{"id":37851,"date":"2014-04-04T06:19:32","date_gmt":"2014-04-04T06:19:32","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=37851"},"modified":"2025-02-06T14:09:07","modified_gmt":"2025-02-06T13:09:07","slug":"influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\/","title":{"rendered":"[:es]Influencias en el dibujo de Aldo Rossi: matando al padre | Borja L\u00f3pez Cotelo [:gl]Influencias no debuxo de Aldo Rossi: matando o pai | Borja L\u00f3pez Cotelo [:en]Influences in Aldo Rossi’s drawing: killing the father | Borja L\u00f3pez Cotelo [:]"},"content":{"rendered":"

[:es]

\"Influencias<\/a>
Bocetos de Aldo Rossi<\/span><\/figcaption><\/figure><\/p>\n

A menudo el tiempo diluye la certeza. Aldo Rossi<\/a> emergi\u00f3 en la segunda mitad del siglo XX como el hombre llamado a iluminar una generaci\u00f3n a la sombra de la modernidad. Iconoclasta precoz en su propuesta revisionista del urbanismo contempor\u00e1neo, muchos creyeron ver en su teor\u00eda el camino a seguir en la definici\u00f3n de una nueva arquitectura. Sus postulados sobre el valor de lo heredado o la capacidad semiol\u00f3gica de la forma, su cr\u00edtica al \u2018funcionalismo ingenuo\u2019 o su firme defensa de la especificidad de la disciplina, sedujeron a sus coet\u00e1neos con la misma intensidad que su obra construida lo conden\u00f3 ante las nuevas generaciones.<\/p>\n

Pero pocos dudan a\u00fan hoy de la capacidad de sugesti\u00f3n de sus dibujos. Sus edificios transmiten, en ocasiones, una ap\u00e1tica distancia con respecto a quien los mira y, en otras, una casi infantil voluntad de comunicar las obsesiones de quien los ha concebido. Rossi nos leg\u00f3 el hieratismo del cementerio de San Cataldo y la ingenuidad formal del Teatro del Mondo.<\/p>\n

Sus dibujos, sin embargo, son capaces de evocar visiones sustra\u00eddas de una realidad extraordinariamente densa. Dibujaba sus recuerdos y deseos, los inventariaba en cat\u00e1logos de im\u00e1genes que llamaba \u2018objetos de afecto\u2019 1<\/sup><\/sup><\/em> <\/em>: chimeneas industriales, viviendas reducidas a esqueletos extra\u00eddas de su infancia padana, enormes frontones que hab\u00eda reconocido a lo largo de su vida en teatros o casetas de playa, pilares que suger\u00edan construcciones palaf\u00edticas del Adri\u00e1tico. Todos \u00a0reaparec\u00edan de manera obsesiva en los cuadernos de Rossi mucho antes de materializarse en Gallaratese, Broni o Segrate.<\/p>\n

Estos bocetos desnudan al arquitecto milan\u00e9s y lo muestran como un hombre permeable a otras artes y otros tiempos. Hasta sus planos se filtra la influencia de Boull\u00e9e, del mismo modo que sus dibujos revelan su fascinaci\u00f3n por la pintura de De Chirico.<\/p>\n

\"Influencias<\/a>
Bocetos de Aldo Rossi<\/span><\/figcaption><\/figure>\n

Rossi nunca lo acept\u00f3. El \u00fanico v\u00ednculo que reconoc\u00eda con Boull\u00e9e era haber sido responsable de la traducci\u00f3n de sus obras2<\/sup><\/sup><\/em>. Pero las secciones que present\u00f3 al concurso del Cementerio de M\u00f3dena, realizadas en 1971, se empe\u00f1an en llevarle la contraria. Es dif\u00edcil no ver en ellas la herencia de las arquitecturas que, dos siglos antes, hab\u00eda dibujado Boull\u00e9e. S\u00f3lo as\u00ed se entiende su indefinici\u00f3n constructiva, su rotundidad geom\u00e9trica o la solidez de las sombras arrojadas.<\/p>\n

\"Influencias<\/a>
Cenotafio de \u00c9tienne-Louis Boull\u00e9e, s.XVIII | Cementerio de M\u00f3dena, 1972. A. Rossi y G. Braghieri<\/span><\/figcaption><\/figure>\n

La pintura siempre hab\u00eda fascinado a Aldo Rossi. En su \u2018Autobiograf\u00eda Cient\u00edfica\u2019 se\u00f1ala ciertas obras de Angelo Morbelli o Antonello da Messina como inspiraci\u00f3n de su arquitectura. Pero en esta relaci\u00f3n de pintores, lo m\u00e1s llamativo es la omisi\u00f3n de quien parece haber tenido una influencia m\u00e1s determinante, Giorgio de Chirico<\/a>.<\/p>\n

Sus escenas en las que sombras alargadas y colores intensos sugieren un ocaso permanente, sus edificios basados en la repetici\u00f3n secuencial de ventanas y pilares, sus alteraciones de la perspectiva alejadas de la composici\u00f3n renacentista, parecen haber condicionado el modo de ver el mundo de Rossi y, en \u00faltima instancia, su manera de hacer arquitectura. El v\u00ednculo se hace a\u00fan m\u00e1s evidente cuando el arquitecto milan\u00e9s dibuja escenograf\u00edas pobladas por maniqu\u00edes, seres inanimados entre el sujeto y el objeto que hab\u00edan caracterizado la obra de Giorgio de Chirico. Sin embargo, Rossi parec\u00eda empe\u00f1ado no s\u00f3lo en matar al padre, sino en hacerlo sin dejar huellas.<\/p>\n

\"Influencias<\/a>
Cuadros de G. de Chirico | Dibujos de Aldo Rossi<\/span><\/figcaption><\/figure>\n

No se distingue en el dibujo del arquitecto italiano ning\u00fan parentesco con Le Corbusier, con su l\u00ednea serrada heredera del cubismo. Tampoco con los extraordinarios dibujos de Louis Kahn o Alvar Aalto, ni con las precisas perspectivas de Mies van der Rohe. Su voluntad de alejamiento de la ortodoxia moderna parece haber comenzado con el dibujo. Quiz\u00e1 por eso, en sus a\u00f1os de estudiante en el Polit\u00e9cnico de Mil\u00e1n, el profesor Sabbioni le recomend\u00f3 el abandono de la carrera3<\/sup><\/sup><\/em>. Rossi no s\u00f3lo decidi\u00f3 seguir, sino que siempre pareci\u00f3 a\u00f1orar la torpeza de esos croquis inexactos:<\/p>\n

\n

\u2018\u2026hoy intento recuperar aquella felicidad del dibujo confundido con la impericia y la estupidez\u2026<\/em>\u2019 4<\/sup><\/sup><\/em>.<\/p>\n<\/blockquote>\n

Borja L\u00f3pez Cotelo. Doctor arquitecto
\nA Coru\u00f1a. febrero 2011<\/p>\n

Notas:<\/h6>\n

1<\/sup><\/sup><\/em> <\/sup>Rossi, Aldo, \u2018La Arquitectura An\u00e1loga\u2019, en 2C<\/a><\/em> num.2, 1975. pp. 8-11
\n2<\/sup><\/sup><\/em> Rossi, Aldo, Autobiograf\u00eda Cient\u00edfica<\/a><\/em>, p.24 (Ed. Gustavo Gili, 1981)
\n3<\/sup><\/sup><\/em> Rossi, Aldo, Autobiograf\u00eda Cient\u00edfica<\/a><\/em>, p.50 (Ed. Gustavo Gili, 1981)
\n4<\/sup><\/sup><\/em> Rossi, Aldo, Autobiograf\u00eda Cient\u00edfica<\/a><\/em>, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

[:en]

\"\"<\/a>
Aldo Rossi’s sketches<\/span><\/figcaption><\/figure><\/p>\n

Often the time dilutes the certainty. Aldo Rossi emerged in the second half of the 20th century as the man called to illuminate a generation in the shade of the modernity. Precocious iconoclast in his revisionist offer of the contemporary urbanism, many they were thinking about seeing in his theory the way to continuing in the definition of a new architecture. His postulates on the value of the inherited thing or the capacity semiol\u00f3gica from the form, his critique to ‘ funcionalismo ingenuous ‘ or his firm defense of the specificity of the discipline, sedujeron to his contemporaries with the same intensity that his constructed work it condemned before the new generations.<\/p>\n

But few ones doubt still today the capacity of suggestion of his drawings. His buildings transmit, in occasions, an apathetic distance with regard to whom it looks at them and, in others, an almost infantile will to communicate the obsessions of the one who has conceived them. Rossi bequeathed the hieratismo of San Cataldo’s cemetery and the formal naivet\u00e9 of the Theatre of the Bare one.<\/p>\n

His drawings, nevertheless, are capable of evoking visions removed of an extraordinarily dense reality. It was drawing his recollections and desires, was inventorying them in catalogues of images that it was calling\u00a0\u2018objects of affection\u2019 1<\/sup><\/sup><\/em><\/em>: industrial chimneys, housings diminished to skeletons extracted from his infancy padana, enormous frontons that it had recognized along his life in theatres or sheds of beach, props that were suggesting constructions palaf\u00edticas of the Adriatic Sea. They all were reappearing in an obsessive way in Rossi’s notebooks a long before materializing in Gallaratese, Broni or Segrate.<\/p>\n

These sketches undress the Milanese architect and show it as a permeable man to other arts and other times. Up to his planes Boull\u00e9e’s influence filters, in the same way that his drawings reveal his fascination for the De Chirico\u00b4s painting.<\/p>\n

\"\"<\/a>
Aldo Rossi’s sketches<\/span><\/figcaption><\/figure>\n

Rossi never accepted it. The only link that it was recognizing with Boull\u00e9e was to have been responsible for the translation of his works2<\/sup><\/sup><\/em>. But the sections that he presented to the contest of M\u00f3dena’s Cemetery, realized in 1971, pledge in taking the opposite one to him. It is difficult not to see in them the inheritance of the architectures that, two centuries before, Boull\u00e9e had drawn. Only this way there is understood his constructive lack of definition, his geometric rotundity or the solidity of the brave shades.<\/p>\n

\"\"<\/a>
\u00c9tienne-Louis Boull\u00e9e’s cenotaph, s. The XVIIIth | Modena’s Cemetery, 1972. A. Rossi and G. Braghieri<\/span><\/figcaption><\/figure>\n

The painting always had fascinated Aldo Rossi. In his ‘Scientific Autobiography\u00a0 it indicates certain works of Angelo Morbelli or Antonello da Messina as inspiration of his architecture. But in this painters’ relation, the most showy thing is the omission of the one who seems to have had a more determinant influence, Giorgio de Chirico.<\/p>\n

His scenes in which elongated shades and intense colors suggest a permanent west, his buildings based on the sequential repetition of windows and props, his alterations of the perspective removed from the Renaissance composition, seem to have determined the way of seeing Rossi’s world and, in last instance, his way of doing architecture. The link becomes furthermore evident when the Milanese architect draws sceneries populated by manikins, inanimate beings between the subject and the object that they had characterized Giorgio de Chirico’s work. Nevertheless, Rossi seemed to be commited not only in killing the father, but in doing it without leaving fingerprints.<\/p>\n

\"\"<\/a>
G. de Chirico.’s pictures | Aldo Rossi’s Drawings<\/span><\/figcaption><\/figure>\n

Corbusier does not distinguish in the drawing of the Italian architect any kinship with Him, with his serrated line inheritor of the cubism. Neither neither with the extraordinary drawings of Louis Kahn or Alvar Aalto, nor with the precise perspectives of Mies van der Rohe. His will of withdrawal of the modern orthodoxy seems to have begun with the drawing. Probably because of it, in his years of student in the Technical one of Milan, the teacher Sabbioni the abandon of the career recommended to him3<\/sup><\/sup><\/em>. Rossi not only decided to continue, but always it seemed to long for the infamy of these inaccurate sketches: \u2018\u2026today I try to recover that happiness of the drawing confused with the lack of skill and the stupidity\u2026<\/em>\u2019 4<\/sup><\/sup><\/em>.<\/p>\n

Borja L\u00f3pez Cotelo. Doctor architect<\/p>\n

A Coru\u00f1a. february 2011<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup><\/em> <\/sup>Rossi, Aldo \u2018La Arquitectura An\u00e1loga\u2019, en 2C num.2, 1975. pp. 8-11<\/p>\n

2<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.24 (Ed. Gustavo Gili, 1981)<\/p>\n

3<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

4<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

4<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

[:gl]

\"\"<\/a>
Bosquexos de Aldo Rossi<\/span><\/figcaption><\/figure><\/p>\n

A mi\u00fado o tempo dil\u00fae a certeza. Aldo Rossi emerxeu na segunda metade do s\u00e9culo XX como o home chamado a iluminar unha xeraci\u00f3n \u00e1 sombra da modernidade. Iconoclasta precoz na s\u00faa proposta revisionista do urbanismo contempor\u00e1neo, moitos creron ver na s\u00faa teor\u00eda o cami\u00f1o a seguir na definici\u00f3n dunha nova arquitectura. Os seus postulados sobre o valor do herdado ou a capacidade semiol\u00f3xica da forma, a s\u00faa cr\u00edtica ao ‘funcionalismo inxenuo’ ou o seu firme defensa da especificidade da disciplina, seduciron os seus coet\u00e1neos coa mesma intensidade que a s\u00faa obra constru\u00edda o condenou ante as novas xeraci\u00f3ns.<\/p>\n

Pero poucos dubidan a\u00ednda hoxe da capacidade de suxesti\u00f3n dos seus debuxos. Os seus edificios transmiten, en ocasi\u00f3ns, unha ap\u00e1tica distancia con respecto a quen os mira e, noutras, unha case infantil vontade de comunicar as obsesi\u00f3ns de quen os concibiu. Rossi legounos o hieratismo do cemiterio de San Cataldo e a inxenuidade formal do Teatro do Mondo.<\/p>\n

Os seus debuxos, non obstante, son capaces de evocar visi\u00f3ns subtra\u00eddas dunha realidade extraordinariamente densa. Debuxaba os seus recordos e desexos, inventari\u00e1baos en cat\u00e1logos de imaxes que chamaba\u00a0\u2018obxetos de afecto\u2019 1<\/sup><\/sup><\/em><\/em>: chemineas industriais, vivendas reducidas a esqueletos extraidas da s\u00faa infancia padana, enormes front\u00f3ns que reco\u00f1ecera ao longo da s\u00faa vida en teatros ou casetas de praia, piares que suxer\u00edan construci\u00f3ns palaf\u00edticas do Adri\u00e1tico. Todos reaparec\u00edan de xeito obsesivo nos cadernos de Rossi moito antes de materializarse en Gallaratese, Broni ou Segrate.<\/p>\n

Estes bosquexos ispen o arquitecto milan\u00e9s e m\u00f3strano como un home permeable a outras artes e outros tempos. Ata os seus planos f\u00edltrase a influencia de Boull\u00e9e, do mesmo modo que os seus debuxos revelan a s\u00faa fascinaci\u00f3n pola pintura de De Chirico<\/p>\n

\"\"<\/a>
Bosquexos de Aldo Rossi<\/span><\/figcaption><\/figure>\n

Rossi nunca o aceptou. O \u00fanico v\u00ednculo que reco\u00f1ec\u00eda con Boull\u00e9e era ser responsable da traduci\u00f3n das suas obras2<\/sup><\/sup><\/em>. Pero as secci\u00f3ns que presentou ao concurso do Cemiterio de M\u00f3dena, realizadas en 1971, emp\u00e9\u00f1anse en levarlle a contra. \u00c9 dif\u00edcil non ver nelas a herdanza das arquitecturas que, dous s\u00e9culos antes, debuxara Boull\u00e9e. S\u00f3 as\u00ed se entende a s\u00faa indefinici\u00f3n construtiva, a s\u00faa rotundidade xeom\u00e9trica ou a solidez das sombras botadas.<\/p>\n

\"\"<\/a>
Cenotafio de \u00c9tienne-Louis Boull\u00e9e, s.XVIII | Cementerio de M\u00f3dena, 1972. A. Rossi e G. Braghieri<\/span><\/figcaption><\/figure>\n

A pintura sempre fascinara a Aldo Rossi. Na s\u00faa ‘Autobiograf\u00eda Cient\u00edfica’ sinala certas obras de Angelo Morbelli ou Antonello d\u00e1 Messina como inspiraci\u00f3n da s\u00faa arquitectura. Pero nesta relaci\u00f3n de pintores, o m\u00e1is rechamante \u00e9 a omisi\u00f3n de quen parece ter tido unha influencia m\u00e1is determinante, Giorgio de Chirico.<\/p>\n

As s\u00faas escenas nas que sombras alongadas e cores intensas suxiren un ocaso permanente, os seus edificios baseados na repetici\u00f3n secuencial de vent\u00e1s e piares, as s\u00faas alteraci\u00f3ns da perspectiva afastadas da composici\u00f3n renacentista, parecen ter condicionado o modo de ver o mundo de Rossi e, en \u00faltima instancia, o seu xeito de facer arquitectura. O v\u00ednculo faise a\u00ednda m\u00e1is evidente cando o arquitecto milan\u00e9s debuxa escenograf\u00edas poboadas por manequ\u00edns, seres inanimados entre o suxeito e o obxecto que caracterizaran a obra de Giorgio de Chirico. Non obstante, Rossi parec\u00eda empe\u00f1ado non s\u00f3 en matar o pai, sen\u00f3n en facelo sen deixar pegadas.<\/p>\n

\"\"<\/a>
Cuadros de G. de Chirico | Debuxos de Aldo Rossi<\/span><\/figcaption><\/figure>\n

Non se distingue no debuxo do arquitecto italiano ning\u00fan parentesco con Le Corbusier, coa s\u00faa li\u00f1a dentada herdeira do cubismo. Tampouco cos extraordinarios debuxos de Louis Kahn ou Alvar Aalto, nin coas precisas perspectivas de Mies van der Rohe. A s\u00faa vontade de afastamento da ortodoxia moderna parece ter comezado co debuxo. Quizais por iso, nos seus anos de estudante no Polit\u00e9cnico de Mil\u00e1n, o profesor Sabbioni recomendoulle o abandono da\u00a0carreira3<\/sup><\/sup><\/em>. Rossi non s\u00f3 decidiu seguir, sen\u00f3n que sempre pareceu botar de menos a torpeza deses esbozos inexactos: \u2018\u2026hoxe intento recuperar aquela felicidade do debuxo confundido coa impericia e a estupidez\u2026<\/em>\u2019 4<\/sup><\/sup><\/em>.<\/p>\n

Borja L\u00f3pez Cotelo. Doutor arquitecto<\/p>\n

A Coru\u00f1a. febreiro 2011<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup><\/em>\u00a0 <\/sup>Rossi, Aldo \u2018La Arquitectura An\u00e1loga\u2019, en 2C num.2, 1975. pp. 8-11<\/p>\n

2<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.24 (Ed. Gustavo Gili, 1981)<\/p>\n

3<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

4<\/sup><\/sup><\/em> Rossi, Aldo \u2018Autobiograf\u00eda Cient\u00edfica\u2019, p.50 (Ed. Gustavo Gili, 1981)<\/p>\n

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

[:es] A menudo el tiempo diluye la certeza. Aldo Rossi emergi\u00f3 en la segunda mitad del siglo XX como el hombre llamado a iluminar una generaci\u00f3n a la sombra de la modernidad. Iconoclasta precoz en su propuesta revisionista del urbanismo contempor\u00e1neo, muchos creyeron ver en su teor\u00eda el camino a seguir en la definici\u00f3n de […]<\/p>\n","protected":false},"author":17,"featured_media":37852,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[3850,102,9740,8001,6657,3852,2298,424,4245,3451,9741,11588,785,3104,815,3255,865,878,1564,1021,12466,1716,4444,12468],"class_list":["post-37851","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-aldo-rossi","tag-alvar-aalto","tag-angelo-morbelli","tag-antonello-da-messina","tag-arquitectura-italiana","tag-borja-lopez-cotelo","tag-dibujar","tag-dibujo","tag-boulle","tag-funcionalismo","tag-gianni-braghieri","tag-giorgio-de-chirico","tag-le-corbusier","tag-louis-i-kahn","tag-maestro","tag-memoria","tag-mies-van-der-rohe","tag-modernidad","tag-objeto","tag-pensamiento","tag-pintura","tag-referencias","tag-s-xx","tag-urbanismo"],"yoast_head":"\nInfluencias en el dibujo de Aldo Rossi: matando al padre | Borja L\u00f3pez Cotelo<\/title>\n<meta name=\"description\" content=\"Aldo Rossi\" \/>\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\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Influencias en el dibujo de Aldo Rossi: matando al padre | Borja L\u00f3pez Cotelo\" \/>\n<meta property=\"og:description\" content=\"Aldo Rossi\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\/\" \/>\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:published_time\" content=\"2014-04-04T06:19:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-06T13:09:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/bocetos-de-aldo-rossi_01.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"276\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Borja L\u00f3pez Cotelo\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/lineasdetrabajo\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Borja L\u00f3pez Cotelo\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\\\/\"},\"author\":{\"name\":\"Borja L\u00f3pez Cotelo\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/0ed637ae44a657b55da8bf9dae752ffb\"},\"headline\":\"[:es]Influencias en el dibujo de Aldo Rossi: matando al padre | Borja L\u00f3pez Cotelo [:gl]Influencias no debuxo de Aldo Rossi: matando o pai | Borja L\u00f3pez Cotelo [:en]Influences in Aldo Rossi’s drawing: killing the father | Borja L\u00f3pez Cotelo [:]\",\"datePublished\":\"2014-04-04T06:19:32+00:00\",\"dateModified\":\"2025-02-06T13:09:07+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\\\/\"},\"wordCount\":2469,\"commentCount\":1,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/influencias-en-el-dibujo-de-aldo-rossi-matando-al-padre-borja-lopez-cotelo\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/01\\\/bocetos-de-aldo-rossi_01.jpg\",\"keywords\":[\"Aldo Rossi\",\"Alvar Aalto\",\"Angelo Morbelli\",\"Antonello da Messina\",\"arquitectura italiana\",\"Borja L\u00f3pez Cotelo\",\"dibujar\",\"dibujo\",\"\u00c9tienne-Louis Boull\u00e9e\",\"funcionalismo\",\"Gianni Braghieri\",\"Giorgio De Chirico\",\"Le Corbusier\",\"Louis I. 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