{"id":71872,"date":"2019-01-25T00:01:43","date_gmt":"2019-01-24T23:01:43","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=71872"},"modified":"2019-04-15T20:55:33","modified_gmt":"2019-04-15T18:55:33","slug":"las-transgresiones-del-aubette-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/","title":{"rendered":"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]"},"content":{"rendered":"

[:es]

\"Cafe
Cafe Aubette, 1928<\/span><\/figcaption><\/figure><\/p>\n

En 1928, Theo van Doesburg<\/a> formul\u00f3 la revisi\u00f3n m\u00e1s transgresora y consistente sobre el neoplasticismo. El dise\u00f1o para las salas interiores del Caf\u00e9 Aubette expone los patrones del elementarismo, una representaci\u00f3n que progresa la idea neopl\u00e1stica a una din\u00e1mica briosa contra la ortodoxia del dualismo horizontal y vertical. Esta decisi\u00f3n De van Doesburg produjo un enfrentamiento entre los miembros m\u00e1s prol\u00edficos del grupo que termino por derrumbar la unidad intelectual del movimiento De Stijl y la ruptura definitiva de su relaci\u00f3n con Mondrian<\/a>.<\/p>\n

El Caf\u00e9 Aubette forma parte de una estructura ubicada en la Place Kl\u00e9ber. Es una construcci\u00f3n remanente de un complejo mon\u00e1stico del siglo XIII, despu\u00e9s que una parte fue demolida y el resto adaptado al uso militar. A mediados de 1700 el arquitecto franc\u00e9s Jacques Fran\u00e7ois Blondel<\/a> recibi\u00f3 el encargo para reconstruir el conjunto con una estructura que representara \u201cel estilo de la \u00e9poca\u201d. Este complejo fue denominado Aubette, y deriva su nombre de \u201caube\u201d (amanecer). En 1845 se estableci\u00f3 all\u00ed el caf\u00e9 Cade, que posteriormente sirvi\u00f3 como escuela de m\u00fasica. En 1869 fue adquirido por la ciudad para ser utilizado como museo, pero un a\u00f1o m\u00e1s tarde fue quemado, atentado al que solo sobrevivi\u00f3 la fachada dise\u00f1ada por Blondel. En 1911 se inici\u00f3 un proceso de renovaci\u00f3n que no avanz\u00f3 demasiado, hasta que finalmente los hermanos Horn y Ernest Heitz,<\/a> desarrolladores inmobiliarios, se hicieron cargo del edificio. La fachada no sufri\u00f3 grandes modificaciones, pero en su interior, las diferentes intervenciones derivaron en una arquitectura bastante ecl\u00e9ctica.<\/p>\n

En 1925 los administradores del conjunto edilicio proponen a Jean Arp<\/a> intervenir en el interior para convertir la estructura en un centro de ocio. El programa inclu\u00eda una cafeter\u00eda, un restaurante, una cervecer\u00eda, un sal\u00f3n de t\u00e9 un cine y otras salas, repartidos en los cuatro pisos del edificio. Arp convoca a Theo van Doesburg para resolver los problemas arquitect\u00f3nicos emergentes de la intervenci\u00f3n y adem\u00e1s suma a su esposa Sophie Taeuber<\/a> para intervenir en algunas de las salas.<\/p>\n

Theo van Doesburg entendi\u00f3 que el dise\u00f1o del caf\u00e9 Aubette no era solo la oportunidad para avanzar en su concepto del arte total, tambi\u00e9n le permit\u00eda producir un giro en la concepci\u00f3n neopl\u00e1stica, dogmatizada por un estricto dualismo ortogonal que a\u00fan estaba influenciada por el discurso renacentista. Su dise\u00f1o proclama la cultura elementarista, que, en contraste con la est\u00e1tica ortogonal, representa el dinamismo del esp\u00edritu como sucede en la vida misma.<\/p>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

El interior del Aubette fue concebido como un espacio de gran fluidez. Un recorrido donde no se pod\u00eda establecer con precisi\u00f3n el l\u00edmite entre un espacio y otro. Cada artista se ocup\u00f3 de dise\u00f1ar un espacio en particular, pero Theo van Doesburg reservo para s\u00ed las salas m\u00e1s importantes: el gran sal\u00f3n de baile y el caf\u00e9 restaurant.<\/p>\n

En estos espacios, Theo van Doesburg reacciona a la disposici\u00f3n ortogonal de la habitaci\u00f3n para componer una contraposici\u00f3n de planos en diagonal. De este modo promueve un efecto giratorio y centr\u00edfugo en el espacio que se acent\u00faa mediante el desplazamiento de colores y el relieve, para alcanzar un alto grado de dinamismo visual. En esta intervenci\u00f3n, la influencia de El Lissitzky<\/a> y sus Proun fue determinante, tal como lo se\u00f1al Frampton:<\/p>\n

\n

\u201cel interior de Theo van Doesburg en L\u2019Aubette estaba similarmente dominado y deformado por las l\u00edneas de un enorme relieve diagonal o contracomposici\u00f3n que pasaba oblicuamente por encima de todas las superficies internas. Esta fragmentaci\u00f3n a trav\u00e9s del relieve \u2013una ampliaci\u00f3n del enfoque Proun de Lissitzky para su habitaci\u00f3n de 1923- estaba complementada por el hecho de que el mobiliario estaba exento de toda pieza elementarista\u201d.1<\/sup><\/p>\n<\/blockquote>\n

El m\u00f3dulo de planos -1,20m x 1,20 m- est\u00e1 definido por la altura de los radiadores. La gama crom\u00e1tica mantiene la paleta de colores neopl\u00e1stica: Rojo, Azul, amarillo, negro y blanco, y la uni\u00f3n de matices del mismo tono permite acentuar o atenuar el brillo seg\u00fan las circunstancias. Los elementos colocados en relieve logran una definici\u00f3n m\u00e1s estricta de los planos y evitan la fusi\u00f3n visual. Esa disposici\u00f3n se beneficia en el en\u00e9rgico acento ortogonal que presentan los vanos de puertas y ventanas, adem\u00e1s de la propia disposici\u00f3n de las habitaciones, promoviendo un \u201ccontra movimiento\u201d a la presencia de la arquitectura.<\/p>\n

\n

\u201cLos dise\u00f1os de Theo van Doesburg para la gran sala de fiestas y el caf\u00e9 restaurante y el sal\u00f3n de t\u00e9 de Sophie Taeuber-Arp<\/a>, se ajustan a la concepci\u00f3n neopl\u00e1stica del dise\u00f1o de interiores: planos de color alineados con los elementos horizontales\/verticales de la arquitectura, sin atravesar los l\u00edmites establecidos por las esquinas. Cada pared est\u00e1 tratada como una composici\u00f3n distinta, con lo que se refuerza la integridad de las superficies discretas y se subordina el color a la arquitectura. En otros dise\u00f1os, como el de Sophie Taeuber-Arp para el bar del primer piso, se da una mayor continuidad pict\u00f3rica al espacio interior al hacer que los planos de color atraviesen las esquinas. Color y arquitectura desempe\u00f1an funciones parejas, en un acercamiento stijliano de fusi\u00f3n de ambos en una obra total\u201d.2<\/sup><\/p>\n<\/blockquote>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

Con motivo de la inauguraci\u00f3n de la sala, Theo van Doesburg publica su teor\u00eda sobre el proyecto elementarista en un n\u00famero especial de De Stijl<\/a> dedicado al Aubette. Debido al escaso dinero asignado para la materializaci\u00f3n, se emplearon materiales de baja calidad que atentaron contra la fuerza expresiva del proyecto y atenuaron la contundencia de la unidad pl\u00e1stica que Theo van Doesburg buscaba. Esta circunstancia y la inquietud que provocaba entre los propietarios un trabajo demasiado vanguardista sometieron a la obra a varias modificaciones y posteriormente su destrucci\u00f3n a fines de 1930. En 1994 el caf\u00e9 fue motivo de una restauraci\u00f3n parcial y en 2006 se restaur\u00f3 por completo la primera planta seg\u00fan el proyecto original.<\/p>\n

En este ejercicio, Theo van Doesburg expresa su pensamiento \u201csupra material\u201d en el espacio tridimensional, asistido por el potencial comunicativo del color y la forma. Sin embargo, aun asintiendo la posici\u00f3n revisionista respecto de las teor\u00edas originarias del neoplasticismo, el dise\u00f1o del Aubette renueva el esp\u00edritu art\u00edstico que moviliza al grupo De Stijl: la unidad estrecha entre pintura, escultura y arquitectura.<\/p>\n

\n

\u201cel curso del hombre en el espacio (de izquierda a derecha, desde adelante hacia atr\u00e1s, de arriba abajo) ha adquirido fundamental importancia para la pintura en arquitectura\u2026. En esta pintura, la idea no consiste en conducir el hombre a lo largo de una superficie pintada de una pared, a fin de hacerle observar el desarrollo pict\u00f3rico del espacio de una pared a otra; el problema es evocar el efecto simultaneo de pintura y arquitectura\u201d<\/p>\n

Theo van Doesburg3<\/sup><\/p>\n<\/blockquote>\n

\"\u00a9Claude
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Argentina. Enero\u00a02019<\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Kenneth Frampton, Historia cr\u00edtica de la arquitectura moderna<\/a>, Editorial GG, 1981, pag.149<\/p>\n

2<\/sup>\u00a0De Stijl, 1917-1931. Visiones de una utop\u00eda<\/a>, Alianza Forma, 1982; p\u00e1g. 191<\/p>\n

3<\/sup>\u00a0Kenneth Framton, op. Cit. Pag. 149<\/p>\n

Fotografias: \u00a9 Claude Truong-Ngoc \/ Wikimedia Commons<\/p>\n

[:gl]

\"Cafe
Cafe Aubette, 1928<\/span><\/figcaption><\/figure><\/p>\n

En 1928, Theo van Doesburg<\/a> formulou a revisi\u00f3n m\u00e1is transgresora e consistente sobre o neoplasticismo. O dese\u00f1o para as salas interiores do Caf\u00e9 Aubette exp\u00f3n os patr\u00f3ns do elementarismo, unha representaci\u00f3n que progresa a idea neopl\u00e1stica a unha din\u00e1mica briosa contra a ortodoxia do dualismo horizontal e vertical. Esta decisi\u00f3n De van Doesburg produciu un enfrontamento entre os membros m\u00e1is prol\u00edficos do grupo que termino por derrubar a unidade intelectual do movemento De Stijl e a ruptura definitiva da s\u00faa relaci\u00f3n con Mondrian.<\/a><\/p>\n

O Caf\u00e9 Aubette forma parte dunha estrutura situada na Place Kl\u00e9ber. \u00c9 unha construci\u00f3n remanente dun complexo mon\u00e1stico do s\u00e9culo XIII, despois que unha parte foi demolida e o resto adaptado ao uso militar. A mediados de 1700 o arquitecto franc\u00e9s Jacques Fran\u00e7ois Blondel<\/a> recibiu o encargo para reconstru\u00edr o conxunto cunha estrutura que representase \u201co estilo da \u00e9poca\u201d. Este complexo foi denominado Aubette, e deriva o seu nome de \u201caube\u201d (amencer). En 1845 estableceuse al\u00ed o caf\u00e9 Cade, que posteriormente serviu como escola de m\u00fasica. En 1869 foi adquirido pola cidade para ser utilizado como museo, pero un ano m\u00e1is tarde foi queimado, atentado ao que s\u00f3 sobreviviu a fachada dese\u00f1ada por Blondel. En 1911 iniciouse un proceso de renovaci\u00f3n que non avanzou demasiado, ata que finalmente os irm\u00e1ns Horn\u00a0e Ernest Heitz<\/a>z, desarrolladores inmobiliarios, fix\u00e9ronse cargo do edificio. A fachada non sufriu grandes modificaci\u00f3ns, pero no seu interior, as diferentes intervenci\u00f3ns derivaron nunha arquitectura bastante ecl\u00e9ctica.<\/p>\n

En 1925 os administradores do conxunto edilicio propo\u00f1en a Jean Arp<\/a> intervir no interior para converter a estrutura nun centro de lecer. O programa inclu\u00eda unha cafeter\u00eda, un restaurante, unha cervexar\u00eda, un sal\u00f3n de t\u00e9 un cinema e outras salas, repartidos nos catro pisos do edificio. Arp convoca a Theo van Doesburg para resolver os problemas arquitect\u00f3nicos emerxentes da intervenci\u00f3n e ademais suma \u00e1 s\u00faa esposa Sophie Taeuber<\/a> para intervir nalgunhas das salas.<\/p>\n

Theo van Doesburg entendeu que o dese\u00f1o do caf\u00e9 Aubette non era s\u00f3 a oportunidade para avanzar no seu concepto da arte total, tam\u00e9n lle permit\u00eda producir un xiro na concepci\u00f3n neopl\u00e1stica, dogmatizada por un estrito dualismo ortogonal que a\u00ednda estaba influenciada polo discurso renacentista. O seu dese\u00f1o proclama a cultura elementarista, que, en contraste coa est\u00e1tica ortogonal, representa o dinamismo do esp\u00edrito como sucede na vida mesma.<\/p>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

O interior do Aubette foi concibido como un espazo de gran fluidez. Un percorrido onde non se pod\u00eda establecer con precisi\u00f3n o l\u00edmite entre un espazo e outro. Cada artista ocupouse de dese\u00f1ar un espazo en particular, pero Theo van Doesburg reservo para si as salas m\u00e1is importantes: o gran sal\u00f3n de baile e o caf\u00e9 restaurant.<\/p>\n

Nestes espazos, Theo van Doesburg reacciona \u00e1 disposici\u00f3n ortogonal da habitaci\u00f3n para compo\u00f1er unha contraposici\u00f3n de planos en diagonal. Deste xeito promove un efecto giratorio e centr\u00edfugo no espazo que se acent\u00faa mediante o desprazamento de cores e o relevo, para alcanzar un alto grao de dinamismo visual. Nesta intervenci\u00f3n, a influencia do El Lissitzky<\/a> e os seus Proun foi determinante, tal como o sinal Frampton:<\/p>\n

\n

\u201co interior de Theo van Doesburg en L\u2019 Aubette estaba similarmente dominado e deformado polas li\u00f1as dun enorme relevo diagonal ou contracomposici\u00f3n que pasaba oblicuamente por encima de todas as superficies internas. Esta fragmentaci\u00f3n a trav\u00e9s do relevo \u2013unha ampliaci\u00f3n do enfoque Proun de Lissitzky para a s\u00faa habitaci\u00f3n de 1923- estaba complementada polo feito de que o mobiliario estaba exento de toda peza elementarista\u201d.1<\/sup><\/p>\n<\/blockquote>\n

O m\u00f3dulo de planos -1,20 m x 1,20 m- est\u00e1 definido pola altura dos radiadores. A gama crom\u00e1tica mant\u00e9n a paleta de cores neopl\u00e1stica: Vermello, Azul, amarelo, negro e branco, e a uni\u00f3n de matices do mesmo ton permite acentuar ou atenuar o brillo segundo as circunstancias. Os elementos colocados en relevo logran unha definici\u00f3n m\u00e1is estrita dos planos e evitan a fusi\u00f3n visual. Esa disposici\u00f3n benef\u00edciase no en\u00e9rxico acento ortogonal que presentan os vans de portas e xanelas, ademais da propia disposici\u00f3n das habitaci\u00f3ns, promovendo un \u201ccontra movemento\u201d \u00e1 presenza da arquitectura.<\/p>\n

\n

\u201cOs dese\u00f1os de Theo van Doesburg para a gran sala de festas e o caf\u00e9 restaurante e o sal\u00f3n de t\u00e9 de Sophie Taeuber-Arp<\/a>, ax\u00fastanse \u00e1 concepci\u00f3n neopl\u00e1stica do dese\u00f1o de interiores: planos de cor ali\u00f1ados cos elementos horizontais\/verticais da arquitectura, sen atravesar os l\u00edmites establecidos polas esquinas. Cada parede est\u00e1 tratada como unha composici\u00f3n distinta, co que se reforza a integridade das superficies discretas e subord\u00ednase a cor \u00e1 arquitectura. Noutros dese\u00f1os, como o de Sophie Taeuber- Arp para o bar do primeiro piso, d\u00e1se unha maior continuidade pict\u00f3rica ao espazo interior ao facer que os planos de cor atravesen as esquinas. Cor e arquitectura desempe\u00f1an funci\u00f3ns parellas, nun achegamento stijliano de fusi\u00f3n de ambos nunha obra total\u201d.2<\/sup><\/p>\n<\/blockquote>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

Con motivo da inauguraci\u00f3n da sala, Theo van Doesburg publica a s\u00faa teor\u00eda sobre o proxecto elementarista nun n\u00famero especial de De Stijl<\/a> dedicado ao Aubette. Debido ao escaso di\u00f1eiro asignado para a materializaci\u00f3n, empreg\u00e1ronse materiais de baixa calidade que atentaron contra a forza expresiva do proxecto e atenuaron a contundencia da unidade pl\u00e1stica que Theo van Doesburg buscaba. Esta circunstancia e a inquietude que provocaba entre os propietarios un traballo demasiado vangardista someteron \u00e1 obra a varias modificaci\u00f3ns e posteriormente a s\u00faa destruci\u00f3n a fins de 1930. En 1994 o caf\u00e9 foi motivo dunha restauraci\u00f3n parcial e en 2006 restaurouse por completo a primeira planta segundo o proxecto orixinal.<\/p>\n

Neste exercicio, Theo van Doesburg expresa o seu pensamento \u201c supra material\u201d no espazo tridimensional, asistido polo potencial comunicativo da cor e a forma. Con todo, a\u00ednda asentindo a posici\u00f3n revisionista respecto das teor\u00edas orixinarias do neoplasticismo, o dese\u00f1o do Aubette renova o esp\u00edrito art\u00edstico que mobiliza ao grupo De Stijl: a unidade estreita entre pintura, escultura e arquitectura.<\/p>\n

\n

\u201co curso do home no espazo (de esquerda a dereita, desde adiante cara atr\u00e1s, de arriba abaixo) adquiriu fundamental importancia para a pintura en arquitectura\u2026. Nesta pintura, a idea non consiste en conducir o home ao longo dunha superficie pintada dunha parede, a fin de facerlle observar o desenvolvemento pict\u00f3rico do espazo dunha parede a outra; o problema \u00e9 evocar o efecto compaxino de pintura e arquitectura\u201d<\/p>\n

Theo van Doesburg3<\/sup><\/p>\n<\/blockquote>\n

\"\u00a9Claude
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Arxentina. Xaneiro\u00a02019<\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Kenneth Frampton, Historia cr\u00edtica da arquitectura moderna<\/a>, Editorial GG, 1981, p\u00e1x.149<\/p>\n

2<\/sup>\u00a0De Stijl, 1917-1931. Visi\u00f3ns dunha utop\u00eda<\/a>, Alianza Forma, 1982; p\u00e1x. 191<\/p>\n

3<\/sup>\u00a0Kenneth Framton, op. Cit. P\u00e1x. 149<\/p>\n

Fotografias: \u00a9 Claude Truong-Ngoc \/ Wikimedia Commons<\/p>\n

[:en]

\"Cafe
Cafe Aubette, 1928<\/span><\/figcaption><\/figure><\/p>\n

In 1928, Theo van Doesburg<\/a> formulated the most transgressive and consistent review on neoplasticism. The design for the interior rooms of Caf\u00e9 Aubette exposes the patterns of elementarism, a representation that progresses the neoplastic idea to a spirited dynamic against the orthodoxy of horizontal and vertical dualism. This decision of Van Doesburg produced a confrontation between the most prolific members of the group that ended up tearing down the intellectual unity of the De Stijl movement and the definitive rupture of its relationship with Mondrian<\/a>.<\/p>\n

The Caf\u00e9 Aubette is part of a structure located in the Place Kl\u00e9ber. It is a remnant construction of a 13th century monastic complex, after one part was demolished and the rest adapted to military use. In the middle of 1700 the French architect Jacques Fran\u00e7ois Blondel<\/a> received the order to reconstruct the set with a structure that represented \u201cthe style of the time\u201d. This complex was called Aubette, and derives its name from \u201caube\u201d (sunrise). In 1845 Cade coffee was established there, which later served as a music school. In 1869 it was acquired by the city to be used as a museum, but a year later it was burned, an attack on which only the facade designed by Blondel survived. In 1911 a process of renovation began that did not advance much, until finally the brothers Horn\u00a0and Ernest Heitz<\/a>, real estate developers, took charge of the building. The facade did not undergo major changes, but inside, the different interventions resulted in a fairly eclectic architecture<\/p>\n

In 1925 the administrators of the building complex proposed to Jean Arp<\/a> to intervene in the interior to turn the structure into a leisure center. The program included a cafeteria, a restaurant, a brewery, a tea room, a cinema and other rooms, spread over the four floors of the building. Arp summons Theo van Doesburg to solve the architectural problems arising from the intervention and also adds his wife Sophie Taeuber<\/a> to intervene in some of the rooms.<\/p>\n

Theo van Doesburg understood that the design of the Aubette coffee was not only the opportunity to advance in his concept of total art, it also allowed him to produce a turn in the neoplastic conception, dogmatized by a strict orthogonal dualism that was still influenced by the Renaissance discourse. Its design proclaims the elementarist culture, which, in contrast to the orthogonal statics, represents the dynamism of the spirit as it happens in life itself.<\/p>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

The interior of the Aubette was conceived as a space of great fluidity. A route where the boundary between one space and another could not be established with precision. Each artist took care of designing a particular space, but Theo van Doesburg reserved for himself the most important rooms: the great ballroom and the cafe restaurant.<\/p>\n

In these spaces, Theo van Doesburg reacts to the orthogonal layout of the room to compose a diagonal contraposition of planes. In this way it promotes a spinning and centrifugal effect in the space that is accentuated by the displacement of colors and relief, to achieve a high degree of visual dynamism. In this intervention, the influence of El Lissitzky<\/a> and his Proun was decisive, as Frampton pointed out:<\/p>\n

\n

\u201cThe interior of Theo van Doesburg in L’Aubette was similarly dominated and deformed by the lines of a huge diagonal relief or counter-composition that passed obliquely over all the internal surfaces. This fragmentation through relief – an extension of Lissitzky’s Proun approach to his 1923 room – was complemented by the fact that the furniture was free of any elementarist piece\u201d.1<\/sup><\/p>\n<\/blockquote>\n

The plan module -1.20m x 1.20m- is defined by the height of the radiators. The chromatic range maintains the neoplastic color palette: Red, Blue, yellow, black and white, and the union of shades of the same tone allows to accentuate or attenuate the brightness according to the circumstances. The elements placed in relief achieve a more strict definition of the planes and avoid visual fusion. This arrangement benefits from the strong orthogonal accent presented by the openings of doors and windows, as well as the layout of the rooms themselves, promoting a \u201ccounter movement\u201d to the presence of architecture.<\/p>\n

\n

\u201cTheo van Doesburg’s designs for Sophie Taeuber-Arp<\/a>‘s large party room and coffee restaurant and tearoom conform to the neo-plastic conception of interior design: color planes aligned with the horizontal \/ vertical elements of the architecture, without crossing the limits established by the corners. Each wall is treated as a distinct composition, thereby reinforcing the integrity of discrete surfaces and subordinating color to architecture. In other designs, such as that of Sophie Taeuber-Arp for the first floor bar, there is a greater pictorial continuity to the interior space by making the color planes cross the corners. Color and architecture play equal roles, in a stijlian approach of merging both into a total wor\u201d.2<\/sup><\/p>\n<\/blockquote>\n

\"Cafe
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

On the occasion of the inauguration of the room, Theo van Doesburg publishes his theory about the elementarist project in a special issue of De Stijl<\/a> dedicated to the Aubette. Due to the scarce money allocated for the materialization, low quality materials were employed that undermined the expressive force of the project and attenuated the forcefulness of the plastic unit that Theo van Doesburg was looking for. This circumstance and the restlessness caused by the owners to a work too avant-garde subjected to the work to several modifications and later its destruction at the end of 1930. In 1994 the coffee was the reason of a partial restoration and in 2006 the first plant was completely restored according to the original project.<\/p>\n

In this exercise, Theo van Doesburg expresses his \u00absupra material\u00bb thinking in three-dimensional space, assisted by the communicative potential of color and form. However, even assuming the revisionist position with respect to the original theories of neoplasticism, the design of the Aubette renews the artistic spirit that mobilizes the De Stijl group: the close unity between painting, sculpture and architecture.<\/p>\n

\n

\u201cThe course of man in space (from left to right, from front to back, from top to bottom) has acquired fundamental importance for painting in architecture …. In this painting, the idea is not to lead man along a painted surface of a wall, in order to make him observe the pictorial development of space from one wall to another; the problem is to evoke the simultaneous effect of painting and architecture\u201d<\/p>\n

Theo van Doesburg3<\/sup><\/p>\n<\/blockquote>\n

\"\u00a9Claude
Cafe Aubette \u00a9 Claude Truong-Ngoc – Wikimedia Commons<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata. Argentina. January 2019<\/p>\n

Notes:<\/p>\n

1<\/sup>\u00a0Kenneth Frampton, Historia cr\u00edtica de la arquitectura moderna<\/a>, Editorial GG, 1981, pag.149<\/p>\n

2<\/sup>\u00a0De Stijl, 1917-1931. Visiones de una utop\u00eda<\/a>, Alianza Forma, 1982; p\u00e1g. 191<\/p>\n

3<\/sup>\u00a0Kenneth Framton, op. Cit. Pag. 149<\/p>\n

Fotografias: \u00a9 Claude Truong-Ngoc \/ Wikimedia Commons<\/p>\n

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

[:es] En 1928, Theo van Doesburg formul\u00f3 la revisi\u00f3n m\u00e1s transgresora y consistente sobre el neoplasticismo. El dise\u00f1o para las salas interiores del Caf\u00e9 Aubette expone los patrones del elementarismo, una representaci\u00f3n que progresa la idea neopl\u00e1stica a una din\u00e1mica briosa contra la ortodoxia del dualismo horizontal y vertical. Esta decisi\u00f3n De van Doesburg produjo […]<\/p>\n","protected":false},"author":4,"featured_media":71957,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[7089,7125,7213,7891,12084,3032,424,8746,9109,3451,13383,13355,668,13944,12003,3491,7010,1621,2569,785,815,4985,865,13945,898,7581,1021,13354,4390,13142,1278,4654],"class_list":["post-71872","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-francesa","tag-arquitectura-funcionalista","tag-colin-rowe","tag-cornelis-van-eesteren","tag-de-stijl","tag-dibujo","tag-estilo-internacional","tag-funcionalidad","tag-funcionalismo","tag-harwell-hamilton-harris","tag-harwell-harris","tag-historia","tag-jacques-francois-blondel","tag-jean-arp","tag-john-hejduk","tag-kazimir-malevich","tag-kenneth-frampton","tag-lazar-markovich-lissitzky","tag-le-corbusier","tag-maestro","tag-marcelo-gardinetti","tag-mies-van-der-rohe","tag-mildred-friedman","tag-movimiento-moderno","tag-neoplasticismo","tag-pensamiento","tag-pierre-max-dubois","tag-piet-mondrian","tag-robert-slutzky","tag-teoria","tag-theo-van-doesburg"],"yoast_head":"\n[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]\" \/>\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\/las-transgresiones-del-aubette-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes\" \/>\n<meta property=\"og:description\" content=\"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/\" \/>\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\/marcegardinetti\" \/>\n<meta property=\"article:published_time\" content=\"2019-01-24T23:01:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-04-15T18:55:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"893\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Marcelo Gardinetti\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/marcegardinetti\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Marcelo Gardinetti\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/\"},\"author\":{\"name\":\"Marcelo Gardinetti\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/e03af9138634cd6876b9935dc1536c82\"},\"headline\":\"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]\",\"datePublished\":\"2019-01-24T23:01:43+00:00\",\"dateModified\":\"2019-04-15T18:55:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/\"},\"wordCount\":3647,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2019\\\/01\\\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg\",\"keywords\":[\"arquitectura francesa\",\"arquitectura funcionalista\",\"Bernhard Hoesli\",\"Colin Rowe\",\"Cornelis van Eesteren\",\"De Stijl\",\"dibujo\",\"estilo internacional\",\"funcionalidad\",\"funcionalismo\",\"Harwell Hamilton Harris\",\"Harwell Harris\",\"historia\",\"Jacques Fran\u00e7ois Blondel\",\"Jean Arp\",\"John Hejduk\",\"Kazimir Mal\u00e9vich\",\"Kenneth Frampton\",\"Lazar Markovich Lissitzky\",\"Le Corbusier\",\"maestro\",\"Marcelo Gardinetti\",\"Mies van der Rohe\",\"Mildred Friedman\",\"movimiento moderno\",\"neoplasticismo\",\"pensamiento\",\"Pierre Max Dubois\",\"Piet Mondrian\",\"Robert Slutzky\",\"teor\u00eda\",\"Theo van Doesburg\"],\"articleSection\":[\"faro\",\"slider principal\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/\",\"name\":\"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2019\\\/01\\\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg\",\"datePublished\":\"2019-01-24T23:01:43+00:00\",\"dateModified\":\"2019-04-15T18:55:33+00:00\",\"description\":\"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#primaryimage\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2019\\\/01\\\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2019\\\/01\\\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg\",\"width\":1200,\"height\":893,\"caption\":\"Cafe Aubette, 1928\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/las-transgresiones-del-aubette-marcelo-gardinetti\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\\\/\\\/veredes.es\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Las transgresiones del Aubette | Marcelo Gardinetti\"}]},{\"@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\\\/e03af9138634cd6876b9935dc1536c82\",\"name\":\"Marcelo Gardinetti\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/marcelogardinetti-96x96.jpg\",\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/marcelogardinetti-96x96.jpg\",\"contentUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/marcelogardinetti-96x96.jpg\",\"caption\":\"Marcelo Gardinetti\"},\"description\":\"No voy a hablar de la penumbra, mejor voy a ver si puedo despertar. Arquitecto, - Universidad Nacional de La Plata, La Plata, 1985 - Editor responsable en Tecnne 2012 a la fecha. - Columnista de arquitectura en revistas y sitios web. 2012 a la fecha - Director en estudio de arquitectura, 1985 a la fecha. - Consultor Senior en Proyectos institucionales. 1995 a la fecha - Docente, Universidad Nacional de La Plata, 1985-1990 y 2011-2014 - Coordinador T\u00e9cnico en Universidad Nacional de Tres de Febrero, 2014 - 2019 - Director en Arquitectura Escolar, Provincia de Buenos Aires, 1991-1996 y 2001-2010 - Representante T\u00e9cnico, convenio UBA - FETINGRA, a\u00f1os 2020 a la fecha\",\"sameAs\":[\"https:\\\/\\\/marcelogardinetti.com\\\/\",\"https:\\\/\\\/www.facebook.com\\\/marcegardinetti\",\"https:\\\/\\\/www.instagram.com\\\/marcelogardinetti\\\/\",\"https:\\\/\\\/www.linkedin.com\\\/in\\\/marcelogardinetti\\\/\",\"https:\\\/\\\/x.com\\\/https:\\\/\\\/twitter.com\\\/marcegardinetti\"],\"url\":\"https:\\\/\\\/veredes.es\\\/blog\\\/author\\\/marcelo-gardinetti\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes","description":"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]","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\/las-transgresiones-del-aubette-marcelo-gardinetti\/","og_locale":"es_ES","og_type":"article","og_title":"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes","og_description":"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]","og_url":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/","og_site_name":"veredes, arquitectura y divulgaci\u00f3n","article_publisher":"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/","article_author":"https:\/\/www.facebook.com\/marcegardinetti","article_published_time":"2019-01-24T23:01:43+00:00","article_modified_time":"2019-04-15T18:55:33+00:00","og_image":[{"width":1200,"height":893,"url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg","type":"image\/jpeg"}],"author":"Marcelo Gardinetti","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/marcegardinetti","twitter_site":"@veredes","twitter_misc":{"Escrito por":"Marcelo Gardinetti","Tiempo de lectura":"18 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#article","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/"},"author":{"name":"Marcelo Gardinetti","@id":"https:\/\/veredes.es\/blog\/#\/schema\/person\/e03af9138634cd6876b9935dc1536c82"},"headline":"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]","datePublished":"2019-01-24T23:01:43+00:00","dateModified":"2019-04-15T18:55:33+00:00","mainEntityOfPage":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/"},"wordCount":3647,"commentCount":0,"publisher":{"@id":"https:\/\/veredes.es\/blog\/#organization"},"image":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg","keywords":["arquitectura francesa","arquitectura funcionalista","Bernhard Hoesli","Colin Rowe","Cornelis van Eesteren","De Stijl","dibujo","estilo internacional","funcionalidad","funcionalismo","Harwell Hamilton Harris","Harwell Harris","historia","Jacques Fran\u00e7ois Blondel","Jean Arp","John Hejduk","Kazimir Mal\u00e9vich","Kenneth Frampton","Lazar Markovich Lissitzky","Le Corbusier","maestro","Marcelo Gardinetti","Mies van der Rohe","Mildred Friedman","movimiento moderno","neoplasticismo","pensamiento","Pierre Max Dubois","Piet Mondrian","Robert Slutzky","teor\u00eda","Theo van Doesburg"],"articleSection":["faro","slider principal"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/","url":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/","name":"[:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:] - veredes","isPartOf":{"@id":"https:\/\/veredes.es\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#primaryimage"},"image":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#primaryimage"},"thumbnailUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg","datePublished":"2019-01-24T23:01:43+00:00","dateModified":"2019-04-15T18:55:33+00:00","description":"Toda la informaci\u00f3n sobre: [:es]Las transgresiones del Aubette | Marcelo Gardinetti [:gl]As transgresiones do Aubette | Marcelo Gardinetti [:en]The transgressions of the Aubette | Marcelo Gardinetti [:]","breadcrumb":{"@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#primaryimage","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2019\/01\/Las-transgresiones-del-Aubette-Marcelo-Gardinetti-Cafe-Aubette-1928.jpg","width":1200,"height":893,"caption":"Cafe Aubette, 1928"},{"@type":"BreadcrumbList","@id":"https:\/\/veredes.es\/blog\/las-transgresiones-del-aubette-marcelo-gardinetti\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/veredes.es\/blog\/"},{"@type":"ListItem","position":2,"name":"Las transgresiones del Aubette | Marcelo Gardinetti"}]},{"@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\/e03af9138634cd6876b9935dc1536c82","name":"Marcelo Gardinetti","image":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/marcelogardinetti-96x96.jpg","url":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/marcelogardinetti-96x96.jpg","contentUrl":"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2018\/04\/marcelogardinetti-96x96.jpg","caption":"Marcelo Gardinetti"},"description":"No voy a hablar de la penumbra, mejor voy a ver si puedo despertar. Arquitecto, - Universidad Nacional de La Plata, La Plata, 1985 - Editor responsable en Tecnne 2012 a la fecha. - Columnista de arquitectura en revistas y sitios web. 2012 a la fecha - Director en estudio de arquitectura, 1985 a la fecha. - Consultor Senior en Proyectos institucionales. 1995 a la fecha - Docente, Universidad Nacional de La Plata, 1985-1990 y 2011-2014 - Coordinador T\u00e9cnico en Universidad Nacional de Tres de Febrero, 2014 - 2019 - Director en Arquitectura Escolar, Provincia de Buenos Aires, 1991-1996 y 2001-2010 - Representante T\u00e9cnico, convenio UBA - FETINGRA, a\u00f1os 2020 a la fecha","sameAs":["https:\/\/marcelogardinetti.com\/","https:\/\/www.facebook.com\/marcegardinetti","https:\/\/www.instagram.com\/marcelogardinetti\/","https:\/\/www.linkedin.com\/in\/marcelogardinetti\/","https:\/\/x.com\/https:\/\/twitter.com\/marcegardinetti"],"url":"https:\/\/veredes.es\/blog\/author\/marcelo-gardinetti\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/71872","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=71872"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/71872\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/71957"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=71872"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=71872"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=71872"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}