{"id":35405,"date":"2013-12-16T06:36:54","date_gmt":"2013-12-16T05:36:54","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=35405"},"modified":"2023-01-03T17:23:38","modified_gmt":"2023-01-03T16:23:38","slug":"monumentos-de-hormigon-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/monumentos-de-hormigon-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Monumentos de hormig\u00f3n | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Monumentos de formig\u00f3n | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Monuments of concrete | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja y Secundino Zuazo<\/span><\/figcaption><\/figure><\/p>\n

La primera mitad del siglo XX supuso el asentamiento del hormig\u00f3n armado como el nuevo material de la arquitectura. Su capacidad estructural abri\u00f3 el camino a la inventiva en el sentido de la utilizaci\u00f3n de grandes estructuras de hormig\u00f3n para edificio p\u00fablicos. Todav\u00eda hoy esa generaci\u00f3n de arquitectos e ingenieros que experimentaron con nuevas formas derivadas del uso del hormig\u00f3n son respetados y aclamados, y sus trabajos tienen gran eco en la arquitectura m\u00e1s contempor\u00e1nea.<\/p>\n

\"\"<\/a>
Hip\u00f3dromo de la Zarzuela, Madrid, 1936, obra de Eduardo Torroja y Secundino Zuazo<\/span><\/figcaption><\/figure>\n

Freyssinet, Torroja, Maillart o Nervi son los nombres de esos maestros constructores e ingenieros que con el nuevo siglo abrieron nuevos caminos. Su aportaci\u00f3n en el \u00e1mbito de la construcci\u00f3n va mucho m\u00e1s all\u00e1 del manejo del hormig\u00f3n armado, introduciendo no solo el uso del nuevo material sino nuevas tipolog\u00edas formales que mejoraban su comportamiento.<\/p>\n

Por ejemplo cabe destacar las figuras del ingeniero franc\u00e9s Eugene Freyssinet que fue el primero en el uso de hormigones pretensados, o la de Eduardo Torroja que apost\u00f3 por el uso de estructuras laminares de bajo espesor. La obra de Torroja, como su personalidad, sobria y silenciosa, sigue viva en la memoria y en las referencias de las escuelas de ingenier\u00eda de todo el mundo.<\/p>\n

\"\"<\/a>
Front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja y Secundino Zuazo<\/span><\/figcaption><\/figure>\n

El front\u00f3n y el bolatoki del barrio donostiarra de A\u00f1orga, encargados por Cementos Rezola con el fin de sustituir los viejos equipamientos fueron inaugurados en el a\u00f1o 1949. El inter\u00e9s de ambos edificios est\u00e1 en el arriesgado planteamiento de la estructura de cubierta. Una fin\u00edsima l\u00e1mina de hormig\u00f3n de 5 cent\u00edmetros creada mediante formas c\u00f3nicas entrelazadas da a dicha cubierta un aspecto ligero y ondulado. Esa ligereza expresada por la cubierta es posible gracias al concepto de l\u00e1mina, que mediante su secci\u00f3n en curva adquiere condiciones mec\u00e1nicas suficientes para sustituir las vigas tradicionales.<\/p>\n

Otras dos obras claves en la trayectoria de Torroja son el front\u00f3n Recoletos y el Hip\u00f3dromo de la Zarzuela, ambos en Madrid. El front\u00f3n Recoletos, construido en 1935 con el arquitecto bilba\u00edno Secundino Zuazo, es un gran espacio cubierto por una l\u00e1mina compuesta de dos secciones circulares de casi 60 metros de largo y con unas celos\u00edas triangulares que permit\u00edan la entrada de la luz del norte para iluminar la cancha sin deslumbrar a los pelotaris.<\/p>\n

\"\"<\/a>
La b\u00f3veda del front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja y Secundino Zuazo<\/span><\/figcaption><\/figure>\n

La b\u00f3veda del front\u00f3n Recoletos es tal vez la m\u00e1xima expresi\u00f3n de la ingenier\u00eda estructural donde funci\u00f3n y forma alcanzan un punto de simplicidad y belleza, a la vez preciso y arm\u00f3nico. Torroja cubre el front\u00f3n con una b\u00f3veda que no es tal, ya que el estudio detallado de la estructura descubre que en realidad se trata de una doble viga curva que se apoya en el frontis y en el rebote, una soluci\u00f3n que apuesta por el ingenio frente al despilfarro, y de la que se podr\u00edan sacar grandes conclusiones hoy en d\u00eda.<\/p>\n

La marquesina del Hip\u00f3dromo de la Zarzuela, que vuela casi trece metros, es probablemente el otro gran edificio de Eduardo Torroja. Adem\u00e1s de la espectacularidad del sistema estructural hay que a\u00f1adirle dos situaciones de contexto que aumentaron la \u00e9pica del edificio. Por un lado el edificio fue terminado el 18 de julio de 1936, y se inaugur\u00f3 cinco a\u00f1os m\u00e1s tarde en 1941, despu\u00e9s de haber resistido fuertes impactos de artiller\u00eda durante la guerra civil, lo que aporto un valor a\u00f1adido al sistema estructural. Por otro lado el edificio y su temeraria estructura se encuentran esta vez en plena naturaleza, en un paisaje vegetal en el que las geometr\u00edas curvas de hormig\u00f3n de la cubierta del grader\u00edo contrastan con total nitidez, aumentado su car\u00e1cter monumental.<\/p>\n

\"\"<\/a>
Tribuna del hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

Estas arquitecturas han sido de vital importancia en la formulaci\u00f3n actual de edificios, en los que las estructuras tienen gran importancia, como estadios, polideportivos o grandes equipamientos.<\/p>\n

\"\"<\/a>
Evoluci\u00f3n de la secci\u00f3n de la tribuna del hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

El proyecto presentado para la reforma del hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault mantiene esta relaci\u00f3n de las grandes estructuras de hormig\u00f3n con el paisaje. El solar se encuentra en uno de los mayores espacios verdes de la capital francesa, y el proyecto pretende que el paisaje se mantenga continuo, de manera que el hip\u00f3dromo sume su vegetaci\u00f3n a la del bosque que lo rodea.<\/p>\n

\"\"<\/a>
Reforma del hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

Una vez resueltos los problemas funcionales de llegada, y tr\u00e1nsitos de caballos, jockeys y p\u00fablico en la cota de apoyo del edificio, la propuesta toma fuerza presentando una monumental estructura de hormig\u00f3n que resuelve las tribunas. Grandes pilares inclinados y amplios forjados horizontales describen una geometr\u00eda apilada pero inestable que parece hablar del movimiento y la velocidad propias del hip\u00f3dromo. La estructura conforma de alguna manera la totalidad del edificio, y la inclinaci\u00f3n de los planos horizontales de las tribunas hacia la pista para facilitar la visi\u00f3n en la l\u00ednea de meta, amplifican la rotundidad monumental del conjunto.<\/p>\n

Un \u00fanico elemento parece adquirir otro protagonismo. Se trata del volumen prism\u00e1tico de vidrio que con 123 metros de largo y 23 de ancho remata el edificio en un gran vuelo. Esta pieza alberga la cafeter\u00eda, el restaurante y las salas vip del hip\u00f3dromo. Su singular ubicaci\u00f3n le aporta vistas panor\u00e1micas sobre el Sena y el Bois de Boulogne adem\u00e1s de colocar el equipamiento h\u00edpico en el skyline de la capital francesa.<\/p>\n

Esta rotundidad de la estructura de hormig\u00f3n desnuda y despojada de cualquier ornamento frente al desorden natural del paisaje circundante, reafirma el planteamiento de las grandes estructuras de hormig\u00f3n de principios del siglo pasado y pone de manifiesto el valor de la monumentalidad como recurso arquitect\u00f3nico, tambi\u00e9n en la \u00e9poca contempor\u00e1nea.<\/p>\n

\"\"<\/a>
Vista general de la reforma del hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. diciembre 2011<\/p>\n

Publicado en ZAZPIKA _ 2011.12.04<\/em><\/span>[:en]

\"\"<\/a>
Recoletos Fronton, Madrid, 1935, Eduardo Torroja and Secundino Zuazo\u00b4s work<\/span><\/figcaption><\/figure><\/p>\n

The first half of the 20th century supposed the accession of the reinforced concrete as the new material of the architecture. His structural capacity opened the way for the inventiveness in the sense of the utilization of big structures of concrete for building public. Still today this generation of architects and engineers who experimented with new forms derived from the use of the concrete are respected and acclaimed, and his works have great echo in the most contemporary architecture.<\/p>\n

\"\"<\/a>
Racetrack of the Zarzuela, Madrid, 1936, Eduardo Torroja y Secundino Zuazo’s work <\/span><\/figcaption><\/figure>\n

Freyssinet, Torroja, Maillart or Nervi are the names of these construction teachers and engineers who with the new century opened new ways. His contribution in the area of the construction goes far beyond of the managing of the reinforced concrete, introducing not only the use of newly materially but new formal tipolog\u00edas that were improving his behavior.<\/p>\n

For example it is necessary to emphasize the figures of the French engineer Eugene Freyssinet who was the first one in the use of concretes pretensados, or that of Eduardo Torroja who bet for the use of structures will be laminated by you of low thickness. Torroja’s work, as his personality, sober and silent, is still alive in the memory and in the references of the schools of engineering of the whole world.<\/p>\n

\"\"<\/a>
Recoletos Fronton, Madrid, 1935, Eduardo Torroja and Secundino Zuazo\u00b4s work<\/span><\/figcaption><\/figure>\n

The fronton and the bolatoki of the neighborhood native of San Sebastian de A\u00f1orga, managers by Rezola Cements in order to replace the old equipments were inaugurated in the year 1949. The interest of both buildings is in the risky exposition of the structure of cover. The thinnest sheet of concrete of 5 centimeters created by means of conical interlaced forms gives to the above mentioned cover a light and wavy aspect. This lightness expressed by the cover is possible thanks to the concept of sheet, which by means of his section in curve he acquires mechanical sufficient conditions to replace the traditional girders.<\/p>\n

Other two key works in Torroja’s path are the fronton Recluses and the Racetrack of the Zarzuela, both in Madrid. The fronton Recluses, constructed in 1935 with the from Bilbao architect Secundino Zuazo, is a great space covered by a sheet consisted of two circular sections of almost 60 meters of length and with a few triangular lattices that were allowing the entry of the light of the north to illuminate the field without dazzling the pelota players.<\/p>\n

\"\"<\/a>
The vault of the Recoletos fronton, Madrid, 1935, Eduardo Torroja and Secundino Zuazo\u00b4s work
<\/span><\/figcaption><\/figure>\n

The vault of the\u00a0Recoletos fronton is maybe the maximum expression of the structural engineering where function and it forms they reach a point of simplicity and beauty, simultaneously precisely and harmonicly. Torroja covers the fronton with a vault that is not such, since the detailed study of the structure discovers that actually it is a question of a double curved girder that it rests on the front and on the rebound, a solution that he bets for the ingenuity opposite to the squandering, and of the one that big conclusions might extract nowadays.<\/p>\n

The marquee of the Racetrack of the Zarzuela, which demolishes almost thirteen meters, is probably another Eduardo Torroja’s great building. Besides the showiness of the structural system him it is necessary to add two situations of context that increased the epic of the building. On the one hand the building was finished on July 18, 1936, and there was inaugurated five years later in 1941, after having resisted strong impacts of artillery during the civil war, what I contribute an added value to the structural system. On the other hand the building and his rash structure are this time in full nature, in a vegetable landscape in which the curved geometries of concrete of the cover of the\u00a0grandstand contrast with total brightness, increased his monumental character.<\/p>\n

\"\"<\/a>
Platform of Longchamp’s Parisian racetrack, Dominique Perrault’s work<\/span><\/figcaption><\/figure>\n

These architectures have performed vital importance in the current formulation of buildings, in which the structures have great importance, as stadiums, polysport or big equipments.<\/p>\n

\"\"<\/a>
Evolution of the section of the platform of Longchamp’s Parisian racetrack, Dominique Perrault’s work<\/span><\/figcaption><\/figure>\n

The project presented for the reform of Longchamp’s Parisian racetrack, Dominique Perrault’s work supports this relation of the big structures of concrete with the landscape. The lot is in one of the major green spaces of the French capital, and the project claims that the landscape is kept constant, so that the racetrack adds his vegetation to that of the forest that surrounds it.<\/p>\n

\"\"<\/a>
Reform of Longchamp’s Parisian racetrack, Dominique Perrault’s work<\/span><\/figcaption><\/figure>\n

Once solved the functional problems of arrival, and tr\u00e1nsitos of horses, jockeys and public in the level of support of the building, the offer takes force presenting a monumental structure of concrete that solves the platforms. Big sloping and wide wrought horizontal props describe a piled up but unstable geometry that it seems to speak about the movement and the own speed about the racetrack. The structure shapes somehow the totality of the building, and the inclination of the horizontal planes of the platforms towards the track to facilitate the vision in the line of goal, they amplify the monumental rotundity of the set.<\/p>\n

The only element seems to acquire another protagonism. It is a question of the prismatic volume of glass that with 123 meters of length and 23 of width it finishes off the building in a great flight. This piece shelters the cafeteria, the restaurant and the rooms vip of the racetrack. His singular location him contributes conference panoramic on the Seine and the Bois de Boulogne beside placing the equine equipment in the skyline of the French capital.<\/p>\n

This rotundity of the structure of concrete undresses and cleared of any ornament opposite to the natural disorder of the surrounding landscape, reaffirms the exposition of the big structures of concrete of beginning of last century and reveals the value of the monumentalidad as architectural resource, also in the contemporary epoch.<\/p>\n

\"\"<\/a>
General sight of the reform of Longchamp’s Parisian racetrack, Dominique Perrault’s work<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . architect<\/p>\n

san sebasti\u00e1n. december 2013<\/p>\n

It\u00b4s published in ZAZPIKA _ 2011.12.04<\/em><\/span><\/p>\n

[:gl]

\"\"<\/a>
Front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja e Secundino Zuazo<\/span><\/figcaption><\/figure><\/p>\n

A primeira metade do s\u00e9culo XX supuxo o asentamento do formig\u00f3n armado como o novo material da arquitectura. A s\u00faa capacidade estrutural abriu o cami\u00f1o \u00e1 inventiva no sentido da utilizaci\u00f3n de grandes estruturas de formig\u00f3n para edificio p\u00fablicos. A\u00ednda hoxe esa xeraci\u00f3n de arquitectos e enxe\u00f1eiros que experimentaron con novas formas derivadas do uso do formig\u00f3n son respectados e aclamados, e os seus traballos te\u00f1en grande eco na arquitectura m\u00e1is contempor\u00e1nea.<\/p>\n

\"\"<\/a>
Hip\u00f3dromo da Zarzuela, Madrid, 1936, obra de Eduardo Torroja e Secundino Zuazo<\/span><\/figcaption><\/figure>\n

Freyssinet, Torroja, Maillart ou Nervi son os nomes deses mestres construtores e enxe\u00f1eiros que co novo s\u00e9culo abriron novos cami\u00f1os. A s\u00faa achega no \u00e1mbito da construci\u00f3n vai moito m\u00e1is al\u00e1 do manexo do formig\u00f3n armado, introducindo non s\u00f3 o uso do novo material sen\u00f3n novas tipolox\u00edas formais que melloraban o seu comportamento.<\/p>\n

Por exemplo cabe destacar as figuras do enxe\u00f1eiro franc\u00e9s Eugene Freyssinet que foi o primeiro no uso de formig\u00f3ns pretensar, ou a de Eduardo Torroja que apostou polo uso de estruturas laminares de baixo espesor. A obra de Torroja, como a s\u00faa personalidade, sobria e silenciosa, segue viva na memoria e nas referencias das escolas de enxe\u00f1ar\u00eda de todo o mundo.<\/p>\n

\"\"<\/a>
Front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja e Secundino Zuazo<\/span><\/figcaption><\/figure>\n

O front\u00f3n e o bolatoki do barrio donostiarra de A\u00f1orga, encargados, por Cementos Rezola co fin de substitu\u00edr os vellos equipamentos foron inaugurados no ano 1949. O interese de ambos os dous edificios est\u00e1 na arriscada formulaci\u00f3n da estrutura de cuberta. Unha fina l\u00e1mina de formig\u00f3n de 5 cent\u00edmetros creada mediante formas c\u00f3nicas entrelazadas d\u00e1 \u00e1 devandita cuberta un aspecto lixeiro e ondulado. Esa lixeireza expresada pola cuberta \u00e9 posible grazas ao concepto de l\u00e1mina, que mediante a s\u00faa secci\u00f3n en curva adquire condici\u00f3ns mec\u00e1nicas abondo para substitu\u00edr as vigas tradicionais.<\/p>\n

Outras d\u00faas obras claves na traxectoria de Torroja son o front\u00f3n Recoletos e o Hip\u00f3dromo da Zarzuela, ambos os dous en Madrid. O front\u00f3n Recoletos, constru\u00eddo en 1935 co arquitecto bilba\u00edno Secundino Zuazo, \u00e9 un grande espazo cuberto por unha l\u00e1mina composta de d\u00faas secci\u00f3ns circulares de case 60 metros de longo e cunhas celos\u00edas triangulares que permit\u00edan a entrada da luz do norte para iluminar a cancha sen cegar os pelotaris.<\/p>\n

\"\"<\/a>
A b\u00f3veda do front\u00f3n Recoletos, Madrid, 1935, obra de Eduardo Torroja e Secundino Zuazo<\/span><\/figcaption><\/figure>\n

A b\u00f3veda do front\u00f3n Recoletos \u00e9 talvez a m\u00e1xima expresi\u00f3n da enxe\u00f1ar\u00eda estrutural onde funci\u00f3n e forma alcanzan un punto de simplicidade e beleza, \u00e1 vez preciso e harm\u00f3nico. Torroja cobre o front\u00f3n cunha b\u00f3veda que non \u00e9 tal, xa que o estudo detallado da estrutura descobre que en realidade se trata dunha dobre viga curva que se apoia no frontis e no rebote, unha soluci\u00f3n que aposta polo enxe\u00f1o fronte \u00e1 dilapidaci\u00f3n, e da que se poder\u00edan sacar grandes conclusi\u00f3ns hoxe en d\u00eda.<\/p>\n

A marquesi\u00f1a do Hip\u00f3dromo da Zarzuela, que voa case trece metros, \u00e9 probablemente o outro grande edificio de Eduardo Torroja. Ademais da espectacularidade do sistema estrutural hai que engadirlle d\u00faas situaci\u00f3ns de contexto que aumentaron a \u00e9pica do edificio. Por un lado o edificio foi rematado o 18 de xullo de 1936, e inaugurouse cinco anos m\u00e1is tarde en 1941, despois de resistir fortes impactos de artillar\u00eda durante a guerra civil, o que achego un valor engadido ao sistema estrutural. Por outro lado o edificio e a s\u00faa temeraria estrutura enc\u00f3ntranse esta vez en plena natureza, nunha paisaxe vexetal na que as xeometr\u00edas curvas de formig\u00f3n da cuberta da bancada contrastan con total nitidez, aumentado o seu car\u00e1cter monumental.<\/p>\n

\"\"<\/a>
Tribuna do hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

Estas arquitecturas foron de vital importancia na formulaci\u00f3n actual de edificios, nos que as estruturas te\u00f1en grande importancia, como estadios, polideportivos ou grandes equipamentos.<\/p>\n

\"\"<\/a>
Evoluci\u00f3n da secci\u00f3n da tribuna do hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

O proxecto presentado para a reforma do hip\u00f3dromo parisiense de Longchamp, obra de Dominique Perrault mant\u00e9n esta relaci\u00f3n das grandes estruturas de formig\u00f3n coa paisaxe. O soar enc\u00f3ntrase nun dos maiores espazos verdes da capital francesa, e o proxecto pretende que a paisaxe se mante\u00f1a continua, de maneira que o hip\u00f3dromo sume a s\u00faa vexetaci\u00f3n \u00e1 do bosque que o rodea.<\/p>\n

\"\"<\/a>
Reforma do hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

Unha vez resoltos os problemas funcionais de chegada, e tr\u00e1nsitos de cabalos, jockeys e p\u00fablico na cota de apoio do edificio, a proposta toma forza presentando unha monumental estrutura de formig\u00f3n que resolve as tribunas. Grandes piares inclinados e amplos forxados horizontais describen unha xeometr\u00eda amoreada pero inestable que parece falar do movemento e a velocidade propias do hip\u00f3dromo. A estrutura conforma dalg\u00fan xeito a totalidade do edificio, e a inclinaci\u00f3n dos planos horizontais das tribunas cara \u00e1 pista para facilitar a visi\u00f3n na li\u00f1a de meta, amplifican a rotundidade monumental do conxunto.<\/p>\n

Un \u00fanico elemento parece adquirir outro protagonismo. Tr\u00e1tase do volume prism\u00e1tico de vidro que con 123 metros de longo e 23 de ancho remata o edificio nun gran voo. Esta peza alberga a cafetar\u00eda, o restaurante e as salas vip do hip\u00f3dromo. O seu singular situaci\u00f3n ach\u00e9galle vistas panor\u00e1micas sobre o Sena e o Bois de Boulogne ademais de colocar o equipamento h\u00edpico no skyline da capital francesa.<\/p>\n

Esta rotundidade da estrutura de formig\u00f3n nua e despoxada de calquera ornamento fronte \u00e1 desorde natural da paisaxe circundante, reafirma a formulaci\u00f3n das grandes estruturas de formig\u00f3n de principios do s\u00e9culo pasado e pon de manifesto o valor da monumentalidade como recurso arquitect\u00f3nico, tam\u00e9n na \u00e9poca contempor\u00e1nea.<\/p>\n

\"\"<\/a>
Vista xeral da reforma do hip\u00f3dromo parisino de Longchamp, obra de Dominique Perrault<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto<\/p>\n

san sebasti\u00e1n. decembro 2013<\/p>\n

Publicado en ZAZPIKA _ 2011.12.04<\/em><\/span><\/p>\n

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

[:es] La primera mitad del siglo XX supuso el asentamiento del hormig\u00f3n armado como el nuevo material de la arquitectura. Su capacidad estructural abri\u00f3 el camino a la inventiva en el sentido de la utilizaci\u00f3n de grandes estructuras de hormig\u00f3n para edificio p\u00fablicos. Todav\u00eda hoy esa generaci\u00f3n de arquitectos e ingenieros que experimentaron con nuevas […]<\/p>\n","protected":false},"author":31,"featured_media":35411,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[673,2631,7089,9096,3788,3444,531,2198,668,4285,977,978,3452,2634,3176,4444,8625],"class_list":["post-35405","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-espanola","tag-arquitectura-francesa","tag-cementos-rezola","tag-dominique-perrault","tag-eduardo-torroja","tag-estructura","tag-eugene-freyssinet","tag-historia","tag-inigo-garcia-odiaga","tag-paisaje","tag-paisaje-urbano","tag-personaje","tag-pier-luigi-nervi","tag-robert-maillart","tag-s-xx","tag-secundino-zuazo-ugalde"],"yoast_head":"\nMonumentos de hormig\u00f3n | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta 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