{"id":36397,"date":"2014-04-14T06:14:43","date_gmt":"2014-04-14T06:14:43","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36397"},"modified":"2020-02-26T16:30:23","modified_gmt":"2020-02-26T15:30:23","slug":"arquitectura-espontanea-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-espontanea-inigo-garcia-odiaga\/","title":{"rendered":"Arquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaArquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaSpontaneous architecture | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Favela Painting, 2006, un proyecto de Jeroen Koolhaas y Dre Urhahn<\/span><\/figcaption><\/figure><\/p>\n

Los valores de las ciudades autoconstruidas. La econom\u00eda de la globalizaci\u00f3n, con la crisis actual entre sus referentes, arrastra sin concesiones a la sociedad contempor\u00e1nea hacia un mayor desequilibrio entre clases; tal vez olvidadas en occidente pero ni mucho menos en los pa\u00edses emergentes. Este desequilibrio acent\u00faa las fronteras entre la ciudad del urbanismo y lo que podr\u00edamos denominar la ciudad espont\u00e1nea, la de las favelas, las chabolas o las ca\u00f1adas reales.<\/p>\n

Brasil es reconocida en la actualidad como una de las econom\u00edas emergentes m\u00e1s importantes del planeta, y curiosamente en este pa\u00eds latinoamericano encontramos a nivel social y urbanos contraste dif\u00edcilmente reconciliables.<\/p>\n

A principios de este a\u00f1o 2010 se celebraba el 50 aniversario de la inauguraci\u00f3n de Brasilia, tal vez el proyectos urban\u00edstico construido m\u00e1s ambicioso del siglo XX. El presidente de corte progresista Juscelino Kubitschek organiz\u00f3 un concurso para construir una nueva capital en una zona forestal del centro del pa\u00eds en la que no hab\u00eda nada. El urbanista Lucio Costa proyecto una planta de geom\u00e9trica rotundidad en forma de boomerang para dar cabida a las infraestructuras de la ciudad y un jovenc\u00edsimo Oscar Niemeyer construy\u00f3 con un lenguaje inequ\u00edvocamente moderno todos los edificios representativos de la ciudad. Cuarenta y un meses despu\u00e9s se inauguraba Brasilia, bautizada como un milagro de hormig\u00f3n surgido de la nada. Brasilia se ide\u00f3 como una utop\u00eda de igualdad y modernidad, pero con la perspectiva que dan los 50 a\u00f1os transcurridos cr\u00edticos como William J. R. Curtis juzgan hoy fallido el resultado, sobre todo en lo que se refiere al objetivo inicial de igualdad social. El urbanismo planificado del movimiento moderno, con grandes espacios abiertos y enormes manzanas residenciales articuladas por el gran eje monumental de los edificios administrativos ha generado una ciudad dependiente del veh\u00edculo en la que los ricos transitan de un lugar a otro y los pobres est\u00e1n obligados a vivir en ese espacio vac\u00edo.<\/p>\n

\"\"<\/a>
Brasilia, Lucio Costa y Lucio Costa<\/span><\/figcaption><\/figure>\n

En el otro extremo y con una historia antit\u00e9tica se encuentra Rocinha. Rocinha es el nombre de una de las favelas m\u00e1s grandes de Rio de Janeiro. Seg\u00fan datos oficiales se calcula que en ella residen alrededor de 57.000 personas, es decir una poblaci\u00f3n a medio camino entre la del municipio de Santurtzi e Irun, por establecer dos referentes cercanos. En 1931 se levant\u00f3 la considerada como primera edificaci\u00f3n ilegal de la favela, los tr\u00e1mites para su derribo comenzaron en el a\u00f1o 1952. La desidia de una administraci\u00f3n muy burocratizada propici\u00f3 que muchos inmigrantes llegados a Rio para trabajar en las obras de infraestructuras de la zona sur de la ciudad buscasen su espacio en Rocinha.<\/p>\n

Son innegables los problemas que estos m\u00e9todos espont\u00e1neos de colonizaci\u00f3n del territorio generan. Barrios con problemas de salubridad, con redes de suministro sin ning\u00fan tipo de control, la utilizaci\u00f3n de solares con serios problemas de estabilidad del terreno, a los que hay que a\u00f1adir problem\u00e1ticas de \u00edndole social como la inseguridad, el analfabetismo o la falta de servicios sociales.<\/p>\n

\"\"<\/a>
Rocinha es una favela de la Zona Sur de R\u00edo de Janeiro, Brasil<\/span><\/figcaption><\/figure>\n

Pero por contraposici\u00f3n al modelo ortodoxo de Brasilia la cohesi\u00f3n social y el sentimiento de colectividad es un valor capital de este \u00abmodelo urbano\u00bb. Tal vez esta condici\u00f3n identitaria fue descubierta por la administraci\u00f3n cuando en las protestas y manifestaciones la favela se levantaba como un \u00fanico elemento social, sin fisuras y con fuertes uniones entre sus miembros.<\/p>\n

Precisamente esta condici\u00f3n de colectividad es la que expertos urbanistas han aclamado y utilizado como impulso para la reforma de estos asentamientos. Planes como el Favela Barrio, un programa de acci\u00f3n que mediante peque\u00f1os proyectos de cirug\u00eda urbana pretende obtener beneficios sociales, promoviendo la integraci\u00f3n y la transformaci\u00f3n de la favela en barrio. En definitiva romper la imagen de esa \u00abtierra de nadie\u00bb que un d\u00eda alguien hizo suya y que es la imagen de la arquitectura de la pobreza mediante el rescate de los valores inherentes a estos asentamientos como la cultura social de comunidad.<\/p>\n

Tanto urbanistas como artistas contempor\u00e1neos ven en este sentimiento de colectividad, un potencial que la ciudad acad\u00e9mica del tablero de dibujo disciplinar no posee. Esta realidad levanto el proyecto Favela Painting, como una forma de atraer la atenci\u00f3n de la comunidad internacional sobre los valores activos que mueven a estas comunidades que han trasgredido la legalidad urbana para poder subsistir.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, un proyecto de Jeroen Koolhaas y Dre Urhahn<\/span><\/figcaption><\/figure>\n

El proyecto Favela Painting se desarrolla en otra barriada marginal de Rio, Vila Cruzeiro, dirigido por los artistas de origen holand\u00e9s Jeroen Koolhaas y Dre Urhahn. El proyecto intenta revalorizar la belleza de las estructuras urbanas surgidas de forma aleatoria, en las que un gran porcentaje de sus habitantes intentan vivir con tranquilidad y honestidad rompiendo la barrera de la pobreza.<\/p>\n

La propuesta art\u00edstica consiste en pintar mediante murales gigantes las circulaciones verticales de las favelas, transformando as\u00ed los muros que forman las escaleras y las paredes de las viviendas en grandes carteles-escaparate que hacen la favela presente para el reto de la ciudad. Adem\u00e1s el proyecto se apoya en la comunidad local para realizar los trabajos que se ejecutan con la misma aleatoriedad y espontaneidad que cre\u00f3 la trama urbana hace casi 100 a\u00f1os.<\/p>\n

El valor de estos asentamientos siempre denostados por su origen marginal, reside en su valor social y en el de su arquitectura. Una arquitectura basada en la espontaneidad para dar respuesta a problem\u00e1ticas individuales que se ha revelado como la mejor de las recetas para la colectividad, en contraposici\u00f3n al urbanismo proyectado para la colectividad que a menudo olvida los problemas del individuo.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, un proyecto de Jeroen Koolhaas y Dre Urhahn<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. octubre 2008<\/p>\n

Publicado en MUGALARI 10.10.08<\/span><\/em>

\"\"<\/a>
Favela Painting, 2006, one project of Jeroen Koolhaas and Dre Urhahn<\/span><\/figcaption><\/figure><\/p>\n

The values of the autoconstructed cities. The economy of the globalization, with the current crisis between his modals, drags without concessions to the contemporary company towards a major imbalance between classes; maybe forgotten in west but not much less in the emergent countries. This imbalance accentuates the borders between the city of the urbanism and what we might name the spontaneous city, that of the favelas, the shanties or the royal glens.<\/p>\n

Brazil is recognized at present as one of the most important emergent economies of the planet, and curiously in this Latin-American country we find at the social level and urban contrast difficultly reconcilable.<\/p>\n

At the beginning of this year 2010 50 were celebrated anniversary of the inauguration of Brasilia, maybe the most ambitious urban development constructed proyectos of the 20th century. The president of progressive court Juscelino Kubitschek organized a contest to construct the new capital in a forest zone of the center of the country in which there was nothing. The town planner Lucio Costa project a plant of geometric rotundity in the shape of boomerang to give content to the infrastructures of the city and a joung Oscar Niemeyer constructed with an unequivocally modern language all the representative buildings of the city. Forty a meses later was inaugurating Brasilia baptized as a miracle of concrete arisen from nothing. Brasilia was designed as a Utopia of equality and modernity, but with the perspective that they give 50 passed critical years as William J. R. Curtis considers the result to be today unsuccessful, especially regarding the initial aim of social equality. The planned urbanism of the modern movement, with big opened spaces and enormous residential apples articulated by the great monumental axis of the administrative buildings has generated a city dependent on the vehicle in which the rich ones travel to and from and the poor are forced to live in this empty space.<\/p>\n

\"\"<\/a>
Brasilia, Lucio Costa and Lucio Costa<\/span><\/figcaption><\/figure>\n

At the far end and an antithetic history Rocinha meets. Rocinha is the name of one of the biggest favelas of Rio of Janeiro. According to official information it is calculated that in her about 57.000 persons reside, that is to say a population to half a way between that of the municipality of Santurtzi and Irun, for establishing two nearby modals. In 1931 it got up considered as the first illegal building of the favela, the steps for his demolition began in the year 1952. The laziness of a very bureaucratized administration propitiated that many immigrants come to Rio to be employed at the works of infrastructures of the south zone of the city were looking for his space in Rocinha.<\/p>\n

There are undeniable the problems that these spontaneous methods of settling of the territory generate. Neighborhoods with problems of health, with networks of supply without any type of control, the utilization of lots with serious problems of stability of the area, to which it is necessary to add problematic of social nature as the insecurity, the illiteracy or the lack of social services.<\/p>\n

\"\"<\/a>
Rocinha is a favela of the Zone South of Rio de Janeiro, Brazil<\/span><\/figcaption><\/figure>\n

But for contraposition to the orthodox model of Brasilia the social cohesion and the feeling collectivity is a cardinal value of this \u00bb urban model \u00ab. Maybe this condition identitaria was discovered by the administration when in the protests and manifestations the favela was getting up as the only social element, without fissures and with strong unions between his members.<\/p>\n

Precisely this condition of collectivity is the one that expert town planners have acclaimed and used as impulse for the reform of these accessions. Plans like the Favela Neighborhood, a program of action that by means of small projects of urban surgery it tries to obtain social benefits, promoting the integration and the transformation of the favela in neighborhood. Definitively breaks the image of this \u00bb land of nobody \u00bb that one day someone made his and that is the image of the architecture of the poverty by means of the rescue of the values inherent in these accessions as the social culture of community.<\/p>\n

Both town planners and contemporary artists see in this feeling of collectivity, a potential that the academic city of the board of drawing to discipline possesses. This reality I raise the project Favela Painting, as a way of attracting the attention of the international community on the active values that they move to these communities that there is trasgredido the urban legality to be able to survive.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, one project of Jeroen Koolhaas and Dre Urhahn<\/span><\/figcaption><\/figure>\n

The project Favela Painting develops in another marginal slum of Rio, Vila Cruzeiro directed by the artists of Dutch origin Jeroen Koolhaas and Dre Urhahn. The project tries to revalue the beauty of the urban structures arisen from random form, in which a great percentage of his inhabitants try to live coolly and honesty breaking the barrier of the poverty.<\/p>\n

The artistic offer consists of painting by means of giant murals the vertical traffics of the favelas, transforming this way the walls that form the stairs and the walls of the housings in big cartels – shop windows that do the present favela for the challenge of the city. In addition the project rests on the local community to realize the works that are executed by the same randomness and spontaneity that created the urban plot almost 100 years ago.<\/p>\n

The value of these accessions always reviled by his marginal origin, it resides in his social value and in that of his architecture. An architecture based on the spontaneity to give response to problematic individual that has been revealed as the best of the recipes for the collectivity, in contraposition to the urbanism projected for the collectivity that often forgets the problems of the individual.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, one project of Jeroen Koolhaas and Dre Urhahn<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. october 2008<\/p>\n

It\u00b4s published in MUGALARI 10.10.08<\/em><\/span><\/p>\n

\"\"<\/a>
Favela Painting, 2006, un proxecto de Jeroen Koolhaas e Dre Urhahn<\/span><\/figcaption><\/figure><\/p>\n

Os valores das cidades autoconstru\u00eddas. A econom\u00eda da globalizaci\u00f3n, coa crise actual entre os seus referentes, arrastra sen concesi\u00f3ns \u00e1 sociedade contempor\u00e1nea cara a un maior desequilibrio entre clases; talvez esquecidas en occidente pero nin moito menos nos pa\u00edses emerxentes. Este desequilibrio acent\u00faa as fronteiras entre a cidade do urbanismo e o que poderiamos denominar a cidade espont\u00e1nea, a das favelas, as choupanas ou as canellas reais.<\/p>\n

Brasil \u00e9 reco\u00f1ecido na actualidade como unha das econom\u00edas emerxentes m\u00e1is importantes do planeta, e curiosamente neste pa\u00eds latinoamericano encontramos a nivel social e urbanos contraste dificilmente reconciliables.<\/p>\n

A principios deste ano 2010 celebr\u00e1base o 50 aniversario da inauguraci\u00f3n de Brasilia, talvez o proxectos urban\u00edstico constru\u00eddo m\u00e1is ambicioso do s\u00e9culo XX. O presidente de corte progresista Juscelino Kubitschek organizou un concurso para constru\u00edr unha nova capital nunha zona forestal do centro do pa\u00eds na que non hab\u00eda nada. O urbanista Lucio Costa proxecto unha planta de xeom\u00e9trica rotundidade en forma de b\u00fameran para dar cabida \u00e1s infraestruturas da cidade e un xovenc\u00edsimo Oscar Niemeyer constru\u00edu cunha linguaxe inequivocamente moderna todos os edificios representativos da cidade. Corenta e un meses despois inaugur\u00e1base Brasilia, bautizada como un milagre de formig\u00f3n xurdido da nada. Brasilia ideouse como unha utop\u00eda de igualdade e modernidade, pero coa perspectiva que dan os 50 anos transcorridos cr\u00edticos como William J. R. Curtis xulgan hoxe falido o resultado, sobre todo no que se refire ao obxectivo inicial de igualdade social. O urbanismo planificado do movemento moderno, con grandes espazos abertos e enormes maz\u00e1s residenciais articuladas polo grande eixe monumental dos edificios administrativos xerou unha cidade dependente do veh\u00edculo na que os ricos transitan dun lugar a outro e os pobres est\u00e1n obrigados a vivir nese espazo baleiro.<\/p>\n

\"\"<\/a>
Brasilia, Lucio Costa e Lucio Costa<\/span><\/figcaption><\/figure>\n

No outro extremo e cunha historia antit\u00e9tica enc\u00f3ntrase Rocinha. Rocinha \u00e9 o nome dunha das favelas m\u00e1is grandes de Rio de Janeiro. Segundo datos oficiais calc\u00falase que nela residen ao redor de 57.000 persoas, \u00e9 dicir unha poboaci\u00f3n a medio cami\u00f1o entre a do municipio de Santurtzi e Irun, por establecer dous referentes pr\u00f3ximos. En 1931 levantouse a considerada como primeira edificaci\u00f3n ilegal da favela, os tr\u00e1mites para o seu derrubamento comezaron no ano 1952. A desidia dunha administraci\u00f3n moi burocratizada propiciou que moitos inmigrantes chegados a Rio para traballar nas obras de infraestruturas da zona sur da cidade buscasen o seu espazo en Rocinha.<\/p>\n

Son innegables os problemas que estes m\u00e9todos espont\u00e1neos de colonizaci\u00f3n do territorio xeran. Barrios con problemas de salubridade, con redes de subministraci\u00f3n sen ning\u00fan tipo de control, a utilizaci\u00f3n de soares con serios problemas de estabilidade do terreo, aos que hai que engadir problem\u00e1ticas de \u00edndole social como a inseguridade, o analfabetismo ou a falta de servizos sociais.<\/p>\n

\"\"<\/a>
Rocinha \u00e9 unha favela da Zona Sur de R\u00edo de Xaneiro, Brasil<\/span><\/figcaption><\/figure>\n

Pero por contraposici\u00f3n ao modelo ortodoxo de Brasilia a cohesi\u00f3n social e o sentimento de colectividade \u00e9 un valor capital deste \u00abmodelo urbano\u00bb. Talvez esta condici\u00f3n identitaria foi descuberta pola administraci\u00f3n cando nas protestas e manifestaci\u00f3ns a favela se levantaba como un \u00fanico elemento social, sen fisuras e con fortes uni\u00f3ns entre os seus membros.<\/p>\n

Precisamente esta condici\u00f3n de colectividade \u00e9 a que expertos urbanistas aclamaron e utilizaron como impulso para a reforma destes asentamentos. Plans como o Favela Barrio, un programa de acci\u00f3n que mediante pequenos proxectos de cirurx\u00eda urbana pretende obter beneficios sociais, promovendo a integraci\u00f3n e a transformaci\u00f3n da favela en barrio. En definitiva romper a imaxe desa \u00abterra de ningu\u00e9n\u00bb que un d\u00eda algu\u00e9n fixo s\u00faa e que \u00e9 a imaxe da arquitectura da pobreza mediante o rescate dos valores inherentes a estes asentamentos como a cultura social de comunidade.<\/p>\n

Tanto urbanistas coma artistas contempor\u00e1neos ven neste sentimento de colectividade, un potencial que a cidade acad\u00e9mica do taboleiro de debuxo disciplinar non pos\u00fae. Esta realidade levanto o proxecto Favela Painting, como unha forma de atraer a atenci\u00f3n da comunidade internacional sobre os valores activos que moven a estas comunidades que te\u00f1en trasgredido a legalidade urbana para poder subsistir.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, un proxecto de Jeroen Koolhaas e Dre Urhahn<\/span><\/figcaption><\/figure>\n

O proxecto Favela Painting desenv\u00f3lvese noutra barriada marxinal de Rio, Vila Cruzeiro, dirixido polos artistas de orixe holandesa Jeroen Koolhaas e Dre Urhahn. O proxecto intenta revalorizar a beleza das estruturas urbanas xurdidas de forma aleatoria, nas que unha gran porcentaxe dos seus habitantes intentan vivir con tranquilidade e honestidade rompendo a barreira da pobreza.<\/p>\n

A proposta art\u00edstica consiste en pintar mediante murais xigantes as circulaci\u00f3ns verticais das favelas, transformando as\u00ed os muros que forman as escaleiras e as paredes das vivendas en grandes carteis-escaparate que fan a favela presente para o reto da cidade. Ademais o proxecto ap\u00f3iase na comunidade local para realizar os traballos que se executan coa mesma aleatoriedade e espontaneidade que creou a trama urbana hai case 100 anos.<\/p>\n

O valor destes asentamentos sempre deostados pola s\u00faa orixe marxinal, reside no seu valor social e no da s\u00faa arquitectura. Unha arquitectura baseada na espontaneidade para dar resposta a problem\u00e1ticas individuais que se revelou como a mellor das receitas para a colectividade, en contraposici\u00f3n ao urbanismo proxectado para a colectividade que a mi\u00fado esquece os problemas do individuo.<\/p>\n

\"\"<\/a>
Favela Painting, 2006, un proxecto de Jeroen Koolhaas e Dre Urhahn<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. Outubro 2008<\/p>\n

Publicado en MUGALARI 10.10.08<\/em><\/span><\/p>\n

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

Los valores de las ciudades autoconstruidas. La econom\u00eda de la globalizaci\u00f3n, con la crisis actual entre sus referentes, arrastra sin concesiones a la sociedad contempor\u00e1nea hacia un mayor desequilibrio entre clases; tal vez olvidadas en occidente pero ni mucho menos en los pa\u00edses emergentes. Este desequilibrio acent\u00faa las fronteras entre la ciudad del urbanismo y […]<\/p>\n","protected":false},"author":31,"featured_media":36400,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[5864,171,195,221,318,391,9419,447,6118,9420,9421,4285,9418,4237,803,3243,2513,1655,1241,12468,2341],"class_list":["post-36397","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-brasilena","tag-autoconstruccion","tag-barrio","tag-brasilia","tag-ciudad","tag-crisis","tag-dre-urhahn","tag-economia","tag-economia-creativa","tag-fabela","tag-favela-painting","tag-inigo-garcia-odiaga","tag-jeroen-koolhaas","tag-juscelino-kubitschek","tag-lucio-costa","tag-oscar-niemeyer","tag-participacion-ciudadana","tag-rio-de-janeiro","tag-sociedad","tag-urbanismo","tag-william-j-r-curtis"],"yoast_head":"\nArquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Arquitectura Espont\u00e1nea\" \/>\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\/arquitectura-espontanea-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n<meta property=\"og:description\" content=\"Arquitectura Espont\u00e1nea\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/arquitectura-espontanea-inigo-garcia-odiaga\/\" \/>\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\/inigo.garciaodiaga\" \/>\n<meta property=\"article:published_time\" content=\"2014-04-14T06:14:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-02-26T15:30:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/12\/1favela.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"258\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"\u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/IOdiaga\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"\u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/arquitectura-espontanea-inigo-garcia-odiaga\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/arquitectura-espontanea-inigo-garcia-odiaga\\\/\"},\"author\":{\"name\":\"\u00cd\u00f1igo Garc\u00eda Odiaga\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/7edb23bf36ddbe2d9c8f4cf5fae64668\"},\"headline\":\"Arquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaArquitectura Espont\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaSpontaneous architecture | \u00cd\u00f1igo Garc\u00eda Odiaga\",\"datePublished\":\"2014-04-14T06:14:43+00:00\",\"dateModified\":\"2020-02-26T15:30:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/arquitectura-espontanea-inigo-garcia-odiaga\\\/\"},\"wordCount\":3092,\"commentCount\":2,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/arquitectura-espontanea-inigo-garcia-odiaga\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2013\\\/12\\\/1favela.jpg\",\"keywords\":[\"arquitectura brasile\u00f1a\",\"autoconstrucci\u00f3n\",\"barrio\",\"Brasilia\",\"ciudad\",\"crisis\",\"dre urhahn\",\"econom\u00eda\",\"econom\u00eda creativa\",\"fabela\",\"favela painting\",\"\u00cd\u00f1igo Garc\u00eda Odiaga\",\"jeroen koolhaas\",\"Juscelino Kubitschek\",\"Lucio Costa\",\"Oscar Niemeyer\",\"participaci\u00f3n ciudadana\",\"rio de janeiro\",\"sociedad\",\"urbanismo\",\"William J.R. 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