DOCSLIB.ORG

WALKS Barca Modernisme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WALKS Barca Modernisme Barcelona: Modernista Walk 43 Casa Lleó Morera (Passeig de Gràcia, 35) J. Amundson / May 2017 Lluís Domènech i Montaner, 1905 conversion Adapted from www.rutadelmodernisme.com Tours: www.casalleomorera.com 28 Cases Rocamora (Passeig de Gràcia, 6-14) House built 1864; remodeled for new owners Joaquim and Bonaventura Bassegoda, 1914 in Domènech’s mature floral style. Interior (esp. foyer, stair, elevator and piano nobile) reveals One of the largest architectural complexes in especially strong fusion of applied arts in the Eixample, built as a single architectural Modernista style (mosaics, glass, marquetry, volume. Neo-Gothic. Note stone façade, paving, sculpture). Note that façade was striking set of bay windows on the corner of remodeled in 1940, with much sculpture Carrer Casp. removed to make way for new storefront windows. Partial restoration in 1992. Original 39 Casa Malagrida (Passeig de Gràcia, 27) interior elements preserved in the MNAC. Joaquim Codina i Matalí, 1908 44 Casa Amatller (Passeig de Gràcia, 41) Originally designed as a dwelling for several Josep Puig i Cadafalch, 1898 remodeling families. The most outstanding features of the tours: [email protected]; www.amatller.org building are the spectacular dome and the wrought iron lamp-posts in a foyer in which the For the Amatller chocolate manufacturer. elegant frescos and the coffered ceiling are House originally built in 1875. Remodeling also worth seeing. inspired by urban Gothic mansions. Neo- Gothic elements: stepped Nordic façade, sgraffito treatment on exterior stucco, Flemish gable adorned with red and gold vitrified Valencian tiles, door and window sculptures, 47 Casa Dolors Calm (Ram. de Catalunya, 54) stucco work includes St. George & the dragon Josep Vilaseca i Casanovas, 1903 remodeling (by Eusebi Arnau). Bay window suggests influence of Vienna Secession, esp. Otto Features elegant, if somewhat deteriorated, Wagner. Second floor features Amatller marquetry on the set of bay windows on the Institute of Hispanic Art (the building’s current façades, sgraffito work (decoration made by owners). Interior features Roman-inspired scratching through a surface to reveal a lower mosaics and white marble; polychrome ceilings layer of a contrasting color, typically in plaster with sgraffito work. Original furniture at the or stucco), and sculptural elements on the MNAC. ground floor and the cornice. 1 45 Casa Batlló (Passeig de Gràcia, 43) 46 Editorial Montaner i Simon, Fundació Antoni Gaudí, 1904 remodeling Antoni Tàpies (Aragó, 255) tours: [email protected]; www.casabatllo.cat Domènech i Montaner, 1880 tours: www.fundaciotapies.org Batlló was an ostentatious textile tycoon who hired Gaudí to remodel a house built in 1870. Non-academic façade with a slightly Mudejar He added a 5th floor and rebuilt interior walls (“Moorish,” denoting a style inspired by the to make a building with no right angles. architecture of Muslim designers in Al-Andalus) Façade combines stone on the ground floor appearance and unusual metallic structure (cast and the piano nobile with a mosaic facing on iron columns; steel beams. Now topped by a the higher floors (trencadís, a type of mosaic sculptural work by contemporary artist Antoni used in Catalonia, created from broken tile and Tàpies, Núvol i cadira. ceramic shards), and is crowned with a scaly tiled roof. Some interpret it as an architectural 54 Casa Vídua Marfà (Passeig de Gràcia, 66) manifestation of the tale of St. George, the Manuel Comas i Thos, 1901-05 patron saint of Catalonia. The roof represents the dragon’s back; the ‘tower’ is the sword; the Great example of the Neo-Medieval style. iron balconies and first-floor bay structure are Features three semicircular arches giving onto skulls, bones and tendons of the dragon’s the street and slender columns supporting the victims. Alternately, some see an allegory of bay window on the façade. Carnival: the roof a harlequin’s hat, the balconies like ball masks, the ceramic tiles like 66 Palau Montaner (Mallorca, 278) confetti. Spectacular interior with tiled light Domènech i Montaner, 1896 well with graded colors. Not much original furniture left; but some preserved at MNAC. Begun by another architect who resigned in 1891, having completed the first and second 50 Farmàcia Bolós (Rambla de Catalunya, 77) floors. Completed for owners of a publishing Josep Domènech i Estapà, 1904-10 firm. Note decorative elements that recall the art of printing. Rich decoration with mosaics, Retains most of its original decorative sculpture, massive stair and huge skylight. elements: a fine lamp bearing the name of the Interior: lots of sculpture by Eusebi Arnau, shop, stained glass windows, and furniture, all woodwork by Gaspar Homar; glass by Antoni designed by the great craftsman Antoni Rigalt. Currently home to a delegation of Falguera. government from Madrid. 2 51 Casa Domènech i Estapà (València, 241) visit reveals the unusual structure of 270 Josep Domènech i Estapà, 1908-09 parabolic arches that support the roof, which was described by one Spanish poet as a Built for the architect’s own family. “warriors’ garden.” Chimneys are clad with Asymmetrical distribution of the exposed marble fragments, trencadís, and in one masonry façade with a bay window on one side instance, the bottoms of champagne bottles. offset by a line of windows on the other. The client’s unhappy wife redecorated the main floor in the Louis XVI style in 1926. Building deteriorated after the Civil War (1936- 39) the 20th c., restored starting in 1986. 68 Casa Casas-Carbó (Passeig de Gràcia, 96) Antoni Rovira i Rabassa, 1894 53 Casa Queraltó (Rambla Catalunya, 88) Josep Plantada i Artigas, 1907 Residence of painter Ramon Casas and writer Santiago Rusiñol. Façade is a blend of Much altered since construction, especially at medieval and Renaissance design principles roof. Maintains original elegant pink sgraffito with Modernista decorative elements. work and false arches with columns and capitals. 76 Palau del Baró de Quadras (Diagonal, 373) Puig i Cadafalch, 1904 67 Casa Milà, La Pedrera (Passeig de Gràcia, 92 / Provença, 261-265) Veritable compendium of the architect’s Gaudí, 1905 capacity for design and elegance. Everything is Tours: www.lapedrera.com exemplary: from the wrought iron door to the highly-ornamented foyer with Mudejar details, Gaudí’s last residential project replaced a Roman mosaics, polychrome woodwork, modest 3-story building. Built for a property sgraffito work and wooden lattices. Note the developer who loved novelty, fashion, and thus double façade: (1) facing toward Av. Diagonal, Modernista. Façade clad in rough-hewn a noble Gothic and Plateresque forms with an limestone blocks and wrought-iron balconies. abundant floral decoration and the appearance Some people see the inspiration of medieval of a a great mansion; (2) rear façade (giving fortresses here, with chimneys that look like onto Carrer Rosselló) reveals the building as a sentinels with helmets. Inside it’s more block of flats. Appropriately, this Catalan delicate, with painted ceilings and foyer. The Modernisme tour de force is now home to the underground coach house could be Institut Ramon Llull, which promotes study of considered Europe’s first parking garage. In the Catalan language. general, building is a figure-eight plan. Attic 3 70 Casa Antoni Costa (Ram. de Catalunya 122) 77 Casa Comalat (Diagonal, 442) Josep Domènech i Estapà, 1904 Salvador Valeri i Popurull, 1909-11 Perhaps the most representative multi-family Spectacular work, apparently influenced by dwelling by the architect. Monumental, wth Gaudí. Main façade is symmetrical and urban; Secession influences. rear façade (on Carrer Còrsega), is less formal, polychrome and decorated with peculiar Modernista wooden galleries with blinds and coloured ceramic work. The interior is no less impressive, with mosaic paving and elaborate furniture featuring unusually shaped benches and the peculiar foyer lights. 69 Casa Serra (Rambla de Catalunya, 126) Josep Puig i Cadafalch, 1903 74 Casa Bonaventura Ferrer (Passeig de Gràcia, 113) Grandiose single-family urban mansion, now Pere Falqués, 1906 backed by an unsympathetic glass façade (1987). Two wings forming an angle give onto Façade with a striking sculptural treatment, Rambla Catalunya. Note the Plateresque particularly the bay window, which gives it an (style of decoration in Spanish architecture exceptionally monumental appearance. inspired by low-relief silver work) door influenced by a famous Renassiace building that once stood in Barccelona and was 75 Casa Fuster (Passeig de Gràcia, 132) demolished in mid-19th c. Synthesis of other Domènech i Montaner, 1908-11 inspirations: balconies and windows combine Gothic and Renaissance elements. Now home The architect’s last work in Barcelona, which to the Provincial Council of Barcelona. also marks the end of Passeig de Gràcia. Façade’s cylindrical tower is typical of the DiM, adorned with sculptures that simulate swallows’ nests, and a curious (and unusual) French-style attic. Intended tower design never completed; DiM’s Hospital de la Santa Creu i Sant Pau for a taste of what it might have been like. The culturally significant Cafè Vienès once occupied the ground floor, and the dance hall El Danubio was in the basement. Now a spiffy hotel. 4 .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
    University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism
    [Show full text]
  • The Architectural Style of Bay Pines VAMC
    The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques.
    [Show full text]
  • 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.
    [Show full text]
  • Discover the Styles and Techniques of French Master Carvers and Gilders
    LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig.
    [Show full text]
  • State Historic Preservation Officer Certification the Evaluated Significance of This Property Within the State Is
    Form No. 10-300 REV. (9/77) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ NAME HISTORIC Louisville Free Public Library AND/OR COMMON Louisville Free public Library LOCATION STREET&NUMBER 301 West York Street _NOT FOR PUBLICATION CITY, TOWN " . , " , CONGRESSIONAL DISTRICT Louisville . .VICINITY OF 3&4 STATE CODE COUNTY CODE Kentucky 021 llMll.'Jeff«r5»rvn 111 HCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT -XPUBLIC X.OCCUPIED _ AGRICULTURE —MUSEUM ^BUILDING(S) —PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS .^EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _JN PROCESS J-YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED .X-YES: UNRESTRICTED —INDUSTRIAL -^TRANSPORTATION —NO —MILITARY —OTHER: OWNER OF PROPERTY NAME Louisville Free Public Library Board STREET & NUMBER 301 West York Street STATE CITY, TOWN Louisville VICINITY OF Kentucky 40203 LOCATION OF LEGAL DESCRIPTION COURTHOUSE, » REGISTRY OF DEEDS; ETC. Jefferson County Courthouse STREET & NUMBER 517 West Jefferson Street CITY, TOWN STATE Louisville Kentucky 40203 TITLE Kentucky Survey of Historic Sites DATE 1978 —FEDERAL <LsTATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Kentucky Heritage Commission CITY, TOWN Frankfort, Kentucky STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE
    [Show full text]
  • Ourgeois Taste in Decorative Arts in the Collections of the Museu Nacional D'art De Catalunya
    SHORT ourgeois Taste in Mariàngels ARTICLESB Decorative Arts Fondevila Spain ART NOUVEAU in the Collections of the Museu Nacional D'Art de Catalunya Gaspar Homar (1870-1955) Settee with side cabinets and marquetry panel Circa 1905 120 x 154 x 4 cm Oak wood, marquetry, green velvet upholstery and leaded glass Inv. number: 071703-000 Purchased 1967 Museu Nacional d'Art de Catalunya (Barcelona) Lluís Domènech i Montaner In 1880 the Italian travel writer Edmondo de (1850-1923) Amicis observed while visiting Barcelona: Hydraulic floor tiles There are large buildings, long streets, regular squares. Circa 1900 210 x 120 x 3,5 cm Luxurious homes are being constructed in the Hydraulic floor tiles Eixample for the new middle and upper classes. Inv. number: 153252-CJT Donated by OCSA, By the end of the century, Barcelona had beco- 1991 me the most industrialized, populous, and cul- Museu Nacional d'Art turally advanced city in Spain, open to the de Catalunya outside world and proud of its economic (Barcelona) potential after the success of its Universal Ex- position of 1888. Modernisme was made pos- sible in Catalonia by the growth of construc- tion through the urban development project of the Eixample (expansion) following a plan by Ildefonso Cerdà. The old walls were demo- lished in 1854, and a new city sprang up. The emerging bourgeoise, enriched thanks in parti- cular to the textile sector, was looking for ways to show off its power. This was a golden age for the architects, the real protagonists of Mo- dernisme, who broadened horizons and excer- cised their skills in other fields.
    [Show full text]
  • Manifiesto De La Alhambra English
    Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way.
    [Show full text]
  • Antique English Empire Console Writing Side Table 19Th C
    anticSwiss 02/10/2021 08:28:16 http://www.anticswiss.com Antique English Empire Console Writing Side Table 19th C FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:73cm Width:60cm Depth:40cm Price:2250€ DETAILED DESCRIPTION: This is a beautiful small antique English Empire Gonçalo Alves console with integral writing slide and pen drawer, circa 1820 in date. This dual purpose table has a drawer above a pair of elegant tapering columns with gilded mounts to the top and bottom, behind them is a pair of rectangular columns framing a framed fabric slide that lifts up when required. This screen serves as a modesty / privacy screen. This piece has a single drawer with a writing slide with its original olive green leather writing surface over a pen drawer that can be pulled out from the side of the drawer whilst the writing surface is in use. This gorgeous console table will instantly enhance the style of one special room in your home and is sure to receive the maximum amount of attention wherever it is placed. Condition: In excellent condition having been beautifully restored in our workshops, please see photos for confirmation. Dimensions in cm: Height 73 x Width 60 x Depth 40 Dimensions in inches: Height 28.7 x Width 23.6 x Depth 15.7 Empire style, is an early-19th-century design movement in architecture, furniture, other decorative arts, and the visual arts followed in Europe and America until around 1830. 1 / 3 anticSwiss 02/10/2021 08:28:16 http://www.anticswiss.com The style originated in and takes its name from the rule of Napoleon I in the First French Empire, where it was intended to idealize Napoleon's leadership and the French state.
    [Show full text]
  • Un Seísmo Causa Más De
    i LUNES CONSELL DE CENTPAÍS: 425-427 Españawww.elperiodico.com DIRECTOR FRECUENCIA: Diario 1,30 18 DE ABRIL DEL 2016 BARCELONA. TEL. 93.265.53.53 www.grupozeta.es ENRIC HERNÀNDEZ PÁGINAS: 1-4 O.J.D.: 89305 TARIFA: 77026 € E.G.M.: 513000 lu. ÁREA: 3330 CM² - 313% SECCIÓN: PORTADA 18 Abril, 2016 PARA GENTE COMPROMETIDA 18 El modernismo abre las puertas Las casas museo afloran en BCN por el interés turístico de la arquitectura TEMA DEL DÍA Páginas 2 a 4 3 PANORAMA EL PAÍS SUDAMERICANO VIVE SU PEOR TRAGEDIA EN DÉCADAS Página 14 3 Un seísmo causa más de 230 muertos en Ecuador EFE / JOSÉ JÁCOME El terremoto, que sacudió la zona costera, provocó más de 1.600 heridos El presidente Correa regresa de urgencia a Quito y decreta el estado de emergencia VECINOS AL RESCATE Varias personas sacan de los escombros a un hombre en Pedernales. q JORDI COTRINA REUNIÓN DE DOHA El choque de El Barça Irán y Arabia culmina Saudí dinamita su semana un pacto por el petróleo trágica El Valencia gana en el Riad exige en la cumbre de 3Camp Nou (1-2) y pone 3Catar que Teherán también la Liga en máximo peligro congele la producción de crudo PRIMERA FILA PANORAMA Páginas 42 a 45 Neymar y Suárez se lamentan. Páginas 24 y 25 3 3 PAÍS: España FRECUENCIA: Diario LUNES 2 Conexión a internet: http://www.elperiodico.com 18 DE ABRIL DEL 2016 PÁGINAS: 1-4 O.J.D.: 89305 TARIFA: 77026 € E.G.M.: 513000 ÁREA: 3330 CM² - 313% SECCIÓN:El patrimonioPORTADA arquitectónico 18 Abril, 2016Tema del día Páginas 2 a 4 LA CIUDAD Y SU HISTORIA Las casas museo afloran en Barcelona El interés turístico
    [Show full text]