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La Casa Amatller Quilòmetre Zero Del Modernisme Planetari Salvador Tarragó
arquitectura històrica secció a càrrec d’Antonio Armesto i Salvador Tarragó La casa Amatller Quilòmetre zero del Modernisme planetari Salvador Tarragó Autors dels plànols: Salvador Tarragó, Eliana Vieria, Maria Turull i Martín Capeluto, arquitectes Casa Amatller La casa Amatller Kilometer zero of the Kilómetro cero planetary “Modernisme” del Modernismo planetario Una façana trencadora 0 A ground-breaking façade Una fachada rompedora Projecte de façana Josep Puig i Cadafalch consideró a Ildefons Josep Puig i Cadafalch va considerar Ildefons Cerdà i antecessora de la casa Josep Puig i Cadafalch considered Ildefons Amatller, obra del Cerdà and Barcelona’s Eixample as great Cerdà y el ensanche de Barcelona como sus l’Eixample de Barcelona com els seus grans antagonistes mestre d’obres Antoni antagonists that spurred him to produce grandes antagonistas que le incentivaron a que el van incentivar a elaborar una idea pròpia de l’ar- Robert i Morera. his own idea of architecture and the city, elaborar una idea propia de la arquitectura y de la ciudad, rechazo compartido por la quitectura i de la ciutat, un rebuig compartit per bona Arxiu Administratiu a rejection shared by the majority of de l’Ajuntament de modernist architects. mayoría de arquitectos modernistas. part dels arquitectes modernistes. Barcelona. La façana de la casa Amatller fou la primera que va The façade of Casa Amatller was the first La fachada de la casa Amatller fue la primera en romper la ordenanza de la trencar l’ordenança de l’horitzontalitat del terrat com a to break the regulation of horizontality of the roof terrace as the building’s crowning horizontalidad del terrado como corona- coronament de l’edifici, amb l’increment de l’alçada amb feature, its height being increased using the miento del edificio, con el incremento de su l’excusa de l’estudi fotogràfic del propietari i amb un pi- excuse of the owner’s photography studio altura con la excusa del estudio fotográfico del propietario y con un piñón escalonado. -
Problems of the Baroque in 1975
T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same. -
21-467-Planol Plegable Caraa Agost 2021
Sant Genís Cementiri de Collserola Cementiri de Collserola Montcada i Reixac Ciutat Meridiana Ciutat Meridiana C Pl. Parc de Ciutat Meridiana Funicular t 112 Barris Zona 97 r 112 Velòdrom Horta Torre Baró a Sant 185 102 de Vallvidrera . 112 Montbau la Vall 185 Nord d Genís Mpal. d’Horta 183 62 96 e 19 76 Ctra. Horta 182 Vallbona S 112 d’Hebron 18 Peu del Funicular t. a Cerdanyola 3 u C 97 0 e 183 l u a 8 l 19 r g 76 Sant Genís 1 a r e a r a t Transports d 183 C i v Pl. 76 V21 l Lliçà n l 76 Bellprat 0 a Meguidó s 8 a Parc de a de le te Av. Escolapi CàncerTorre Baró Torre Baró 83 1 V t e 1 C Mundet l s u Metropolitans Hospital Universitari 135 A Roq Vallbona e La Font 102 Ronda de Dalt C tra. d Sinaí 76 de la Vall d’Hebron Arquitecte Moragas e r del Racó M19 Can Marcet D50 104 d Rda. Guineueta Vella o j Sarrià Vall d’Hebron 135 Pl. Valldaura a 60 de Barcelona Pg. Sta. Eulàlia C Montbau Pg. Valldaura Metro Roquetes Parc del Llerona 96 35 M o 9 1 Botticelli Roquetes 97 . llse M1 V23 Canyelles / 47 V7 v rola Vall d’Hebron 135 185 Pla de Fornells A 119 Vall d’Hebron V27 Canyelles ya 27 R 180 104 o 196 Funicular M19 n Pl. 127 o 62 ibidab 60 lu C drig . T del Tibidabo 102 ta Porrera de Karl 185 Canyelles 47 a o B v a Canyelles ro alenyà 130 A C Marx sania Can Caralleu Eduard Toda Roquetes A rte Sant Just Desvern 35 G e 1 d r Campoamor a r t Barri de la Mercè Parc del n e u V3 Pl. -
Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political. -
Catalan Modernism and Vexillology
Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí. -
Essays on Location Patterns of Creative Industries
ESSAYS ON LOCATION PATTERNS OF CREATIVE INDUSTRIES Eva Coll Martínez ADVERTIMENT. L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efectuades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996). Para otros usos se requiere la autorización previa y expresa de la persona autora. En cualquier caso, en la utilización de sus contenidos se deberá indicar de forma clara el nombre y apellidos de la persona autora y el título de la tesis doctoral. -
Crèdits De Les Imatges Del Vídeo “Josep Puig I Cadafalch. Arquitecte De Catalunya”
Generalitat de Catalunya Departament de Cultura CRÈDITS DE LES IMATGES DEL VÍDEO “JOSEP PUIG I CADAFALCH. ARQUITECTE DE CATALUNYA” IMATGE Tall TÍTOL, AUTOR I DESCRIPCIÓ FONT i DRETS D’AUTOR 00:00 Logotip de l’Any Puig i Cadafalch. Departament de Cultura. Film 0:13 “Gent i paisatge de Catalunya”, 1926. Filmoteca de Catalunya. El modest benestar. Els orígens 00:20 Despatx de Josep Puig i Cadafalch al seu Arxiu Fotogràfic Ramon Manent. Tots els drets reservats. domicili de Barcelona. 00:26 Dibuix de Josep Puig i Cadafalch el 1942. Arxiu Nacional de Catalunya. Fons Josep Puig i Cadafalch. Autor: Joaquim Mascaró 1 Generalitat de Catalunya Departament de Cultura 00:33 Vista de la platja de Mataró. Autor: Fergui. Arxiu Municipal de Mataró. Fons Carreras. Tots els drets AMM. Col·lecció de postals. reservats. 00:36 Mataró. Arrabal de l’Estació. Autor: Mauri. Arxiu Municipal de Mataró. Fons Carreras. Tots els drets AMM. Col·lecció de postals. reservats. 00:42 Mataró. Estació de Ferrocarril. Autor: Arxiu Municipal de Mataró. Fons Carreras. Tots els drets Mauri. AMM. Col·lecció de postals. reservats. 00:51 Mataró. Final de la Rambla. Autor: Mauri. Arxiu Municipal de Mataró. Fons Carreras. Tots els drets AMM. Col·lecció de postals. reservats. 2 Generalitat de Catalunya Departament de Cultura 00:57 Mataró. Monument i Pl. Sta. Anna. Autor: Arxiu Municipal de Mataró. Fons Carreras. Tots els drets Schoenfeld. AMM. Col·lecció de postals. reservats. 01:05 Mataró. Rambla Castelar. Autor: Thomas. Arxiu Municipal de Mataró. Fons Carreras. Tots els drets AMM. Col·lecció de postals. reservats. 01:10 Mataró. -
Bolstering Community Ties and Its Effect on Crime
Bolstering community ties and its effect on crime: Evidence from a quasi-random experiment Magdalena Dom´ınguez and Daniel Montolio∗ Work in progress - Do not cite without permission This version: February 2019 Abstract In this paper we study the effect of bolstering community ties on local crime rates. To do so, we take advantage of the quasi-random nature of the implementation of a community health policy in the city of Barcelona. Salut als Barris (BSaB) is a policy that through community-based initiatives and empowerment of citizenship aims at improving health outcomes and reducing inequalities of the most disadvantaged neighborhoods. Based on economic and sociological literature it is also arguable that it may affect other relevant variables for overall welfare, such as crime rates. In order to test such a hypothesis, we use monthly data at the neighborhood level and a staggered Differences-in-Differences approach. Overall we find that BSaB highly reduces crimes related to non-cognitive features as well as those where there is a very close personal link (labeled as home crimes), with responses ranging from 9% to 18%. Additionally, female victimization rates drop for all age groups as well as the offense rates of younger cohorts. We argue that such outcomes are due to stronger community ties. Such results provide evidence in favor of non-traditional crime preventing policies. Keywords: crime; community action; differences-in-differences. JEL codes: C23, I18, I28, J18. ∗Dept. of Economics, University of Barcelona and IEB: [email protected] ; [email protected] We are grateful to Elia Diez and Maribel Pasarin at the Barcelona Public Health Agency (ASPB) and IGOP researchers Raquel Gallego and Ernesto Morales at Autonomous University of Barcelona (UAB) for their insightful comments on the program. -
Barcelona Gay & Lesbian Bars
BARCELONA Chic, relaxed and one of the most liberal cities in Spain, a very progressive country with a live-and- let-live attitude, Barcelona is simply the Gem of the Mediterranean! Barcelona has its own gay neighborhood (the bustling "Gaixample" district) as well as its own beach resort town (Sitges), a half-hour train-ride away. The gayborhood is bordered by Carrer de Balmes and Gran Via de los Cortes Catalanes, and much of its gay-friendly shopping, dining and nightlife lies along Carrer de Diputaci. Even though almost everyone in Barcelona understands and speaks Spanish and English, Catalan remains the native language. Brush up on your Catalan and book one of our gay-friendly hotels in Barcelona. GAY & LESBIAN BARS Night Barcelona Sexy bar/lounge by the creators of Boy Berry, one of Barcelona's hottest saunas. Diputacio, 161 (Between Casanova & Villarroel), Eixample Tel.+34 3 49 350 317 http://www.nightbarcelona.net Bacon Bear Bar Bacon Bear Bar has a lively crowd and reigns as Barcelona's favorite hangout for bears and their admirers. Carrer De Casanova, 64 (Carrer de La Diputaci), Eixample http://baconbcn.com Chaps Cruisey scene with good music and drinksfor bears and mature, manly guys Avinguda Diagonal, 365 (Carrer de Roger de Llria) Tel. +34 9 32 155 365 http://www.newchaps.com/ Punto CBN Classic Barcelona gay Bar for 30+ crowd Address : Carrer de Muntaner, 63, Barcelona, Spain Eixample www.arenadisco.com/frame.htm www.worldrainbowhotels.com / La Chapelle The "chapel" bar is a very unique spot with white-tiled walls housing crucifixes of all shapes and sizes. -
2019 Barcelona Intensive Course Abroad Itinerary Draft: Subject to Updating
2019 BARCELONA INTENSIVE COURSE ABROAD ITINERARY DRAFT: SUBJECT TO UPDATING Sunday Arrival in BarCelona Sept. 8 Morning Transport from El Prat Airport: Take the train* to Plaça de Sants; transfer to Metro* Line 1 (direction Fondo); take metro to Marina; walk to the residencia THS Campus Marina (address below).* A sinGle, 1 zone ticket costs 2 €, a Group can share a T-10 ticket (10 rides for 9.25 €). For more transit information, Go to: www.tmb.cat/en/el-teu- transport. NOTE: Prepare today for the week’s transit needs: ** purchase a 5- day travel card, to be initiated on the morning of Sunday, September 6th. ** Points of sale: www.tmb.cat/en/bitllets-i-tarifes/-/bitllet/52 - Metro automatic vendinG machines Intensive Course Abroad beGins in Barcelona at our accommodations: THS Campus Marina Carrer Sancho de Ávila, 22 08018 Barcelona, Spain Telephone: + 34 932178812 Web: www.melondistrict.com/en/location Metro: L1-Marina Afternoon Meet for an orientation; Walk to: 15:00 Museu del Disseny de BarCelona Architecture: MBM Studio (Martorell-BohiGas-Mackay), 2013 Plaça de les Glories Catalanes, 37 Dinner Group dinner (paid for by program), location to be determined 19:00 pm Monday Exploring great designs by Gaudi and DomèneCh; The Sept. 9 Contemporary City around the Plaça de las Glòries Catalanes, the Avinguda Diagonal, and DistriCt 22@bcn. Lobby 8:15 BrinG Metro Card and Articket. Early start! Morning BasiliCa de la Sagrada Familia 9:00-12:00 Architect: Antoni Gaudí, 1883-1926, onGoinG work by others Visit/SketChing Carrer de Mallorca, 401 1 Metro: L2+5 SaGrada Familia (open daily 9am-8pm / 13 or 14,30 € ) LunCh Many fast food options nearby 12:00-12:45 Afternoon Hospital de la Santa Creu i Sant Pau 13:00-14:00 Architect: Lluís Domènech i Montaner, 1901-1930 (under renovation as a museum and cultural center, access currently limited) Sant Pau Maria Claret, 167. -
THE VIVA GUIDE Barcelona Welcome To
THE VIVA GUIDE Barcelona Welcome to_ This guide was produced for you by the Viva Barcelona team. Graphic Design by Carmen Galán [carmengalan.com] BARCELONA Barcelona is the 10th most visited city in the world and the third most visited in Europe after London and Paris, with several million tourists every year. With its ‘Rambles’, Barcelona is ranked the most popular city to visit in Spain and it now attracts some 7.5 million tourists per year. Barcelona has a typical Mediterranean climate. The winter is relatively mild and the summer is hot and humid. The rainy seasons are the once in between autumn and spring. There are very few days of extreme temperature, heat or cold. Every 24th September, Barcelona celebrates it’s annual festival, La Mercè – corresponding to the day of its patron saint. It comprises of some 600 events, from concerts and all kinds of local, cultural attractions including the human tower building, els Castellers, erected by groups of women, men and children, representing values such as solidarity, effort and the act of achievement. Children are the real stars of this tradition, they climb to the very top of the human castell expressing strength over fragility. 4 5 Since 1987, the city has been Passeig de Gràcia being the most Districts divided into 10 administrative important avenue that connects the districts: Ciutat Vella, Eixample, central Plaça Catalunya to the old Sants- Montjuic, Les Corts, town of Gràcia, while Avinguda Sarriá-Sant Gervasi, Gràcia, Diagonal cuts across the grid Horta-Guinardò, Nou Barris, diagonally and Gran Via de les Corts Sant Andreu, Sant Martì. -
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2020.02.17 Barcelona/Bilbao Tour Presentation (30 min.) Some slides of the architecture we will see on the tour. Present slides chronologically which is different from the trip itinerary, this is a brief preview of the class teaching this summer (Gaudi’s 5 key dates), which was structured to be a prelude for the trip. Beautiful itinerary of Gaudi: playful Batlló/Mila, Vicens; mag.opus Sagrada; essence Dragon/Crypt; serene Park; finale Bilbao. Many other treats: Barcelona Rambla, ancient bullfighting ring, Barcelona Pavilion, 92 Olympic village/park, Miró museum. Catalan brickwork Trencadis discarded parabolic signatures metalwork 1885 Pavellons Güell Dragon Gate (Tue.) first use of Trencadis Mosaic, where we see Gaudi’s resourcefulness, frugality, creativity. A study of Gaudi’s work explores this human trait that will be needed for our survival on a rapidly changing planet. By use of discarded, broken, fragmented materials as decoration, Gaudi finds redemption, a humility willing to consider all. corner cast/wrought plasticity ventilators Mudéjar contraptions Casa Vicens (Mon. - interior) 1883-1888 organic form discarded personalized Park Güell bench (Wed. - interior) 1903-1914 mosaic ventilators parabolic Jean Nouvel: Agbar Tower (Tue.) 1999-2004 Norman Foster: Bilbao Underground Station (Fri.) 1995 parabolic natural honest (+7 min.) 1892 Sagrada Familia Nativity Façade (Mon. – interior) experiments Natural Form [honest truth, taboos, answers in nature] honest organic natural mosaic honest Mies: Barcelona Pavilion (Wed. - interior) 1928-1929 IMB: Vizcaya Foral Library (Sat.) 2007 inclined reuse contraption weight (+9 min.) 1898 Colònia Güell Crypt model (Tue. - interior) equilibriated structures gravity thrusts passive tree work with, not against Park Güell colonade viaduct (Wed.