{"id":68958,"date":"2018-12-14T00:02:32","date_gmt":"2018-12-13T23:02:32","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=68958"},"modified":"2025-10-13T14:43:51","modified_gmt":"2025-10-13T12:43:51","slug":"modelo-abrio-caminos-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/modelo-abrio-caminos-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]Un modelo que abri\u00f3 caminos | \u00d3scar Tenreiro Degwitz[:gl]Un modelo que abriu cami\u00f1os | \u00d3scar Tenreiro Degwitz[:en]A model that opened roads | \u00d3scar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]

\"\u201c\u2026Como
\u201c\u2026Como un gran trasatl\u00e1ntico\u2026\u201d | Fuente: oscartenreiro.com<\/a><\/span><\/span><\/figcaption><\/figure><\/p>\n

Habl\u00e9 aqu\u00ed la \u00faltima vez de la Unidad de Marsella, terminada en 1953, como un edificio emblem\u00e1tico del siglo veinte. Puede ser \u00fatil hablar de este edificio y de lo que lo origin\u00f3.<\/p>\n

La explosi\u00f3n pol\u00edtico-social europea de las primeras d\u00e9cadas del siglo veinte, produjo, ten\u00eda que producirlo, un cambio radical de perspectiva en cuanto a la forma de ver la arquitectura y en consecuencia la ciudad. De ese caldo complejo surgi\u00f3 lo que hemos llamado \u201cel Movimiento Moderno\u201d en arquitectura, un nuevo modo de expresar la forma arquitect\u00f3nica y la forma urbana. Se hizo mucha ideolog\u00eda repetitiva y mim\u00e9tica pero tambi\u00e9n se produjeron im\u00e1genes de arquitectura que prefiguraban un cambio est\u00e9tico importante y radical.<\/p>\n

Hubo, en los primeros a\u00f1os, la segunda d\u00e9cada del veinte, efecto de la Primera Guerra, pocas realizaciones concretas, pero de 1920 en adelante se construy\u00f3 mucha arquitectura que era consecuencia del nuevo modo de pensar. Alemania perdi\u00f3 esa guerra pero fue all\u00ed, parad\u00f3jicamente, donde florecieron los mejores ejemplos. La \u201cRep\u00fablica de Weimar\u201d (1919-1933) construy\u00f3 conjuntos de vivienda que todav\u00eda hoy suscitan inter\u00e9s. En el resto de Europa sin embargo, exceptuando Holanda y los pa\u00edses escandinavos, se hizo muy poco. Francia luc\u00eda agobiada por el peso de la victoria y una visi\u00f3n inflada de s\u00ed misma.<\/p>\n

En el campo de las artes pl\u00e1sticas Par\u00eds era un centro en ebullici\u00f3n, pero la arquitectura \u201cmoderna\u201d estaba confinada a discusiones acad\u00e9micas, confrontada por la tradici\u00f3n Beaux Arts (fundadora de los estudios de arquitectura), due\u00f1a excluyente de la escena. En ese ambiente, Le Corbusier<\/a>\u00a0(1887-1965), radicado en Par\u00eds desde el diecinueve, produc\u00eda, con peculiar energ\u00eda y un rigor divulgativo que lo convirti\u00f3 en celebridad temprana, im\u00e1genes de todo tipo en torno a su concepci\u00f3n de la nueva ciudad y sus ideas sobre la vivienda para las masas. De esa preocupaci\u00f3n sobre la vivienda, com\u00fan a todos los arquitectos \u201cde vanguardia\u201d, surge su concepci\u00f3n de \u201cla Unidad de Habitaci\u00f3n de tama\u00f1o adecuado\u201d, la\u00a0Unit\u00e9<\/em>, cuyo prototipo ir\u00eda a ser la de Marsella.<\/p>\n

La tesis fundamental de LC era \u201crecuperar las condiciones de naturaleza\u201d en la ciudad. Era una tesis an\u00e1loga a las del socialismo ut\u00f3pico de fines del 19 y afin, a pesar de su radical diferencia en cuanto al tipo de ciudad resultante, a la visi\u00f3n americana de Frank Lloyd Wright <\/a>(1869-1960) en su \u201cBroadacre City\u201d, que ofrec\u00eda una parcela de tierra a cada familia. Pero LC no era un ut\u00f3pico, era un hombre \u201calejado de todo prop\u00f3sito filos\u00f3fico\u201d que quer\u00eda construir, y su idea de recuperaci\u00f3n de la naturaleza no implicaba desaparici\u00f3n de la ciudad sino la reorganizaci\u00f3n de la vivienda en unidades concentradas que permitir\u00edan recuperar el suelo para el verde.<\/p>\n

Por eso hablaba de \u201cdimensiones adecuadas\u201d (grandeur conforme<\/em>\u00a0en franc\u00e9s) implicando que el edificio deb\u00eda ser de cierta magnitud (de 300 a 500 apartamentos) para realmente justificar la concentraci\u00f3n y a la vez liberar para el verde de dos a tres hect\u00e1reas de terreno, asumiendo cuatro personas por familia y, en consecuencia una densidad que podr\u00eda estar entre 400 y 600 habitantes por hect\u00e1rea, bastante alta en promedio para cualquier ciudad.<\/p>\n

La visi\u00f3n de LC, como ocurre con cualquier visi\u00f3n pionera, sufri\u00f3 la prueba de sus aspectos m\u00e1s d\u00e9biles. Por una parte result\u00f3 pr\u00e1cticamente imposible preservar la liberaci\u00f3n del suelo. Al concentrarse las viviendas en un edificio, la actitud tecnocr\u00e1tica (que Oriol Bohigas<\/a> llama militar o ingenieril), ante la presi\u00f3n de la cantidad, habr\u00eda de ser la de invadir lo recuperado con m\u00e1s edificios. Y tampoco se cumplieron otras de sus expectativas, lo que ser\u00eda largo discutir aqu\u00ed. Pero el concepto deb\u00eda ser probado en construcci\u00f3n, exig\u00eda su realizaci\u00f3n. Marsella ten\u00eda vocaci\u00f3n de prototipo.<\/p>\n

\"El
El pre-escolar del techo de la Unidad de Marsella como jard\u00edn de infancia | Fuente: oscartenreiro.com<\/a><\/span><\/figcaption><\/figure>\n

Y los prototipos tienen siempre enemigos porque son ejemplos reales de un nuevo modo de hacer las cosas, en este caso la vivienda de las mayor\u00edas, concebida dejando atr\u00e1s h\u00e1bitos y modos de vida. Pero los h\u00e1bitos son resistentes. Lo habitual aspira a ser permanente y cuando se le quiere cambiar reacciona con amargura.<\/p>\n

Por eso un prototipo permite abrir puertas, permite reconocer errores, abre espacio a un futuro al ser ejemplo que puede servir de apoyo a nuevas experiencias. En la historia del Movimiento Moderno en arquitectura se pueden identificar diversos prototipos entre los cuales, vuelvo a resaltar la paradoja, tienen un lugar especial las realizaciones alemanas de la preguerra, las \u201csiedlung\u201d, conjuntos de vivienda de la social-democracia, y uno muy especial promovido por la ciudad de Stuttgart en el suburbio de Wiesenhoff, que con sus casas de paredes blancas y techos planos marc\u00f3 \u00e9poca en lo que los cr\u00edticos llamaron el \u201cestilo internacional\u201d .<\/p>\n

Si entendemos la palabra revoluci\u00f3n como cambio radical y no como la ve el marxismo o el nihilismo de la violencia, de la lucha de clases y de la\u00a0tabula rasa<\/em>, los prototipos han probado ser, a la larga, verdaderos instrumentos revolucionarios. En la sociedad moderna eso es a\u00fan m\u00e1s verdadero: lo revolucionario est\u00e1 asociado a la realizaci\u00f3n f\u00edsica. Los cambios jur\u00eddicos e institucionales se prueban en el hacer, en la capacidad de generar las condiciones para que se hagan las cosas, desde un chip hasta un hospital.<\/p>\n

Y all\u00ed est\u00e1 la prueba del fracaso de esta bober\u00eda que los oficialistas venezolanos siguen llamando revoluci\u00f3n, en su incapacidad, ba\u00f1ada en d\u00f3lares rentistas, para producir algo que diga: esto es lo que proponemos, las palabras sobran. Porque el Caudillo lo que exige son palabras, no puede vivir sin ellas. Se da por satisfecho hablando y dando \u00f3rdenes.<\/p>\n

Marsella hizo innecesarias las palabras que promov\u00edan los principios que la inspiraron porque hubo pol\u00edticos que permitieron que se hiciera. Y suscit\u00f3 la controversia sobre sus ventajas y desventajas, d\u00e1ndole paso con ello a una nueva fase de la historia de la arquitectura. Por eso fue revolucionaria. Y todav\u00eda hoy tiene mucho que ense\u00f1arnos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, febrero 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:gl]

\"\u201c\u2026Como
\u201c\u2026Como un gran trasatl\u00e1ntico\u2026\u201d | Fuente: oscartenreiro.com<\/a><\/span><\/figcaption><\/figure><\/p>\n

Falei aqu\u00ed a \u00faltima vez da Unidade de Marsella, terminada en 1953, como un edificio emblem\u00e1tico do s\u00e9culo vinte. Pode ser \u00fatil falar deste edificio e do que o orixinou.<\/p>\n

A explosi\u00f3n pol\u00edtico-social europea das primeiras d\u00e9cadas do s\u00e9culo vinte, produciu, ti\u00f1a que producilo, un cambio radical de perspectiva en canto \u00e1 forma de ver a arquitectura e en consecuencia a cidade. Dese caldo complexo xurdiu o que chamamos \u201co Movemento Moderno\u201d en arquitectura, un novo modo de expresar a forma arquitect\u00f3nica e a forma urbana. F\u00edxose moita ideolox\u00eda repetitiva e mim\u00e9tica pero tam\u00e9n se produciron imaxes de arquitectura que prefiguraban un cambio est\u00e9tico importante e radical.<\/p>\n

Houbo, nos primeiros anos, a segunda d\u00e9cada do vinte, efecto da Primeira Guerra, poucas realizaci\u00f3ns concretas, pero de 1920 en diante constru\u00eduse moita arquitectura que era consecuencia do novo modo de pensar. Alema\u00f1a perdeu esa guerra pero foi al\u00ed, paradoxalmente, onde floreceron os mellores exemplos. A \u201cRep\u00fablica de Weimar\u201d (1919-1933) constru\u00edu conxuntos de vivenda que a\u00ednda hoxe suscitan interese. No resto de Europa con todo, exceptuando Holanda e os pa\u00edses escandinavos, f\u00edxose moi pouco. Francia luc\u00eda angustiada polo peso da vitoria e unha visi\u00f3n inflada de si mesma.<\/p>\n

No campo das artes pl\u00e1sticas Par\u00eds era un centro en ebulici\u00f3n, pero a arquitectura \u201cmoderna\u201d estaba confinada a discusi\u00f3ns acad\u00e9micas, confrontada pola tradici\u00f3n Beaux Arts (fundadora dos estudos de arquitectura), dona exclu\u00ednte da escena. Nese ambiente, Le Corbusier<\/a> (1887-1965), radicado en Par\u00eds desde o dezanove, produc\u00eda, con peculiar enerx\u00eda e un rigor divulgativo que o converteu en celebridade temper\u00e1, imaxes de todo tipo ao redor da s\u00faa concepci\u00f3n da nova cidade e as s\u00faas ideas sobre a vivenda para as masas. Desa preocupaci\u00f3n sobre a vivenda, com\u00fan a todos os arquitectos \u201cde vangarda\u201d, xorde a s\u00faa concepci\u00f3n de \u201ca Unidade de Habitaci\u00f3n de tama\u00f1o adecuado\u201d, a Unit\u00e9, cuxo prototipo ir\u00eda ser a de Marsella.<\/p>\n

A tese fundamental de LC era \u201crecuperar as condici\u00f3ns de natureza\u201d na cidade. Era unha tese an\u00e1loga \u00e1s do socialismo ut\u00f3pico de fins do 19 e afin, a pesar do seu radical diferencia en canto ao tipo de cidade resultante, \u00e1 visi\u00f3n americana de Frank Lloyd Wright<\/a> (1869-1960) na s\u00faa \u201c Broadacre City\u201d, que ofrec\u00eda unha parcela de terra a cada familia. Pero LC non era un ut\u00f3pico, era un home \u201cafastado de todo prop\u00f3sito filos\u00f3fico\u201d que quer\u00eda constru\u00edr, e a s\u00faa idea de recuperaci\u00f3n da natureza non implicaba desaparici\u00f3n da cidade sen\u00f3n a reorganizaci\u00f3n da vivenda en unidades concentradas que permitir\u00edan recuperar o chan para o verde.<\/p>\n

Por iso falaba de \u201cdimensi\u00f3ns adecuadas\u201d (grandeur conforme<\/em> en franc\u00e9s) implicando que o edificio deb\u00eda ser de certa magnitude (de 300 a 500 apartamentos) para realmente xustificar a concentraci\u00f3n e \u00e1 vez liberar para o verde de dous a tres hect\u00e1reas de terreo, asumindo catro persoas por familia e, en consecuencia unha densidade que poder\u00eda estar entre 400 e 600 habitantes por hect\u00e1rea, bastante alta en media para calquera cidade.<\/p>\n

A visi\u00f3n de LC, como ocorre con calquera visi\u00f3n pioneira, sufriu a proba dos seus aspectos m\u00e1is d\u00e9biles. Por unha banda resultou practicamente imposible preservar a liberaci\u00f3n do chan. Ao concentrarse as vivendas nun edificio, a actitude tecnocr\u00e1tica (que Oriol Bohigas<\/a> chama militar ou ingenieril), ante a presi\u00f3n da cantidade, haber\u00eda de ser a de invadir o recuperado con m\u00e1is edificios. E tampouco se cumpriron outras das s\u00faas expectativas, o que ser\u00eda longo discutir aqu\u00ed. Pero o concepto deb\u00eda ser probado en construci\u00f3n, esix\u00eda a s\u00faa realizaci\u00f3n. Marsella ti\u00f1a vocaci\u00f3n de prototipo.<\/p>\n

\"El
O pre-escolar do teito da Unidade de Marsella como xard\u00edn de infancia | Fonte: oscartenreiro.com<\/a><\/span><\/figcaption><\/figure>\n

E os prototipos te\u00f1en sempre inimigos porque son exemplos reais dun novo modo de facer as cousas, neste caso a vivenda das maior\u00edas, concibida deixando atr\u00e1s h\u00e1bitos e modos de vida. Pero os h\u00e1bitos son resistentes. O habitual aspira a ser permanente e cando se lle quere cambiar reacciona con amargura.<\/p>\n

Por iso un prototipo permite abrir portas, permite reco\u00f1ecer erros, abre espazo a un futuro ao ser exemplo que pode servir de apoio a novas experiencias. Na historia do Movemento Moderno en arquitectura p\u00f3dense identificar diversos prototipos entre os cales, volvo resaltar o paradoxo, te\u00f1en un lugar especial as realizaci\u00f3ns alem\u00e1s da preguerra, as \u201csiedlung\u201d, conxuntos de vivenda da social-democracia, e un moi especial promovido pola cidade de Stuttgart no suburbio de Wiesenhoff, que coas s\u00faas casas de paredes brancas e teitos planos marcou \u00e9poca no que os cr\u00edticos chamaron o \u201cestilo internacional\u201d .<\/p>\n

Se entendemos a palabra revoluci\u00f3n como cambio radical e non como a ve o marxismo ou o nihilismo da violencia, da loita de clases e da tabula rasa<\/em>, os prototipos probaron ser, a longo prazo, verdadeiros instrumentos revolucionarios. Na sociedade moderna iso \u00e9 a\u00ednda m\u00e1is verdadeiro: o revolucionario est\u00e1 asociado \u00e1 realizaci\u00f3n f\u00edsica. Os cambios xur\u00eddicos e institucionais pr\u00f3banse no facer, na capacidade de xerar as condici\u00f3ns para que se fagan as cousas, desde un chip ata un hospital.<\/p>\n

E al\u00ed est\u00e1 a proba do fracaso desta bober\u00eda que os oficialistas venezolanos seguen chamando revoluci\u00f3n, na s\u00faa incapacidade, ba\u00f1ada en d\u00f3lares rentistas, para producir algo que diga: isto \u00e9 o que propo\u00f1emos, as palabras sobran. Porque o Caudillo o que esixe son palabras, non pode vivir sen elas. D\u00e1se por satisfeito falando e dando ordes.<\/p>\n

Marsella fixo innecesarias as palabras que promov\u00edan os principios que a inspiraron porque houbo pol\u00edticos que permitiron que se fixese. E suscitou a controversia sobre as s\u00faas vantaxes e desvantaxes, d\u00e1ndolle paso con iso a unha nova fase da historia da arquitectura. Por iso foi revolucionaria. E a\u00ednda hoxe ten moito que ensinarnos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, febreiro 2008,
\nEntre o Certo e o Verdadeiro<\/em><\/span>[:en]

\"\u201c\u2026Como
\u201c… Like a great transatlantic…\u201d | Source: oscartenreiro.com<\/a><\/span><\/figcaption><\/figure><\/p>\n

I spoke here the last time of the Marseille Unit, completed in 1953, as an emblematic building of the twentieth century. It can be useful to talk about this building and what originated it.<\/p>\n

The European political-social explosion of the first decades of the twentieth century, produced, had to produce it, a radical change of perspective in terms of the way of seeing architecture and consequently the city. From this complex broth arose what we have called \u201cthe Modern Movement\u201d in architecture, a new way of expressing the architectural form and the urban form. A lot of repetitive and mimetic ideology was made but also architectural images were produced that foreshadowed an important and radical aesthetic change.<\/p>\n

There was, in the first years, the second decade of the twentieth, the effect of the First War, few concrete achievements, but from 1920 onwards a lot of architecture was built that was a consequence of the new way of thinking. Germany lost that war but it was there, paradoxically, that the best examples flourished. The \u201cWeimar Republic\u201d (1919-1933) built housing complexes that still attract interest today. In the rest of Europe, however, except for Holland and the Scandinavian countries, little was done. France was overwhelmed by the weight of victory and an inflated view of herself.<\/p>\n

In the field of plastic arts, Paris was a boiling center, but \u201cmodern architecture\u201d was confined to academic discussions, confronted by the Beaux Arts tradition (founder of architecture studios), exclusive owner of the scene. In that environment, Le Corbusier<\/a> (1887-1965), based in Paris since the nineteenth century, produced, with peculiar energy and an informative rigor that made him an early celebrity, images of all kinds around his conception of the new city and its ideas about housing for the masses. From this concern about housing, common to all \u201cavant-garde\u201d architects, arises its conception of \u201cthe Room Unit of adequate size\u201d, the Unit\u00e9, whose prototype would be that of Marseille.<\/p>\n

The fundamental thesis of LC was \u201cto recover the conditions of nature\u201d in the city. It was a thesis analogous to those of utopian socialism at the end of 19 and afin, despite its radical difference in the type of city that resulted, from the American vision of Frank Lloyd Wright<\/a> (1869-1960) in his \u201cBroadacre City\u201d, that offered a plot of land to each family. But LC was not a utopian, he was a man \u201caway from all philosophical purpose\u201d that he wanted to build, and his idea of recovering nature did not imply the disappearance of the city but the reorganization of housing into concentrated units that would allow the soil to be recovered. the green.<\/p>\n

That is why he spoke of \u201cadequate dimensions\u201d (grandeur conforme<\/em>\u00a0<\/em>to French) implying that the building should be of a certain magnitude (from 300 to 500 apartments) to really justify the concentration and at the same time liberate two to three hectares of land for the green, Assuming four people per family and, consequently, a density that could be between 400 and 600 inhabitants per hectare, quite high on average for any city.<\/p>\n

The vision of LC, as with any pioneering vision, suffered the test of its weakest aspects. On the one hand, it was practically impossible to preserve the release of the soil. When concentrating the houses in a building, the technocratic attitude (that Oriol Bohigas<\/a> calls military or engineering), before the pressure of the quantity, would have to be the one to invade the recovered thing with more buildings. And other expectations were not met, which would be long to discuss here. But the concept had to be tested in construction, it demanded its realization. Marseille had the vocation of a prototype.<\/p>\n

\"El
The pre-school of the roof of the Marseille Unit as a kindergarten | Source: oscartenreiro.com<\/a><\/span><\/figcaption><\/figure>\n

And prototypes always have enemies because they are real examples of a new way of doing things, in this case the housing of the majority, conceived leaving behind habits and ways of life. But habits are resistant. The habitual thing aspires to be permanent and when it is wanted to change it reacts with bitterness.<\/p>\n

That is why a prototype allows opening doors, allows to recognize errors, opens space to a future by being an example that can support new experiences. In the history of the Modern Movement in architecture, various prototypes can be identified, among which, once again, the paradox is highlighted, the German pre-war achievements, the \u201csiedlung\u201d, social-democracy housing complexes, and a special place have a special place. very special promoted by the city of Stuttgart in the suburb of Wiesenhoff, which with its houses with white walls and flat roofs marked epoch in what critics called the \u201cinternational style\u201d.<\/p>\n

If we understand the word revolution as a radical change and not as seen by Marxism or the nihilism of violence, class struggle and tabula rasa<\/em>, prototypes have proven to be, in the long run, true revolutionary instruments. In modern society that is even more true: the revolutionary is associated with physical realization. The legal and institutional changes are tested in the doing, in the ability to generate the conditions for things to be done, from a chip to a hospital.<\/p>\n

And there is the proof of the failure of this silliness that the Venezuelan oficialistas continue calling revolution, in its incapacity, bathed in rentier dollars, to produce something that says: this is what we propose, the words are superfluous. Because the Caudillo demands words, he can not live without them. He considers himself satisfied by speaking and giving orders.<\/p>\n

And there is the proof of the failure of this silliness that the Venezuelan oficialistas continue calling revolution, in its incapacity, bathed in rentier dollars, to produce something that says: this is what we propose, the words are superfluous. Because the Caudillo demands words, he can not live without them. He considers himself satisfied by speaking and giving orders.<\/p>\n

Marseille made unnecessary the words that promoted the principles that inspired it because there were politicians who allowed it to be done. And it raised the controversy about its advantages and disadvantages, giving way to a new phase in the history of architecture. That’s why it was revolutionary. And still today he has a lot to teach us.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela, february\u00a02008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Habl\u00e9 aqu\u00ed la \u00faltima vez de la Unidad de Marsella, terminada en 1953, como un edificio emblem\u00e1tico del siglo veinte. Puede ser \u00fatil hablar de este edificio y de lo que lo origin\u00f3. La explosi\u00f3n pol\u00edtico-social europea de las primeras d\u00e9cadas del siglo veinte, produjo, ten\u00eda que producirlo, un cambio radical de perspectiva en […]<\/p>\n","protected":false},"author":35,"featured_media":68962,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[7089,147,5989,8746,13353,605,668,13572,785,13571,898,4414,11762,977,1820,1933,4982,10880,1286,12468],"class_list":["post-68958","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-francesa","tag-arquitectura-moderna","tag-ecole-de-beaux-arts","tag-estilo-internacional","tag-eugene-claudius-petit","tag-frank-lloyd-wright","tag-historia","tag-jose-r-oubrerie","tag-le-corbusier","tag-michel-w-kagan","tag-movimiento-moderno","tag-oriol-bohigas","tag-oscar-tenreiro-degwitz","tag-paisaje","tag-politica","tag-politica-social","tag-politicas-urbanas","tag-revista-arts-architecture","tag-territorio","tag-urbanismo"],"yoast_head":"\n[:es]Un modelo que abri\u00f3 caminos | \u00d3scar Tenreiro Degwitz[:gl]Un modelo que abriu cami\u00f1os | \u00d3scar Tenreiro Degwitz[:en]A model that opened roads | \u00d3scar Tenreiro Degwitz[:] - 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Degwitz","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/\u00d3scar-Tenreiro-Degwitz-96x96.jpg","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/\u00d3scar-Tenreiro-Degwitz-96x96.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/\u00d3scar-Tenreiro-Degwitz-96x96.jpg","caption":"\u00d3scar Tenreiro Degwitz"},"description":"Es un arquitecto venezolano, nacido en 1939, Premio Nacional de Arquitectura de su pa\u00eds en 2002-2003, profesor de Dise\u00f1o Arquitect\u00f3nico por m\u00e1s de treinta a\u00f1os en la Universidad Central de Venezuela, quien paralelamente con su ejercicio ha mantenido ya por a\u00f1os presencia en la prensa de su pa\u00eds en un esfuerzo de comunicaci\u00f3n hacia la gente en general de los puntos de vista del arquitecto acerca de los m\u00e1s diversos temas, entre los cuales figuran los agudos problemas pol\u00edticos de una sociedad como la venezolana. Tenreiro practica as\u00ed lo que el llama el \u201cpensamiento desde y hacia la arquitectura\u201d, insistiendo en que lo hace como arquitecto en ejercicio, para escapar de los estereotipos y cautelas propios de la \u201ccr\u00edtica arquitect\u00f3nica\u201d. Respecto a la cual no oculta su desconfianza, que explica recurriendo al aforismo de Nietzsche sobre el cr\u00edtico de arte \u201cque ve el arte desde cerca sin llegar a tocarlo nunca\u201d.","sameAs":["https:\/\/oscartenreiro.com\/"],"url":"https:\/\/veredes.es\/blog\/author\/oscar-tenreiro-degwitz\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/68958","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\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=68958"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/68958\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/68962"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=68958"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=68958"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=68958"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}