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Cosentino monument to Alfonso XII

Cosentino Group is a family business tranrformación collection and rock, with its main facility in Almeria. In Spain there are three main rock extraction grandescanteras: Porrino, Galicia, Novelda and Macael in Almeria. Macael latter quarries are exploiting Cosentino Group.

Among all the stones they sell out as key:
- Marble: is a hard stone, which behaves poorly absorbed, but that is easily maintained, and is recoverable with appropriate treatments its surface, as pulido.Podemos distinguish two types of marble. Colored marble abrasion perform worse than whites, and suffer from many more breaks, because their color is displayed by the presence of hairs or strings in their training. However, whites are more compact, the absence of these hairs the color print.
-limestone and sandstone, are very continuous color stones, giving a minimalist look. Hence, currently being used for flooring, but its abrasion resistance is very bad. Its uses are most appropriate for volumetric parts, being soft and cheap, or applied exteriores.Algo similar happens with quartzite and slate, used in floors, giving bad results, being more appropriate to use the application in cubiertras.
-Granites: mas'duros are much above the stones, and behave very well outdoors. Wing has a good resistance to abrasion, yet is not recoverable, and loosing a brightness over time. The production facilities are in Porrino and the Sierra de Madrid. Is little used at the design level, as is closely related to the funerary art, and little decor. Cosentino sells granite imported from Brazil, which have bright colors, its properties are much worse worst ": lots abrorci'pn little resistance to abrasion and hardening resin required.

SILESTONE:

In 1989, Cosentino Group decided to create a new product that could exploit the surplus of the stones on the market. Marmolstone appears, an agglomeration of marble, creating color plates. This project failed, and obtained a very absorbent and which together was even more expensive than natural marble itself. Most leads the company to ruin.

decide to restart with the same experience but using materials that provide a greater hardness. Agglomerated quartz, the first company in the world to introduce this type on the market, which will be referred to as Cuartz Surface. Dotan autonomy to the project, creating the company Silestone, as a company protected by Cosentino.

the collection process is very simple: there are crowds of pieces of quartz, with small pieces of glass or mirror, and ink to give the desired hue. Pressed, to obtain sheets of 3x1, 38m. You can give two possible finishes: polished, or the so-called "leather" texture gives semirrugosa such as skin.
Its main uses are for kitchen countertops, as well as a presence in major projects such as the Torre Agbar Adjubar site ... Its main strength lies in the many possibilities of color, being charged up to 3000 kitchens a day.

The latest development that has experienced this initiative has been motivated by the intention to differentiate themselves from competitors, who plagiarized the new collected by Silestone colors in a matter of months. In May 2005, created a quartz surface antibacterial. The procedure consists of adding an additive to conventional Silestone Microban, which inhibits the growth of bacteria, preventing them from reproducing. The price of Silestone surfaces in a retail experience any change, since the objective is not purely economic, but a process improvement on the achievements of others in the same capmpo. The cost of the initiative is estimated at 10,000 million pesetas.

currently Silestone, which is English patent, is spread to most countries, taking particularly popular in Europe and the United States.

For more information, access the pages:
www.silestone.com
www.cosentino.es

Do Razer Have Wireless Headphones

Location: Parque del Retiro, Madrid, beside the pool.

Size: The main body on the which are located all other elemenmtos that form the whole, has an overall size of 30m x 86m x 58m. Above him, the most prominent figure is the statue of Alfonso XII, with dimensions of 6.5mx 3.5mx 6.5m.

Chief Architect: José Fats i Riera.

later sculptural Contributions:

Alcoverro José Antonio Alsina, Eusebio Arnau, Rafael Atché, Mariano Benlliure, Joaquín Bilbao Miguel Blay, Antonio Bofill, José Campany, Peter Carbonell, José Clara, Antonio Coll, Lorenzo Coullaut, Francis Escudero, Pedro Estany, Cipriano Folgueras, Manuel Fuxá, Matthew Inurria, Aniceto Marinas, José Montserrat Portella, Antonio Paredes, Miguel Ángel Trilles, Agapito Vallmitjana ... some of the names are collaborating in the completion of the monument, particularly in the arrangement of the sculptures that were going to build this outdoor museum. Among them we have to highlight Mariano Benlliure, who should be the master equestrian statue of King, Miguel Blay, who made the peace group and bas-reliefs of the bases, Aniceto Marinas, who made the group of Liberty Miguel Ángel Trilles, who did the same with the group's progress, and Folgueras Cipriano, who sculpted the group of the nation. Also noteworthy are the contributions ornamental Coullaut Lorenzo Valera, Antonio Bofill, Joaquín Bilbao, Matthew Inurria, Antonio Alsina, Pedro Estany, and Francis Escudero, who helped ensure the monumental result.

Restorations:

Its location and architectural grandeur is a much visited, a circumstance that requires constant maintenance is performed. The last restoration took place in the year 2000 and involved a cleanup of all the sculptures. Also large stone lions placed on the steps going down to the pond, very worn, were replaced by others of bronze, as originally contained in the original project. On 15 of 2000, the Mayor of Madrid inaugurated the restoration of the monument to Alfonso XII, Retiro.

historic architectural Full :

In 1901, Queen Regent Maria Cristina convened a national competition to erect a monument to her late husband, king Alfonso XII, and that would be at the Parque del Retiro, near the large pond on the old pier. The competition was won by the Catalan architect José Fats Riera, who presented a project based on the creation of an architectural space with a large veranda to surround the statue of the monarch, and a staircase to go down to the water pond adorned with lions stone and bronze allegories. The project was designed to be viewed from inside. On May 18, 1902, the day after the proclamation of Alfonso XIII King of Spain, he laid the first stone of this monument that eventually became a tribute to the nation personified by rey.La architectural contribution to the project by José Fats ended in 1914, began this year the placement of the various parts that compose the great museum of sculpture, with contributions from 42 artists and sculptors of the time. Entire work was completed, with all the sculptures located in place in 1922, was inaugurated on 3 July.

Building System:

The building has an architecture that defines as open space, being all a continuous space passable. Hence, we can not talk about the interior or exterior of the piece, because it opens all the landscape offered by the pool or the gardens of the retreat. It consists of a platform on the banks of the pond, balconies, parapets, balustrades and stairs, as the Hindu ghats, to log standing on the opposite side stands agua.es a double colonnade. The four pillars of the two ends have different sculptures and bas-reliefs with representations of Agriculture, Commerce, Industry, Army, Navy, Science and Arts. In the center stands an octagonal platform with several bodies decorated with figures, medallions, inscriptions ... In the center of this platform pedestal stands 28 meters high statue crowning the king's horses, Mariano Benlliure.

because of the antiquity of the monument we see various pathologies is your corstructivo system, of which we have noted, accompanied by images that represent them, collected from direct observation of the building:

The fit the various parts has caused the cracking and settling of the entire structural system, seeding the visible from inside the covers of lines indicating poor construction joints between the pieces.

direct and constant contact with humidity and water causes corrosion of the stone parts of structural foundation. While not alarming affects the maintenance of the building standing, causes unsanitary and careful image of the Monument. Furthermore, the porosity of the stone causes the moisture to rise to higher ground, chipping the surface layer that protects it.

The humidity and time cause oxidation of the sculptures that adorn the monument, leaving traces of rust on their pedestals, so that they experience more wear than they should

Main materials:

The entire monument is raised by the appearance of only two materials: marble and bronze.
Marble is used for all purely structural elements and as are the platforms that delimit, colonnades ... in addition to appearing in all sculptural space, and in all parts of the aforementioned artists.
Bronze nevertheless has a special place in the central part is the equestrian statue of King. Indeed, it is all brass, and the many figures in his foot.
Thus, the choice of materials makes it an imposing and bright, highlighting the white marble against the vegetation, leaving the bronze instead of the main statue against the sky.

Legal status:

is a public building, and enjoy free entry, whose maintenance depends on the City of Madrid. Consulted bibliography

:

www.madridhistorico.com/seccion1 monuments
www.madrid.org
recursos.cnice.mec.es/bancoimagenes2 / search
es.wikipedia.org / wiki / Jardines_del_Retiro_de_Madrid
www.artehistoria.com / shop / bank / indices
Www.madridatope.com/galeria/sala1/retiro/alfonso.htm
www.madridhistorico.com/seccion1_monumentos
www.galeriade.com

Leticia Merino

Mercedes Alonso Fernández Cuadrado

Standard Birthday Invitation Text

This entrance is one of the few and copies of plateresco in Madrid, was the chief ornament-embedded and graceful in a mass and nearly blind wall-the Hospital of the Conception of Our Lady, was this foundation (1499) of Francisco Ramírez-husband of Beatriz Galindo, "the America" \u200b\u200b- which was completed (as recorded key arc) in 1507. Before the termination itself was founded Beatriz Galindo, attached to the hospital, the convent of the nuns of the Conception of Our Lady (1502), and the whole-hospital and convent, stood outside the walls of the walls, next to the Puerta de Moros and came to have severe impact on the configuration of Madrid XVI.

Gaya Nuño, in English architecture in the monuments have disappeared, attributed the work to the English architect Muslim Hassan, and thus describes:
"The beautiful home, a typical example of Mudejar affecting our latest Gothic architecture, was pointed horseshoe arch, with a large cove, soffit richly decorated with beads and Cardin. Above the arch, two coats, an image of a monk, another wild, and in the center under canopy, a group in high relief by figuring the Visitation. Up, window, and all included in alfiz articulated, which was decorated with acanthus Franciscan cord quatrefoil. Under the group of the Visitation, a legend in capital letters, which read: THIS HOSPITAL IS IN THE DESIGN OF THE MOTHER OF GOD FRANCISCO RAMIREZ FOUND HIS WIFE AND BEATRIZ GALINDO. YEAR 1507. "

And she should be applied so that explains Torres Balbas covers civil architecture of the time of Ferdinand and Isabella, but our home, instead of the common arc semicircular describing Torres Balbas (thinking in cases such as the Casa de los Momos in Zamora, or that of Juan Bravo, Segovia), employs a distinctive arch : slightly túmido of segments also powerful and smooth, which define a broad flat head and naked , broken only by a mouth-adorned-in its encounter with the soffit (not so very different, for example, the semicircular arc of the House of Momos). The issue, as significant in the door of the arch, akin to the geometric patterns that surround the compositions of our late Gothic Chueca has been pointed out by one of the constants castizos English architecture: "The Quadrature trend not only seen in the following Moorish architecture, but in our own Gothic art. Even in this style, the most difficult to reconcile for its smoothness and verticality, imposes its English architecture and quadrature horizontal desire. " And this, combined with the pointed arch, set in this cover a compositional scheme indeed fortunate, which led to not a few followers. The door of the various recreations directly inspired America in Madrid and elsewhere, before his disappearance from the streets of Toledo became the model for the facade of the neo-Mudejar church of San Fermin Madrid of Navarre (1891), designed by Carlos Velasco and Eugenio Jiménez Corera, and very close to this, in the expansion of Osma mansion in the Rue Fortuny, "was literally played (1917), and after dismantling the old Hospital.

America The door also had fortune out of Spain. Described its elevation, along with some details of the steps the hospital, the commendable number of architectural monuments in Spain, which reached as widespread in other countries, met some recreation in the United States: Professor Merino de Cáceres, in Studies on the English Revival architecture in Florida, said curious reproductions of the cover in big mansions of Palm Beach, in the late twenties.

But back to the site of origin. In 1904 they had destroyed the entire Hospital and Convent of America, expropriate part of the plot, to widen the street in Toledo, the large capital loss that is entailed demolition palliative mediating the Royal Academy of History and Fine Arts - with the recovery of the most representative of that plateresco: next to our front page, part of the staircase and the tombs of the founder couple. The staircase was rebuilt in the House of Don Álvaro de Luján, when it was headquarters of the Newspaper Hall, in the Plaza de la Villa, and the home was dismantled the local stores, disappearing after the news of his whereabouts.

That year the architect Juan Bautista Lázaro had made the project for the new convent conceptions had to get up on the same site. Its long facade to the street of Toledo, Madrid neomudéjar interesting contribution to the (now inexplicably distorted) is flanked by two brick variations on the theme of the lost home: the far left door of the chapel on the right, the convent. And this reason even used it in the narrow Lázaro rear facade of the set into the Cava Alta (now also barely recognizable). Although designated as Gaya Nuño doubt that "the cover was removed with the intention of returning it to the front of the new convent building (...), as it shows on its facade the scheme of it ', no This is explicit in the Lazarus project, carried out and completed in 1909.

would have to wait half a century to recover from the door of America. late fifties Architecture student then Rafael Manzano Martos inquired about his whereabouts and went Torres Balbas, his teacher at the school, who told him that he must be in one of the warehouses of the town, after touring several of them found it finally in one of the Calle de Santa Engracia which could identify and measure the blocks and make a graph of the first return home.
reported finding
Torres Balbas and the director of the School, Lopez Otero, linked the fate of the door of America to the National Museum of Architecture. It was created by decree of the Ministry of Education in 1943 with the intention to ensure the architectural heritage "gathering and organizing few plans, drawings, prints and projects, building fragments and reproductions are scattered throughout the nation, determined to host the College of Architecture of the City University of Madrid, where it would also director of the Museum.

As López Otero explain himself, the idea of \u200b\u200bcreating this museum ran even to draft the new School of Architecture, trying to collect and show the many architectural drawings (mostly of pensioners in Rome XIX) still kept in the building of the street of Studies and, in large part, disappear in the Civil War, was also intended to use gardens they had to surround the new building, and the large open courtyard of the same, to "expose them authentic pieces or sets, of exemplary architectural remains," Looking ahead to the Renaissance façade ruined monastery of San Antonio de Mondéjar, designed by Lorenzo Vázquez, and our cover of America.

The Otero López efforts succeeded in 1958 the National Museum of Architecture obtain, by the City, the deposit assignment plateresque . In front of the municipal proposal to place it as true of the enclosure door, Lopez Otero opted for a position more ambiguous and rich in meaning: forming step with the frontispiece of the school, end of the esplanade of income-and profiled in the museum garden project (1947).

anastylosis Draft and recovery of the cover was entrusted to Fernando Chueca, who joined in a body of brick with tile roof and important forward, and with an appropriate rear facade. This, describing a large pointed horseshoe arch, and creating a space that stratifies the facade in two planes, we refer to some notable architecture covers Hispano (for example, the Puerta del Vino de La Alhambra, or Corral Coal). The fact museificar this cover-originally designed to form a whole with a large, heavy front-in a small, free body building was not risk-free task (as evidenced by shipments of other attempts to cover in Madrid), even so, the project Chueca knew how to party, very naturally, of the problem.

The location of the new volume was also desirable: square with the front of the school, as a scenic background for entering the site, the cover was reinstalled as well, a frame or viewing the beautiful landscape House, a quality that very soon after, would be altered with the construction School of Surveyors, which is behind her and just separated by a short trees. The erection of the cover in its new location (in 1960, when the School lived moments of modern militant, contemptuous of the excessive weight of historical monuments) accompanied by some controversy and contestation. But since then the door of America presided over the entrance to the School, and has been understood, perhaps as a silent but eloquent witness, "that gave the story, of the many promotions as different architects have been formed in that home. When in 1984 was declared a National Historic Landmark became inseparable legal protection of the environment of the City University , closing, therefore, expectations of further transfers.

However, the recurrent dance monuments have this city of Madrid has prompted a new move is contemplated. In 2004 was raised within the Committee on Urban Aesthetics-Hall following a request from an individual, the question of moving the home to the "area of \u200b\u200bthe square of the Barley" which originally was, so that requested opinion to the university. The director of the School, Juan Miguel Hernández León, issued a negative report on the alleged transfer, alleging, among other things, they belong to funds from the National Museum of Architecture which he directs. It does not seem feasible or desirable to move the monument, his memory and his eventful life in tow, to an area already is not, nor can it be "yours.

NEWSLETTER ASSEMBLY MADRID / N º 24

April 1, 2004

---- PE ---- RGEP.718 -124/2004

Deputy
Mr. Chazarra Montiel, GPS,
the Government on forecast by the Directorate General of Historical Heritage
, to restore the
Puerta del Hospital de La Latina, which
XVI century, in view of its value and its current conservation status
, including whether it has conducted any study
regard.

RESPONSE

DG
Heritage will not perform any action on the restoration
Puerta de La Latina, located on the esplanade
access to School
Architecture of Madrid, and that made inspection visits to
it has been found to be in good condition
conservation is not a priority

no intervention in it.

http://www.upm.es/canalUPM/revista/n3/ ayeryhoy.pdf
http://www.asambleamadrid.es/5/5_3/boam/PDF/BOAM_7_00024.PDF

Villalvilla Olga Sanz
Zaida Pereira Lucas

I Had Erection During Waxing

DOOR AMERICA RUINS OF SAN ISIDORE

foreign Romanesque Art and Museums of Madrid

capital Madrid has important architectural works, sculptures and paintings Romance of great importance. Have their origin in other parts of Spain, especially Castilla y Leon and were transferred to Madrid, mainly museums, throughout the nineteenth and twentieth centuries.

ERMITA DE SAN ISIDORE RETREAT IN THE PARK

Location:

This historic monument is located in the Parque del Retiro de Madrid, 120 km from their place of origin,

the remains of Avila Church of San Isidoro. It is situated in one corner of the park, near the confluence of the Menendez Pelayo Street and O'Donnell, in the Cerro de los Gatos.

Full architecture:

This church was built on another that housed Avila Romanesque relics of St. Isidore of Seville on his trip to León in 1062.

Previously

was dedicated to San Pelayo. As read in the inscription of the temple bell was built in 1116, but that hood is missing.

to the sixteenth century parish and in the seventeenth century the factory was rebuilt becoming annexed to St. Nicholas Chapel.

After the seizure was his ultimate ruin, was demolished and the remains sold to an individual. In the nineteenth century, Emilio R. Nicolau won the remains of the temple that he built the first State in the gardens of the Archeological Museum, from the Parque del Retiro definitely in 1897.

Building System:

existing ruins today in the Parque del Retiro foman of the Historical and Artistic Heritage of Madrid and consist of a wall straight brick masonry with an arch and a circular wall of the same features in two columns with carved capitals. It keeps the door of three semicircular flat archivolts on columns and jambs and the apse with its windows and pilasters.

Its orientation is incorrect because the apse points south instead of east, as is obligatory in a building of medieval origin.

Although the whole thing deteriorated still be seen carved animal capitals.

Materials:

Like most medieval chapels of Castile and Leon, it was built with granite

Caleño Granite or Stone Bleeding, which is very easy to carve as it undergoes a process of change in quarry. This variety is intermediate between granite and silicified sandstone which is extracted mainly from The Butt (Ávila) , used in monuments of the city of Avila and currently only used in its restoration.

Interventions:

After being transferred from Avila in the nineteenth century and rebuilt in the courtyard of Archaeological Museum of Madrid, these ruins were settled Parque del Retiro in Madrid in 1897. In 1999 were restored by HPLC Group, a company specializing in the restoration and rehabilitation of buildings and monuments with conditions that must be addressed by specialists.

legal status of the building:

The hermitage of San Isidoro was bought by an individual after taking into ruin poc or after the seizure of Mendizabal. Later in the nineteenth century gave the remains of the church to the state and is now part of Historic and Artistic Heritage of the City of Madrid. It was therefore the institution who determined the basis for the restoration of the ruins of San Isidoro de1999 in a Government Commission.

BIBLIOGRAPHY

http://www.astragalo.net/madrid/retiro.htm
http://olmo.pntic.mec.es/ ~ mdem0011/otras.htm
http://www.amigosdelromanico.org/inventario/inv_romanico_madrid.htm
http://www.arteguias.com/romanico_museo.htm
http://www.siemcalsa.com/web/La_Piedra_en_Castilla_y_Leon-web.pdf

HELENA PEREZ CALVO

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