{"id":61758,"date":"2016-09-09T00:58:10","date_gmt":"2016-09-08T22:58:10","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=61758"},"modified":"2024-03-27T17:47:37","modified_gmt":"2024-03-27T16:47:37","slug":"objetos-afecto-jorge-rodriguez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/","title":{"rendered":"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]"},"content":{"rendered":"

[:es]

\"La
La Femme, 1918-1920, Man Ray (1890-1976) | \u00a9 2016 Man Ray Trust\/Artists Rights Society (ARS), New York\/ADAGP, Paris<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018Yo a\u00fan as\u00ed estoy deformado por los nexos con las cosas que me rodean. Como un molusco que vive en su concha, as\u00ed yo habito en el siglo XIX, que est\u00e1 ahora delante in\u00fatil como una concha deshabitada. Me lo pongo en la oreja<\/em>.\u2019<\/p>\n

Walter Benjamin<\/p>\n<\/blockquote>\n

Aldo Rossi dec\u00eda de su arquitectura que las cosas se ve\u00edan con gran fijeza. Seguramente en sus primeros proyectos esa \u2018fijeza\u2019 sea m\u00e1s palpable, reconocida en obras pr\u00e1cticamente aisladas de su contexto, con una pureza formal que nos habla de una arquitectura concebida como un objeto, quiz\u00e1s fruto de la primac\u00eda que el milan\u00e9s daba al escenario respecto al acontecimiento1<\/sup>.<\/p>\n

Sin embargo esa hieraticidad de sus objetos va diluy\u00e9ndose con la evoluci\u00f3n de una carrera cimentada en unos postulados te\u00f3ricos de gran complejidad a edad temprana. Se pierden las reconocibles cafeteras, casetas de playa, frisos y l\u00edneas puras, apareciendo ciertas distorsiones fruto de la relaci\u00f3n de estos objetos con un contexto que no coincid\u00eda con el entorno de proximidad, si no a lo que el propio Rossi<\/a> llam\u00f3 \u2018Ciudad an\u00e1loga\u2019<\/em>, fuertemente relacionada con concepto de analog\u00eda de Gustav Jung<\/a>2 <\/sup>y el vedutismo, especialmente por las visiones de Canaletto sobre Venecia en las que se alcanza una precisi\u00f3n cartogr\u00e1ficoa de un entorno que mezcla realidad y ficci\u00f3n, incorporando edificios paladianos que no fueron m\u00e1s all\u00e1 del proyecto a la escena real de Venecia, ofreciendo una visi\u00f3n personal que constituye en s\u00ed misma una ciudad, la ciudad an\u00e1loga.<\/p>\n

\"Man
Man Ray, La Femme, 1920, Epreuve g\u00e9latino-argentique contrecoll\u00e9e sur carton<\/span><\/figcaption><\/figure>\n

Es sabida la afici\u00f3n de Rossi a coleccionar lo que el fot\u00f3grafo Man Ray<\/a> bautiz\u00f3 como \u2018Objetos de mi afecto\u2019<\/em>. Para el americano no era m\u00e1s que una forma de flirtear con el dada\u00edsmo retratando objetos descontextualizados o separados de su funci\u00f3n original, sin embargo para el italiano eran un cuaderno de bit\u00e1cora de objetos reconocibles, fijos y r\u00edgidos de los que se serv\u00eda el proyecto o la memoria para recrear esa ciudad an\u00e1loga que deformase e influyese su arquitectura y la alejase del purismo de sus primeras obras. As\u00ed podemos realizar una disecci\u00f3n precisa de las influencias de Rossi para su arquitectura si observamos los brillantes dibujos y fotograf\u00edas que acompa\u00f1aban al arquitecto italiano en cada etapa, con una respuesta construida en relaci\u00f3n directa con estas influencias que con tanto empe\u00f1o camuflaba e incluso negaba<\/a>.<\/p>\n

Seguramente la principal diferencia entre los objetos de afecto de uno y otro radique en la actitud de cada uno a la hora de enfocar la disciplina, y seguramente la vida. Observamos en la obra de Rossi un inter\u00e9s casi compulsivo en la acumulaci\u00f3n de objetos con una relaci\u00f3n formal directa con sus proyectos posteriores, una lectura tremendamente pragm\u00e1tica del entorno que a pesar de su basta cultura e inter\u00e9s por otras disciplinas y corrientes, un acercamiento anal\u00edtico a la realidad que lo rodeaba con el firme objetivo de extraer las trazas formales que ordenasen sus proyectos y proporcionasen esa carga semiol\u00f3gica que tanto le preocupaba. Anotaciones precisas, bocetos repetidos hasta la saciedad y un orden de prioridades en el dibujo que jerarquizaba lo realmente importante de cada apunte: las chimeneas, cafeteras, construcciones parafinadas y el juego de luces y sombras. Una mirada disciplinada, de arquitecto que nunca ha roto un plato.<\/p>\n

\"Las
Las cafeteras de Aldo Rossi, 1984 | fondazionealdorossi.org<\/span><\/figcaption><\/figure>\n

Por el contrario Man Ray utiliz\u00f3 sus objetos de afecto como medio de exploraci\u00f3n de los l\u00edmites de una disciplina que menospreciaba3<\/sup>. La relaci\u00f3n que el americano establece entre estos objetos con su obra posterior carece de cualquier relaci\u00f3n formal, incluso en aspectos t\u00e9cnicos, en los que fue un visionario. Utiliza estos objetos como base de un pensamiento que buscaba convertir la fotograf\u00eda en arte. Con el mismo inter\u00e9s que el milan\u00e9s por el atractivo de manipular la realidad pero desde una perspectiva mucho m\u00e1s radical, m\u00e1s liberada.<\/p>\n

Est\u00e1 en los nexos que se establecen entre la capacidad de an\u00e1lisis y aprehensi\u00f3n de la realidad y la obra realizada, la mayor complejidad de todo proyecto art\u00edstico. Entablar una amistad entre el pasado, el lugar, las personas y el presente. Relaci\u00f3n compleja y dif\u00edcil de gestionar. No me atrever\u00eda a establecer las reglas para conseguir un perfecto equilibrio, pero Eduardo Galeano<\/a>, gran disfrutador de la cultura ind\u00edgena, nos cuenta en el \u2018Ventana sobre la memoria<\/a>\u2019<\/em>, el ritual de iniciaci\u00f3n entre artesanos en la selva amaz\u00f3nica. Cuando el alfarero viejo, pr\u00f3ximo a retirarse, le ofrece su mejor pieza al alfarero joven, este no guarda la vasija para admirarla y tratar de conseguir una pieza mejor, si no que la estrella contra el suelo, la rompe en mil pedazos y los incorpora a su arcilla. Man Ray dej\u00f3 claro en su epitafio su actitud ante la vida \u2018Unconcerned but not indifferent\u2019<\/em>. A Aldo Rossi, quiz\u00e1s le hubiese hecho falta romper alg\u00fan plato m\u00e1s.<\/p>\n

Jorge Rodr\u00edguez Seoane, arquitecto.
\nSantander. Septiembre 2016<\/p>\n

Notas:<\/h6>\n

1<\/sup>. \u2018Siempre he afirmado que los lugares son m\u00e1s fuertes que las personas, el escenario m\u00e1s que el acontecimiento.\u2019<\/em> Aldo Rossi<\/p>\n

2<\/sup>. \u2018He explicado que el pensamiento l\u00f3gico es el pensamiento expresado en palabras, que se dirige al exterior como un discurso. El pensamiento anal\u00f3gico o fant\u00e1stico y sensible, imaginado y mudo, no es un discurso sino una meditaci\u00f3n sobre materiales del pasado, un acto volcado hacia dentro. El pensamiento l\u00f3gico es pensar con palabras. El pensamiento anal\u00f3gico es arcaico, no expresado y pr\u00e1cticamente inexpresable con palabras.\u2019<\/em> Correspondencia privada entre Carl Gustav Jung y Sigmund Freud.<\/p>\n

3<\/sup>. Man Ray escribi\u00f3 un art\u00edculo muy cr\u00edtico con su profesi\u00f3n titulado \u2018La fotograf\u00eda no es un arte\u2019<\/em>. Preguntado a\u00f1os despu\u00e9s si hab\u00eda matizado su postura respondi\u00f3, \u2018Si, ahora creo que el arte no es fotograf\u00eda.\u2019<\/em><\/p>\n

[:gl]

\"La
La Femme, 1918-1920, Man Ray (1890-1976) | \u00a9 2016 Man Ray Trust\/Artists Rights Society (ARS), New York\/ADAGP, Paris<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018<\/em>Eu a\u00ednda as\u00ed estou deformado polos nexos coas cousas que me rodean. Como un molusco que vive na s\u00faa cuncha, as\u00ed eu habito no s\u00e9culo XIX, que est\u00e1 agora diante in\u00fatil como unha cuncha deshabitada. P\u00f3\u00f1omo na orella<\/em>.\u2019<\/p>\n

Walter Benjamin<\/p>\n<\/blockquote>\n

Aldo Rossi dic\u00eda da s\u00faa arquitectura que as cousas se v\u00edan con gran fijeza. Seguramente nos seus primeiros proxectos esa \u2018fixeza\u2019 sexa m\u00e1is palpable, reco\u00f1ecida en obras practicamente illadas do seu contexto, cunha pureza formal que nos fala dunha arquitectura concibida como un obxecto, quizais froito da primac\u00eda que o milan\u00e9s daba ao escenario respecto ao acontecemento1<\/sup>.<\/p>\n

Con todo esa hieraticidad dos seus obxectos vai dilu\u00edndose coa evoluci\u00f3n dunha carreira cimentada nuns postulados te\u00f3ricos de gran complexidade a idade temper\u00e1. P\u00e9rdense as reconocibles cafeteras, casetas de praia, frisos e li\u00f1as puras, aparecendo certas distorsiones froito da relaci\u00f3n destes obxectos cun contexto que non coincid\u00eda coa contorna de proximidade, se non ao que o propio Rossi<\/a> chamou \u2018Cidade an\u00e1loga\u2019<\/em>, fortemente relacionada con concepto de analog\u00eda de Gustav Jung<\/a>2 <\/sup> e o vedutismo, especialmente polas visi\u00f3ns de Canaletto sobre Venecia nas que se alcanza unha precisi\u00f3n cartogr\u00e1fica dunha contorna que mestura realidade e ficci\u00f3n, incorporando edificios paladianos que non foron m\u00e1is al\u00f3 do proxecto \u00e1 escena real de Venecia, ofrecendo unha visi\u00f3n persoal que constit\u00fae en si mesma unha cidade, a cidade an\u00e1loga.<\/p>\n

\"Man
Man Ray, La Femme, 1920, Epreuve g\u00e9latino-argentique contrecoll\u00e9e sur carton<\/span><\/figcaption><\/figure>\n

\u00c9 sabida a afecci\u00f3n de Rossi a coleccionar o que o fot\u00f3grafo Man Ray<\/a> bautizou como \u2018Obxetos do meu afecto\u2019<\/em>. Para o americano non era m\u00e1is que unha forma de flirtear co dada\u00edsmo retratando obxectos descontextualizados ou separados da s\u00faa funci\u00f3n orixinal, con todo para o italiano eran un caderno de bit\u00e1cora de obxectos reconocibles, fixos e r\u00edxidos dos que se serv\u00eda o proxecto ou a memoria para recrear esa cidade an\u00e1loga que deformase e influ\u00edse a s\u00faa arquitectura e afast\u00e1sea do purismo das s\u00faas primeiras obras. As\u00ed podemos realizar unha disecci\u00f3n precisa das influencias de Rossi para a s\u00faa arquitectura se observamos os brillantes debuxos e fotograf\u00edas que acompa\u00f1aban ao arquitecto italiano en cada etapa, cunha resposta constru\u00edda en relaci\u00f3n directa con estas influencias que con tanto empe\u00f1o camuflaba e incluso negaba<\/a>.<\/p>\n

Seguramente a principal diferenza entre os obxectos de afecto dun e outro radique na actitude de cada un \u00e1 hora de enfocar a disciplina, e seguramente a vida. Observamos na obra de Rossi un interese case compulsivo na acumulaci\u00f3n de obxectos cunha relaci\u00f3n formal directa cos seus proxectos posteriores, unha lectura tremendamente pragm\u00e1tica da contorna que a pesar da s\u00faa basta cultura e interese por outras disciplinas e correntes, un achegamento anal\u00edtico \u00e1 realidade que o rodeaba co firme obxectivo de extraer as trazas formais que ordenasen os seus proxectos e proporcionasen esa carga semiol\u00f3gica que tanto lle preocupaba. Anotaci\u00f3ns precisas, bosquexos repetidos ata a saciedade e unha orde de prioridades no debuxo que jerarquizaba o realmente importante de cada apuntamento: as chemineas, cafeteras, construci\u00f3ns parafinadas e o xogo de luces e sombras. Unha mirada disciplinada, de arquitecto que nunca rompeu un prato.<\/p>\n

\"Las
As cafeteras de Aldo Rossi, 1984 | fondazionealdorossi.org<\/span><\/figcaption><\/figure>\n

Pola contra Man Ray utilizou os seus obxectos de afecto como medio de exploraci\u00f3n dos l\u00edmites dunha disciplina que menosprezaba3<\/sup>. A relaci\u00f3n que o americano establece entre estes obxectos coa s\u00faa obra posterior carece de calquera relaci\u00f3n formal, mesmo en aspectos t\u00e9cnicos, nos que foi un visionario. Utiliza estes obxectos como base dun pensamento que buscaba converter a fotograf\u00eda en arte. Co mesmo interese que o milan\u00e9s polo atractivo de manipular a realidade pero desde unha perspectiva moito m\u00e1is radical, m\u00e1is liberada.<\/p>\n

Est\u00e1 nos nexos que se establecen entre a capacidade de an\u00e1lise e aprehensi\u00f3n da realidade e a obra realizada, a maior complexidade de todo proxecto art\u00edstico. Establecer unha amizade entre o pasado, o lugar, as persoas e o presente. Relaci\u00f3n complexa e dif\u00edcil de xestionar. Non me atrever\u00eda a establecer as regras para conseguir un perfecto equilibrio, pero Eduardo Galeano<\/a>, gran disfrutador da cultura ind\u00edxena, c\u00f3ntanos no \u2018Xanela sobre la memoria<\/a>\u2019<\/em>, o ritual de iniciaci\u00f3n entre artes\u00e1ns na selva amaz\u00f3nica. Cando o oleiro vello, pr\u00f3ximo a retirarse, ofr\u00e9celle a s\u00faa mellor peza ao oleiro novo, este non garda a vasilla para admirala e tratar de conseguir unha peza mellor, se non que a estrela contra o chan, r\u00f3mpea en mil pedazos e incorp\u00f3raos \u00e1 s\u00faa arxila. Man Ray deixou claro no seu epitafio a s\u00faa actitude ante a vida \u2018Unconcerned but not indifferent\u2019<\/em>. A Aldo Rossi, quizais lle fixese falta romper alg\u00fan prato m\u00e1is.<\/p>\n

Jorge Rodr\u00edguez Seoane, arquitecto.
\nSantander. Setembro 2016<\/p>\n

Notas:<\/p>\n

1<\/sup>. \u2018Sempre afirmei que os lugares son m\u00e1is fortes que as persoas, o escenario m\u00e1is que o acontecemento.\u2019<\/em> Aldo Rossi<\/p>\n

2<\/sup>. \u2018Expliquei que o pensamento l\u00f3xico \u00e9 o pensamento expresado en palabras, que se dirixe ao exterior como un discurso. O pensamento anal\u00f3xico ou fant\u00e1stico e sensible, imaxinado e mudo, non \u00e9 un discurso sen\u00f3n unha meditaci\u00f3n sobre materiais do pasado, un acto envorcado cara a dentro. O pensamento l\u00f3xico \u00e9 pensar con palabras. O pensamento anal\u00f3xico \u00e9 arcaico, non expresado e practicamente inexpresable con palabras.\u2019<\/em> Correspondencia privada entre Carl Gustav Jung e Sigmund Freud.<\/p>\n

3<\/sup>. Man Ray escribiu un artigo moi cr\u00edtico coa s\u00faa profesi\u00f3n titulado \u2018A fotograf\u00eda non \u00e9 unha arte\u2019<\/em>. Preguntado anos despois se matizara a s\u00faa postura respondeu, \u2018Se, agora creo que a arte non \u00e9 fotograf\u00eda.\u2019<\/em><\/p>\n

[:en]

\"La
La Femme, 1918-1920, Man Ray (1890-1976) | \u00a9 2016 Man Ray Trust\/Artists Rights Society (ARS), New York\/ADAGP, Paris<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018<\/em>I nonetheless am deformed by the links by the things that surround me. As a mollusk that lives in his shell, this way I live in the 19th century, which is now ahead useless as an uninhabited shell. I put on it in the ear<\/em>.\u2019<\/p>\n

Walter Benjamin<\/p>\n<\/blockquote>\n

Aldo Rossi was saying of his architecture that the things saw with great firmness. Surely in his first projects this \u2018firmness\u2019 be more palpable, recognized in works practically isolated of his context, with a formal purity that he speaks to us about an architecture concebida as an object, probably fruit of the primacy that the Milanese was giving to the scene with regard to the event1<\/sup>.<\/p>\n

Nevertheless this hieraticidad of his objects goes being diluted by the evolution of a career established in a few theoretical postulates of great complexity to early age. There get lost the recognizable coffee machines, sheds of beach, friezes and pure lines, appearing certain distortions fruit of the relation of these objects with a context that was not coinciding with the environment of proximity, if not to what the own Rossi<\/a> called \u2018Analogous city\u2019,<\/em> strongly related to concept of Gustav Jung<\/a>‘s analogy2 <\/sup>and the vedutismo, specially by the visions of Canaletto on Venice in which there is reached a cartographic precision of an environment that mixes reality and fiction, incorporating buildings paladianos that did not go beyond the project to the royal scene of Venice, offering a personal vision that constitutes in yes the same city, the analogous city.<\/p>\n

\"Man
Man Ray, La Femme, 1920, Epreuve g\u00e9latino-argentique contrecoll\u00e9e sur carton<\/span><\/figcaption><\/figure>\n

Rossi’s interest is known to collecting what the photographer Man Ray<\/a> baptized as \u2018Objects of my affection<\/em>\u2019<\/em>. For the American it was not any more than a form of flirting with the dada\u00edsmo portraying objects descontextualizados or separated from his original function, nevertheless for the Italian they were a notebook of binnacle of recognizable, fixed and rigid objects which the project or the memory was served to recreate this analogous city that was deforming and influencing his architecture and was removing it from the purism of his first works. This way we can realize a precise dissection of Rossi’s influences for his architecture if we observe the brilliant drawings and photographies that were accompanying the Italian architect in every stage, with a response constructed in direct relation with these influences that with so much determination it was camouflaging and even he was denying.<\/a><\/p>\n

Surely the principal difference between the objects of affection of one and other one takes root in the attitude of each one at the moment of focusing the discipline, and surely the life. We observe in Rossi’s work an almost compulsive interest in the accumulation of objects with a formal direct relation with his later projects, a tremendously pragmatic reading of the environment that in spite of his coarse culture and interest for other disciplines and currents, an analytical approximation to the reality that was surrounding it with the objective road surface of extracting the formal traces that were arranging his projects and were providing this load semiol\u00f3gica that so much was worrying him. Precise annotations, sketches repeated up to the satiety and an order of priorities in the drawing that was organizing into a hierarchy the really important of every note: the chimneys, coffee machines, constructions parafinadas and the game of lights and shades. A disciplined look, of architect who has never broken a plate.<\/p>\n

\"Las
Aldo Rossi’s coffee machines, 1984 | fondazionealdorossi.org<\/span><\/figcaption><\/figure>\n

On the contrary Man Ray used his objects of affection as way of exploration of the limits of a discipline that was despising3<\/sup>. The relation that the American establishes between these objects with his later work lacks any formal relation, even in technical aspects, in which he was a visionary. It uses these objects as base of a thought that was seeking to turn the photography into art. With the same interest that the Milanese for the attraction of manipulating the reality but from a much more radical, more liberated perspective.<\/p>\n

Por el contrario Man Ray utiliz\u00f3 sus objetos de afecto como medio de exploraci\u00f3n de los l\u00edmites de una disciplina que menospreciaba3<\/sup>. La relaci\u00f3n que el americano establece entre estos objetos con su obra posterior carece de cualquier relaci\u00f3n formal, incluso en aspectos t\u00e9cnicos, en los que fue un visionario. Utiliza estos objetos como base de un pensamiento que buscaba convertir la fotograf\u00eda en arte. Con el mismo inter\u00e9s que el milan\u00e9s por el atractivo de manipular la realidad pero desde una perspectiva mucho m\u00e1s radical, m\u00e1s liberada.<\/p>\n

It is in the links that are established between the capacity of analysis and apprehension of the reality and the realized work, the major complexity of any artistic project. To begin a friendship between the past, the place, the persons and the present. Relation complex and difficult to manage. Relation complex and difficult to manage. I would not dare to establish the rules to obtain a perfect balance, but Eduardo Galeano<\/a>, great disfrutador of the indigenous culture, tells us in ‘Window on the memory’<\/em><\/a>, the ritual of initiation between craftsmen in the Amazonian jungle. When the old potter, close to move back, offers his better piece to the young, this potter he does not guard the jar to admire and to try to obtain a better piece, if not that the star against the soil, breaks in thousand pieces and it incorporates them into his clay. Man Ray clarified in his epitaph his attitude before the life \u2018Unconcerned but not indifferent\u2019<\/em>. To Aldo Rossi, probably it had been necessary to break some plate more.<\/p>\n

Jorge Rodr\u00edguez Seoane, architect.
\nSantander. September 2016<\/p>\n

Notes:<\/p>\n

1<\/sup>. \u2018Always I have affirmed that the places are stronger than the persons, the scene more than the event.\u2019<\/em> Aldo Rossi<\/p>\n

2<\/sup>. \u2018I have made clear that the logical thought is the thought expressed in words, which goes on the outside as a speech. The analogical or fantastic and sensitive, imagined and mute thought, it is not a speech but a meditation on materials of the past, an act overturned inside. The logical thought is to think with words. The analogical thought is archaic, not expressed and practically inexpressibly with words.\u2019<\/em> Correspondence deprived between Carl Gustav Jung and Sigmund Freud.<\/p>\n

3<\/sup>. Man Ray wrote a very critical article with his profession titled \u2018The photography is not an art\u2019<\/em>. Asked some years later if it had tinted his position it answered, \u2018If, now I think that the art is not a photography.\u2019<\/em><\/p>\n

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

[:es] \u2018Yo a\u00fan as\u00ed estoy deformado por los nexos con las cosas que me rodean. Como un molusco que vive en su concha, as\u00ed yo habito en el siglo XIX, que est\u00e1 ahora delante in\u00fatil como una concha deshabitada. Me lo pongo en la oreja.\u2019 Walter Benjamin Aldo Rossi dec\u00eda de su arquitectura que las […]<\/p>\n","protected":false},"author":50,"featured_media":61759,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[3850,6657,12449,3852,2648,12641,404,424,10704,12460,5846,4227,1564,1021,12466,4740,1865,8712,4533,1341,8599],"class_list":["post-61758","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-aldo-rossi","tag-arquitectura-italiana","tag-arte","tag-borja-lopez-cotelo","tag-canaletto","tag-carl-gustav-jung","tag-dadaismo","tag-dibujo","tag-eduardo-german-maria-hughes-galeano","tag-fotografia","tag-jorge-rodriguez-seoane","tag-man-ray","tag-objeto","tag-pensamiento","tag-pintura","tag-psicoanalisis-freudiano","tag-reflexion","tag-sigmund-freud","tag-surrealismo","tag-venecia","tag-walter-benjamin"],"yoast_head":"\n[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]\" \/>\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\/objetos-afecto-jorge-rodriguez\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes\" \/>\n<meta property=\"og:description\" content=\"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/\" \/>\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:author\" content=\"https:\/\/www.facebook.com\/jorge.rodriguezseoane\" \/>\n<meta property=\"article:published_time\" content=\"2016-09-08T22:58:10+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-03-27T16:47:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"848\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jorge Rodr\u00edguez Seoane\" \/>\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=\"Jorge Rodr\u00edguez Seoane\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/\"},\"author\":{\"name\":\"Jorge Rodr\u00edguez Seoane\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/89c2452bd5215a25b4a7d5f1fe2a98e9\"},\"headline\":\"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]\",\"datePublished\":\"2016-09-08T22:58:10+00:00\",\"dateModified\":\"2024-03-27T16:47:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/\"},\"wordCount\":3228,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2016\\\/09\\\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg\",\"keywords\":[\"Aldo Rossi\",\"arquitectura italiana\",\"arte\",\"Borja L\u00f3pez Cotelo\",\"Canaletto\",\"Carl Gustav Jung\",\"dada\u00edsmo\",\"dibujo\",\"Eduardo Germ\u00e1n Mar\u00eda Hughes Galeano\",\"fotograf\u00eda\",\"Jorge Rodr\u00edguez Seoane\",\"Man Ray\",\"objeto\",\"pensamiento\",\"pintura\",\"psicoan\u00e1lisis freudiano\",\"reflexi\u00f3n\",\"Sigmund Freud\",\"surrealismo\",\"Venecia\",\"Walter Benjamin\"],\"articleSection\":[\"faro\",\"slider principal\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/\",\"name\":\"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2016\\\/09\\\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg\",\"datePublished\":\"2016-09-08T22:58:10+00:00\",\"dateModified\":\"2024-03-27T16:47:37+00:00\",\"description\":\"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#primaryimage\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2016\\\/09\\\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2016\\\/09\\\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg\",\"width\":640,\"height\":848,\"caption\":\"La Femme, 1918-1920, Man Ray (1890-1976) | \u00a9 2016 Man Ray Trust\\\/Artists Rights Society (ARS), New York\\\/ADAGP, Paris\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/objetos-afecto-jorge-rodriguez\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Objetos de afecto | Jorge Rodr\u00edguez\"}]},{\"@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\\\/89c2452bd5215a25b4a7d5f1fe2a98e9\",\"name\":\"Jorge Rodr\u00edguez Seoane\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg\",\"caption\":\"Jorge Rodr\u00edguez Seoane\"},\"description\":\"Arquitecto y socio fundador y gerente de Seoane Arquitectura. Experiencia activa en evaluaci\u00f3n de riesgos y plan de negocio, gesti\u00f3n de personal y direcci\u00f3n de proyectos de ejecuci\u00f3n. Gesti\u00f3n de carteras de inversi\u00f3n inmobiliaria, b\u00fasqueda de activos singulares y representaci\u00f3n de intereses.\",\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/jorge.rodriguezseoane\",\"https:\\\/\\\/www.instagram.com\\\/jorgerseoane\\\/\",\"https:\\\/\\\/www.linkedin.com\\\/in\\\/jorge-rodriguez-seoane-9ba33157\\\/\"],\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/author\\\/jorge-rodriguez-seoane\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes","description":"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]","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\/objetos-afecto-jorge-rodriguez\/","og_locale":"es_ES","og_type":"article","og_title":"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes","og_description":"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]","og_url":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/","og_site_name":"veredes, arquitectura y divulgaci\u00f3n","article_publisher":"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","article_author":"https:\/\/www.facebook.com\/jorge.rodriguezseoane","article_published_time":"2016-09-08T22:58:10+00:00","article_modified_time":"2024-03-27T16:47:37+00:00","og_image":[{"width":640,"height":848,"url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg","type":"image\/jpeg"}],"author":"Jorge Rodr\u00edguez Seoane","twitter_card":"summary_large_image","twitter_creator":"@veredes","twitter_site":"@veredes","twitter_misc":{"Escrito por":"Jorge Rodr\u00edguez Seoane","Tiempo de lectura":"6 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#article","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/"},"author":{"name":"Jorge Rodr\u00edguez Seoane","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/89c2452bd5215a25b4a7d5f1fe2a98e9"},"headline":"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]","datePublished":"2016-09-08T22:58:10+00:00","dateModified":"2024-03-27T16:47:37+00:00","mainEntityOfPage":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/"},"wordCount":3228,"commentCount":0,"publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"image":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg","keywords":["Aldo Rossi","arquitectura italiana","arte","Borja L\u00f3pez Cotelo","Canaletto","Carl Gustav Jung","dada\u00edsmo","dibujo","Eduardo Germ\u00e1n Mar\u00eda Hughes Galeano","fotograf\u00eda","Jorge Rodr\u00edguez Seoane","Man Ray","objeto","pensamiento","pintura","psicoan\u00e1lisis freudiano","reflexi\u00f3n","Sigmund Freud","surrealismo","Venecia","Walter Benjamin"],"articleSection":["faro","slider principal"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/","url":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/","name":"[:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:] - veredes","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#primaryimage"},"image":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg","datePublished":"2016-09-08T22:58:10+00:00","dateModified":"2024-03-27T16:47:37+00:00","description":"Toda la informaci\u00f3n sobre: [:es]Objetos de afecto | Jorge Rodr\u00edguez [:gl]Obxetos de afecto | Jorge Rodr\u00edguez[:en]Objects of affection | Jorge Rodr\u00edguez [:]","breadcrumb":{"@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#primaryimage","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/09\/La-Femme-1918-1920-Man-Ray-1890-1976-\u00a9-2016-Man-Ray-TrustArtists-Rights-Society-ARS-New-YorkADAGP-Paris.jpg","width":640,"height":848,"caption":"La Femme, 1918-1920, Man Ray (1890-1976) | \u00a9 2016 Man Ray Trust\/Artists Rights Society (ARS), New York\/ADAGP, Paris"},{"@type":"BreadcrumbList","@id":"https:\/\/veredes.es\/blog\/objetos-afecto-jorge-rodriguez\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/veredes.es\/blog\/"},{"@type":"ListItem","position":2,"name":"Objetos de afecto | Jorge Rodr\u00edguez"}]},{"@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\/89c2452bd5215a25b4a7d5f1fe2a98e9","name":"Jorge Rodr\u00edguez Seoane","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/Jorge-Rodr\u00edguez-Seoane-96x96.jpg","caption":"Jorge Rodr\u00edguez Seoane"},"description":"Arquitecto y socio fundador y gerente de Seoane Arquitectura. Experiencia activa en evaluaci\u00f3n de riesgos y plan de negocio, gesti\u00f3n de personal y direcci\u00f3n de proyectos de ejecuci\u00f3n. Gesti\u00f3n de carteras de inversi\u00f3n inmobiliaria, b\u00fasqueda de activos singulares y representaci\u00f3n de intereses.","sameAs":["https:\/\/www.facebook.com\/jorge.rodriguezseoane","https:\/\/www.instagram.com\/jorgerseoane\/","https:\/\/www.linkedin.com\/in\/jorge-rodriguez-seoane-9ba33157\/"],"url":"https:\/\/veredes.es\/blog\/author\/jorge-rodriguez-seoane\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/61758","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\/50"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=61758"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/61758\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/61759"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=61758"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=61758"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=61758"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}