{"id":31136,"date":"2013-05-06T06:12:34","date_gmt":"2013-05-06T06:12:34","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=31136"},"modified":"2024-05-06T14:09:30","modified_gmt":"2024-05-06T12:09:30","slug":"todo-tiene-un-comienzo-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/todo-tiene-un-comienzo-jorge-meijide\/","title":{"rendered":"[:es]Todo tiene un comienzo | Jorge Meijide[:gl]Todo ten un comezo | Jorge Meijide[:en]Everything it has a beginning | Jorge Meijide[:]"},"content":{"rendered":"

[:es]

\"Todo<\/a>
La caba\u00f1a primitiva, Marc-Antoine Laugier, 1755.<\/span>
Architecture comes from The Making of a Room, Louis I. Kahn, 1971.<\/span><\/figcaption><\/figure><\/p>\n
Todo tiene un comienzo<\/strong><\/h5>\n

La arquitectura comporta el habitar y el habitar comporta, inexcusablemente, al habitante. Sin \u00e9ste podemos hablar de escultura, de ciertas instalaciones art\u00edsticas o de juegos formales, todos ellos de indiscutible valor propositivo, pero dif\u00edcilmente podemos hablar de arquitectura en su m\u00e1s amplia y extensa expresi\u00f3n. Este habitar conlleva un uso b\u00e1sico, el uso del espacio, el uso de un<\/em> espacio. Un uso asociado a menudo una o varias funciones espec\u00edficas o a otro m\u00e1s indeterminado o cambiante; usos al fin y al cabo.<\/p>\n

Desde la inicial caba\u00f1a primitiva hasta la tumba, pasando por el templo, la casa, la f\u00e1brica o el museo, las distintas funciones o usos que la arquitectura ha recorrido en su historia la han enriquecido y completado y especializado. Como los picos de los pinzones de Darwin, el tiempo, la experiencia y la experimentaci\u00f3n, evoluci\u00f3n a fin de cuentas, han decantado algunas, muchas, soluciones arquitect\u00f3nicas, otras en cambio son carne de ca\u00f1\u00f3n de una continua e imparable evoluci\u00f3n que a veces se torna en re-voluci\u00f3n. La vivienda es una de ellas.<\/p>\n

Tan cambiante como conservadora, la vivienda ha sufrido m\u00faltiples cambios a lo largo de su historia, algunos muy necesarios debidos a las nuevas condiciones sociales y econ\u00f3micas, como los impulsados por la revoluci\u00f3n industrial, y otros debidos al estancamiento heredado y a las nuevas vanguardias del siglo XX, como los surgidos al amparo del Movimiento Moderno, tantas veces resucitado como enterrado. La vivienda es el paradigma del habitar.<\/p>\n

Se habita el espacio, el espacio ocupado y por reducci\u00f3n a su \u201cpart\u00edcula elemental\u201d, se habitan las estancias, las habitaciones. Dec\u00eda Kahn<\/a>, como me gusta recordar, que la arquitectura comienza con la habitaci\u00f3n, o m\u00e1s bien haciendo -construyendo- una habitaci\u00f3n. La habitaci\u00f3n debe estar pues definida, construida. Debe ser espacio contenido y, como en el conocido dibujo de Kahn, con habitantes us\u00e1ndola, habit\u00e1ndola. En su boceto de 1971 aparecen dibujadas dos personas sentadas, hablando frente a frente al lado de una gran ventana –la luz<\/em>– con un hogar encendido –el fuego<\/em>– bajo una c\u00fapula nervada –la estructura<\/em>-. Tenemos pues en la habitaci\u00f3n la luz, que define el espacio y ayuda a percibirlo, Kahn dec\u00eda que<\/p>\n

\n

\u201cuna habitaci\u00f3n sin luz natural no es una habitaci\u00f3n\u201d<\/em><\/p>\n<\/blockquote>\n

y luz a trav\u00e9s de una ventana, una gran ventana, un hueco que establece tanto la diferencia como la relaci\u00f3n entre interior y exterior, separando m\u00e1s que uniendo uno del otro. Tenemos tambi\u00e9n el fuego, que ofrece la comodidad de la habitabilidad, elemento primitivo en torno al que reunirse y que nos retrotrae a la imagen de una caba\u00f1a primigenia construida para cobijar una comunidad y proteger el necesario y preciado fuego. Y por \u00faltimo contamos con una estructura, que construye el espacio material y lo contiene en su interior, y que mejor para ello que el espacio contenido bajo una c\u00fapula, ep\u00edtome del espacio central.<\/p>\n

Kahn elige con cuidado sus im\u00e1genes y sus palabras, todos los elementos b\u00e1sicos de la arquitectura quedan representados en el dibujo. Sobre \u00e9l escribe a modo de t\u00edtulo la lapidaria y conocida frase<\/a>:<\/p>\n

\n

\u201cArchitecture comes from The Making of a Room\u201d<\/em>,<\/p>\n<\/blockquote>\n

dejando claro su ideario, basta con recorrer su arquitectura para confirmarlo. Pero Kahn tambi\u00e9n escribe otras cosas en el mismo, bajo el dibujo, y separando intencionadamente la palabra habitaci\u00f3n de la siguiente l\u00ednea, escribe:<\/p>\n

\n

\u201cThe Room is The Place of the mind\u201d<\/em>,<\/p>\n<\/blockquote>\n

la habitaci\u00f3n es el lugar de la mente. Si arriba Kahn nos inicia el origen de la arquitectura en la habitaci\u00f3n, abajo nos relaciona \u00e9sta con el hombre. La mente del habitante tiene tambi\u00e9n su alojamiento en la estancia. La habitaci\u00f3n requiere, necesita, la vida del habitante, pero tambi\u00e9n necesita de la percepci\u00f3n de \u00e9ste hacia ella. La estancia se convierte as\u00ed tambi\u00e9n en una construcci\u00f3n para la mente, siendo \u00e9sta la que no s\u00f3lo la habita sino tambi\u00e9n la que la significa. La relaci\u00f3n bidireccional enriquece a ambos.<\/p>\n

Dos siglos antes, a mediados del XVIII, en 1752 -el mismo a\u00f1o en el que Benjamin Franklin realiza su famoso experimento con la cometa y la llave descubriendo la naturaleza de la electricidad en los rayos y abriendo as\u00ed un incipiente camino hacia la luz artificial; no en vano estamos en El Siglo de las Luces que, a la luz clarificadora de la raz\u00f3n, iluminar\u00e1 las oscuridades en las que la humanidad habr\u00eda ca\u00eddo en los siglos anteriores- Marc-Antoine Laugier<\/a>, el abate Laugier, publica su conocido<\/p>\n

\n

\u201c<\/em>Essai sur l\u2019architecture\u201d.<\/em><\/p>\n<\/blockquote>\n

En el ensayo el jesuita -m\u00e1s tarde benedictino- establece el origen de la arquitectura en una buc\u00f3lica, pastoral e id\u00edlica caba\u00f1a primitiva -el grabado no parece hasta 1775 en la segunda edici\u00f3n- surgida en base a la raz\u00f3n. El texto se convierte enseguida en la teor\u00eda arquitect\u00f3nica de la Ilustraci\u00f3n en el que, a diferencia de Vitruvio, y otros tratadistas cl\u00e1sicos, se establece una relaci\u00f3n con los principios naturales en vez de la imitaci\u00f3n de modelos.<\/p>\n

En la caba\u00f1a<\/a> primitiva de Laugier estructura y construcci\u00f3n se funden, se con-funden en medio de un sistema racional de pilares, vigas y cubierta, correspondientes a columnas, entablamento y front\u00f3n -estructura cl\u00e1sica donde las halla- todo pasado por el tamiz del dibujo naturalista en el que los elementos constructivos son troncos y ramas de \u00e1rbol. El resto, muros, puertas o ventanas, necesarios para la habitabilidad, <\/em>quedan descartados del modelo original por innecesarios<\/em>. Son innecesarios porque lo son en la arquitectura del templo. La caba\u00f1a as\u00ed mostrada, limpia de accesorios muestra la verdad pura de la arquitectura. El templo.<\/p>\n

La arquitectura original, definida as\u00ed por su caba\u00f1a primitiva es, ni m\u00e1s ni menos, que la casa, la morada, la habitaci\u00f3n de un dios.<\/p>\n

\u00bfCu\u00e1l si no puede ser el origen de la arquitectura? <\/strong><\/h5>\n

Seg\u00fan el abate, cual m\u00e1s noble y m\u00e1s l\u00f3gico para los antiguos primitivos que la casa de un dios. El hombre, la humanidad entera, ahora iluminada por el pensamiento l\u00f3gico-racional, encuentra el origen de su morada en la deshabitada, o despojada, desalojada, estancia de un dios. El hombre ya no precisa de los dioses, ocupa el lugar de \u00e9stos y lo habita. Del templo a la casa.<\/p>\n

Kahn y Laugier se unen en el ideal del concepto de morada. La casa de la mente y la casa de un dios. Pero ambos saben tambi\u00e9n que es la casa del hombre y que en ellas se ha de vivir ya que la arquitectura comporta el habitar, y el habitar comporta, inexcusablemente, al habitante, y porque sin \u00e9ste no existe aquella.<\/p>\n

jorge meijide . arquitecto
\na coru\u00f1a. mayo de 2013<\/p>\n

[:en]

\"\"<\/a>
La caba\u00f1a primitiva, Marc-Antoine Laugier, 1755.<\/span>
Architecture comes from The Making of a Room, Louis I. Kahn, 1971.<\/span><\/figcaption><\/figure><\/p>\n

Everything it has a beginning<\/strong><\/p>\n

The architecture endures to live and to live endures, inexcusably, the inhabitant. Without this one we can speak about sculpture, about certain artistic facilities or about formal games, all of them of indisputable value propositivo, but difficultly we can speak about architecture in his more wide and extensive expression. This one to live carries a basic use, the use of the space, the use of a space. An associate use often one or several specific functions or to more indeterminate or changeable other one; uses in the end.<\/p>\n

From the initial primitive cabin up to the tomb, happening for the temple, the house, the factory or the museum, the different functions or uses that the architecture has crossed in his history her have enriched and completed and specialized. As the beaks of Darwin’s pumphandles, the time, the experience and the experimentation, evolution ultimately, some of them have praised, many, architectural solutions, others on the other hand are a cannon fodder of a continuous and unstoppable evolution that sometimes returns in revolution. The housing is one of them.<\/p>\n

So changeable as conservative, the housing has suffered multiple changes along his history, very necessary some owed to the new social and economic conditions, since stimulated by the industrial revolution, and others owed to the inherited stagnation and to the new forefronts of the 20th century, as the arisen ones under the protection of the Modern Movement, so often revived like buried. The housing is the paradigm of to live.<\/p>\n

The space, the busy space is lived and for reduction to his \u201c<\/em>elementary particle\u201d<\/em>, the stays, the rooms are lived. Kahn was saying, since I like to remember, that the architecture begins with the room, or rather doing – constructing – a room.\u00a0The room must be so definite, constructed. It is necessary to to be a space contained and, since in the acquaintance I draw of Kahn, with inhabitants using her, living it. In his sketch of 1971 drawn two seated persons appear, speaking opposite to opposite to the side of a great window – the ligh<\/em>t – with a flushed home – the fire<\/em> – under a dome nervada – the structure<\/em>-. We have so in the room the light, which defines the space and help to perceiving it-Kahn he was saying that \u201c<\/em>a room without natural light is not a room\u201d – and light across a window, a great window, a hollow that establishes both the difference and the relation between interior and exterior, separating more that joining one of other one.\u00a0We have also the fire, which offers the comfort of the habitability, primitive element concerning which to meet and that carries us back to the image of an original cabin constructed to shelter a community and to protect the necessary and valued fire. And finally we rely on a structure, that he constructs the material space and contains it in his interior, and that better for it that the space contained under a dome, epitome of the central space.<\/p>\n

Kahn chooses carefully his images and his words, all the basic elements of the architecture remain represented in the drawing. On him he writes like title the lapidary and known phrase: \u201cArchitecture comes from The Making of a Room\u201d<\/em>, clarifying his ideology, it is enough to cross his architecture to confirm it. Pero Kahn also writes other things in same, under the drawing, and separating meaningfully the word room of the following line, he writes: \u201cThe Room is The Place of the mind\u201d<\/em>, the room is the place of the mind. If above Kahn us initiates the origin of the architecture in the room, below this one relates us to the man. The mind of the inhabitant has also his housing in the stay. The room needs, needs, the life of the inhabitant, but also he needs from the perception from this one towards her. The stay turns this way also into a construction for the mind, being this one the one that not only lives but also the one that means it. The bidirectional relation enriches both.<\/p>\n

Two centuries before, in the middle of the XVIIIth, in 1752 – the same year in which Benjamin Franklin realizes his famous experiment with her comet and the key discovering the nature of the electricity in the beams and opening this way an incipient way towards the artificial light; not uselessly we are in The Century of the Lights that, to the light clarificadora of the reason, it will illuminate the darknesses in which the humanity would have fallen in the previous centuries – Marc-Antoine Laugier, it brings down Laugier, publishes his acquaintance \u201cEssai sur l\u2019architecture\u201d<\/em>. In the test the Jesuit – later late Benedictine – it establishes the origin of the architecture in a bucolic, pastoral and idyllic primitive cabin – the engraving does not seem until 1775 in the second edition – arisen on the basis of the reason. The text turns immediately into the architectural theory of the Illustration into the one that, unlike Vitruvio, and other classic commentators, establishes a relation with the natural beginning instead of the imitation of models.<\/p>\n

In Laugier’s primitive cabin he structures and construction they fuse, get confused in the middle of a rational system of props, girders and cover, correspondents to columns, entablamento and fronton – classic structure where all past finds them – for the sieve of the naturalistic drawing in which the constructive elements are trunks and branches of tree. The rest, walls, doors or windows, necessary for the habitability<\/em>, remain rejected the original model for unnecessary<\/em>. They are unnecessary because they it are in the architecture of the temple. The cabin like that showed, clean of accessories shows the pure truth of the architecture. The temple.<\/p>\n

The original, defined like that architecture for his primitive cabin is, not more not less, that the house, the mansion, the room of a god. Which if it cannot be the origin of the architecture? As there brings down, more noble and more logical which for the former primitive ones that the house of a god. The man, the humanity informs, now illuminated by the logical – rational thought, finds the origin of his mansion in the uninhabited one, or cleared, removed, stay of a god. The man already is not necessary the gods, occupies the place of these and lives it. From the temple to the house.<\/p>\n

The original, defined like that architecture for his primitive cabin is, not more not less, that the house, the mansion, the room of a god. Which if it cannot be the origin of the architecture? As there brings down, more noble and more logical which for the former primitive ones that the house of a god. The man, the humanity informs, now illuminated by the logical – rational thought, finds the origin of his mansion in the uninhabited one, or cleared, removed, stay of a god. The man already is not necessary the gods, occupies the place of these and lives it. From the temple to the house.<\/p>\n

Kahn and Laugier join in the ideal one of the concept of mansion. The house of the mind and the house of a god. But both know also that it is the house of the man and that in them it has to be lived since the architecture endures to live, and to live endures, inexcusably, the inhabitant, and because without this one that one does not exist.<\/p>\n

jorge meijide . architect<\/p>\n

a coru\u00f1a. may 2013<\/p>\n

[:gl]

\"\"<\/a>
La caba\u00f1a primitiva, Marc-Antoine Laugier, 1755.<\/span>
Architecture comes from The Making of a Room, Louis I. Kahn, 1971.<\/span><\/figcaption><\/figure><\/p>\n

Todo ten un comezo<\/strong><\/p>\n

A arquitectura comporta o habitar e o habitar comporta, inexcusablemente, ao habitante. Sen este podemos falar de escultura, de certas instalaci\u00f3ns art\u00edsticas ou de xogos formais, todos eles de indiscutible valor propositivo, pero dif\u00edcilmente podemos falar de arquitectura na s\u00faa m\u00e1is ampla e extensa expresi\u00f3n. Este habitar conlleva un uso b\u00e1sico, o uso do espazo, o uso dun<\/em> espazo. Un uso asociado a mi\u00fado unha ou varias funci\u00f3ns espec\u00edficas ou a outro m\u00e1is indeterminado ou cambiante; usos \u00e1 fin e ao cabo.<\/p>\n

Desde a inicial cabana primitiva ata a tumba, pasando polo templo, a casa, a f\u00e1brica ou o museo, as distintas funci\u00f3ns ou usos que a arquitectura percorreu na s\u00faa historia enriquec\u00e9rona e completado e especializado. Como os picos dos pinzones de Darwin, o tempo, a experiencia e a experimentaci\u00f3n, evoluci\u00f3n a final de contas, han decantado algunhas, moitas, soluci\u00f3ns arquitect\u00f3nicas, outras en cambio son carne de can\u00f3n dunha continua e imparable evoluci\u00f3n que \u00e1s veces se torna en re-voluci\u00f3n. A vivenda \u00e9 unha delas.<\/p>\n

Tan cambiante como conservadora, a vivenda sufriu m\u00faltiples cambios ao longo da s\u00faa historia, alg\u00fans moi necesarios debidos \u00e1s novas condici\u00f3ns sociais e econ\u00f3micas, como os impulsados pola revoluci\u00f3n industrial, e outros debidos ao estancamento herdado e \u00e1s novas vanguardias do s\u00e9culo XX, como os xurdidos ao amparo do Movemento Moderno, tantas veces resucitado como enterrado. A vivenda \u00e9 o paradigma do habitar.<\/p>\n

Hab\u00edtase o espazo, o espazo ocupado e por reduci\u00f3n \u00e1 s\u00faa \u201cpart\u00edcula elemental\u201d, hab\u00edtanse as estancias, as habitaci\u00f3ns. Dic\u00eda Kahn, como me gusta recordar, que a arquitectura comeza coa habitaci\u00f3n, ou m\u00e1is ben facendo -constru\u00edndo- unha habitaci\u00f3n. A habitaci\u00f3n debe estar pois definida, constru\u00edda. Debe ser espazo contido e, como no co\u00f1ecido debuxo de Kahn, con habitantes us\u00e1ndoa, habit\u00e1ndoa. No seu boceto de 1971 aparecen debuxadas d\u00faas persoas sentadas, falando fronte a fronte \u00e1 beira dunha gran fiestra –a luz<\/em>– cun fogar acendido –o lume<\/em>– baixo unha c\u00fapula nervada –a estrutura<\/em>-. Temos pois na habitaci\u00f3n a luz, que define o espazo e axuda a percibilo -Kahn dic\u00eda que \u201cunha habitaci\u00f3n sen luz natural non \u00e9 unha habitaci\u00f3n\u201d- e luz a trav\u00e9s dunha fiestra, unha gran fiestra, un oco que establece tanto a diferenza como a relaci\u00f3n entre interior e exterior, separando m\u00e1is que unindo un do outro. Temos tam\u00e9n o lume, que ofrece a comodidade da habitabilidad, elemento primitivo en torno ao que reunirse e que nos retrotrae \u00e1 imaxe dunha cabana primigenia constru\u00edda para acubillar unha comunidade e protexer o necesario e preciar lume. E para rematar contamos cunha estrutura, que constr\u00fae o espazo material e conteno no seu interior, e que mellor para iso que o espazo contido baixo unha c\u00fapula, ep\u00edtome do espazo central.<\/p>\n

Kahn elixe con coidado as s\u00faas imaxes e as s\u00faas palabras, todos os elementos b\u00e1sicos da arquitectura quedan representados no debuxo. Sobre el escribe a modo de t\u00edtulo a lapidaria e co\u00f1ecida frase: \u201cArchitecture comes from The Making of a Room\u201d<\/em>, deixando claro o seu ideario, basta con percorrer a s\u00faa arquitectura para confirmalo. Pero Kahn tam\u00e9n escribe outras cousas no mesmo, baixo o debuxo, e separando intencionadamente a palabra habitaci\u00f3n da seguinte li\u00f1a, escribe: \u201cThe Room is The Place of the mind\u201d<\/em>, a habitaci\u00f3n \u00e9 o lugar da mente. Si arriba Kahn in\u00edcianos a orixe da arquitectura na habitaci\u00f3n, abaixo relaci\u00f3nanos esta con o home. A mente do habitante ten tam\u00e9n o seu aloxamento na estancia. A habitaci\u00f3n require, necesita, a vida do habitante, pero tam\u00e9n necesita da percepci\u00f3n deste cara a ela. A estancia conv\u00e9rtese as\u00ed tam\u00e9n nunha construci\u00f3n para a mente, sendo esta a que non s\u00f3 a habita sen\u00f3n tam\u00e9n a que a significa. A relaci\u00f3n bidireccional enriquece a ambos.<\/p>\n

Dous s\u00e9culos antes, a mediados do XVIII, en 1752 -o mesmo ano no que Benjamin Franklin realiza o seu famoso experimento con com\u00e9taa e a chave descubrindo a natureza da electricidade nos raios e abrindo as\u00ed un incipiente cami\u00f1o cara \u00e1 luz artificial; non en balde estamos no S\u00e9culo das Luces que, \u00e1 luz clarificadora da raz\u00f3n, iluminar\u00e1 as escuridades nas que a humanidade caer\u00eda nos s\u00e9culos anteriores- Marc-Antoine Laugier, o abate Laugier, publica o seu co\u00f1ecido \u201cEssai sur l\u2019architecture\u201d<\/em>. No ensaio o jesuita -m\u00e1is tarde benedictino- establece a orixe da arquitectura nunha buc\u00f3lica, pastoral e id\u00edlica cabana primitiva -o gravado non parece ata 1775 na segunda edici\u00f3n- xurdida en base \u00e1 raz\u00f3n. O texto conv\u00e9rtese enseguida na teor\u00eda arquitect\u00f3nica da Ilustraci\u00f3n no que, a diferenza de Vitruvio, e outros tratadistas cl\u00e1sicos, establ\u00e9cese unha relaci\u00f3n cos principios naturais no canto da imitaci\u00f3n de modelos.<\/p>\n

Na cabana primitiva de Laugier estrutura e construci\u00f3n f\u00fandense, se con-funden no medio dun sistema racional de alicerces, vigas e cuberta, correspondentes a columnas, entablamento e front\u00f3n -estrutura cl\u00e1sica onde as acha- todo pasado polo tamiz do debuxo naturalista no que os elementos constructivos son troncos e ramas de \u00e1rbore. O resto, muros, portas ou fiestras, necesarios para a habitabilidad<\/em>, quedan descartados do modelo orixinal por innecesarios<\/em>. Son innecesarios porque o son na arquitectura do templo. A cabana as\u00ed mostrada, limpa de accesorios mostra a verdade pura da arquitectura. O templo.<\/p>\n

A arquitectura orixinal, definida as\u00ed pola s\u00faa cabana primitiva \u00e9, nin m\u00e1is nin menos, que a casa, a morada, a habitaci\u00f3n dun deus. Cal si non pode ser a orixe da arquitectura? Segundo o abate, cal m\u00e1is nobre e m\u00e1is l\u00f3xico para os antigos primitivos que a casa dun deus. O home, a humanidade enteira, agora iluminada polo pensamento l\u00f3xico-racional, atopa a orixe da s\u00faa morada na deshabitada, ou desposu\u00edda, desalojada, estancia dun deus. O home xa non precisa dos deuses, ocupa o lugar destes e hab\u00edtao. Do templo \u00e1 casa.<\/p>\n

Kahn e Laugier \u00fanense no ideal do concepto de morada. A casa da mente e a casa dun deus. Pero ambos saben tam\u00e9n que \u00e9 a casa do home e que nelas se ha de vivir xa que a arquitectura comporta o habitar, e o habitar comporta, inexcusablemente, ao habitante, e porque sen este non existe aquela.<\/p>\n

jorge meijide . arquitecto<\/p>\n

a coru\u00f1a. maio de 2013<\/p>\n

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

[:es] Todo tiene un comienzo La arquitectura comporta el habitar y el habitar comporta, inexcusablemente, al habitante. Sin \u00e9ste podemos hablar de escultura, de ciertas instalaciones art\u00edsticas o de juegos formales, todos ellos de indiscutible valor propositivo, pero dif\u00edcilmente podemos hablar de arquitectura en su m\u00e1s amplia y extensa expresi\u00f3n. Este habitar conlleva un uso […]<\/p>\n","protected":false},"author":47,"featured_media":45229,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6474,7644,1973,352,424,513,659,3462,3104,7645,898,5271,1021,5771],"class_list":["post-31136","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-articulo","tag-benjamin-franklin","tag-cabana","tag-concepto","tag-dibujo","tag-espacio-interior","tag-habitar","tag-jorge-meijide","tag-louis-i-kahn","tag-marc-antoine-laugier","tag-movimiento-moderno","tag-origen","tag-pensamiento","tag-vitruvio"],"yoast_head":"\nTodo tiene un comienzo | Jorge Meijide<\/title>\n<meta name=\"description\" content=\"Todo tiene un comienzo\" \/>\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\/todo-tiene-un-comienzo-jorge-meijide\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Todo tiene un comienzo | Jorge Meijide\" \/>\n<meta property=\"og:description\" content=\"Todo tiene un comienzo\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/todo-tiene-un-comienzo-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=\"2013-05-06T06:12:34+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-05-06T12:09:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/05\/Kahn-room.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"310\" \/>\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=\"6 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/todo-tiene-un-comienzo-jorge-meijide\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/todo-tiene-un-comienzo-jorge-meijide\\\/\"},\"author\":{\"name\":\"Jorge Meijide Tom\u00e1s\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/f114c5ff977108aaf60488426430427d\"},\"headline\":\"[:es]Todo tiene un comienzo | Jorge Meijide[:gl]Todo ten un comezo | Jorge Meijide[:en]Everything it has a beginning | Jorge Meijide[:]\",\"datePublished\":\"2013-05-06T06:12:34+00:00\",\"dateModified\":\"2024-05-06T12:09:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/todo-tiene-un-comienzo-jorge-meijide\\\/\"},\"wordCount\":3624,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/todo-tiene-un-comienzo-jorge-meijide\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2013\\\/05\\\/Kahn-room.jpg\",\"keywords\":[\"art\u00edculo\",\"Benjamin Franklin\",\"caba\u00f1a\",\"concepto\",\"dibujo\",\"espacio interior\",\"habitar\",\"Jorge Meijide\",\"Louis I. 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