Cage e Rauschenberg, intercambiaron as s\u00faas mutuas experiencias e iniciaron unha nova etapa nas s\u00faas respectivas artes coa aparente demolici\u00f3n das bases de ambas.<\/p>\n

Pero Rauschenberg non foi o primeiro en pintar branco sobre branco, ou negro sobre negro, tratando de po\u00f1er en evidencia o fin da pintura (polo menos como ata ent\u00f3n est\u00e1base realizando). Xa en 1915 Kasimir Malevich, declarou o fin da pintura coa s\u00faa suprematista \u00abcadrado negro\u00bb (ao que seguir\u00eda \u00abcadrado branco sobre fondo branco\u00bb en 1918), propo\u00f1endo esta vanguardia como \u00absistema completo de construci\u00f3n do mundo\u00bb.<\/p>\n

Estamos ante experiencias l\u00edmite sobre as que refundar, ou reformular, as condici\u00f3ns dunha arte determinada que, aparentemente, chegara a un momento de crise. Momentos nos que, por condici\u00f3ns de contorna, por agotamiento do modelo ou por investigaci\u00f3n persoal sobre o devir das mesmas, faise necesario un replanteamiento. Alg\u00fans o crer\u00e1n necesario e outros non, pero a evoluci\u00f3n das circunstancias ou o movemento creado son axentes moi activos e generalmente imparables.<\/p>\n

En 1959, catro anos logo de iniciar o seu \u00abprop\u00f3sito experimental\u00bb (e aqu\u00ed enlazamos co constructivismo como proceso art\u00edstico de revoluci\u00f3n social fronte ao suprematista de esencialidad art\u00edstica), Jorge Oteiza d\u00e1 por conclu\u00edda a s\u00faa actividade escult\u00f3rica por haberse quedado, segundo as s\u00faas propias palabras, \u00absen escultura entre as mans\u00bb. Oteiza culmina as\u00ed o seu proceso de \u00abdesocupaci\u00f3n espacial\u00bb ao que lle levou a procura do baleiro do espazo interior da materia, ou mellor devandito, ao vaciamiento da escultura.<\/p>\n

Cage, Rauschenberg, Malevich e Oteiza, un variado elenco que une m\u00fasica, pintura e escultura, nunha actitude en constante procura cara a un prop\u00f3sito de reformulaci\u00f3n e evoluci\u00f3n sobre as premisas establecidas nos seus respectivos campos. Unha actitude de evoluci\u00f3n constante que se cuestiona a si mesma, fronte a posici\u00f3ns establecidas e c\u00f3modas que, a\u00ednda que v\u00e1lidas no seu momento, acabaron sendo cuestionadas.<\/p>\n

Os silencios, os baleiros e a reduci\u00f3n esencial son v\u00e1lidas met\u00e1foras da necesidade actual de reformulaci\u00f3n, evoluci\u00f3n, transici\u00f3n, etc. que a actual situaci\u00f3n susc\u00edtanos como retos.<\/p>\n

A arquitectura, ausente nesta comparativa de artes, non por que non se poidan achar exemplos igualmente did\u00e1cticos, si non por consciente exclusi\u00f3n, \u00e9 a que parece estar m\u00e1is necesitada agora de ser repensada. Un modelo de profesi\u00f3n est\u00e1 en crise, quizais non s\u00f3 pola ausencia do encargo, si non por propio agotamiento de si mesma. Novas xeraci\u00f3ns acceden a un panorama de arquitectura sen apenas construci\u00f3n e deben adaptar as s\u00faas m\u00faltiples capacidades a un novo escenario que, en parte, te\u00f1en que axudar a crear.<\/p>\n

Entre o baleiro e o silencio hai espazos e palabras, todos eles necesarios. Saltemos ao baleiro, escrib\u00eda ao final dun artigo anterior, pero gritando, engado agora, para romper o silencio.<\/p>\n

jorge meijide . arquitecto
\na coru\u00f1a. julio de 2012<\/p>\n

notas:<\/span>
\n[1] Partitura de 4\u201933\u201d, John Cage, 1952.<\/span><\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

[1] The Sounds of Silence \u00a0En 1952, en el Maverick Hall, una peculiar sala de conciertos situada entre los \u00e1rboles, en medio de los bosques del estado de Nueva York, un pianista se sienta ante el piano para interpretar una pieza. La pieza se titula 4’33\u00bb, cuatro minutos treinta y tres segundos y la firma […]<\/p>\n","protected":false},"author":47,"featured_media":23114,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[391,4355,3462,918,12466,1103,5192],"class_list":["post-23113","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-crisis","tag-john-cage","tag-jorge-meijide","tag-musica","tag-pintura","tag-profesion","tag-robert-rauschenberg"],"yoast_head":"\nThe Sounds of Silence | Jorge Meijide<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Sounds of Silence | Jorge Meijide\" \/>\n<meta property=\"og:description\" content=\"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/\" \/>\n<meta property=\"og:site_name\" content=\"veredes, arquitectura y divulgaci\u00f3n\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/jmeijide\" \/>\n<meta property=\"article:published_time\" content=\"2012-07-12T06:13:18+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-04-24T10:17:01+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"413\" \/>\n\t<meta property=\"og:image:height\" content=\"319\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jorge Meijide Tom\u00e1s\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/jmeijide\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jorge Meijide Tom\u00e1s\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/\"},\"author\":{\"name\":\"Jorge Meijide Tom\u00e1s\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/f114c5ff977108aaf60488426430427d\"},\"headline\":\"The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide\",\"datePublished\":\"2012-07-12T06:13:18+00:00\",\"dateModified\":\"2018-04-24T10:17:01+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/\"},\"wordCount\":2640,\"commentCount\":1,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2012\\\/06\\\/433_.jpg\",\"keywords\":[\"crisis\",\"John Cage\",\"Jorge Meijide\",\"m\u00fasica\",\"pintura\",\"profesi\u00f3n\",\"Robert Rauschenberg\"],\"articleSection\":[\"art\u00edculos\",\"slider principal\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/\",\"name\":\"The Sounds of Silence | Jorge Meijide\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2012\\\/06\\\/433_.jpg\",\"datePublished\":\"2012-07-12T06:13:18+00:00\",\"dateModified\":\"2018-04-24T10:17:01+00:00\",\"description\":\"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#primaryimage\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2012\\\/06\\\/433_.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2012\\\/06\\\/433_.jpg\",\"width\":\"413\",\"height\":\"319\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/the-sounds-of-silence-jorge-meijide\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Sounds of Silence | Jorge Meijide\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\",\"name\":\"veredes, arquitectura y divulgaci\u00f3n\",\"description\":\"veredes\",\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"alternateName\":\"veredes\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/veredes.es\\\/blog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\",\"name\":\"veredes, arquitectura y divulgaci\u00f3n\",\"alternateName\":\"veredes\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2021\\\/12\\\/veredes-logo-centrado_140x54.png\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2021\\\/12\\\/veredes-logo-centrado_140x54.png\",\"width\":140,\"height\":54,\"caption\":\"veredes, arquitectura y divulgaci\u00f3n\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/veredesArquitecturayDivulgacion\\\/\",\"https:\\\/\\\/x.com\\\/veredes\",\"https:\\\/\\\/instagram.com\\\/veredes\\\/\",\"https:\\\/\\\/www.linkedin.com\\\/company\\\/veredes-arquitectura-y-divulgacion\\\/\",\"https:\\\/\\\/es.pinterest.com\\\/veredes\\\/\",\"https:\\\/\\\/www.tumblr.com\\\/veredes\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/f114c5ff977108aaf60488426430427d\",\"name\":\"Jorge Meijide Tom\u00e1s\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g\",\"caption\":\"Jorge Meijide Tom\u00e1s\"},\"description\":\"Arquitecto por la ETSA de A Coru\u00f1a desde 1991. Colabora en el estudio de Juan Navarro Baldeweg entre 1991 y 1992. M\u00e1ster de proyectos integrados por la fundaci\u00f3n camu\u00f1as, madrid 1992. A la vuelta A Coru\u00f1a se incorpora al estudio de su padre, Carlos E. Meijide Calvo con el que trabaja hasta 2001. Desde 2004 hasta 2009 colabora con los arquitectos Patricia de Marichalar y Fernando Mart\u00ednez. En el a\u00f1o 2009 forma, junto con Patricia de Marichalar meijidedemarichalar arquitectos. Desde 2014 trabaja en solitario colaborando con estudios y arquitectos amigos. Es profesor de proyectos arquitect\u00f3nicos en la Escuela T\u00e9cnica superior de Arquitectura de A Coru\u00f1a desde 1997; es tutor de proyecto fin de carrera y ha sido presidente del tribunal de PFC. Colabora con blogs y publicaciones de arquitectura.\",\"sameAs\":[\"http:\\\/\\\/jorgemeijide.blogspot.com.es\\\/\",\"https:\\\/\\\/www.facebook.com\\\/jmeijide\",\"https:\\\/\\\/www.instagram.com\\\/jmeijide\\\/\",\"https:\\\/\\\/www.linkedin.com\\\/in\\\/jorge-meijide-toms-ab9b9a21\\\/\",\"https:\\\/\\\/x.com\\\/https:\\\/\\\/twitter.com\\\/jmeijide\"],\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/author\\\/jorge-meijide-tomas\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Sounds of Silence | Jorge Meijide","description":"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/","og_locale":"es_ES","og_type":"article","og_title":"The Sounds of Silence | Jorge Meijide","og_description":"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide","og_url":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/","og_site_name":"veredes, arquitectura y divulgaci\u00f3n","article_publisher":"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","article_author":"https:\/\/www.facebook.com\/jmeijide","article_published_time":"2012-07-12T06:13:18+00:00","article_modified_time":"2018-04-24T10:17:01+00:00","og_image":[{"width":413,"height":319,"url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg","type":"image\/jpeg"}],"author":"Jorge Meijide Tom\u00e1s","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/jmeijide","twitter_site":"@veredes","twitter_misc":{"Escrito por":"Jorge Meijide Tom\u00e1s","Tiempo de lectura":"13 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#article","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/"},"author":{"name":"Jorge Meijide Tom\u00e1s","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/f114c5ff977108aaf60488426430427d"},"headline":"The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide","datePublished":"2012-07-12T06:13:18+00:00","dateModified":"2018-04-24T10:17:01+00:00","mainEntityOfPage":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/"},"wordCount":2640,"commentCount":1,"publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"image":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg","keywords":["crisis","John Cage","Jorge Meijide","m\u00fasica","pintura","profesi\u00f3n","Robert Rauschenberg"],"articleSection":["art\u00edculos","slider principal"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/","url":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/","name":"The Sounds of Silence | Jorge Meijide","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#primaryimage"},"image":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg","datePublished":"2012-07-12T06:13:18+00:00","dateModified":"2018-04-24T10:17:01+00:00","description":"Toda la informaci\u00f3n sobre: The Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge MeijideThe Sounds of Silence | Jorge Meijide","breadcrumb":{"@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#primaryimage","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/433_.jpg","width":"413","height":"319"},{"@type":"BreadcrumbList","@id":"https:\/\/veredes.es\/blog\/the-sounds-of-silence-jorge-meijide\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/veredes.es\/blog\/"},{"@type":"ListItem","position":2,"name":"The Sounds of Silence | Jorge Meijide"}]},{"@type":"WebSite","@id":"https:\/\/veredes.es\/blog\/#website","url":"https:\/\/veredes.es\/blog\/","name":"veredes, arquitectura y divulgaci\u00f3n","description":"veredes","publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"alternateName":"veredes","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/veredes.es\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Organization","@id":"https:\/\/veredes.es\/blog\/#organization","name":"veredes, arquitectura y divulgaci\u00f3n","alternateName":"veredes","url":"https:\/\/veredes.es\/blog\/","logo":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2021\/12\/veredes-logo-centrado_140x54.png","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2021\/12\/veredes-logo-centrado_140x54.png","width":140,"height":54,"caption":"veredes, arquitectura y divulgaci\u00f3n"},"image":{"@id":"https:\/\/veredes.es\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","https:\/\/x.com\/veredes","https:\/\/instagram.com\/veredes\/","https:\/\/www.linkedin.com\/company\/veredes-arquitectura-y-divulgacion\/","https:\/\/es.pinterest.com\/veredes\/","https:\/\/www.tumblr.com\/veredes"]},{"@type":"Person","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/f114c5ff977108aaf60488426430427d","name":"Jorge Meijide Tom\u00e1s","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/secure.gravatar.com\/avatar\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a8e6d631cd70d608ba8f329ff0d06134d8e7a1038277aa8a192fda118cabd34a?s=96&r=g","caption":"Jorge Meijide Tom\u00e1s"},"description":"Arquitecto por la ETSA de A Coru\u00f1a desde 1991. Colabora en el estudio de Juan Navarro Baldeweg entre 1991 y 1992. M\u00e1ster de proyectos integrados por la fundaci\u00f3n camu\u00f1as, madrid 1992. A la vuelta A Coru\u00f1a se incorpora al estudio de su padre, Carlos E. Meijide Calvo con el que trabaja hasta 2001. Desde 2004 hasta 2009 colabora con los arquitectos Patricia de Marichalar y Fernando Mart\u00ednez. En el a\u00f1o 2009 forma, junto con Patricia de Marichalar meijidedemarichalar arquitectos. Desde 2014 trabaja en solitario colaborando con estudios y arquitectos amigos. Es profesor de proyectos arquitect\u00f3nicos en la Escuela T\u00e9cnica superior de Arquitectura de A Coru\u00f1a desde 1997; es tutor de proyecto fin de carrera y ha sido presidente del tribunal de PFC. Colabora con blogs y publicaciones de arquitectura.","sameAs":["http:\/\/jorgemeijide.blogspot.com.es\/","https:\/\/www.facebook.com\/jmeijide","https:\/\/www.instagram.com\/jmeijide\/","https:\/\/www.linkedin.com\/in\/jorge-meijide-toms-ab9b9a21\/","https:\/\/x.com\/https:\/\/twitter.com\/jmeijide"],"url":"https:\/\/veredes.es\/blog\/author\/jorge-meijide-tomas\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/23113","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/users\/47"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=23113"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/23113\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/23114"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=23113"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=23113"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=23113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}