{"id":39279,"date":"2014-04-07T06:13:14","date_gmt":"2014-04-07T06:13:14","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=39279"},"modified":"2018-04-23T17:17:01","modified_gmt":"2018-04-23T15:17:01","slug":"la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/","title":{"rendered":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n CapitelA arquitectura moderna e o poder. Espa\u00f1a e o mundo no s. XX | Ant\u00f3n CapitelThe modern architecture and the power. Spain and the world in the century xx | Ant\u00f3n Capitel"},"content":{"rendered":"

\"\"<\/a>
Construcci\u00f3n del Palazzo della Civilt\u00e0 Italiana. Arquitectos Giovanni Guerrini, Ernesto Bruno La Padula y Mario Roman (Courtesy of Wikicommons)<\/span><\/figcaption><\/figure><\/p>\n

Con alguna frecuencia he tenido que explicar, como profesor, la arquitectura de los a\u00f1os 40 en el franquismo, o la del nazismo en los 30. Siempre digo que tanto el nazismo como el franquismo tuvieron a la arquitectura moderna como un enemigo, lo que en realidad resulta ins\u00f3lito, pues la arquitectura moderna -dijeran lo que dijeran algunos cr\u00edticos e historiadores, o digan lo que digan ahora- no ten\u00eda contenido ideol\u00f3gico directo alguno. Bien pudiera haber ocurrido que el dictador nazi hubiera sido un entusiasta de la modernidad, incluso por presumir de radical, y hubiera promovido una arquitectura que en buena medida pod\u00eda considerarse alemana. En gran modo as\u00ed se hizo en Italia, por ejemplo, y bajo el dictador fascista. Sin embargo, no era as\u00ed en el nazismo; el jefe era partidario de la arquitectura cl\u00e1sica y acad\u00e9mica, en lo que denunciaba su retraso y su falta de educaci\u00f3n, y la impuso como tantas cosas.<\/p>\n

En el dictador espa\u00f1ol la cosa era algo distinta, pues aquel ser no ten\u00eda mucho criterio en nada que no fuera pol\u00edtico, y fueron algunos arquitectos -sobre todo uno- los que impusieron una pol\u00edtica arquitect\u00f3nica conservadora, lo que cuadraba con los gustos convencionales, de clase media baja, del dictador.<\/p>\n

Bien, pero, en definitiva, \u00bfpor qu\u00e9 la identificaci\u00f3n de la arquitectura moderna como un enemigo, si \u00e9ste en realidad no lo era, y su adopci\u00f3n hubiera permitido presumir de progresismo t\u00e9cnico y art\u00edstico?<\/p>\n

En el caso de Espa\u00f1a quiz\u00e1 pueda esbozarse una contestaci\u00f3n.<\/p>\n

Sin olvidar la dif\u00edcil situaci\u00f3n a la que hab\u00eda llegado el pa\u00eds bajo el r\u00e9gimen republicano, en buena medida imposible de disculpar, y aunque aqu\u00e9lla no fuera una responsabilidad tan directa de los pol\u00edticos como se suele decir, pues abund\u00f3 el sabotaje de unos y de otros, la supuesta \u00absalvaci\u00f3n de la Patria\u00bb que decidieron llevar a cabo los militares y aquellos que les ayudaron, no se sostiene como raz\u00f3n, y aparece m\u00e1s bien como simple coartada.<\/p>\n

La guerra civil no fue un simple golpe de Estado para enderezar el r\u00e9gimen republicano e imponer el orden, lo que podr\u00eda haber sido. Fue una guerra cruenta, fratricida, artificialmente sostenida en su larga duraci\u00f3n para liquidar al enemigo al m\u00e1ximo posible y cambiar por completo la estructura pol\u00edtica del pa\u00eds. Si la guerra, seg\u00fan tantos, era inevitable, el resultado tras ella no lo era. Una rep\u00fablica parlamentaria se sustituy\u00f3 por una dictadura personal, al mando de un general de brigada africanista, sin otros m\u00e9ritos que su prestigio entre la extrema derecha, su astucia y su crueldad, ya exhibida con su acci\u00f3n al sofocar y reprimir la revoluci\u00f3n de Asturias en 1934.<\/p>\n

El oscuro y astuto general de brigada se libr\u00f3 por accidente de sus principales rivales, el general Sanjurjo, Marqu\u00e9s del Rif (africanista como \u00e9l, que fue su jefe y ya anteriormente sublevado contra la rep\u00fablica) y Emilio Mola Vidal (organizador de la rebeli\u00f3n), ambos m\u00e1s inteligentes y de pensamiento pol\u00edtico menos limitado del de aqu\u00e9l que luego se las arregl\u00f3, con trampas bien conocidas, para ser nombrado dictador.<\/p>\n

El general de brigada se ascendi\u00f3 a s\u00ed mismo a capit\u00e1n general y pas\u00f3 a presidir una cruenta y desp\u00f3tica dictadura, apoyado en las derechas, en general, pero sobre todo en un ej\u00e9rcito pretoriano, guardaespaldas y c\u00f3mplice de la operaci\u00f3n y pagado con la corrupci\u00f3n m\u00e1s absoluta. No salvaron la Patria, se limitaron a apoderarse de ella. Se apoderaron del Estado y de la sociedad y la pusieron a su servicio. Ello pas\u00f3 por la destrucci\u00f3n del pa\u00eds, por la muerte y el asesinato de muchos cientos de miles, y por la instauraci\u00f3n de la corrupci\u00f3n sistem\u00e1tica y de la entronizaci\u00f3n social de los negocios sucios.<\/p>\n

Ahora, bien, todo esto \u00bfqu\u00e9 tiene que ver con la arquitectura moderna? Nada en absoluto, pero tampoco ten\u00eda nada que ver la arquitectura con la ideolog\u00eda de otros pa\u00edses que, sin embargo, reaccionaron fuertemente en relaci\u00f3n a ella. Stalin suprimi\u00f3 violentamente la arquitectura rusa de vanguardia para dar paso a un academicismo decadente \u00abal servicio del pueblo\u00bb. De Hitler y de Mussolini ya hemos hablado. En Estados Unidos, lo m\u00e1s importante de la arquitectura oficial, las grandes obras en Washington construidas en los a\u00f1os 30, eran un \u00abrevival\u00bb del neocl\u00e1sico. En Inglaterra, no s\u00f3lo las obras oficiales, sino tambi\u00e9n muchas de las privadas, al menos en Londres, fueron obligadas a servir un clasicismo decadente, que pretend\u00eda a\u00fan representar al imperio, y que ya flaqueaba incluso en las h\u00e1biles manos de Lutyens. La sacralizaci\u00f3n de la arquitectura moderna como arquitectura de la democracia por parte de los aliados al acabar la segunda guerra mundial fue un apresurado invento, al comprobar que el viejo y vencido enemigo -el nazismo- y el inmediatamente antes aliado y ahora enemigo -el comunismo- practicaban el clasicismo, como ellos mismos tambi\u00e9n hab\u00edan hecho. Era, preciso, pues, distinguirse y entronizar un nuevo icono capaz de representar a las \u00abdemocracias\u00bb.<\/p>\n

En la Espa\u00f1a franquista, feroz r\u00e9gimen dictatorial, la propaganda era enormemente necesaria, por lo que ya se ha dicho, pues se trataba de justificar por sublimaci\u00f3n el hecho de haberse apoderado del pa\u00eds y de haber provocado tal desastre material y tan incontable n\u00famero de muertos entre los propios compatriotas. La arquitectura fue llamada as\u00ed a unirse a la propaganda. Quiz\u00e1 el general de brigada devenido dictador y Pedro Muguruza Ota\u00f1o, arquitecto guipuzcoano a quien el militar africanista hab\u00eda nombrado \u00abDirector General de Arquitectura\u00bb, urdieron juntos la grosera trama de resucitar la arquitectura ecl\u00e9ctica, a la que se iba a llamar \u00abNacional\u00bb -no era la primera vez- y oponerse a los incipientes racionalismo y expresionismo, m\u00e1s o menos identificados con la rep\u00fablica por simples razones temporales, y a la que se iba a llamar \u00abarquitectura roja\u00bb. Quiz\u00e1 el invento fue m\u00e1s bien de Muguruza, que se lo propuso al general de brigada, el cual aplaudir\u00eda la ocurrencia, que ven\u00eda a coincidir con su mediocre gusto de hombre ineducado.<\/p>\n

Se promovi\u00f3, pues, la arquitectura historicista como \u00abarquitectura espa\u00f1ola\u00bb. Los arquitectos hubieron de desempolvar sus antiguos libros y manuales de principios de siglo, y tan s\u00f3lo a uno, Luis Moya Blanco, no le tembl\u00f3 la mano al hacer clasicismo, jugando un papel comparable al de Lutyens en el Reino Unido de anteguerra, aunque m\u00e1s solitario a\u00fan.<\/p>\n

La pesada broma no pas\u00f3 de los a\u00f1os 40, salvo en el caso de Moya. Los j\u00f3venes arquitectos franquistas convirtieron pronto la arquitectura moderna en la imagen del Estado y de la sociedad de la dictadura.<\/p>\n

La arquitectura se us\u00f3 as\u00ed, por unos y por otros, al servicio de la ideolog\u00eda, sin que \u00e9sta pudiera verdaderamente contenerla. Fue, por parte de todos, un abuso con respecto a nuestro arte, que si hab\u00eda estado ya a lo largo de la historia al servicio del poder, como es l\u00f3gico, nunca hab\u00eda sufrido, hasta el siglo XX, manipulaciones tan groseras y tan extraordinarias.<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor arquitecto \u00b7 catedr\u00e1tico en ETSAM
\nMadrid \u00b7 febrero 2010<\/p>\n

\"\"<\/a>
Italian construction of the Palazzo della Civilt\u00e0. Architects Giovanni Guerrini, Ernesto Bruno La Padula and Mario Roman (Courtesy of Wikicommons)<\/span><\/figcaption><\/figure><\/p>\n

With some frequency I have had to explain, as teacher, the architecture of the 40s in the Franco’s regime, or that of the Nazism in the 30. Always I say that both the Nazism and the Franco’s regime had to the modern architecture as an enemy, which actually turns out to be unusual, since the modern architecture – they were saying what some critics and historians should say, or say what they should say now – it did not have ideological direct any content. Well it could have happened that the dictator Nazi had been an enthusiast of the modernity, enclosed for presuming of radically, and had promoted an architecture that mostly German could consider. In great way like that it was done in Italy, for example, and under the fascist dictator. Nevertheless, it was not like that in the Nazism; the chief was partial to the classic and academic architecture, in what it was denouncing his delay and his lack of education, and it imposed it as so many things.<\/p>\n

In the Spanish dictator the thing was slightly different, since that being did not have very much criterion in anything that was not political, and they were some architects – especially every one – those who imposed an architectural conservative politics, which was fitting with the conventional tastes, of low middle class, of the dictator.<\/p>\n

Well, but, definitively, why the identification of the modern architecture as an enemy, if this one actually it was not, and had his adoption allowed to presume of technical and artistic progressism?<\/p>\n

In case of Spain probably an answer could be outlined.<\/p>\n

Without forgetting the difficult situation to which the country had come under the republican regime, mostly impossibly to forgive, and though that one was not such a direct responsibility of the politicians since it is in the habit of saying, since the sabotage abounded in some and in others, supposed \u00absalvation of the Mother land\u00bb that there decided to carry out the military men and those that helped them, is not supported as reason, and appears rather as simple alibi.<\/p>\n

The civil war was not a simple coup d’\u00e9tat to straighten the republican regime and to impose the order, which might have been. It was a bloody, fratricidal war, artificially supported in his long duration to liquidate the enemy to the maximum possibly and to change completely the political structure of the country. If the war, according to so many people, was inevitable, the result after her it was not. A parliamentary republic replaced with a personal dictatorship, supervised by a general of brigade Africanist, without other merits that his prestige between the extreme right, his trickery and his cruelty already exhibited with his action on having suffocated and to suppress the revolution of Asturias in 1934.<\/p>\n

The dark and crafty general of brigade freed himself for accident of his principal rivals, the general Sanjurjo, Marquess of the Rif (Africanist like he, which was his chief and already previously revolted against the republic) and Emilio Mola Vidal (organizer of the revolt), more intelligent both and of less limited political thought of of that one who then fixed them up, with well-known traps, to be nominated a dictator.<\/p>\n

The general of brigade was promoted to yes same to general captain and happened to preside at a bloody and despotic dictatorship, supported on the rights, in general, but especially in an army pretoriano, bodyguard and accomplice of the operation and paid with the most absolute corruption. They did not save the Mother land, they limited themselves to empowering of her. They got hold of the State and of the company and put it to his service. It happened for the destruction of the country, for the death and the murder of many hundreds of thousands, and for the restoration of the systematic corruption and of the social enthronement of the dirty business.<\/p>\n

Now, well, all that what has it to see with the modern architecture? Not by no means at all, but nothing had either that to see the architecture with the ideology of other countries that, nevertheless, reacted strongly in relation to her. Stalin suprimi\u00f3 violently the Russian architecture of forefront to give step to a decadent academicismo \u00abto the service of the people\u00bb. About Hitler and about Mussolini already we have spoken. In The United States, the most important of the official architecture, the big works in Washington constructed in the 30s, were a \u00abrevival\u00bb of the neoclassicist. In England, not only the official works, but also great as the private roads, at least in London, were forced to use a decadent classicism, which it was trying to represent still to the empire, and that already was weakening even in Lutyens’s skilful hands. The sacralizaci\u00f3n of the modern architecture like architecture of the democracy on the part of the allies on having ended the second world war was a hurried invention, on having verified that the old and defeated enemy – the Nazism – and immediately before allied and now enemy – the communism – they were practising the classicism, since they themselves also had done. It was, I add, so, to there distinguish and to be enthroned a new icon capable of representing to the \u00abdemocracies\u00bb.<\/p>\n

In the pro-Franco Spain, fierce dictatorial regime, the propaganda was enormously necessary, by what already it has been said, since it was a question of justifying for sublimation the fact of having got hold of the country and of having provoked such a material disaster and so countless number of dead men between the own compatriots. The architecture was a call like that to joining the propaganda. Probably the general of brigade developed dictator and Pedro Muguruza Ota\u00f1o, of Guipuzcoa architect whom the military Africanist had nominated a \u00abGeneral manager of Architecture\u00bb, urdieron together the rude plot of reviving the eclectic architecture, to which he was going to be been called \u00abA\u00bb \u00abNative\u00bb – it was not the first time – and to be opposed to the incipient rationalism and expressionism more or less identified with the republic by simple temporary reasons, and to the one that was going to be been called a \u00abred architecture\u00bb. Probably the invention was rather of Muguruza, who proposed it to the general of brigade, who would applaud the occurrence, which was coming to coincide with his mediocre taste of unpolite man.<\/p>\n

The historicist architecture was promoted, so, as \u00abSpanish architecture\u00bb. The architects had to dust his former books and manuals of beginning of century, and only to one, Luis Moya Blanco, him the hand did not tremble on having done classicism, playing a paper comparable to that of Lutyens in the United Kingdom of anteguerra, though more solitary still.<\/p>\n

The heavy joke did not happen of the 40s, except in case of Moya. The young pro-Franco architects turned soon the modern architecture into the image of the State and of the company of the dictatorship.<\/p>\n

The architecture was used this way, for some and for others, to the service of the ideology, without this one could contain it really. It was, on the part of all, an abuse with regard to our art, which if it had been already along the history to the service of the power, since it is logical, had never suffered, up to the 20th century, so rude and so extraordinary manipulations.<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor architect \u00b7 professor in ETSAM<\/p>\n

Madrid \u00b7 february 2010<\/p>\n

\"\"<\/a>
Construci\u00f3n do Palazzo della Civilt\u00e0 Italiana. Arquitectos Giovanni Guerrini, Ernesto Bruno La Padula e Mario Roman (Courtesy of Wikicommons)<\/span><\/figcaption><\/figure><\/p>\n

Con algunha frecuencia tiven que explicar, como profesor, a arquitectura dos anos 40 no franquismo, ou a do nazismo nos 30. Sempre digo que tanto o nazismo coma o franquismo tiveron \u00e1 arquitectura moderna como un inimigo, o que en realidade resulta ins\u00f3lito, pois a arquitectura moderna -dixesen o que dixeran alg\u00fans cr\u00edticos e historiadores, ou digan o que digan agora- non ti\u00f1a contido ideol\u00f3xico directo ning\u00fan. Ben puidera acontecer que o ditador nazi tivese sido un entusiasta da modernidade, mesmo por presumir de radical, e tivese promovido unha arquitectura que en boa medida pod\u00eda considerarse alem\u00e1. En gran modo as\u00ed f\u00edxose en Italia, por exemplo, e baixo o ditador fascista. Non obstante, non era as\u00ed no nazismo; o xefe era partidario da arquitectura cl\u00e1sica e acad\u00e9mica, no que denunciaba o seu atraso e a s\u00faa falta de educaci\u00f3n, e imp\u00faxoa como tantas cousas.<\/p>\n

No ditador espa\u00f1ol a cousa era algo distinta, pois aquel ser non ti\u00f1a moito criterio en nada que non fose pol\u00edtico, e foron alg\u00fans arquitectos -sobre todo un- os que impuxeron unha pol\u00edtica arquitect\u00f3nica conservadora, o que cadraba cos gustos convencionais, de clase media baixa, do ditador.<\/p>\n

Ben, pero, en definitiva, \u00bfpor que a identificaci\u00f3n da arquitectura moderna como un inimigo, se este en realidade non o era, e a s\u00faa adopci\u00f3n ter\u00eda permitido presumir de progresismo t\u00e9cnico e art\u00edstico?<\/p>\n

No caso de Espa\u00f1a quizais poida esbozarse unha contestaci\u00f3n.<\/p>\n

Sen esquecer a dif\u00edcil situaci\u00f3n \u00e1 que chegara o pa\u00eds baixo o r\u00e9xime republicano, en boa medida imposible de desculpar, e a\u00ednda que aquela non fose unha responsabilidade tan directa dos pol\u00edticos como se adoita dicir, pois abundou a sabotaxe duns e doutros, a suposta \u00absalvaci\u00f3n da Patria\u00bb que decidiron levar a cabo os militares e aqueles que lles axudaron, non se sost\u00e9n como raz\u00f3n, e aparece m\u00e1is ben como simple coartada.<\/p>\n

A guerra civil non foi un simple golpe de Estado para endereitar o r\u00e9xime republicano e impo\u00f1er a orde, o que poder\u00eda ter sido. Foi unha guerra cruenta, fratricida, artificialmente sostida na s\u00faa longa duraci\u00f3n para liquidar o inimigo ao m\u00e1ximo posible e cambiar por completo a estrutura pol\u00edtica do pa\u00eds. Se a guerra, segundo tantos, era inevitable, o resultado tras ela non o era. Unha rep\u00fablica parlamentaria substitu\u00eduse por unha ditadura persoal, ao mando dun xeneral de brigada africanista, sen outros m\u00e9ritos que o seu prestixio entre a extrema dereita, a s\u00faa astucia e a s\u00faa crueldade, xa exhibida coa s\u00faa acci\u00f3n ao sufocar e reprimir a revoluci\u00f3n de Asturias en 1934.<\/p>\n

O escuro e astuto xeneral de brigada librouse por accidente dos seus principais rivais, o xeneral Sanjurjo, Marqu\u00e9s do Rif (africanista como el, que foi o seu xefe e xa anteriormente sublevado contra a rep\u00fablica) e Emilio Mola Vidal (organizador da rebeli\u00f3n), ambos os dous m\u00e1is intelixentes e de pensamento pol\u00edtico menos limitado do daquel que logo llas arranxou, con trampas ben co\u00f1ecidas, para ser nomeado ditador.<\/p>\n

O xeneral de brigada ascendeuse a si mesmo a capit\u00e1n xeral e pasou a presidir unha cruenta e desp\u00f3tica ditadura, apoiado nas dereitas, en xeral, pero sobre todo nun ex\u00e9rcito pretoriano, gardacostas e c\u00f3mplice da operaci\u00f3n e pagado coa corrupci\u00f3n m\u00e1is absoluta. Non salvaron a Patria, limit\u00e1ronse a apoderarse dela. Apoder\u00e1ronse do Estado e da sociedade e pux\u00e9rona ao seu servizo. Iso pasou pola destruci\u00f3n do pa\u00eds, pola morte e o asasinato de moitos centos de miles, e pola instauraci\u00f3n da corrupci\u00f3n sistem\u00e1tica e da entronizaci\u00f3n social dos negocios sucios.<\/p>\n

Agora, ben, todo isto \u00bfque ten que ver coa arquitectura moderna? Nada en absoluto, pero tampouco ti\u00f1a nada que ver a arquitectura coa ideolox\u00eda doutros pa\u00edses que, non obstante, reaccionaron fortemente en relaci\u00f3n a ela. Stalin suprimiu violentamente a arquitectura rusa de vangarda para dar paso a un academicismo decadente \u00abao servizo do pobo\u00bb. De Hitler e de Mussolini xa falamos. En Estados Unidos, o m\u00e1is importante da arquitectura oficial, as grandes obras en Washington constru\u00eddas nos anos 30, eran un \u00abrevival\u00bb do neocl\u00e1sico. En Inglaterra, non s\u00f3 as obras oficiais, sen\u00f3n tam\u00e9n moitas das privadas, polo menos en Londres, foron obrigadas a servir un clasicismo decadente, que pretend\u00eda a\u00ednda representar ao imperio, e que xa fraqueaba mesmo nas h\u00e1biles mans de Lutyens. A sacralizaci\u00f3n da arquitectura moderna como arquitectura da democracia por parte dos aliados ao rematar a segunda guerra mundial foi un apresurado invento, ao comprobar que o vello e vencido inimigo -o nazismo- e o inmediatamente antes aliado e agora inimigo -o comunismo- practicaban o clasicismo, como eles mesmos tam\u00e9n fixeran. Era, preciso, pois, distinguirse e entronizar unha nova icona capaz de representar \u00e1s \u00abdemocracias\u00bb.<\/p>\n

Na Espa\u00f1a franquista, feroz r\u00e9xime ditatorial, a propaganda era enormemente necesaria, polo que xa se dixo, pois se trataba de xustificar por sublimaci\u00f3n o feito de terse apoderado do pa\u00eds e de ter provocado tal desastre material e tan incontable n\u00famero de mortos entre os propios compatriotas. A arquitectura foi chamada as\u00ed a unirse \u00e1 propaganda. Quizais o xeneral de brigada devido ditador e Pedro Muguruza Ota\u00f1o, arquitecto guipuscoano a quen o militar africanista nomeara \u00abDirector Xeral de Arquitectura\u00bb, urdiron xuntos a groseira trama de resucitar a arquitectura ecl\u00e9ctica, \u00e1 que se \u00eda chamar \u00abNacional\u00bb -non era a primeira vez- e opo\u00f1erse aos incipientes racionalismo e expresionismo, m\u00e1is ou menos identificados coa rep\u00fablica por simples raz\u00f3ns temporais, e \u00e1 que se \u00eda chamar \u00abarquitectura vermella\u00bb. Quizais o invento foi m\u00e1is ben de Muguruza, que llo propuxo ao xeneral de brigada, o cal aplaudir\u00eda a ocorrencia, que vi\u00f1a a coincidir co seu mediocre gusto de home ineducado.<\/p>\n

Promoveuse, pois, a arquitectura historicista como \u00abarquitectura espa\u00f1ola\u00bb. Os arquitectos houberon de desempoar os seus antigos libros e manuais de principios de s\u00e9culo, e tan s\u00f3 a un, Luis Moya Blanco, non lle tremeu a man ao facer clasicismo, xogando un papel comparable ao de Lutyens no Reino Unido de anteguerra, a\u00ednda que m\u00e1is solitario a\u00ednda.<\/p>\n

A pesada broma non pasou dos anos 40, salvo no caso de Moya. Os novos arquitectos franquistas converteron pronto a arquitectura moderna na imaxe do Estado e da sociedade da ditadura.<\/p>\n

A arquitectura usouse as\u00ed, por uns e por outros, ao servizo da ideolox\u00eda, sen que esta puidese verdadeiramente contela. Foi, por parte de todos, un abuso con respecto \u00e1 nosa arte, que se estivera xa ao longo da historia ao servizo do poder, como \u00e9 l\u00f3xico, nunca sufrira, ata o s\u00e9culo XX, manipulaci\u00f3ns tan groseiras e tan extraordinarias.<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor arquitecto \u00b7 catedr\u00e1tico en ETSAM<\/p>\n

Madrid \u00b7 febreiro 2010<\/p>\n

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

Con alguna frecuencia he tenido que explicar, como profesor, la arquitectura de los a\u00f1os 40 en el franquismo, o la del nazismo en los 30. Siempre digo que tanto el nazismo como el franquismo tuvieron a la arquitectura moderna como un enemigo, lo que en realidad resulta ins\u00f3lito, pues la arquitectura moderna -dijeran lo que […]<\/p>\n","protected":false},"author":9,"featured_media":39281,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[4932,5430,6573,5835,8679,10037,2631,10038,147,10034,10033,4442,5885,668,798,8637,3004,10036,2070,1130,4444,1241,10035],"class_list":["post-39279","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-adolf-hitler","tag-anos-30","tag-anos-40","tag-antonio-gonzalez-capitel-martinez","tag-arquitectura-clasica","tag-arquitectura-espanola","tag-arquitectura-historicista","tag-arquitectura-moderna","tag-benito-amilcare-andrea-mussolini","tag-edwin-lutyens","tag-estado","tag-expresionismo","tag-historia","tag-londres","tag-luis-moya-blanco","tag-nazismo","tag-pedro-muguruza-otano","tag-poder","tag-racionalismo","tag-s-xx","tag-sociedad","tag-washington"],"yoast_head":"\nLa arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel<\/title>\n<meta name=\"description\" content=\"moderna\" \/>\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\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel\" \/>\n<meta property=\"og:description\" content=\"moderna\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/\" \/>\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=\"2014-04-07T06:13:14+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-04-23T15:17:01+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"368\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ant\u00f3n Capitel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@veredes\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ant\u00f3n Capitel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"19 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/\"},\"author\":{\"name\":\"Ant\u00f3n Capitel\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/120779a73aacf8ac8b5596fd062a6d7b\"},\"headline\":\"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n CapitelA arquitectura moderna e o poder. Espa\u00f1a e o mundo no s. XX | Ant\u00f3n CapitelThe modern architecture and the power. Spain and the world in the century xx | Ant\u00f3n Capitel\",\"datePublished\":\"2014-04-07T06:13:14+00:00\",\"dateModified\":\"2018-04-23T15:17:01+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/\"},\"wordCount\":3794,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/03\\\/palazzo_promo1.jpg\",\"keywords\":[\"Adolf Hitler\",\"a\u00f1os 30\",\"a\u00f1os 40\",\"Antonio Gonz\u00e1lez-Capitel Mart\u00ednez\",\"arquitectura cl\u00e1sica\",\"arquitectura ecl\u00e9ctica\",\"arquitectura espa\u00f1ola\",\"arquitectura historicista\",\"arquitectura moderna\",\"Benito Amilcare Andrea Mussolini\",\"edwin lutyens\",\"estado\",\"expresionismo\",\"historia\",\"Londres\",\"Luis Moya Blanco\",\"nazismo\",\"Pedro Muguruza Ota\u00f1o\",\"poder\",\"racionalismo\",\"s. xx\",\"sociedad\",\"washington\"],\"articleSection\":[\"faro\",\"slider principal\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/\",\"name\":\"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/03\\\/palazzo_promo1.jpg\",\"datePublished\":\"2014-04-07T06:13:14+00:00\",\"dateModified\":\"2018-04-23T15:17:01+00:00\",\"description\":\"moderna\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#primaryimage\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/03\\\/palazzo_promo1.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/03\\\/palazzo_promo1.jpg\",\"width\":\"620\",\"height\":\"368\",\"caption\":\"Construcci\u00f3n del Palazzo della Civilt\u00e0 Italiana. Arquitectos Giovanni Guerrini, Ernesto Bruno La Padula y Mario Roman (Courtesy of Wikicommons)\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\",\"name\":\"veredes, arquitectura y divulgaci\u00f3n\",\"description\":\"veredes\",\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"alternateName\":\"veredes\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/veredes.es\\\/blog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\",\"name\":\"veredes, arquitectura y divulgaci\u00f3n\",\"alternateName\":\"veredes\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2021\\\/12\\\/veredes-logo-centrado_140x54.png\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2021\\\/12\\\/veredes-logo-centrado_140x54.png\",\"width\":140,\"height\":54,\"caption\":\"veredes, arquitectura y divulgaci\u00f3n\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/veredesArquitecturayDivulgacion\\\/\",\"https:\\\/\\\/x.com\\\/veredes\",\"https:\\\/\\\/instagram.com\\\/veredes\\\/\",\"https:\\\/\\\/www.linkedin.com\\\/company\\\/veredes-arquitectura-y-divulgacion\\\/\",\"https:\\\/\\\/es.pinterest.com\\\/veredes\\\/\",\"https:\\\/\\\/www.tumblr.com\\\/veredes\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/120779a73aacf8ac8b5596fd062a6d7b\",\"name\":\"Ant\u00f3n Capitel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/ant\u00f3n-capitel-96x96.jpg\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/ant\u00f3n-capitel-96x96.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/ant\u00f3n-capitel-96x96.jpg\",\"caption\":\"Ant\u00f3n Capitel\"},\"description\":\"Es arquitecto y catedr\u00e1tico de Proyectos de la Escuela de Arquitectura de Madrid, fue director de la revista Arquitectura (COAM) de 1981 a 1986 y de 2001 a 2009. Historiador, ensayista y cr\u00edtico, ha publicado numerosos art\u00edculos en revistas espa\u00f1olas y extranjeras sobre arquitectura espa\u00f1ola e internacional. Entre sus libros destacan diferentes monograf\u00edas sobre arquitectos.\",\"sameAs\":[\"http:\\\/\\\/acapitel.blogspot.com.es\\\/\",\"https:\\\/\\\/www.instagram.com\\\/explore\\\/tags\\\/antoncapitel\\\/\"],\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/author\\\/anton-capitel\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel","description":"moderna","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/","og_locale":"es_ES","og_type":"article","og_title":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel","og_description":"moderna","og_url":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/","og_site_name":"veredes, arquitectura y divulgaci\u00f3n","article_publisher":"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","article_published_time":"2014-04-07T06:13:14+00:00","article_modified_time":"2018-04-23T15:17:01+00:00","og_image":[{"width":620,"height":368,"url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg","type":"image\/jpeg"}],"author":"Ant\u00f3n Capitel","twitter_card":"summary_large_image","twitter_creator":"@veredes","twitter_site":"@veredes","twitter_misc":{"Escrito por":"Ant\u00f3n Capitel","Tiempo de lectura":"19 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#article","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/"},"author":{"name":"Ant\u00f3n Capitel","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/120779a73aacf8ac8b5596fd062a6d7b"},"headline":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n CapitelA arquitectura moderna e o poder. Espa\u00f1a e o mundo no s. XX | Ant\u00f3n CapitelThe modern architecture and the power. Spain and the world in the century xx | Ant\u00f3n Capitel","datePublished":"2014-04-07T06:13:14+00:00","dateModified":"2018-04-23T15:17:01+00:00","mainEntityOfPage":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/"},"wordCount":3794,"commentCount":0,"publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"image":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg","keywords":["Adolf Hitler","a\u00f1os 30","a\u00f1os 40","Antonio Gonz\u00e1lez-Capitel Mart\u00ednez","arquitectura cl\u00e1sica","arquitectura ecl\u00e9ctica","arquitectura espa\u00f1ola","arquitectura historicista","arquitectura moderna","Benito Amilcare Andrea Mussolini","edwin lutyens","estado","expresionismo","historia","Londres","Luis Moya Blanco","nazismo","Pedro Muguruza Ota\u00f1o","poder","racionalismo","s. xx","sociedad","washington"],"articleSection":["faro","slider principal"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/","url":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/","name":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#primaryimage"},"image":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg","datePublished":"2014-04-07T06:13:14+00:00","dateModified":"2018-04-23T15:17:01+00:00","description":"moderna","breadcrumb":{"@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#primaryimage","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/03\/palazzo_promo1.jpg","width":"620","height":"368","caption":"Construcci\u00f3n del Palazzo della Civilt\u00e0 Italiana. Arquitectos Giovanni Guerrini, Ernesto Bruno La Padula y Mario Roman (Courtesy of Wikicommons)"},{"@type":"BreadcrumbList","@id":"https:\/\/veredes.es\/blog\/la-arquitectura-moderna-y-el-poder-espana-y-el-mundo-en-el-s-xx-anton-capitel\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/veredes.es\/blog\/"},{"@type":"ListItem","position":2,"name":"La arquitectura moderna y el poder. Espa\u00f1a y el mundo en el s. XX | Ant\u00f3n Capitel"}]},{"@type":"WebSite","@id":"https:\/\/veredes.es\/blog\/#website","url":"https:\/\/veredes.es\/blog\/","name":"veredes, arquitectura y divulgaci\u00f3n","description":"veredes","publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"alternateName":"veredes","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/veredes.es\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Organization","@id":"https:\/\/veredes.es\/blog\/#organization","name":"veredes, arquitectura y divulgaci\u00f3n","alternateName":"veredes","url":"https:\/\/veredes.es\/blog\/","logo":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2021\/12\/veredes-logo-centrado_140x54.png","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2021\/12\/veredes-logo-centrado_140x54.png","width":140,"height":54,"caption":"veredes, arquitectura y divulgaci\u00f3n"},"image":{"@id":"https:\/\/veredes.es\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","https:\/\/x.com\/veredes","https:\/\/instagram.com\/veredes\/","https:\/\/www.linkedin.com\/company\/veredes-arquitectura-y-divulgacion\/","https:\/\/es.pinterest.com\/veredes\/","https:\/\/www.tumblr.com\/veredes"]},{"@type":"Person","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/120779a73aacf8ac8b5596fd062a6d7b","name":"Ant\u00f3n Capitel","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/ant\u00f3n-capitel-96x96.jpg","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/ant\u00f3n-capitel-96x96.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/ant\u00f3n-capitel-96x96.jpg","caption":"Ant\u00f3n Capitel"},"description":"Es arquitecto y catedr\u00e1tico de Proyectos de la Escuela de Arquitectura de Madrid, fue director de la revista Arquitectura (COAM) de 1981 a 1986 y de 2001 a 2009. Historiador, ensayista y cr\u00edtico, ha publicado numerosos art\u00edculos en revistas espa\u00f1olas y extranjeras sobre arquitectura espa\u00f1ola e internacional. Entre sus libros destacan diferentes monograf\u00edas sobre arquitectos.","sameAs":["http:\/\/acapitel.blogspot.com.es\/","https:\/\/www.instagram.com\/explore\/tags\/antoncapitel\/"],"url":"https:\/\/veredes.es\/blog\/author\/anton-capitel\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/39279","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=39279"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/39279\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/39281"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=39279"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=39279"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=39279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}