Friday, February 17, 2006

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.
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