{"id":32571,"date":"2013-06-28T07:05:32","date_gmt":"2013-06-28T07:05:32","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=32571"},"modified":"2023-04-21T20:42:41","modified_gmt":"2023-04-21T18:42:41","slug":"asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\/","title":{"rendered":"[:es]Asplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid[:gl]Asplund\u2026 e o tapiz de G\u00f6teborg | Rodrigo Almonacid[:en]Asplund \u2026 and G\u00f6teborg’s tapestry | Rodrigo Almonacid[:]"},"content":{"rendered":"

[:es]

\"Asplund\u2026<\/a>
Boceto de los tapices del Ayuntamiento de G\u00f6teborg, 1936-37<\/span><\/figcaption><\/figure><\/p>\n

Al terminar el proyecto para la ampliaci\u00f3n del Ayuntamiento de G\u00f6teborg<\/strong> (Suecia, 1935-37), E. G. Asplund firm\u00f3 su trabajo.<\/a> No era solo cuesti\u00f3n de firmar los planos, no. Firm\u00f3 literalmente su obra. Hacerlo hoy nos podr\u00eda parecer un ejercicio de auto-bombo, pero creo que hacerlo tal y como lo hizo el maestro de la Modernidad sueca no lo es en absoluto. Es un acto de gratitud, acaso de satisfacci\u00f3n personal, pero siempre un ejercicio de Arquitectura, de \u00e9sos por los que se distingue la intervenci\u00f3n de un brillante arquitecto como lo fue \u00e9l.<\/p>\n

Entre sus bocetos para el equipamiento interior de los nuevos juzgados anexos al antiguo R\u00e5dhus<\/em> se encuentra \u00e9ste de la imagen que nos muestra una colecci\u00f3n de iniciales diseminadas por un espacio recuadrado, el futuro tapiz<\/strong>. La fecha ocupa la esquina superior izquierda se\u00f1alando el tiempo, esa coordenada fija que discreta pero solemnemente est\u00e1 por encima de cualquier otro signo.<\/p>\n

La habitual tr\u00edada de agentes de toda obra (promotor, constructor y arquitecto) son la excusa que permite a su arquitecto-dise\u00f1ador resolver la disposici\u00f3n correcta de las may\u00fasculas, agrup\u00e1ndolas en torno a tres s\u00edmbolos<\/strong>: un mazo distintivo del juez; una plomada y una paleta por el alba\u00f1il; y un comp\u00e1s y una plantilla de curvas, herramientas caracter\u00edsticas del arquitecto.<\/p>\n

\"Asplund\u2026<\/a>
Tapiz de los juzgados del Ayuntamiento de G\u00f6teborg, 1937<\/span><\/figcaption><\/figure>\n

Hay ligeros cambios entre la versi\u00f3n proyectada del tapiz y la finalmente tejida en 1937; la m\u00e1s significativa resulta los atributos del arquitecto, que definitivamente ser\u00edan reemplazado por un ojo atento, en alusi\u00f3n a la funci\u00f3n de direcci\u00f3n facultativa de las obras. No deja de sorprenderme que, pese a la notoriedad internacional del arquitecto, las iniciales de Asplund son menos relevantes que las de cualquiera de los jueces, e incluso a la par del contratista principal de las obras O.E. (Olle Engkvist) o del jefe de obra G.S. (Gerdt Stendahl).<\/p>\n

El ego del notable arquitecto que, no lo olvidemos, hab\u00eda sido el responsable de presentar en los pa\u00edses n\u00f3rdicos los avances del funcionalismo europeo en la Exposici\u00f3n Internacional de Estocolmo<\/strong> en 1930, no hab\u00eda crecido por encima de sus obras, rasgo por el cual me parece siempre digno de admirar, y de lo que muchos starchitects<\/em><\/strong> hoy deber\u00edan tomar nota.<\/p>\n

Cobran todo el sentido aquellas palabras suyas en las que apelaba a la humildad del arquitecto diciendo que:<\/p>\n

\n

\u201cUn edificio de viviendas no tiene que verse. Para un arquitecto que proyecta edificios de viviendas, la mejor manera de demostrar su capacidad art\u00edstica es subordin\u00e1ndose discretamente. Para \u00e9l ha de ser m\u00e1s importante analizar los edificios que rodean el solar que buscar bonitas im\u00e1genes en libros de grabados y fotograf\u00edas.\u201d 1<\/sup><\/sup> <\/em><\/p>\n<\/blockquote>\n

Tengo claro que en nuestro ejercicio profesional y en nuestras Escuelas de Arquitectura deber\u00edamos reflexionar, y mucho, acerca de estas sensatas palabras del maestro sueco. Quiz\u00e1 as\u00ed la sociedad empezar\u00eda reconocer el papel del arquitecto como el m\u00e1s cualificado int\u00e9rprete del lugar a la hora de intervenir en \u00e9l<\/strong>. \u00a0Como el mismo Asplund escrib\u00eda en el citado texto,<\/p>\n

\n

\u201cSe olvida que es m\u00e1s importante seguir el estilo del lugar que el estilo del tiempo\u201d<\/em><\/strong>,<\/p>\n<\/blockquote>\n

al respecto de la necesidad de discreci\u00f3n y correcci\u00f3n que precisa todo proyecto de arquitectura contemplado en un contexto m\u00e1s amplio como un escenario urbano o un entorno natural.\u00a0Y, nosotros, autores de las obras, seguramente nos sentir\u00edamos tan satisfechos de la labor que nos ocupa que, como Asplund, acabar\u00edamos firmando orgullosos nuestras propias obras, en lugar de esconder\/renegar de su autor\u00eda, como tantas veces ocurre para desgracia y frustraci\u00f3n del arquitecto.<\/p>\n

\n

\u00a1\u00a1\u00a1 Hagamos tapices, hagamos ARQUITECTURA !!!<\/strong><\/p>\n<\/blockquote>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doctor arquitecto
\nvalladolid. junio 2013<\/p>\n

Notas:<\/strong><\/h6>\n

1<\/sup><\/sup> Cfr. ASPLUND, E.G.: \u201cPeligros arquitect\u00f3nicos actuales para Estocolmo: los edificios de apartamentos\u201d. Teknisk Tidskrift A<\/em>, 1916. (Traducido en: Erik Gunnar Asplund. Escritos 1906\/1940<\/em>. El Croquis Editorial, El Escorial, 2002).<\/p>\n

\n

Im\u00e1genes tomadas de:<\/p>\n

– L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: La arquitectura de Gunnar Asplund<\/em>. Fundaci\u00f3n Caja de Arquitectos. Colecci\u00f3n \u201cArqu\u00edthesis\u201d n\u00ba 11. 2002 (boceto del tapiz, 1935-36).
\n– VV.AA.:\u00a0 Asplund<\/em>. Ed. Gustavo Gili. Barcelona, 2\u00aa edici\u00f3n, 1997 (foto tapiz colgado en una sala de vistas de los juzgados)<\/p>\n<\/div>\n

[:en]

\"\"<\/a>
Sketch of the tapestries of G\u00f6teborg’s Town hall, 1936-37<\/span><\/figcaption><\/figure><\/p>\n

On having finished the project for the extension of G\u00f6teborg’s Town hall<\/strong> (Sweden, 1935-37), E. G. Asplund signed his work. It was not alone a question of signing the planes, not. He signed literally his work. To make it today might to us look like an exercise of self-praise, but I believe that to do it as it was done by the teacher of the Swedish Modernity it it is not by no means. It is an act of gratitude, chance of personal satisfaction, but always an exercise of Architecture, of those by which there is distinguished the intervention of a brilliant architect since it it was he.<\/p>\n

Between his sketches for the interior equipment of the new attached courts this one finds the former R\u00e5dhus of the image that shows us a collection of initials spread by a resquare space, the future tapestry<\/strong>. Date it occupies the top left corner indicating the time, this coordinate fixed that discreet but solemnly it is over any other sign. The agents’ habitual triad of any work (promoter, builder and architect) they are the excuse that allows to his architect – designer to solve the correct disposition of the capital letters, grouping them concerning three symbols<\/strong>: a distinctive mallet of the judge; a plummet and a palette for the bricklayer; and a compass and a French curve stencil, tools typical of the architect.<\/p>\n

\"\"<\/a>
Tapestry of the courts of G\u00f6teborg’s Town hall, 1937<\/span><\/figcaption><\/figure>\n

There are light changes between the version projected of the tapestry and the finally woven one in 1937; the most significant turns out to be the attributes of the architect, which definitively would be replaced by an attentive eye, in allusion to the function of optional direction of the works. It does not stop surprising me that, in spite of the international reputation of the architect, Asplund’s initials are less relevant than them of any of the judges, and even at par of the principal contractor of the works O.E. (Olle Engkvist) or of the chief of work G.S. (Gerdt Stendahl). The ego of the notable architect that, we it do not forget, had been the person in charge of presenting in the northern countries the advances of the European funcionalism in the International Exhibition of Stockholm<\/strong> in 1930, had not grown over his works, feature for which it seems to me to be always worth admiring, and of what many\u00a0starchitects<\/em><\/strong> today should take note.<\/p>\n

They receive the whole sense those his words in which it was appealing to the humility of the architect saying that:<\/p>\n

\n

\u201cA building of housings does not have that it turns. For an architect who projects buildings of housings, the best way of demonstrating his artistic capacity one is subordinating discreetly. For him it has to be more important analyze the buildings than surround the lot that to look for nice images in books of engravings and photographies.\u201d 1<\/sup><\/sup> <\/em><\/p>\n<\/blockquote>\n

I have clear that in our professional exercise and in our Schools of Architecture we should think, and much, it brings over of these sensible words of the Swedish teacher. Probably this way the company would begin to recognize the paper of the architect as the most qualified local interpreter at the moment of intervening in him<\/strong>. Since the same Asplund was writing in the mentioned text,\u00a0\u201c<\/em><\/strong>one forgets that it is more important to follow the local style that the style of the time\u201d<\/em><\/strong><\/strong>, with regard to the need of discretion and correction that needs any project of architecture contemplated in a more wide context as an urban scene or a natural environment. And, we, authors of the works, surely would feel so satisfied of the labor that occupies us that, as Asplund, we would end up by signing proud our own works, instead of hiding \/ denying of his authorship, since so often it happens for misfortune and frustration of the architect. Let’s do tapestries, let’s do ARCHITECTURE!!!<\/p>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doctor architect<\/p>\n

valladolid. juny 2013<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup> Cfr. <\/em>ASPLUND, E.G.: \u201cPeligros arquitect\u00f3nicos actuales para Estocolmo: los edificios de apartamentos\u201d. Teknisk Tidskrift A<\/em>, 1916. (Traducido en: Erik Gunnar Asplund. Escritos 1906\/1940<\/em>. El Croquis Editorial, El Escorial, 2002).<\/p>\n

\n

Images taken of:<\/p>\n

– L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: La arquitectura de Gunnar Asplund<\/em>. Fundaci\u00f3n Caja de Arquitectos. Colecci\u00f3n \u201cArqu\u00edthesis\u201d n\u00ba 11. 2002 (boceto del tapiz, 1935-36).<\/p>\n

– VV.AA.: Asplund<\/em>. Ed. Gustavo Gili. Barcelona, 2\u00aa edici\u00f3n, 1997 (foto tapiz colgado en una sala de vistas de los juzgados)<\/p>\n<\/div>\n

[:gl]

\"\"<\/a>
Boceto dos tapices do Concello de G\u00f6teborg, 1936-37<\/span><\/figcaption><\/figure><\/p>\n

Ao terminar o proxecto para a ampliaci\u00f3n do Concello de G\u00f6teborg<\/strong> (Suecia, 1935-37), E. G. Asplund asinou o seu traballo. Non era s\u00f3 cuesti\u00f3n de asinar os planos, non. Asinou literalmente a s\u00faa obra. Facelo hoxe poder\u00edanos parecer un exercicio de auto-bombo, pero creo que facelo tal e como o fixo o mestre da Modernidad sueca non o \u00e9 en absoluto. \u00c9 un acto de gratitud, seica de satisfacci\u00f3n persoal, pero sempre un exercicio de Arquitectura, deses polos que se distingue a intervenci\u00f3n dun brillante arquitecto como o foi el.<\/p>\n

Entre os seus bocetos para o equipamiento interior dos novos xulgados anexos ao antigo R\u00e5dhus at\u00f3pase este de a imaxe que nos mostra unha colecci\u00f3n de iniciais diseminadas por un espazo recuadrado, o futuro tapiz<\/strong>. A data ocupa a esquina superior esquerda sinalando o tempo, esa coordenada fixa que discreta pero solemnemente est\u00e1 por encima de calquera outro signo. A habitual tr\u00edada de axentes de toda obra (promotor, constructor e arquitecto) son a escusa que permite ao seu arquitecto-dise\u00f1ador resolver a disposici\u00f3n correcta das may\u00fasculas, agrup\u00e1ndoas en torno a tres s\u00edmbolos<\/strong>: un mazo distintivo do xu\u00edz; unha plomada e unha paleta polo alba\u00f1il; e un comp\u00e1s e un persoal de curvas, ferramentas caracter\u00edsticas do arquitecto.<\/p>\n

\"\"<\/a>
Tapiz dos xulgados do concello de G\u00f6teborg, 1937<\/span><\/figcaption><\/figure>\n

Hay ligeros cambios entre la versi\u00f3n proyectada del tapiz y la finalmente tejida en 1937; la m\u00e1s significativa resulta los atributos del arquitecto, que definitivamente ser\u00edan reemplazado por un ojo atento, en alusi\u00f3n a la funci\u00f3n de direcci\u00f3n facultativa de las obras. No deja de sorprenderme que, pese a la notoriedad internacional del arquitecto, las iniciales de Asplund son menos relevantes que las de cualquiera de los jueces, e incluso a la par del contratista principal de las obras O.E. (Olle Engkvist) o del jefe de obra G.S. (Gerdt Stendahl). El ego del notable arquitecto que, no lo olvidemos, hab\u00eda sido el responsable de presentar en los pa\u00edses n\u00f3rdicos los avances del funcionalismo europeo en la Exposici\u00f3n Internacional de Estocolmo<\/strong> en 1930, no hab\u00eda crecido por encima de sus obras, rasgo por el cual me parece siempre digno de admirar, y de lo que muchos starchitects<\/em><\/strong> hoy deber\u00edan tomar nota.<\/p>\n

Cobran todo o sentido aquelas palabras s\u00faas nas que apelaba \u00e1 humildade do arquitecto dicindo que:<\/p>\n

\n

\u201cUn edificio de vivendas non ten que verse. Para un arquitecto que proxecta edificios de vivendas, o mellor xeito de demostrar a s\u00faa capacidade art\u00edstica \u00e9 subordin\u00e1ndose discretamente. Para el ha de ser m\u00e1is importante analizar os edificios que rodean o soar que buscar bonitas imaxes en libros de gravados e fotograf\u00edas.\u201d 1<\/sup><\/sup> <\/em><\/p>\n<\/blockquote>\n

Te\u00f1o claro que no noso exercicio profesional e nas nosas Escolas de Arquitectura deberiamos reflexionar, e moito, acerca destas sensatas palabras do mestre sueco. Quizais as\u00ed a sociedade empezar\u00eda reco\u00f1ecer o papel do arquitecto como o m\u00e1is cualificado int\u00e9rprete do lugar \u00e1 hora de intervir nel<\/strong>. Como o mesmo Asplund escrib\u00eda no citado texto, \u201c<\/strong>esqu\u00e9cese que \u00e9 m\u00e1is importante seguir o estilo do lugar que o estilo do tempo\u201d<\/strong><\/strong><\/em>, ao respecto da necesidade de discreci\u00f3n e correcci\u00f3n que precisa todo proxecto de arquitectura contemplado nun contexto m\u00e1is amplo como un escenario urbano ou un \u00e1mbito natural. E, n\u00f3s, autores das obras, seguramente sentiri\u00e1monos tan satisfeitos do labor que nos ocupa que, como Asplund, acabariamos asinando orgullosos nosas propias obras, en lugar de esconder\/renegar da s\u00faa autor\u00eda, como tantas veces acontece para desgracia e frustraci\u00f3n do arquitecto. \u00a1\u00a1\u00a1 Fagamos tapices, fagamos ARQUITECTURA !!!<\/p>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doutor arquitecto<\/p>\n

valladolid. xu\u00f1o 2013<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Cfr. <\/em>ASPLUND, E.G.: \u201cPeligros arquitect\u00f3nicos actuales para Estocolmo: los edificios de apartamentos\u201d. Teknisk Tidskrift A<\/em>, 1916. (Traducido en: Erik Gunnar Asplund. Escritos 1906\/1940<\/em>. El Croquis Editorial, El Escorial, 2002).<\/p>\n

\n

Imaxes tomadas de:<\/p>\n

– L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: La arquitectura de Gunnar Asplund<\/em>. Fundaci\u00f3n Caja de Arquitectos. Colecci\u00f3n \u201cArqu\u00edthesis\u201d n\u00ba 11. 2002 (boceto del tapiz, 1935-36).<\/p>\n

– VV.AA.: Asplund<\/em>. Ed. Gustavo Gili. Barcelona, 2\u00aa edici\u00f3n, 1997 (foto tapiz colgado en una sala de vistas de los juzgados)<\/p>\n<\/div>\n

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

[:es] Al terminar el proyecto para la ampliaci\u00f3n del Ayuntamiento de G\u00f6teborg (Suecia, 1935-37), E. G. Asplund firm\u00f3 su trabajo. No era solo cuesti\u00f3n de firmar los planos, no. Firm\u00f3 literalmente su obra. Hacerlo hoy nos podr\u00eda parecer un ejercicio de auto-bombo, pero creo que hacerlo tal y como lo hizo el maestro de la […]<\/p>\n","protected":false},"author":25,"featured_media":45246,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[8100,8099,147,6818,6786,8102,6821,6808,8103,8105,8101,8106,878,8104,3452,7887],"class_list":["post-32571","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-a-berndtsson","tag-ake-porne","tag-arquitectura-moderna","tag-arquitectura-nordica","tag-arquitectura-sueca","tag-c-a-acking","tag-erik-gunnar-asplund","tag-estocolmo","tag-gerdt-stendahl","tag-goteborg","tag-john-eliasson","tag-jose-manuel-lopez-pelaez","tag-modernidad","tag-olle-engkvist","tag-personaje","tag-rodrigo-almonacid-canseco"],"yoast_head":"\nAsplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Asplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid[:gl]Asplund\u2026 e o tapiz de G\u00f6teborg | Rodrigo Almonacid[:en]Asplund \u2026 and G\u00f6teborg's tapestry | Rodrigo Almonacid[:]\" \/>\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\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Asplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid\" \/>\n<meta property=\"og:description\" content=\"Toda la informaci\u00f3n sobre: [:es]Asplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid[:gl]Asplund\u2026 e o tapiz de G\u00f6teborg | Rodrigo Almonacid[:en]Asplund \u2026 and G\u00f6teborg's tapestry | Rodrigo Almonacid[:]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\/\" \/>\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\/rodrigoalmonacidcanseco\" \/>\n<meta property=\"article:published_time\" content=\"2013-06-28T07:05:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-21T18:42:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/asplund-tapiz-de-juzgados-goteborg-boceto-1936-37-.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"561\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rodrigo Almonacid Canseco\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/ro_almonacid\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rodrigo Almonacid Canseco\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\\\/\"},\"author\":{\"name\":\"Rodrigo Almonacid Canseco\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/2bd6a102123b7b5590e19bfadb88493c\"},\"headline\":\"[:es]Asplund\u2026 y el tapiz de G\u00f6teborg | Rodrigo Almonacid[:gl]Asplund\u2026 e o tapiz de G\u00f6teborg | Rodrigo Almonacid[:en]Asplund \u2026 and G\u00f6teborg’s tapestry | Rodrigo Almonacid[:]\",\"datePublished\":\"2013-06-28T07:05:32+00:00\",\"dateModified\":\"2023-04-21T18:42:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\\\/\"},\"wordCount\":2278,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/asplund-y-el-tapiz-de-goteborg-rodrigo-almonacid\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2013\\\/06\\\/asplund-tapiz-de-juzgados-goteborg-boceto-1936-37-.jpg\",\"keywords\":[\"A. 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