{"id":36519,"date":"2012-02-26T06:43:08","date_gmt":"2012-02-26T06:43:08","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36519"},"modified":"2022-02-15T11:15:34","modified_gmt":"2022-02-15T10:15:34","slug":"arquitectura-primaria-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-primaria-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Arquitectura primaria | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitectura primaria | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Primary architecture | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Escuela de Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9 | Fotograf\u00edas: Erik-Jan Ouwerkerk | Fuente: plataformaarquitectura.cl<\/a><\/span><\/figcaption><\/figure><\/p>\n

El dise\u00f1o de los edificios de servicio para el Parque Nacional del pa\u00eds Dogon en Mali y el centro de visitantes de la Gran Mezquita de Mopti, son los \u00faltimos proyectos construidos por Di\u00e9b\u00e9do Francis K\u00e9r\u00e9.<\/p>\n

Es realmente tortuoso el camino recorrido por Francis K\u00e9r\u00e9 hasta aqu\u00ed. Nacido en Gando, una aldea de Burkina Faso en 1965, fue la primera persona de su pueblo en estudiar en el extranjero. Finaliz\u00f3 sus estudios de arquitectura en la TU de Berl\u00edn y con un grupo de amigos formaliz\u00f3 una asociaci\u00f3n para construir una escuela en su pueblo natal, Gando. Mediante esta asociaci\u00f3n recaud\u00f3 los fondos necesarios para construir la Escuela Primaria en Gando mediante un\u00a0 proceso colaborativo y de trabajo comunitario. El proyecto obtuvo el prestigioso premio Aga Khan de Arquitectura en 2004, lo que catapult\u00f3 su oficina al estrellato mundial y provoc\u00f3 que su ideolog\u00eda por una arquitectura comprometida se divulgase de forma exponencial.<\/p>\n

La obra de la escuela de Gando destaca por conciliar la tradici\u00f3n y la modernidad sacando provecho de aquello a lo que la gente est\u00e1 acostumbrada. K\u00e9r\u00e9 reinterpreta en su proyecto la esencia del espacio educativo de su pueblo, la reuni\u00f3n de la clase bajo la sombra de un \u00e1rbol apoy\u00e1ndose en la escasa tecnolog\u00eda disponible.<\/p>\n

En una cultura rural como la africana, la autoconstrucci\u00f3n est\u00e1 aun muy arraigada y K\u00e9r\u00e9 aporta su conocimiento tecnol\u00f3gico de la modernidad a la forma de trabajar tradicional y a la memoria colectiva fuertemente arraigada.<\/p>\n

De esta fusi\u00f3n entre el conocimiento tradicional y el contempor\u00e1neo, ambas posturas han salido reforzadas. La arquitectura tradicional ha ense\u00f1ado a la modernidad como adaptarse al clima extremo de Burkina Faso. Por el contrario la modernidad ha aportado conocimiento constructivo y nuevos materiales. Frente a las peque\u00f1as y fr\u00e1giles edificaciones tradicionales, la llegada de morteros y cementos ha permitido la mejora de los muros tradicionales de ladrillo as\u00ed como la elaboraci\u00f3n de cimentaciones m\u00e1s estables.<\/p>\n

Para Francis K\u00e9r\u00e9 la tecnolog\u00eda no est\u00e1 f\u00e1cilmente disponible, requiere conocimiento y formarse en una educaci\u00f3n poco accesible en \u00c1frica, pero ese punto de partida desfavorable es suplido con creces por una gran capacidad de trabajo adquirida por la necesidad, pero tambi\u00e9n por el desarrollo de una idea basada en la fuerza de la colectividad. Ese sentimiento colectivo desbordante palpable en Gando, pese a la falta de medios es el espejo de un mundo opuesto representado por Europa, donde el conocimiento ha suplido ese esfuerzo colectivo. Es en esa encrucijada donde se ha desenvuelto el trabajo de K\u00e9r\u00e9, capaz de establecerse como un puente entre ambas culturas.<\/p>\n

Esta reinterpretaci\u00f3n en acero, madera, aluminio o ladrillo del conocimiento tradicional para enfrentarse al clima o al lugar puede tener referentes actuales como las obras de Glenn Murcutt o las ya m\u00e1s lejanas de Pierre Koenig. La arquitectura del australiano requiere de la conexi\u00f3n con el conocimiento tradicional del lugar en un sentido amplio, cultural, clim\u00e1tico, econ\u00f3mico o social, como \u00fanico modelo posible para proyectar la arquitectura contempor\u00e1nea en el lugar.<\/p>\n

Pero estas referencias aunque cercanas en el aspecto te\u00f3rico distan de la metodolog\u00eda de K\u00e9r\u00e9 dadas las especiales condiciones necesarias para ejecutar las obras en \u00c1frica. Si los primeros realizan un recorrido que podr\u00edamos llamar normal, en el que ejecutan la obra dibujada sobre el papel, Francis K\u00e9r\u00e9 se ve a menudo a entender la obra como un proceso abierto en el que ir introduciendo cambios en funci\u00f3n del precio de los materiales, de las posibilidades de conseguirlos o simplemente del personal cualificado del que dispone. Un proceso que dista bastante del ideal europeo para construir un edificio.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako | Fotograf\u00edas: Iwan Baan | Fuente: plataformaarquitectura.cl<\/a> y Escuela de Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9 | Fotograf\u00edas: Erik-Jan Ouwerkerk | Fuente: plataformaarquitectura.cl<\/a><\/span><\/figcaption><\/figure>\n

Estos d\u00edas el estudio de K\u00e9r\u00e9 ha finalizado dos nuevas obras encargadas por la Fundaci\u00f3n Aga Khan para la Cultura como conmemoraci\u00f3n del 50 aniversario de la independencia de Mali.<\/p>\n

Uno de ellos es centro del visitante en la Gran Mezquita de Mopti, uno de los edificios m\u00e1s importantes del pa\u00eds. El centro de visitantes est\u00e1 dividido en tres edificios diferentes, que est\u00e1n conectados por las azoteas. Esta fragmentaci\u00f3n construye tres peque\u00f1os edificios en lugar de uno de grandes dimensiones lo que otorga todo el protagonismo a la antigua mezquita. Todas las paredes y las b\u00f3vedas de ca\u00f1\u00f3n est\u00e1n construidas con bloques de tierra comprimida, que son muy adecuados a las condiciones clim\u00e1ticas, dado su efecto aislante. El gran alero, elevado respecto de los muros, bloquea la fuerza del sol y permite una fuerte ventilaci\u00f3n de las paredes y las b\u00f3vedas. Un recurso que proporciona un flujo natural de aire. El proyecto recupera adem\u00e1s la concatenaci\u00f3n tradicional de espacios p\u00fablicos enlazados para fomentar la reuni\u00f3n social.<\/p>\n

El segundo proyecto inaugurado por K\u00e9r\u00e9 hace apenas unos meses resume de manera sobresaliente la filosof\u00eda de su trabajo. Tres peque\u00f1os edificios resuelven las nuevas instalaciones del renovado Parque Nacional de Bamako. Un restaurante, como punto de reuni\u00f3n y ocio, un centro deportivo y un pabell\u00f3n de acceso que formaliza la entrada al parque, son los nuevos requerimientos funcionales.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9 | Fotograf\u00edas: Iwan Baan | Fuente: plataformaarquitectura.cl<\/a><\/span><\/figcaption><\/figure>\n

El restaurante est\u00e1 situado sobre una peque\u00f1a formaci\u00f3n rocosa y se adapta a sus formas, un claro ejemplo de c\u00f3mo la arquitectura se adapta a la naturaleza y no al rev\u00e9s. Es esta actitud la que define una arquitectura que no gasta energ\u00eda en modificar el contexto. Una arquitectura que gasta inteligencia y pensamiento para aprovecharse de lo que el lugar le da. Por ejemplo en la magn\u00edfica integraci\u00f3n de las espectaculares vistas sobre el parque y el lago, o en una construcci\u00f3n que utiliza los materiales locales para ahorrar en transporte anteponiendo esto a la est\u00e9tica, hablan de una arquitectura primaria.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

Una arquitectura primaria que antepone el servicio a la sociedad frente a otros requerimientos y hace suyo aquel juego de palabras de \u00abm\u00e1s \u00e9tica, menos est\u00e9tica\u00bb.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. febrero 2012<\/p>\n

Art\u00edculo publicado en ZAZPIKA 26.02.2012<\/em><\/span>[:en]

\"\"<\/a>
School of Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure><\/p>\n

The design of the buildings of service for the National Park of the country Dogon in Mali and the visitors’ center of Mopti’s Great Mosque, they are the last projects constructed by Di\u00e9b\u00e9do Francis K\u00e9r\u00e9.<\/p>\n

The way crossed by Francis K\u00e9r\u00e9 is really tortuous hitherto. Born in Gando, a village of Burkina Faso in 1965, was the first person of his people in studying abroad. It finished his studies of architecture in YOUR of Berlin and with a group of friends it formalized an association to construct a school in his natal people, Gando. By means of this association it collected the necessary funds to construct the Primary School in Gando by means of a collaborative process and of community work. The project obtained the prestigious prize Aga Khan of Architecture in 2004, which catapulted his office to the world stardom and provoked that his ideology for an awkward architecture was leaking out of exponential form.<\/p>\n

The work of Gando’s school stands out for harmonizing the tradition and the modernity extracting profit from that one to what the people are accustomed. K\u00e9r\u00e9 it reinterprets in his project the essence of the educational space of his people, the meeting of the class under the shade of a tree resting on the scanty available technology.<\/p>\n

In a rural culture as the African, the autoconstruction is even very deep-rooted and K\u00e9r\u00e9 contributes his technological knowledge of the modernity to the way of working traditionally and to the collective strongly deep-rooted memory.<\/p>\n

Of this merger between the traditional knowledge and the contemporary one, both positions have worked out reinforced. The traditional architecture has taught to the modernity like to adapt to the extreme climate of Burkina Faso. On the contrary the modernity has contributed constructive knowledge and new materials. Opposite to the small and fragile traditional buildings, the arrival of mortars and cements has allowed the improvement of the traditional walls of brick as well as the production of the stablest foundations.<\/p>\n

For Francis K\u00e9r\u00e9 the technology is not easily available, needs knowledge and to be formed in a slightly accessible education in Africa, but this point of unfavorable item is replaced fully by a great capacity of work acquired by the need, but also by the development of an idea based on the force of the collectivity. This collective overflowing palpable feeling in Gando, in spite of the lack of means is the mirror of an opposite world represented by Europe, where the knowledge has replaced this collective effort. It is in these crossroads where it is desenvuelto K\u00e9r\u00e9’s, capable work of being established as a bridge between both cultures.<\/p>\n

This reintepretation in steel, wood, aluminium or brick of the traditional knowledge to face the climate or to the place it can take current modals as Glenn Murcutt’s works or already more distant of Pierre Koenig. The architecture of the Australian needs of the connection with the traditional local knowledge in a wide, cultural, climatic, economic or social sense, as the only possible model to project the contemporary architecture in the place.<\/p>\n

But these references though nearby in the theoretical aspect the special necessary conditions are far from the methodology of given K\u00e9r\u00e9 to execute the works in Africa. If the first ones realize a tour that we might call normally, in that they execute the work drawn on the paper, Francis K\u00e9r\u00e9 meets often to understanding the work as an open session in which to be introducing changes depending on the price of the materials, of the possibilities of obtaining them or simply of the qualified personnel which he has. A process that enough of the ideal European is far to construct a building.<\/p>\n

\"\"<\/a>
National park of Bamako and School of Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

These days K\u00e9r\u00e9’s study has finished two new works entrusted by the Foundation Aga Khan for the Culture as commemoration of 50 anniversary of the independence of Mali.<\/p>\n

One of them is a center of the visitor in Mopti’s Great Mosque, one of the most important buildings of the country. The visitors’ center is divided in three different buildings, which are connected by the roofs. This fragmentation constructs three small buildings instead of one of big dimensions what grants all the protagonism to the former mosque. All the walls and the tunnel vaults are constructed by blocks of compressed land, which are very adapted to the climatic conditions, in view of his insulating effect. The great eaves, raised respect of the walls, block the force of the Sun and allow a strong ventilation of the walls and the vaults. A resource that provides a natural flow of air. The project recovers in addition the traditional concatenation of public spaces connected to promote the social meeting.<\/p>\n

The second project inaugurated by K\u00e9r\u00e9 only a few months ago summarizes in an excellent way the philosophy of his work. Three small buildings solve the new facilities of the renewed National Park of Bamako. A restaurant, as point of meeting and leisure, a sports center and a pavilion of access that formalizes the entry to the park, they are the new functional requirements.<\/p>\n

\"\"<\/a>
National park of Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

The restaurant is placed on a small rocky formation and adapts to his forms, a clear example of how the architecture adapts to the nature and not upside-down. It is this attitude the one that defines an architecture that does not spend energy in modifying the context. An architecture that spends intelligence and thought to take advantage what the place gives him. For example in the magnificent integration of spectacular conference on the park and the lake, or in a construction that uses the local materials to save in transport preferring this to the aesthetics, they speak about a primary architecture.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

A primary architecture that prefers the service to the company opposite to other requirements and makes that play on words his of \u00abmore ethical, less aesthetic\u00bb.<\/p>\n

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

san sebasti\u00e1n. february, 2012<\/p>\n

Article is published in ZAZPIKA 26.02.2012<\/em><\/span><\/p>\n

[:gl]

\"\"<\/a>
Escola de Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure><\/p>\n

O dese\u00f1o dos edificios de servizo para o Parque Nacional do pa\u00eds Dogon en Mali e o centro de visitantes da Gran Mesquita de Mopti, son os \u00faltimos proxectos constru\u00eddos por Di\u00e9b\u00e9do Francis K\u00e9r\u00e9.<\/p>\n

\u00c9 realmente tortuoso o cami\u00f1o percorrido por Francis K\u00e9r\u00e9 ata aqu\u00ed. Nacido en Gando, unha aldea de Burkina Faso en 1965, foi a primeira persoa do seu pobo en estudar no estranxeiro. Finalizou os seus estudos de arquitectura en AO TEU de Berl\u00edn e cun grupo de amigos formalizou unha asociaci\u00f3n para constru\u00edr unha escola no seu pobo natal, Gando. Mediante esta asociaci\u00f3n recadou os fondos necesarios para constru\u00edr a Escola Primaria en Gando mediante un proceso colaborador e de traballo comunitario. O proxecto obtivo o prestixioso premio Aga Khan de Arquitectura en 2004, o que catapultou a s\u00faa oficina ao \u00e9xito mundial e provocou que a s\u00faa ideolox\u00eda por unha arquitectura comprometida se divulgase de forma exponencial.<\/p>\n

A obra da escola de Gando destaca por conciliar a tradici\u00f3n e a modernidade tirando proveito daquilo ao que a xente est\u00e1 afeita. K\u00e9r\u00e9 reinterpreta no seu proxecto a esencia do espazo educativo do seu pobo, a reuni\u00f3n da clase baixo a sombra dunha \u00e1rbore apoi\u00e1ndose na escasa tecnolox\u00eda dispo\u00f1ible.<\/p>\n

Nunha cultura rural como a africana, a autoconstruci\u00f3n est\u00e1 a\u00ednda moi arraigada e K\u00e9r\u00e9 achega o seu co\u00f1ecemento tecnol\u00f3xico da modernidade \u00e1 forma de traballar tradicional e \u00e1 memoria colectiva fortemente arraigada.<\/p>\n

Desta fusi\u00f3n entre o co\u00f1ecemento tradicional e o contempor\u00e1neo, ambas as d\u00faas posturas sa\u00edron reforzadas. A arquitectura tradicional ensinou \u00e1 modernidade como adaptarse ao clima extremo de Burkina Faso. Pola contra a modernidade achegou co\u00f1ecemento construtivo e novos materiais. Fronte \u00e1s pequenas e fr\u00e1xiles edificaci\u00f3ns tradicionais, a chegada de morteiros e cementos permitiu a mellora dos muros tradicionais de ladrillo as\u00ed como a elaboraci\u00f3n de cimentaci\u00f3ns m\u00e1is estables.<\/p>\n

Para Francis K\u00e9r\u00e9 a tecnolox\u00eda non est\u00e1 doadamente dispo\u00f1ible, require co\u00f1ecemento e formarse nunha educaci\u00f3n pouco accesible en \u00c1frica, pero ese punto de partida desfavorable \u00e9 suplido de sobra por unha gran capacidade de traballo adquirida pola necesidade, pero tam\u00e9n polo desenvolvemento dunha idea baseada na forza da colectividade. Ese sentimento colectivo desbordante palpable en Gando, malia a falta de medios \u00e9 o espello dun mundo oposto representado por Europa, onde o co\u00f1ecemento supliu ese esforzo colectivo. \u00c9 nesa encrucillada onde se desenvolveu o traballo de K\u00e9r\u00e9, capaz de establecerse como unha ponte entre ambas as d\u00faas culturas.<\/p>\n

Esta reinterpretaci\u00f3n en aceiro, madeira, aluminio ou ladrillo do co\u00f1ecemento tradicional para enfrontarse ao clima ou ao lugar pode ter referentes actuais como as obras de Glenn Murcutt ou as xa m\u00e1is afastadas de Pierre Koenig. A arquitectura do australiano require da conexi\u00f3n co co\u00f1ecemento tradicional do lugar nun sentido amplo, cultural, clim\u00e1tico, econ\u00f3mico ou social, como \u00fanico modelo posible para proxectar a arquitectura contempor\u00e1nea no lugar.<\/p>\n

Pero estas referencias a\u00ednda que pr\u00f3ximas no aspecto te\u00f3rico distan da metodolox\u00eda de K\u00e9r\u00e9 dadas as especiais condici\u00f3ns necesarias para executar as obras en \u00c1frica. Se os primeiros realizan un percorrido que poderiamos chamar normal, no que executan a obra debuxada sobre o papel, Francis K\u00e9r\u00e9 vese a mi\u00fado a entender a obra como un proceso aberto no que ir introducindo cambios en funci\u00f3n do prezo dos materiais, das posibilidades de conseguilos ou simplemente do persoal cualificado do que disp\u00f3n. Un proceso que dista bastante do ideal europeo para constru\u00edr un edificio.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako e Escola de Gando, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

Estes d\u00edas o estudo de K\u00e9r\u00e9 finalizou d\u00faas novas obras encargadas pola Fundaci\u00f3n Aga Khan para a Cultura como conmemoraci\u00f3n do 50 aniversario da independencia de Mali.<\/p>\n

Un deles \u00e9 centro do visitante na Gran Mesquita de Mopti, un dos edificios m\u00e1is importantes do pa\u00eds. O centro de visitantes est\u00e1 dividido en tres edificios diferentes, que est\u00e1n conectados polas azoteas. Esta fragmentaci\u00f3n constr\u00fae tres pequenos edificios en lugar dun de grandes dimensi\u00f3ns o que outorga todo o protagonismo \u00e1 antiga mesquita. Todas as paredes e as b\u00f3vedas de can\u00f3n est\u00e1n constru\u00eddas con bloques de terra comprimida, que son moi axeitados \u00e1s condici\u00f3ns clim\u00e1ticas, dado o seu efecto illante. O grande aleiro, elevado respecto dos muros, bloquea a forza do sol e permite unha forte ventilaci\u00f3n das paredes e as b\u00f3vedas. Un recurso que proporciona un fluxo natural de aire. O proxecto recupera ademais a concatenaci\u00f3n tradicional de espazos p\u00fablicos enlazados para fomentar a reuni\u00f3n social.<\/p>\n

O segundo proxecto inaugurado por K\u00e9r\u00e9 fai apenas uns meses resume de xeito sobresa\u00ednte a filosof\u00eda do seu traballo. Tres pequenos edificios resolven as novas instalaci\u00f3ns do renovado Parque Nacional de Bamako. Un restaurante, como punto de reuni\u00f3n e ocio, un centro deportivo e un pavill\u00f3n de acceso que formaliza a entrada ao parque, son os novos requirimentos funcionais.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

O restaurante est\u00e1 situado sobre unha pequena formaci\u00f3n rochosa e ad\u00e1ptase \u00e1s s\u00faas formas, un claro exemplo de como a arquitectura se adapta \u00e1 natureza e non ao rev\u00e9s. \u00c9 esta actitude a que define unha arquitectura que non gasta enerx\u00eda en modificar o contexto. Unha arquitectura que gasta intelixencia e pensamento para aproveitarse do que o lugar lle d\u00e1. Por exemplo na magn\u00edfica integraci\u00f3n das espectaculares vistas sobre o parque e o lago, ou nunha construci\u00f3n que utiliza os materiais locais para aforrar en transporte antepo\u00f1endo isto \u00e1 est\u00e9tica, falan dunha arquitectura primaria.<\/p>\n

\"\"<\/a>
Parque Nacional de Bamako, Di\u00e9b\u00e9do Francis K\u00e9r\u00e9<\/span><\/figcaption><\/figure>\n

Unha arquitectura primaria que antep\u00f3n o servizo \u00e1 sociedade fronte a outros requirimentos e fai seu aquel xogo de palabras de \u00abm\u00e1is \u00e9tica, menos est\u00e9tica\u00bb.<\/p>\n

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

san sebasti\u00e1n. xu\u00f1o 2014<\/p>\n

Artigo publicado en ZAZPIKA 26.02.2012<\/em><\/span><\/p>\n

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

[:es] El dise\u00f1o de los edificios de servicio para el Parque Nacional del pa\u00eds Dogon en Mali y el centro de visitantes de la Gran Mezquita de Mopti, son los \u00faltimos proyectos construidos por Di\u00e9b\u00e9do Francis K\u00e9r\u00e9. Es realmente tortuoso el camino recorrido por Francis K\u00e9r\u00e9 hasta aqu\u00ed. Nacido en Gando, una aldea de Burkina […]<\/p>\n","protected":false},"author":31,"featured_media":36521,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[85,7446,2377,171,6805,3920,12456,12443,1787,6323,819,4042],"class_list":["post-36519","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-africa","tag-arquitectura-inglesa","tag-arquitectura-social","tag-autoconstruccion","tag-centro-de-visitantes","tag-diebedo-francis-kere","tag-equipamiento-cultural","tag-equipamiento-docente","tag-europa","tag-glenn-murcutt","tag-mali","tag-pierre-koenig"],"yoast_head":"\nArquitectura primaria | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Arquitectura primaria | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitectura primaria | \u00cd\u00f1igo 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