{"id":58007,"date":"2015-11-02T06:56:42","date_gmt":"2015-11-02T05:56:42","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=58007"},"modified":"2020-01-10T17:24:11","modified_gmt":"2020-01-10T16:24:11","slug":"el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]El testimonio duradero de Albi | \u00d3scar Tenreiro Degwitz[:gl]O testemu\u00f1o duradero de Albi | \u00d3scar Tenreiro Degwitz[:en]Albi’s lasting testimony | Oscar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]

\"albi1kahn\"<\/a>
El dibujo de Kahn, hecho en 1959<\/span><\/figcaption><\/figure><\/p>\n

Cada vez que ve\u00eda los dibujos de Louis I. Kahn (1901-1974) el gran arquitecto estonio-americano, me llamaron siempre la atenci\u00f3n los de la Catedral de Albi<\/a>, con sus contrafuertes trazados con espirales ascendentes. Indicaban cuanto inter\u00e9s puso Kahn en ese edificio del siglo XIII, inter\u00e9s que veo ahora expresado en palabras, al tropezarme ayer con este texto del mismo Kahn, escrito en los primeros setenta:<\/p>\n

\n

\u201cEn la presencia de Albi pude sentir la fe en la selecci\u00f3n de sus elementos arquitect\u00f3nicos y cuanto regocijo y paciencia se combinaron para comenzarla y trabajar hasta su terminaci\u00f3n. Dibuj\u00e9 Albi desde abajo hacia arriba como si la estuviera construyendo. Y sent\u00ed el regocijo. La paciencia que tom\u00f3 construirla no la necesit\u00e9 porque la dibuj\u00e9 sin preocuparme de correcciones o proporciones correctas. Quer\u00eda s\u00f3lo captar la excitaci\u00f3n en la mente del arquitecto\u2026\u201d<\/em><\/p>\n<\/blockquote>\n

Las im\u00e1genes y el nombre nos llevaron a m\u00ed y a mi esposa hasta la ciudad cruzada por el r\u00edo Tarn, desde cuya margen derecha se divisa el perfil de la Catedral, dedicada a una santa de quien tom\u00f3 el nombre mi madre, Cecilia, raz\u00f3n adicional para la visita.<\/p>\n

Lo m\u00e1s sorprendente del edificio es que la estructura de soporte y los paramentos externos sean de ladrillo, siendo de piedra solamente los pilares y b\u00f3vedas de crucer\u00eda internas. Hay muy pocos ejemplos en Francia de g\u00f3tico en ladrillo porque la piedra es abundante en ese pa\u00eds y su utilizaci\u00f3n experta permiti\u00f3 edificar all\u00ed los m\u00e1s altos ejemplos de esa arquitectura. Son las arcillas del Tarn, lo que llev\u00f3 a usar ese material y el deseo de la regi\u00f3n de bastarse a s\u00ed misma y en cierto modo aislarse como herencia l\u00f3gica de los resentimientos dejados por la cruzada contra la secta de los c\u00e1taros, o albigenses (de Albi), emprendida por el Papa Inocencio XIII y el rey de Francia. El villano instrumental fue Sim\u00f3n de Monfort, quien dirigi\u00f3 las matanzas y degollinas de Beziers en 1209. As\u00ed que en su exterior, la presencia secuencial de los arbotantes a lo largo de la nave, fue sustituida por unos enormes cilindros de ladrillo, de gran inercia para neutralizar los esfuerzos horizontales.<\/p>\n

\"El<\/a>
El extremo oriental de la Catedral | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Aqu\u00ed, como en muchos ejemplos venidos de la historia, se derrumban algunos de los mitos \u201cmodernos\u201d que a veces constri\u00f1en las decisiones de los arquitectos; as\u00ed como toman fuerza y sentido las propuestas m\u00e1s importantes igualmente heredadas del Movimiento Moderno.<\/p>\n

La catedral es en realidad un recinto amurallado que repite el esquema constructivo de las fortificaciones de la ciudad adyacentes al r\u00edo, o sea que un principio utilitario se adopta en un edificio simb\u00f3lico, de culto, de prestigio. La huella cil\u00edndrica de los contrafuertes, \u00fatil militarmente para facilitar visuales es aqu\u00ed necesaria para aumentar el paso de la luz hacia las ventanas verticales y sus vitrales. Un v\u00ednculo claro entre necesidad y forma, principio moderno. Por otra parte, el templo es de una sola nave, buscando concentraci\u00f3n, compacidad, atributo igualmente militar; y la entrada no es frontal sino lateral, \u00fanica (hay una Norte muy peque\u00f1a, casi privada), protegida por una hermos\u00edsima portada de g\u00f3tico tard\u00edo, a\u00f1adido posterior. Son refutaciones al modo esquem\u00e1tico Bellas Artes del siglo diecinueve que persisti\u00f3 seg\u00fan otras formas en la visi\u00f3n \u201cmoderna\u201d congelada.<\/p>\n

\"El<\/a>
El Palacio de Berbie evoca a Louis I. Kahn | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Este poema de arcos y cilindros de ladrillo vino a constituir un motivo clave para Louis I. Kahn, quien abri\u00f3 con ello un cap\u00edtulo muy rico para el desarrollo de la arquitectura, vigente hasta hoy, que reivindica la posibilidad de utilizar antiguas herencias derivadas del modo de construir en la concepci\u00f3n formal de los edificios m\u00e1s actuales. Algo que por ejemplo Walter Gropius en los tiempos de la Bauhaus rechaz\u00f3 y extendi\u00f3 a sus experiencias docentes en los Estados Unidos. Prejuicios que Le Corbusier, por el contrario, comenz\u00f3 a desmontar desde fines de los a\u00f1os treinta.<\/p>\n

El Centro Gerencial de Ahmedabad, proyectado por Louis I. Kahn en 1961- 62, constru\u00eddo enteramente de ladrillo, y su Centro Gubernamental de la capital de Bangladesh, Dacca, de la misma \u00e9poca, deben mucho al universo formal de Albi, siendo particularmente el Palacio de Berbie, hoy Museo Toulouse-Lautrec, que se levanta muy cerca de la catedral, una referencia directa al lenguaje de su \u00faltima arquitectura.<\/p>\n

\"La<\/a>
La escala de los cilindros de ladrillo | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Esta visita vino a ser para nosotros no s\u00f3lo el descubrimiento personal de un edificio hist\u00f3rico \u00fanico, que combina su austera presencia externa con una muy profusa decoraci\u00f3n pict\u00f3rica interna en las b\u00f3vedas de crucer\u00eda, de factura renacentista, en intens\u00edsimo azul perfectamente conservado, un extraordinario Juicio Final a ambos lados del presbiterio y una estatuaria medieval de gran valor que bordea el coro; fue sobre todo una lecci\u00f3n actual, viva, din\u00e1mica, recibida desde los siglos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, septiembre 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span><\/p>\n

[:gl]

\"albi1kahn\"<\/a>
O debuxo de Kahn, feito en 1959<\/span><\/figcaption><\/figure><\/p>\n

Cada vez que v\u00eda os debuxos de Louis I. Kahn (1901-1974) o gran arquitecto estoniano-americano, cham\u00e1ronme sempre a atenci\u00f3n os da Catedral de Albi<\/a>, coas s\u00faas contrafuertes trazados con espirales ascendentes. Indicaban canto interese puxo Kahn nese edificio do s\u00e9culo XIII, interese que vexo agora expresado en palabras, ao tropezarme onte con este texto do mesmo Kahn, escrito nos primeiros setenta:<\/p>\n

\n

\u201cNa presenza de Albi puiden sentir a fe na selecci\u00f3n dos seus elementos arquitect\u00f3nicos e canto regocijo e paciencia combin\u00e1ronse para comezala e traballar ata a s\u00faa terminaci\u00f3n. Debuxei Albi desde abaixo cara arriba coma se estiv\u00e9sea constru\u00edndo. E sent\u00edn o regocijo. A paciencia que tomou constru\u00edla non a necesitei porque a debuxei sen preocuparme de correcciones ou proporci\u00f3ns correctas. Quer\u00eda s\u00f3 captar a excitaci\u00f3n na mente do arquitecto\u2026\u201d<\/em><\/p>\n<\/blockquote>\n

As imaxes e o nome lev\u00e1ronnos a min e \u00e1 mi\u00f1a esposa ata a cidade cruzada polo r\u00edo Tarn, desde cuxa marxe dereita div\u00edsase o perfil da Catedral, dedicada a unha santa de quen tomou o nome a mi\u00f1a nai, Cecilia, raz\u00f3n adicional para a visita.<\/p>\n

O m\u00e1is sorprendente do edificio \u00e9 que a estrutura de soporte e os paramentos externos sexan de ladrillo, sendo de pedra soamente os alicerces e b\u00f3vedas de crucer\u00eda internas. Hai moi poucos exemplos en Francia de g\u00f3tico en ladrillo porque a pedra \u00e9 abundante nese pa\u00eds e a s\u00faa utilizaci\u00f3n experta permitiu edificar al\u00ed os m\u00e1is altos exemplos desa arquitectura. Son as arcillas do Tarn, o que levou a usar ese material e o desexo da rexi\u00f3n de bastarse a si mesma e en certo xeito illarse como herdanza l\u00f3xica dos resentimentos deixados pola cruzada contra a seita dos c\u00e1taros, ou albigenses (de Albi), emprendida polo Papa Inocencio XIII e o rei de Francia. O villano instrumental foi Sim\u00f3n de Monfort, quen dirixiu as matanzas e degollinas de Beziers en 1209. As\u00ed que no seu exterior, a presenza secuencial dos arbotantes ao longo da nave, foi substitu\u00edda por uns enormes cilindros de ladrillo, de gran inercia para neutralizar os esforzos horizontales.<\/p>\n

\"El<\/a>
O extremo oriental da Catedral | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Aqu\u00ed, como en moitos exemplos vindos da historia, derr\u00fabanse alg\u00fans dos mitos \u201cmodernos\u201d que \u00e1s veces constri\u00f1en as decisi\u00f3ns dos arquitectos; as\u00ed como toman forza e sentido as propostas m\u00e1is importantes igualmente herdadas do Movemento Moderno.<\/p>\n

A catedral \u00e9 en realidade un recinto amurallado que repite o esquema constructivo das fortificaciones da cidade adxacentes ao r\u00edo, ou sexa que un principio utilitario ad\u00f3ptase nun edificio simb\u00f3lico, de culto, de prestixio. A pegada cil\u00edndrica dos contrafuertes, \u00fatil militarmente para facilitar visuales \u00e9 aqu\u00ed necesaria para aumentar o paso da luz cara \u00e1s fiestras verticais e as s\u00faas vitrales. Un v\u00ednculo claro entre necesidade e forma, principio moderno. Por outra banda, o templo \u00e9 dunha soa nave, buscando concentraci\u00f3n, compacidad, atributo igualmente militar; e a entrada non \u00e9 frontal sen\u00f3n lateral, \u00fanica (hai unha Norte moi pequena, case privada), protexida por unha hermos\u00edsima portada de g\u00f3tico tard\u00edo, engadido posterior. Son refutaciones ao modo esquem\u00e1tico Belas Artes do s\u00e9culo dezanove que persistiu segundo outras formas na visi\u00f3n \u201cmoderna\u201d conxelada.<\/p>\n

\"El<\/a>
O Palacio de Berbie evoca a Louis I. Kahn | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Este poema de arcos e cilindros de ladrillo veu constitu\u00edr un motivo clave para Louis I. Kahn, quen abriu con iso un cap\u00edtulo moi rico para o desenvolvemento da arquitectura, vigente ata hoxe, que reivindica a posibilidade de utilizar antigas herdanzas derivadas do modo de constru\u00edr na concepci\u00f3n formal dos edificios m\u00e1is actuais. Algo que por exemplo Walter Gropius nos tempos da Bauhaus rexeitou e estendeu \u00e1s s\u00faas experiencias docentes nos Estados Unidos. Prexuizos que Le Corbusier, pola contra, comezou a desmontar dende fins dos anos trinta.<\/p>\n

O Centro Gerencial de Ahmedabad, proxectado por Louis I. Kahn en 1961- 62, constru\u00eddo enteramente de ladrillo, e o seu Centro Gobernamental da capital de Bangladesh, Dacca, da mesma \u00e9poca, deben moito ao universo formal de Albi, sendo particularmente o Palacio de Berbie, hoxe Museo Toulouse-Lautrec, que se levanta moi preto da catedral, unha referencia directa \u00e1 linguaxe da s\u00faa \u00faltima arquitectura.<\/p>\n

\"La<\/a>
La escala de los cilindros de ladrillo | Fotograf\u00eda: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Esta visita veu ser para n\u00f3s non s\u00f3 o descubrimento persoal dun edificio hist\u00f3rico \u00fanico, que combina o seu austera presenza externa cunha moi profusa decoraci\u00f3n pict\u00f3rica interna nas b\u00f3vedas de crucer\u00eda, de factura renacentista, en intens\u00edsimo azul perfectamente conservado, un extraordinario Xu\u00edzo Final a ambos os dous lados do presbiterio e unha estatuaria medieval de gran valor que bordea o coro; foi sobre todo unha lecci\u00f3n actual, viva, din\u00e1mica, recibida desde os s\u00e9culos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, setembro 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span><\/p>\n

[:en]

\"albi1kahn\"<\/a>
Kahn’s drawing, done in 1959<\/span><\/figcaption><\/figure><\/p>\n

Whenever it saw the drawings of Louis I. Kahn (1901-1974) the great architect Estonian – American, were called me always the attention those of Albi’s Cathedral<\/a>, with his buttresses planned with ascending spirals. They were indicating all the interest it put Kahn in this building of the 13th century, interest that I see now expressed in words, on me having stumbled yesterday over this text of the same Kahn, written in the first ones seventy:<\/p>\n

\n

\u201cIn Albi’s presence I could feel the faith in the selection of his architectural elements and all that I delight and patience they combined her to begin and to work up to his completion. I drew Albi from below up as if he was constructing it. And I felt the joy. The patience that took to construct it was not needed by me because I drew it without worrying about corrections or correct proportions. It wanted to catch only the excitation in the mind of the architect\u2026\u201d<\/em><\/p>\n<\/blockquote>\n

The images and the name took me to us and to my wife up to the city crossed by the river Tarn, from whose margin right spies the profile of the Cathedral, dedicated to the holy one of whom there took the name my mother, Cecilia, additional reason for the visit.<\/p>\n

The most surprising of the building is that the structure of support and the external paraments are of brick, being of stone only the props and vaults of crucer\u00eda you hospitalize. There are very few examples in France of Gothic in brick because the stone is abundant in this country and his expert utilization allowed to build there the highest examples of this architecture. They are the clays of the Tarn, which led to using this material and the desire of the region to be enough to yes same and in certain way to isolate as logical inheritance of the resentments left by the crusade against the sect of the Cathars, or albigenses (of Albi), undertaken by the Pope Inocencio XIII and the king of France.\u00a0The instrumental villain was Sim\u00f3n de Monfort, who directed the slaughters and Beziers’s slaughters in 1209. So in his exterior, the sequential presence of the buttresses along the ship, was replaced with a few enormous cylinders of brick, of great inertia to neutralize the horizontal efforts.<\/p>\n

\"El<\/a>
The oriental end of the Cathedral | Photography: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

Here, like in many examples come from the history, there are ruined some of the \u201cmodern\u201d myths that sometimes restrict the decisions of the architects; as well as they take force and felt the most important offers equally inherited from the Modern Movement.<\/p>\n

The cathedral is actually a walled enclosure that repeats the constructive scheme of the adjacent fortifications of the city to the river, or that a utilitarian beginning adopts in a symbolic building, of worship, of prestige. The cylindrical fingerprint of the buttresses, useful militarily to facilitate visual is here necessary to increase the step of the light towards the vertical windows and his vitrales. A clear link between need and form, modern beginning. On the other hand, the temple is of an alone ship, looking for concentration, compactness, equally military attribute; and the entry is not frontal but lateral, the only (there is one North very small, almost private), protected by the most beautiful front page of late Gothic, added later. They are refutations to the schematic way Fine arts of the century nineteen that persisted according to other forms in the \u201cmodern\u201d frozen vision.<\/p>\n

\"El<\/a>
Berbie’s Palace evokes Louis I. Kahn | Photography: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

This poem of arches and cylinders of brick came to constitute a key motive for Louis I. Kahn, who opened with it a very rich chapter for the development of the architecture, in force up to today, which claims the possibility of using former inheritances derived from the way of constructing in the formal conception of the most current buildings. Something that for example Walter Gropius in the times of the Bauhaus rejected and extended to his educational experiences in the United States. Prejudices that Le Corbusier, on the contrary, began to dismantle from ends of the thirties.<\/p>\n

Ahmedabad’s Managerial Center, projected by Louis I. Kahn in 1961-62, constru\u00eddo entirely of brick, and his Governmental Center of the capital of Bangladesh, Dacca, of the same epoch, has to very much to Albi’s formal universe, being particularly Berbie’s Palace, today Museum Toulouse-Lautrec, which gets up closely together of the cathedral, a direct reference to the language of his last architecture.<\/p>\n

\"La<\/a>
The scale of the cylinders of brick | Photography: \u00d3scar Tenreiro Degwitz<\/span><\/figcaption><\/figure>\n

This visit came to be for us not only the personal discovery of the historical only building, which combines his austere external presence with a very profuse pictorial internal decoration in the vaults of crucer\u00eda, of Renaissance invoice, in the untensest perfectly preserved blue, an extraordinary Final Judgment on both sides of the presbytery and a medieval sculpture of great value that borders on the choir; it was especially a current, alive, dynamic lesson received from the centuries.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela, september 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span><\/p>\n

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

[:es] Cada vez que ve\u00eda los dibujos de Louis I. Kahn (1901-1974) el gran arquitecto estonio-americano, me llamaron siempre la atenci\u00f3n los de la Catedral de Albi, con sus contrafuertes trazados con espirales ascendentes. Indicaban cuanto inter\u00e9s puso Kahn en ese edificio del siglo XIII, inter\u00e9s que veo ahora expresado en palabras, al tropezarme ayer […]<\/p>\n","protected":false},"author":35,"featured_media":58030,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6553,7089,147,9132,149,199,424,12457,12458,668,785,3104,815,11762,3452,2066,3615],"class_list":["post-58007","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-alemana","tag-arquitectura-francesa","tag-arquitectura-moderna","tag-arquitectura-norteamericana","tag-arquitectura-religiosa","tag-bauhaus","tag-dibujo","tag-equipamiento-dotacional","tag-equipamiento-religioso","tag-historia","tag-le-corbusier","tag-louis-i-kahn","tag-maestro","tag-oscar-tenreiro-degwitz","tag-personaje","tag-proyectar","tag-walter-gropius"],"yoast_head":"\nEl testimonio duradero de Albi | \u00d3scar Tenreiro Degwitz<\/title>\n<meta name=\"description\" content=\"El testimonio duradero de Albi\" \/>\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\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El testimonio duradero de Albi | \u00d3scar Tenreiro Degwitz\" \/>\n<meta property=\"og:description\" content=\"El testimonio duradero de Albi\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\/\" \/>\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=\"2015-11-02T05:56:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-01-10T16:24:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/11\/albi1kahn.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"\u00d3scar Tenreiro Degwitz\" \/>\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=\"\u00d3scar Tenreiro Degwitz\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\\\/\"},\"author\":{\"name\":\"\u00d3scar Tenreiro Degwitz\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/3612c3173c340910b53bc7a6a8816b19\"},\"headline\":\"[:es]El testimonio duradero de Albi | \u00d3scar Tenreiro Degwitz[:gl]O testemu\u00f1o duradero de Albi | \u00d3scar Tenreiro Degwitz[:en]Albi’s lasting testimony | Oscar Tenreiro Degwitz[:]\",\"datePublished\":\"2015-11-02T05:56:42+00:00\",\"dateModified\":\"2020-01-10T16:24:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\\\/\"},\"wordCount\":2701,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/el-testimonio-duradero-de-albi-oscar-tenreiro-degwitz\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2015\\\/11\\\/albi1kahn.jpg\",\"keywords\":[\"arquitectura alemana\",\"arquitectura francesa\",\"arquitectura moderna\",\"arquitectura norteamericana\",\"arquitectura religiosa\",\"Bauhaus\",\"dibujo\",\"equipamiento dotacional\",\"equipamiento religioso\",\"historia\",\"Le Corbusier\",\"Louis I. 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