{"id":9089,"date":"2015-01-12T06:48:12","date_gmt":"2015-01-12T06:48:12","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=9089"},"modified":"2021-07-12T11:39:41","modified_gmt":"2021-07-12T09:39:41","slug":"por-partes-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/por-partes-inigo-garcia-odiaga\/","title":{"rendered":"Por Partes | \u00cd\u00f1igo Garc\u00eda OdiagaPor Partes | \u00cd\u00f1igo Garc\u00eda OdiagaBy Parts | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Towada Art Center, de SANAA<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura a diferencia de otras obras art\u00edsticas, arrastrada por su propia definici\u00f3n funcional se ha presentado muchas veces a lo largo de la historia como una suma de piezas, de estancias o de partes. Este sistema compositivo reaparece en la arquitectura m\u00e1s vanguardista, que contradictoriamente hace alarde de huir de la composici\u00f3n. Que de alguna manera el funcionalismo, es decir la proyectaci\u00f3n de arquitecturas mediante la uni\u00f3n de piezas, donde cada una de ellas cuenta con un uso espec\u00edfico, gener\u00f3 un m\u00e9todo de proyectar que a recorrido y determinado la historia de la arquitectura, es una de las conclusiones que r\u00e1pidamente se puede extraer de la lectura del reciente libro de Ant\u00f3n Capitel \u00abLa arquitectura compuesta por partes<\/a>\u00ab.
\n<\/span><\/p>\n

Este sistema que se origin\u00f3 en el final del renacimiento, se convirti\u00f3 en un verdadero m\u00e9todo con la arquitectura neocl\u00e1sica y acad\u00e9mica, y particip\u00f3 en gran medida en la revoluci\u00f3n del movimiento moderno y en su desarrollo posterior.<\/p>\n

\"\"<\/a>
Convento de las Dominicas\u00a0| Louis I. Kahn<\/span><\/figcaption><\/figure>\n

El libro describe as\u00ed un recorrido por la historia de la arquitectura tocando arquitectos tan dispares como Palladio o Kahn, pasando por Le Corbusier, Alvar Aalto o Hans Scharoun. Arquitectos todos ellos influenciados por los grabados renacentistas de Piranesi que describen por ejemplo la villa Adriana como una amalgama interconectada de edificios dispares superpuestos para formar un conjunto con un significado nuevo.<\/p>\n

\"\"<\/a>
Reconstrucci\u00f3n de Villa Adriana\u00a0| Piranesi<\/span><\/figcaption><\/figure>\n

Tal vez lo m\u00e1s curioso de este planteamiento proyectual resida en su total vigencia, ya que arquitecturas como la japonesa lo utilizan reiteradamente, haciendo gala de una arquitectura que parece no preocuparse de su aspecto exterior y que intenta narrar su preocupaci\u00f3n por temas m\u00e1s contempor\u00e1neos como la sostenibilidad, la funcionalidad o el paisaje, precisamente desde esa negaci\u00f3n de la representaci\u00f3n del edificio.<\/p>\n

De alguna manera estas arquitecturas, resultado de la conjunci\u00f3n de elementos aut\u00f3nomos muy estudiados y elaborados seg\u00fan su uso, presentan esquemas abiertos en los que el edificio aparenta estar inacabado o por lo menos abre la puerta a su crecimiento mediante el a\u00f1adido de nuevos elementos.<\/p>\n

Esto sucede en edificios como el centro de arte Towada en Aomori, Jap\u00f3n, obra del arquitecto Ryue Nishizawa, en el que las diferentes estancias del programa se van acomodando en vol\u00famenes independientes que parecen estar arrojados de forma aleatoria sobre la parcela y que incluso presentan extra\u00f1as relaciones entre ellos al aparentar darse la espalda unos a otros. De esta sugerente manera el espacio \u00aben negativo\u00bb que dejan estos elementos es decir, los intersticios que se generan entre las piezas as\u00ed como sus conexiones, cobran un nuevo inter\u00e9s y se convierten en espacios funcionales o narrativos del edificio. Estos espacios entre las diferentes cajas se convierten en patios de exposici\u00f3n, descanso o trabajo al aire libre del propio centro de arte, mientras que la conexi\u00f3n entre los vol\u00famenes resuelta con la geometr\u00eda de un serpenteante sendero acristalado deja claro el recorrido a seguir a cualquier visitante y se convierte en el espacio de relaci\u00f3n de todo el centro.<\/p>\n

Estos mismos esquemas ya hab\u00edan sido ensayados por SANAA, es decir por el propio Ryue Nishizawa junto con Kazuyo Sejima en obras como la ampliaci\u00f3n del Museo Louvre en la ciudad de Lens o el nuevo Museo de Arte Contempor\u00e1neo de Nueva York donde el sumatorio de piezas ofrece nuevas variables al llevarse en esta ocasi\u00f3n a una disposici\u00f3n vertical.<\/p>\n

\"\"<\/a>
Museo de Arte Contempor\u00e1neo de New York, de SANAA<\/span><\/figcaption><\/figure>\n

Aunque los arquitectos defienden el modelo adoptado para el museo newyorkino desde la \u00f3ptica de la optimizaci\u00f3n de los espacios interiores, ya que les permiti\u00f3 introducir luces cenitales, terrazas, variaciones de superficie y de proporci\u00f3n en las diferentes salas, es innegable a tenor de las decenas de maquetas de la volumetr\u00eda exterior desarrolladas por la oficina, el inter\u00e9s de este apilamiento irregular de prismas en su condici\u00f3n compositiva.<\/p>\n

La geometr\u00eda amontonada del edificio resuelve adem\u00e1s de la funcionalidad, la imagen exterior de la propuesta que permite la inserci\u00f3n urbana del edificio en el conjunto de Manhattan como si de una escultura maciza se tratase.<\/p>\n

Otro ejemplo a\u00fan en construcci\u00f3n de esta arquitectura que podr\u00edamos denominar por partes, es la desarrollada por el estudio FRPO Rodrigues & Oriol en la casa MO. El proyecto resuelve un amplio programa de vivienda unifamiliar mediante una colecci\u00f3n de piezas prism\u00e1ticas que se apoyan en el terreno de forma casual, sorteando de manera inteligente todos los \u00e1rboles del bosque de pinos en el que se inserta la vivienda.<\/p>\n

\"\"<\/a>
House MO | FRPO<\/span><\/figcaption><\/figure>\n

En esta ocasi\u00f3n este sistema de piezas aut\u00f3nomas permite adem\u00e1s un alto grado de prefabricaci\u00f3n al incorporar en su construcci\u00f3n paneles de madera contra-laminada especialmente rentables en la construcci\u00f3n de unidades de dimensiones escuetas y prism\u00e1ticas.<\/p>\n

La elegancia y sutileza de la inserci\u00f3n de este programa en el lugar y el paisaje que lo rodea se debe sin lugar a dudas al esquema adoptado que minimiza el impacto hacia el terreno y la vegetaci\u00f3n, restando masa a la volumen construido mediante su fragmentaci\u00f3n.<\/p>\n

A pesar de que la arquitectura de vanguardia parezca en ocasiones ensimismada en planteamientos futuristas y en plantear siempre nuevos retos, existen arquitecturas con nuevos discursos que son de alguna manera deudores de esquemas y composiciones ya muy antiguas, y que tal vez por no hacer del salto mortal un valor mantienen una alt\u00edsima calidad.<\/p>\n

\"\"<\/a>
Museo Barranca \u00a0| Herzog & de Meuron<\/span><\/figcaption><\/figure>\n
\"\"<\/a>
Abu 1| BIG<\/span>
Hospice S\u00f8nderg\u00e5rd | BIG<\/span><\/figcaption><\/figure>\n
\"\"<\/a>
House O |\u00a0Jun Igarashi<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. enero 201o<\/p>\n

Art\u00edculo publicado en MUGALARI 17.12.2010<\/span><\/em><\/p>\n

\"\"<\/a>
Towada Art Center, by SANAA<\/span><\/figcaption><\/figure><\/p>\n

The architecture unlike other artistic works, dragged by his own functional definition has presented\u00a0 many times along the history like a sum of pieces, of stays or of parts. This system compositivo reappears in the architecture more vanguardista, that contradictoriamente does alarde to escape of the composition. That somehow the functionalism, that is to say the proyectaci\u00f3n of architectures by means of the union of pieces, where each one of them has a specific use, generated a method to project that to route and determined the history of the architecture, is one of the conclusions that quickly can\u00a0 extract of the reading of the recent book of Ant\u00f3n Capitel \u00abThe compound architecture by parts<\/a>\u00ab.<\/span><\/p>\n

This system that originated in the end of the renaissance, turned into a real method with the neoclassic and academic architecture, and took part to a great extent in the revolution of the modern movement and in his later development.<\/p>\n

The book describes this way a tour for the history of the architecture touching architects as unlike as Palladio or Kahn, spending for Him Corbusier, Alvar Aalto or Hans Scharoun. Architects all of them influenced by the Renaissance engravings of Piranesi that they describe for example the villa Adriana as an interconnected amalgam of unlike buildings superposed to form a set with a new meaning.<\/p>\n

Maybe the most curious of this exposition proyectual resides in his total force, since architectures like the Japanese use it repeatedly, displaying of an architecture that seems not to worry about his exterior aspect and that tries to narrate his worry for more contemporary topics as the sustainability, the functionality or the landscape, precisely from this denial of the representation of the building.<\/p>\n

Somehow these architectures, result of the conjunction of autonomous elements very studied and elaborated according to his use, present schemes opened in that the building shows off to be unfinished or at least it opens the door for his growth by means of the added one of new elements.<\/p>\n

This happens in buildings as the center of art Towada in Aomori, Japan, work of the architect Ryue Nishizawa, in whom the different stays of the program are getting accommodated in independent volumes that seem to be thrown of random form on the plot and that enclosed present strange relations between them on having showed off some to give each other the back to others. Of this suggestive way the space \u00abin negative\u00bb that leave these elements is to say, the interstices that are generated between the pieces as well as his connections, they receive a new interest and turn into functional or narrative spaces of the building. These spaces between the different boxes turn into courts of exhibition, rest or I work outdoors of the own center of art, whereas the connection between the volumes solved with the geometry of a serpenteante glazed path clarifies the tour to following any visitor and turns into the space of relation of the whole center.<\/p>\n

The same schemes already had been tested by SANAA, that is to say by the own Ryue Nishizawa together with Kazuyo Sejima in works as the extension of the Museum Louvre in Lens’s city or the new Museum of Contemporary Art of New York where the sumatorio of pieces offers new variables on having removed in this occasion to a vertical disposition.<\/p>\n

\"\"<\/a>
Contemporary Art Museum of New York, by SANAA<\/span><\/figcaption><\/figure>\n

Though the architects defend the model adopted for the museum newyorkino from the optics of the optimization of the interior spaces, since it allowed them to introduce zenithal lights, terraces, variations of surface and of proportion in the different rooms, it is undeniable to tenor of the tens of models of the exterior volumetry developed by the office, the interest of this irregular apilamiento of prisms in his condition compositive.<\/p>\n

The accumulated geometry of the building resolves besides the functionality, the exterior image of the offer that allows the urban insertion of the building in the set of Manhattan as if about a massive sculpture it was treating itself.<\/p>\n

Another example still in construction of this architecture that we might name on parts, is the developed one for the study FRPO Rodrigues and Oriole in the house MO. The project solves a wide program of one-family housing by means of a collection of prismatic pieces that rest on the area of chance form, avoiding in an intelligent way all the trees of the forest of pines in which the housing is inserted.<\/p>\n

In this occasion this system of autonomous pieces allows in addition a high degree of prefabricaci\u00f3n on having incorporated in his construction specially profitable panels of counter-laminated wood in the construction of units of succinct and prismatic dimensions.<\/p>\n

The elegance and subtlety of the insertion of this program in the place and the landscape that surrounds it owes no doubt to the adopted scheme that minimizes the impact towards the area and the vegetation, reducing mass to the volumen constructed by means of his fragmentation.<\/p>\n

In spite of the fact that the architecture of forefront seems in occasions ensimismada in futurist expositions and in raising always new challenges, architectures exist with new speeches that are somehow debtors of schemes and already very ancient compositions, and that maybe for not doing of the mortal jump a value they support the highest quality.<\/p>\n

\"\"<\/a>
Reconstruction of Villa Adriana\u00a0| Piranesi<\/span><\/figcaption><\/figure>
\"\"<\/a>
Barranca Museum | Herzog & de Meuron<\/span><\/figcaption><\/figure>
\"\"<\/a>
Abu 1| BIG<\/span>
Hospice S\u00f8nderg\u00e5rd | BIG<\/span><\/figcaption><\/figure>
\"\"<\/a>
Convent of the Dominicans\u00a0| Louis I. Kahn<\/span><\/figcaption><\/figure>
\"\"<\/a>
House O | Jun Igarashi<\/span><\/figcaption><\/figure>
\"\"<\/a>
House MO | FRPO<\/span><\/figcaption><\/figure><\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . architect<\/p>\n

san sebasti\u00e1n. january 201o<\/p>\n

Article is published in MUGALARI 17.12.2010<\/span><\/em><\/p>\n

\"\"<\/a>
Towada Art Center, de SANAA<\/span><\/figcaption><\/figure><\/p>\n

A arquitectura a diferenza doutras obras art\u00edsticas, arrastrada pola s\u00faa propia definici\u00f3n funcional presentouse moitas veces ao longo da historia como unha suma de pezas, de estancias ou de partes. Este sistema compositivo reaparece na arquitectura m\u00e1is vangardista, que contraditoriamente fai alarde de fuxir da composici\u00f3n. Que dalgunha maneira o funcionalismo, \u00e9 dicir a proyectaci\u00f3n de arquitecturas mediante a uni\u00f3n de pezas, onde cada unha delas conta cun uso espec\u00edfico, xerou un m\u00e9todo de proxectar que a percorrido e determinado a historia da arquitectura, \u00e9 unha das conclusi\u00f3ns que rapidamente se pode extraer da lectura do recente libro de Ant\u00f3n Capitel \u00abA arquitectura composta por partes<\/a>\u00ab.<\/span><\/p>\n

Este sistema que se orixinou no final do renacemento, se converteu nun verdadeiro m\u00e9todo coa arquitectura neocl\u00e1sica e acad\u00e9mica, e participou en boa medida na revoluci\u00f3n do movemento moderno e no seu desenvolvemento posterior.<\/p>\n

O libro describe as\u00ed un percorrido pola historia da arquitectura tocando arquitectos tan dispares como Palladio ou Kahn, pasando por Le Corbusier, Alvar Aalto ou Hans Scharoun. Arquitectos todos eles influenciados polos gravados renacentistas de Piranesi que describen por exemplo a vila Adriana como unha am\u00e1lgama interconectada de edificios dispares superpostos para formar un conxunto cun significado novo.<\/p>\n

Quiz\u00e1is o m\u00e1is curioso desta formulaci\u00f3n proyectual resida na s\u00faa total vixencia, xa que arquitecturas como a xaponesa o utilizan reiteradamente, facendo gala dunha arquitectura que parece non se preocupar do seu aspecto exterior e que intenta narrar a s\u00faa preocupaci\u00f3n por temas m\u00e1is contempor\u00e1neos como a sostibilidade, a funcionalidade ou a paisaxe, precisamente dende esa negaci\u00f3n da representaci\u00f3n do edificio.<\/p>\n

Dalg\u00fan xeito estas arquitecturas, resultado da conxunci\u00f3n de elementos aut\u00f3nomos moi estudados e elaborados segundo o seu uso, presentan esquemas abertos nos que o edificio aparenta estar inacabado ou polo menos abre a porta ao seu crecemento mediante o engadido de novos elementos.<\/p>\n

Isto sucede en edificios como o centro de arte Towada en Aomori, Xap\u00f3n, obra do arquitecto Ryue Nishizawa, no que as diferentes estanzas do programa se van acomodando en volumes independentes que parecen estar botados de forma aleatoria sobre a parcela e que mesmo presentan estra\u00f1as relaci\u00f3ns entre eles ao aparentar virarse as costas uns a outros. Deste suxestivo xeito o espazo \u00aben negativo\u00bb que deixan estes elementos \u00e9 dicir, os intersticios que se xeran entre as pezas as\u00ed como as s\u00faas conexi\u00f3ns, cobran un novo interese e se converten en espazos funcionais ou narrativos do edificio. Estes espazos entre as diferentes caixas conv\u00e9rtense en patios de exposici\u00f3n, descanso ou traballo ao aire libre do propio centro de arte, mentres que a conexi\u00f3n entre os volumes resolta coa xeometr\u00eda dun serpeante sendeiro acritalar deixa claro o percorrido a seguir calquera visitante e se converte no espazo de relaci\u00f3n de todo o centro.<\/p>\n

Estes mesmos esquemas xa foran ensaiados por SANAA, \u00e9 dicir polo propio Ryue Nishizawa xunto con Kazuyo Sejima en obras como a ampliaci\u00f3n do Museo Louvre na cidade de Lens ou o novo Museo de Arte Contempor\u00e1neo de Nova York onde o sumatorio de pezas ofrece novas variables ao levarse nesta ocasi\u00f3n a unha disposici\u00f3n vertical.<\/p>\n

\"\"<\/a>
Museo de Arte Contempor\u00e1neo de New York, de SANAA<\/span><\/figcaption><\/figure>\n

A\u00ednda que os arquitectos defenden o modelo adoptado para o museo newyorkino dende a \u00f3ptica da optimizaci\u00f3n dos espazos interiores, xa que lles permitiu introducir luces cenitais, terrazas, variaci\u00f3ns de superficie e de proporci\u00f3n nas diferentes salas, \u00e9 innegable a teor das decenas de maquetas da volumetr\u00eda exterior desenvolvidas pola oficina, o interese deste amoreamento irregular de prismas na s\u00faa condici\u00f3n compositiva.<\/p>\n

A xeometr\u00eda amontoada do edificio resolve ademais da funcionalidade, a imaxe exterior da proposta que permite a inserci\u00f3n urbana do edificio no conxunto de Manhattan coma se dunha escultura maciza se tratase.<\/p>\n

Outro exemplo a\u00ednda en construci\u00f3n desta arquitectura que poderiamos denominar por partes, \u00e9 a desenvolvida polo estudo FRPO Rodrigues & Oriol na casa MO. O proxecto resolve un amplo programa de vivenda unifamiliar mediante unha colecci\u00f3n de pezas prism\u00e1ticas que se apoian no terreo de forma casual, sorteando de xeito intelixente todas as \u00e1rbores do bosque de pi\u00f1eiros no que se insire a vivenda.<\/p>\n

Nesta ocasi\u00f3n este sistema de pezas aut\u00f3nomas permite ademais un alto grao de prefabricaci\u00f3n ao incorporar na s\u00faa construci\u00f3n paneis de madeira contra-laminada especialmente rendibles na construci\u00f3n de unidades de dimensi\u00f3ns concisas e prism\u00e1ticas.<\/p>\n

A elegancia e sutileza da inserci\u00f3n deste programa no lugar e a paisaxe que o rodea d\u00e9bese sen lugar a d\u00fabidas ao esquema adoptado que minimiza o impacto cara ao terreo e a vexetaci\u00f3n, restando masa \u00e1 volume constru\u00eddo mediante a s\u00faa fragmentaci\u00f3n.<\/p>\n

A pesar de que a arquitectura de vangarda pareza en ocasi\u00f3ns ensimesmada en formulaci\u00f3ns futuristas e en formular sempre novos retos, existen arquitecturas con novos discursos que son dalg\u00fan xeito debedores de esquemas e composici\u00f3ns xa moi antigas, e que talvez por non facer do salto mortal un valor mante\u00f1en unha alta calidade.<\/p>\n

\"\"<\/a>
Reconstrucci\u00f3n de Villa Adriana | Piranesi<\/span><\/figcaption><\/figure>
\"\"<\/a>
Museo Barranca | Herzog & de Meuron<\/span><\/figcaption><\/figure>
\"\"<\/a>
Abu 1| BIG<\/span>
Hospice S\u00f8nderg\u00e5rd | BIG<\/span><\/figcaption><\/figure>
\"\"<\/a>
Convento de las Dominicas | Louis I. Kahn<\/span><\/figcaption><\/figure>
\"\"<\/a>
House O | Jun Igarashi<\/span><\/figcaption><\/figure>
\"\"<\/a>
House MO | FRPO<\/span><\/figcaption><\/figure><\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto<\/p>\n

san sebasti\u00e1n. xaneiro 201o<\/p>\n

Artigo publicado en MUGALARI 17.12.2010<\/span><\/em><\/p>\n

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

La arquitectura a diferencia de otras obras art\u00edsticas, arrastrada por su propia definici\u00f3n funcional se ha presentado muchas veces a lo largo de la historia como una suma de piezas, de estancias o de partes. Este sistema compositivo reaparece en la arquitectura m\u00e1s vanguardista, que contradictoriamente hace alarde de huir de la composici\u00f3n. Que de […]<\/p>\n","protected":false},"author":31,"featured_media":46253,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[102,3352,5835,143,3657,2556,10644,9109,631,4748,7127,665,4285,1575,10642,10643,770,785,3104,977,978,2690,1206,12469,1335],"class_list":["post-9089","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alvar-aalto","tag-andrea-palladio","tag-antonio-gonzalez-capitel-martinez","tag-arquitectura-contemporanea","tag-arquitectura-japonesa","tag-arquitectura-sostenible","tag-big","tag-funcionalidad","tag-geometria","tag-giovanni-battista-piranesi","tag-hans-scharoun","tag-herzog-de-meuron","tag-inigo-garcia-odiaga","tag-japon","tag-jun-igarashi","tag-jun-igarashi-architects","tag-kazuyo-sejima","tag-le-corbusier","tag-louis-i-kahn","tag-paisaje","tag-paisaje-urbano","tag-ryue-nishizawa","tag-sanaa","tag-sostenibilidad","tag-vanguardia"],"yoast_head":"\nPor Partes | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Por Partes\" \/>\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\/por-partes-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Por Partes | \u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n<meta property=\"og:description\" content=\"Por Partes\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/por-partes-inigo-garcia-odiaga\/\" \/>\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\/inigo.garciaodiaga\" \/>\n<meta property=\"article:published_time\" content=\"2015-01-12T06:48:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-07-12T09:39:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/01\/PIRANESI_Reconstrucci\u00f3n-de-Villa-Adriana.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"407\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"\u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/IOdiaga\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"\u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/por-partes-inigo-garcia-odiaga\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/por-partes-inigo-garcia-odiaga\\\/\"},\"author\":{\"name\":\"\u00cd\u00f1igo Garc\u00eda Odiaga\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/7edb23bf36ddbe2d9c8f4cf5fae64668\"},\"headline\":\"Por Partes | \u00cd\u00f1igo Garc\u00eda OdiagaPor Partes | \u00cd\u00f1igo Garc\u00eda OdiagaBy Parts | \u00cd\u00f1igo Garc\u00eda Odiaga\",\"datePublished\":\"2015-01-12T06:48:12+00:00\",\"dateModified\":\"2021-07-12T09:39:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/por-partes-inigo-garcia-odiaga\\\/\"},\"wordCount\":3038,\"commentCount\":60,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/por-partes-inigo-garcia-odiaga\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2011\\\/01\\\/PIRANESI_Reconstrucci\u00f3n-de-Villa-Adriana.jpg\",\"keywords\":[\"Alvar Aalto\",\"Andrea Palladio\",\"Antonio Gonz\u00e1lez-Capitel Mart\u00ednez\",\"arquitectura contempor\u00e1nea\",\"arquitectura japonesa\",\"arquitectura sostenible\",\"BIG\",\"funcionalidad\",\"geometria\",\"Giovanni Battista Piranesi\",\"Hans Scharoun\",\"Herzog & de Meuron\",\"\u00cd\u00f1igo Garc\u00eda Odiaga\",\"Jap\u00f3n\",\"jun igarashi\",\"jun igarashi architects\",\"Kazuyo Sejima\",\"Le Corbusier\",\"Louis I. 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