{"id":48279,"date":"2014-10-27T06:13:41","date_gmt":"2014-10-27T06:13:41","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=48279"},"modified":"2018-04-23T19:54:36","modified_gmt":"2018-04-23T17:54:36","slug":"objet-trouve-03-jorn-utzon-y-las-torres-paisaje-de-elineberg-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/objet-trouve-03-jorn-utzon-y-las-torres-paisaje-de-elineberg-rodrigo-almonacid\/","title":{"rendered":"Objet trouv\u00e9 [03] : J\u00f8rn Utzon y las torres-paisaje de Elineberg | Rodrigo AlmonacidObjet trouv\u00e9 [03] : J\u00f8rn Utzon e as torres-paisaxe de Elineberg | Rodrigo AlmonacidObjet trouv\u00e9 [03] : J\u00f8rn Utzon and Elineberg’s towers – landscapes | Rodrigo Almonacid"},"content":{"rendered":"

\"\"<\/a>
Secci\u00f3n y alzado del proyecto de Jorn Utzon, en colaboraci\u00f3n con Erik y Henry Andersson, para el proyecto de 6 torres de apartamentos en Elineberg, Suecia, c.1954. |\u00a0<\/span>Fuente:<\/span><\/a> www.utzon-archives.aau.dk<\/span><\/span><\/a><\/span><\/figcaption><\/figure><\/p>\n

En Elineberg, J\u00f8rn Utzon tuvo ocasi\u00f3n de desplegar una arquitectura org\u00e1nica, resuelta con sencillez admirable y sin recurrir a f\u00f3rmulas de edificios residenciales en altura ya conocidas. La idea de repetici\u00f3n, inherente a un bloque de m\u00faltiples pisos (como es este el caso), es sutilmente alterada por el arquitecto dan\u00e9s para darle un sentido plenamente humano, vinculado con la experiencia del paisaje desde el interior de cada apartamento. Basta con leer las anotaciones que hizo sobre dos de los bocetos que traz\u00f3 sobre la secci\u00f3n vertical del bloque tipo para advertirlo:<\/p>\n

\n

\u201cPor encima del quinto piso, normalmente solo se tiene la vista del cielo\u201d<\/em> (izquierda).<\/p>\n

\u201cVista maravillosa al Oresund situado a un kil\u00f3metro y medio de distancia\u201d<\/em> (derecha).<\/p>\n<\/blockquote>\n

Sobre un basamento com\u00fan, destinado a aparcamiento y acceso a cada torre, se disponen entre 13 y 15 plantas con 4 apartamentos en cada una, con una soluci\u00f3n espacial de cruj\u00eda \u00fanica tipo megaron <\/em>1<\/sup> para cada unidad de vivienda, primando la orientaci\u00f3n solar meridional. Reunidos en torno a un muy reducido n\u00facleo de comunicaciones situado en la espalda de la torre, cada megaron<\/em> se desliza respecto al contiguo para evitar una fachada plana y lograr una mayor privacidad visual desde las terrazas in antis<\/em> que se asoman entre los muros de ladrillo paralelos. La secuencia funcional en su interior es mod\u00e9lica, con el dormitorio al norte, la cocina y recibidor en el centro, y el sal\u00f3n con la terraza al sur.<\/p>\n

La secci\u00f3n nos revela la segmentaci\u00f3n vertical y decreciente de la torre: los tres primeros pisos formando una base ancha, con las terrazas de mayor tama\u00f1o; los tres siguientes menguan el espacio-megaron<\/em> tanto en el sal\u00f3n como en el vuelo de la terraza, conservando a\u00fan el nivel del piso en una \u00fanica cota como los pisos inferiores (salvo por el escal\u00f3n de salida a la terraza); en el resto de plantas, el forjado se resuelve ya en tres cotas distintas, cuyo desnivel se acent\u00faa conforme el piso est\u00e1 m\u00e1s alejado del terreno, al escalonar el sal\u00f3n en dos tramos y la terraza (convertida en balc\u00f3n). Al plegar el forjado, el techo de la cruj\u00eda desciende y limita la visi\u00f3n del anodino cielo n\u00f3rdico, y, a cambio, al situar el antepecho del balc\u00f3n al nivel del suelo del comedor, el habitante puede divisar el distante estrecho marino del \u00d8resund. Para evitar la sensaci\u00f3n de v\u00e9rtigo, y de nuevo rompiendo con las reglas del funcionalismo m\u00e1s fordiano<\/em> en el alzado, Utzon proyect\u00f3 una vibrante celos\u00eda de delgados listones verticales cuya densidad era directamente proporcional a la sensaci\u00f3n de v\u00e9rtigo, \u201csobre los que crecer\u00e1 el verde\u201d<\/em> seg\u00fan palabras de su autor.<\/p>\n

\"\"<\/a>
Planta tipo de los pisos superiores de una de las torres de apartamentos en Elineberg, Suecia, c.1954. | <\/span>Fuente: www.utzon-archives.aau.dk<\/span><\/a><\/span><\/figcaption><\/figure>\n

El proyecto de Elineberg tard\u00f3 en construirse y perdi\u00f3 gran parte de su intensidad org\u00e1nica al simplificar las soluciones que hab\u00edan permitido al arquitecto huir de la idea de serie, motivo por el que esta obra apenas ha tenido reconocimiento en el conjunto de la obra de Utzon. Sin embargo, es \u00e9ste un proyecto muy fruct\u00edfero, pues sirvi\u00f3 al arquitecto como modelo de torre para residencias de estudiantes (recu\u00e9rdense la propuesta para el concurso del \u201cLO College\u201d en Helsing\u00f8r, o para la escuela \u201cH\u00f8jstrup\u201d en Elsinore, ambas de 1958); y tambi\u00e9n como sistema de implantaci\u00f3n org\u00e1nica en el terreno en forma de racimo serpenteante, que luego ser\u00edan la base de sus encantadores conjuntos residenciales de las \u201ccasas Kingo\u201d en Helsing\u00f8r (1957) o las de Fredensborg (1965).<\/p>\n

En todos los proyectos mencionados se presiente esa sentencia de Ralph Erskine que Utzon hizo suya al afirmar que \u201cen el desarrollo de un proyecto, el cliente, es decir, el futuro usuario del edificio, con su particular estilo de vida, es un material de construcci\u00f3n tan importante como el hormig\u00f3n, el ladrillo, la piedra, la madera y el acero\u201d<\/em>. 2<\/sup> Esa actitud vitalista y humana del arquitecto dan\u00e9s se trasluce en la frescura de esta precoz obra sueca, desde sus grandes trazas y hasta sus pormenores, haciendo veros\u00edmil sus palabras premonitorias de su ensayo \u201cLa esencia de la Arquitectura\u201d de 1948, con las que parece describir su propia casa de retiro mallorquina en Porto Petro:<\/p>\n

\n

\u201cEs necesario tener una sana visi\u00f3n de la vida. Entender el concepto que significa caminar, sentarse y tumbarse c\u00f3modamente, disfrutar del sol, la sombra, el agua contra el cuerpo, la tierra y todas las sensaciones menores. El bienestar debe ser la base de la arquitectura si se quiere alcanzar la armon\u00eda entre el espacio que se crea y lo que en \u00e9l se va a desarrollar. Resulta simple y muy razonable\u201d.<\/em> 3<\/sup><\/p>\n<\/blockquote>\n

Tan simple y tan razonable como este proyecto, verdadero objet trouv\u00e9<\/em> que uno se top\u00f3 por el camino preparando un concurso para realizar la vivienda que atendiera las demandas contempor\u00e1neas y futuras. Y, parad\u00f3jicamente, encontr\u00e9 esa sensatez en una obra que ya hab\u00eda sido so\u00f1ada nada menos que 60 a\u00f1os antes por Utzon. No estoy tan seguro de que hoy a\u00fan podamos siquiera emular aquellos experimentos residenciales del empirismo n\u00f3rdico que a\u00fan permanecen con dignidad contrastada entre nosotros.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 doctor arquitecto
\nvalladolid. octubre 2014<\/p>\n

Notas:
\n1<\/sup><\/sup> Kenneth Frampton describe a estas torres como el resultado de diversas \u201ccombinaciones de la misma unidad tipo megaron\u201d. Cfr. FRAMPTON, Kenneth: \u201cJ\u00f8rn Utzon: Froma transcultural y met\u00e1fora tect\u00f3nica\u201d. Cat\u00e1logo monogr\u00e1fico dedicado a J\u00f8rn Utzon, Ministerio de Obras P\u00fablicas, Transporte y Medio Ambiente, Madrid, 1995, p.25.
\n2<\/sup><\/sup> Citado por el propio J\u00f8rn Utzon en su ensayo \u201cLa importancia de los arquitectos\u201d. Op. Cit. p.13.
\n3<\/sup><\/sup> UTZON, J\u00f8rn: \u201cLa esencia de la Arquitectura\u201d (orig. 1948). Ibidem p.15.<\/p>\n

\"\"<\/a>
Section and gathering of Jorn Utzon’s project, in collaboration with Erik and Henry Andersson, for the project of 6 towers of apartments in Elineberg, Sweden, c.1954. | <\/span>Source:<\/span><\/a> www.utzon-archives.aau.dk<\/span><\/a><\/span><\/figcaption><\/figure><\/p>\n

In Elineberg, J\u00f8rn Utzon had occasion to open an organic architecture solved with admirable simplicity and without resorting to formulae of residential buildings in height already known. The idea of repetition, inherent in a block of multiple floors (since the case is this), is finely altered by the Danish architect to give him a fullly human sense linked with the experience of the landscape from the interior of every apartment. It is enough to read the annotations that it did on two of the sketches that type planned on the vertical section of the block to warn it:<\/p>\n

\n

\u201cOver the fifth floor, normally only the sight of the sky is had\u201d<\/em> (left side).<\/em><\/p>\n

\u201cWonderful sight to the Oresund placed to one kilometre and a half of distance\u201d<\/em> (right).<\/em><\/p>\n<\/blockquote>\n

On a common basement, destined for parking and I access to every tower, they arrange between 13 and 15 plants with 4 apartments in each one, with a spatial solution of type was squeaking only\u00a0megaron <\/em>1<\/sup> for every unit of housing, giving priority to the solar southern orientation. Assembled concerning a very limited core of communications placed in the back of the tower, every\u00a0megaron<\/em> slips with regard to the contiguous one to avoid a flat front and to achieve a major visual privacy from the terraces\u00a0in antis<\/em> that appear between the parallel walls of brick. The functional sequence in his interior is mod\u00e9lica, with the bedroom in the northern part, the kitchen and receiver in the center, and the lounge with the terrace in the southern part.<\/p>\n

The section us reveals the vertical and diminishing segmentation of the tower: the first three floors forming a broad base, with the terraces of major size; the three following ones diminish the space-megaron<\/em> both in the lounge and in the flight of the terrace, preserving still the level of the floor in the only level as the low floors (except for the step of exit to the terrace); in the rest of plants, the wrought one it is solved already in three different levels, which difference accentuates as the floor is more removed from the area, on having staggered the lounge in two sections and the terrace (turned into balcony). On having folded the wrought one, the ceiling of her was squeaking it gets down and limits the vision of the bland northern sky, and, in exchange, on having placed the breastwork of the balcony at the level of the soil of the dining room, the inhabitant can spy the distant marine strait of the \u00d8resund. To avoid the sensation of dizziness, and again breaking with the rules of the funcionalismo more Ford\u00b4s method<\/em> in the gathering, Utzon projected a vibrant lattice of thin vertical strips which density was directly proportional to the sensation of dizziness, \u201con that the green one will grow\u201d<\/em> according to words of his author.<\/p>\n

\"\"<\/a>
Plants type of the top floors of one of the towers of apartments on Elineberg, Sweden, c.1954. | <\/span>Source: www.utzon-archives.aau.dk<\/span><\/a><\/span><\/figcaption><\/figure>\n

Elineberg’s project was late in be constructing and lost great part of his organic intensity on having simplified the solutions that they had allowed to the architect to flee of the idea of series, motive for which this one acts scarcely it has had recognition in the set of Utzon’s work. Nevertheless, this one is a very fruitful project, since it served the architect as model of tower for students’ residences (the offer be remembered for the contest of\u00a0\u201cLO College\u201d in Helsing\u00f8r, or for the school\u00a0\u201cH\u00f8jstrup\u201d in Elsinore, both of 1958); and also as system of organic implantation in the area in the shape of cluster serpenteante, that then would be the base of his joint residential magicians of the \u201cKingo Houses\u201d in Helsing\u00f8r (1957) or those of Fredensborg (1965).<\/p>\n

In all the mentioned projects there is sensed beforehand this Ralph Erskine’s judgment that Utzon made his on having affirmed that \u201cin the development of a project, the client, that is to say, the future user of the building, with his particular way of life, is a material of construction as important as the concrete, the brick, the stone, the wood and the steel\u201d<\/em>. 2<\/sup> This vitalist and human attitude of the Danish architect is revealed in the freshness of this precocious Swedish work, from his big traces and up to his details, making credible his indicative words of his test \u201cThe essence of the Architecture\u201d of 1948, with that it seems to describe his own Majorcan house of retirement in Porto Petro:<\/p>\n

\n

\u201cIt is necessary to have a healthy vision of the life. To understand the concept that means to walk, to sit down and to lie down comfortably, to enjoy the Sun, the shade, the water against the body, the land and all the minor sensations. The well-being must be the base of the architecture if the harmony wants to be reached between the space that is created and that in him is going to develop. It turns out to be simple and very reasonable\u201d.<\/em> 3<\/sup><\/p>\n<\/blockquote>\n

So simple and so reasonable as this project, real objet trouv\u00e9<\/em> that one ran up for the way preparing a contest to realize the housing that was attending to the contemporary and future demands. And, paradoxically, I found this prudence in a work that already had been dreamed nothing less than 60 years before by Utzon. I am not so sure that today still we could emulate at least those residential experiments of the northern empiricism that still they remain with dignity confirmed strictly between ourselves.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 doctor architect<\/p>\n

valladolid. october 2014<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup> Kenneth Frampton describes to these towers as the result of diverse \u201ccombinations of the same unit type megarum\u201d. Cfr. FRAMPTON, Kenneth: \u201cJ\u00f8rn Utzon: Froma transcultural and tectonic metaphor\u201d. Monographic catalogue dedicated to J\u00f8rn Utzon, Department of Public Works, Transport and Environment, Madrid, 1995, p.25.<\/p>\n

2<\/sup><\/sup>\u00a0Mentioned by the own J\u00f8rn Utzon in his test \u201cThe importance of the architects\u201d. Op. Cit. p.13.<\/p>\n

3<\/sup><\/sup> UTZON, J\u00f8rn:\u00a0\u201cThe essence of the Architecture\u201d (orig. 1948). Ibidem p.15.<\/p>\n

\"\"<\/a>
Secci\u00f3n e alzado do proxecto de Jorn Utzon, en colaboraci\u00f3n con Erik e Henry Andersson, para o proxecto de 6 torres de apartamentos en Elineberg, Suecia, c.1954. | <\/span>Fonte:<\/span><\/a> www.utzon-archives.aau.dk<\/span><\/a><\/span><\/figcaption><\/figure><\/p>\n

En Elineberg, J\u00f8rn Utzon tivo ocasi\u00f3n de despregar unha arquitectura org\u00e1nica, resolta con sinxeleza admirable e sen recorrer a f\u00f3rmulas de edificios residenciais en altura xa co\u00f1ecidas. A idea de repetici\u00f3n, inherente a un bloque de m\u00faltiples pisos (como \u00e9 este o caso), \u00e9 alterada sutilmente polo arquitecto dan\u00e9s para darlle un sentido plenamente humano, vinculado coa experiencia da paisaxe dende o interior de cada apartamento. Abonda con ler as anotaci\u00f3ns que fixo sobre dous dos bosquexos que trazou sobre a secci\u00f3n vertical do bloque tipo para advertilo:<\/p>\n

\n

\u201cPor enriba do quinto piso, normalmente s\u00f3 tense a vista do ceo\u201d (esquerda).<\/em><\/p>\n

\u201cVista marabillosa ao Oresund situado a un quil\u00f3metro e medio de distancia\u201d (dereita).<\/em><\/p>\n<\/blockquote>\n

Sobre unha base com\u00fan, destinada a aparcadoiro e acceso a cada torre, disp\u00f3\u00f1ense entre 13 e 15 plantas con 4 apartamentos en cada unha, cunha soluci\u00f3n espacial de crux\u00eda \u00fanica tipo\u00a0megaron <\/em>1<\/sup> para cada unidade de vivenda, primando a orientaci\u00f3n solar meridional. Reunidos en torno a un moi reducido n\u00facleo de comunicaci\u00f3ns situado nas costas da torre, cada\u00a0megaron<\/em> desl\u00edzase respecto ao contiguo para evitar unha fachada plana e lograr unha maior privacidade visual dende as terrazas in antis<\/em> que se asoma entre os muros de ladrillo paralelos. A secuencia funcional no seu interior \u00e9 mod\u00e9lica, co dormitorio ao norte, a coci\u00f1a e recibidor no centro, e o sal\u00f3n coa terraza ao sur.<\/p>\n

A secci\u00f3n rev\u00e9lanos a segmentaci\u00f3n vertical e decrecente da torre: os tres primeiros pisos formando unha base ancha, coas terrazas de maior tama\u00f1o; os tres seguintes minguan o espazo-megaron<\/em> tanto no sal\u00f3n coma no voo da terraza, conservando a\u00ednda o nivel do piso nunha \u00fanica cota como os pisos inferiores (salvo polo chanzo de sa\u00edda \u00e1 terraza); no resto de plantas, o forxado res\u00f3lvese xa en tres cotas distintas, cuxo desnivel se acent\u00faa conforme o piso est\u00e1 m\u00e1is afastado do terreo, ao graduar o sal\u00f3n en dous tramos e a terraza (convertida en balc\u00f3n). Ao pregar o forxado, o teito da crux\u00eda descende e limita a visi\u00f3n do an\u00f3dino ceo n\u00f3rdico, e, a cambio, ao situar o peitoril do balc\u00f3n ao nivel do chan do comedor, o habitante pode divisar o distante estreito mari\u00f1o do \u00d8resund. Para evitar a sensaci\u00f3n de vertixe, e de novo rompendo coas regras do funcionalismo m\u00e1is fordiano<\/em> no alzado, Utzon proxectou unha vibrante celos\u00eda de delgados list\u00f3ns verticais cuxa densidade era directamente proporcional \u00e1 sensaci\u00f3n de vertixe, \u201csobre os que crecer\u00e1 o verde\u201d<\/em> segundo palabras do seu autor.<\/p>\n

\"\"<\/a>
Planta tipo dos pisos superiores dunha das torres de apartamentos en Elineberg, Suecia, c.1954. | <\/span>Fonte: www.utzon-archives.aau.dk<\/span><\/a><\/span><\/figcaption><\/figure>\n

O proxecto de Elineberg tardou en constru\u00edrse e perdeu gran parte da s\u00faa intensidade org\u00e1nica ao simplificar as soluci\u00f3ns que permitiran ao arquitecto fuxir da idea de serie, motivo polo que esta obra apenas tivo reco\u00f1ecemento no conxunto da obra de Utzon. Non obstante, \u00e9 este un proxecto moi frut\u00edfero, pois serviu ao arquitecto como modelo de torre para residencias de estudantes (rec\u00f3rdense a proposta para o concurso do\u00a0\u201cLO College\u201d en Helsing\u00f8r, ou para a escola\u00a0\u201cH\u00f8jstrup\u201d en Elsinore, ambas as d\u00faas de 1958); e tam\u00e9n como sistema de implantaci\u00f3n org\u00e1nica no terreo en forma de acio serpeante, que logo ser\u00edan a base dos seus encantadores conxuntos residenciais das\u00a0\u201ccasas Kingo\u201d en Helsing\u00f8r (1957) ou as de Fredensborg (1965).<\/p>\n

En todos os proxectos mencionados se presente esa sentenza de Ralph Erskine que Utzon fixo s\u00faa ao afirmar que \u201cno desenvolvemento dun proxecto, o cliente, \u00e9 dicir, o futuro usuario do edificio, co seu particular estilo de vida, \u00e9 un material de construci\u00f3n tan importante como o formig\u00f3n, o ladrillo, a pedra, a madeira e o aceiro\u201d<\/em>. 2<\/sup> Esa actitude vitalista e humana do arquitecto dan\u00e9s transl\u00f3cese na frescura desta precoz obra sueca, dende as s\u00faas grandes trazas e ata os seus pormenores, facendo veros\u00edmil as s\u00faas palabras premonitorias do seu ensaio \u201cA esencia da Arquitectura\u201d de 1948, coas que parece describir a s\u00faa propia casa de retiro mallorquina en Porto Petro:<\/p>\n

\n

\u201c\u00c9 necesario ter unha sa visi\u00f3n da vida. Entender o concepto que significa cami\u00f1ar, sentarse e tombarse comodamente, gozar do sol, a sombra, a auga contra o corpo, a terra e todas as sensaci\u00f3ns menores. O benestar debe ser a base da arquitectura se se quere alcanzar a harmon\u00eda entre o espazo que crea e o que nel se vai desenvolver. Resulta simple e moi razoable\u201d.<\/em> 3<\/sup><\/p>\n<\/blockquote>\n

Tan simple e tan razoable como este proxecto, verdadeiro objet trouv\u00e9<\/em>, que un se topou polo cami\u00f1o preparando un concurso para realizar a vivenda que atendera as demandas contempor\u00e1neas e futuras. E paradoxalmente, encontrei esa sensatez nunha obra que xa fora so\u00f1ada nada menos que 60 anos antes por Utzon. Non estou tan seguro de que hoxe a\u00ednda poidamos sequera emular aqueles experimentos residenciais do empirismo n\u00f3rdico que a\u00ednda permanecen con dignidade contrastada entre n\u00f3s.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 doutor arquitecto<\/p>\n

valladolid. outubro 2014<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Kenneth Frampton\u00a0describe a estas torres como o resultado de diversas \u201ccombinaci\u00f3ns da mesma unidade tipo megaron\u201d. Cfr. FRAMPTON, Kenneth: \u201cJ\u00f8rn Utzon: Froma transcultural e met\u00e1fora tect\u00f3nica\u201d. Cat\u00e1logo monogr\u00e1fico dedicado a J\u00f8rn Utzon, Ministerio de Obras P\u00fablicas, Transporte e Medio Ambiente, Madrid, 1995, p.25.<\/p>\n

2<\/sup><\/sup>\u00a0Citado polo propio J\u00f8rn Utzon no seu ensaio \u201cAa importancia dos arquitectos\u201d. Op. Cit. p.13.<\/p>\n

3<\/sup><\/sup> UTZON, J\u00f8rn: \u201cA esencia da Arquitectura\u201d (orig. 1948). Ibidem p.15.<\/p>\n

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

En Elineberg, J\u00f8rn Utzon tuvo ocasi\u00f3n de desplegar una arquitectura org\u00e1nica, resuelta con sencillez admirable y sin recurrir a f\u00f3rmulas de edificios residenciales en altura ya conocidas. La idea de repetici\u00f3n, inherente a un bloque de m\u00faltiples pisos (como es este el caso), es sutilmente alterada por el arquitecto dan\u00e9s para darle un sentido plenamente […]<\/p>\n","protected":false},"author":25,"featured_media":48281,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[102,11097,7203,147,2264,6786,11101,11100,510,8746,11099,11102,668,2774,1621,815,3851,5168,11096,1513,1166,7887,1278,11098,12454],"class_list":["post-48279","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alvar-aalto","tag-arne-korsmo","tag-arquitectura-danesa","tag-arquitectura-moderna","tag-arquitectura-organica","tag-arquitectura-sueca","tag-elineberg","tag-erik-andersson","tag-espacio","tag-estilo-internacional","tag-henry-andersson","tag-henry-ford","tag-historia","tag-jorn-utzon","tag-kenneth-frampton","tag-maestro","tag-objet-trouve","tag-ove-arup","tag-paul-hedquist","tag-ralph-erskine","tag-residencia","tag-rodrigo-almonacid-canseco","tag-teoria","tag-tobias-faber","tag-vivienda-colectiva"],"yoast_head":"\nObjet 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Licenciado en Arquitectura (1999) con premio extraordinario y Doctor \u201ccum laude\u201d en Arquitectura por la Universidad de Valladolid (2013), compagina su actividad acad\u00e9mica como profesor doctor de la E.T.S. de Arquitectura de Valladolid con la profesional al frente de su propio estudio [r-arquitectura]. Es autor de dos libros: Mies van der Rohe: el espacio de la ausencia (2006); y El paisaje codificado en la arquitectura de Arne Jacobsen (2016). Colaborador habitual en blogs de actualidad y cr\u00edtica arquitect\u00f3nica.","sameAs":["https:\/\/rarquitectura.wordpress.com\/","https:\/\/www.facebook.com\/rodrigoalmonacidcanseco","https:\/\/www.instagram.com\/ro_almonacid\/","https:\/\/x.com\/https:\/\/twitter.com\/ro_almonacid"],"url":"https:\/\/veredes.es\/blog\/author\/rodrigo-almonacid-canseco\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/48279","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\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=48279"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/48279\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/48281"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=48279"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=48279"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=48279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}