OF AMERICA PLAZA
Aníbal González in 1912 ordered the actual location of the buildings at the oldest preserved, and approved the project for the area of \u200b\u200bthe Mariana Garden May 16, 1913.
Its structure was shaped like a rectangular space, which places three pavilions, the Fine Arts to the south, and it faced the Manufacturing and Decorative Arts (Mudejar Pavilion) and a side under the Royal Pavilion, the latter provisionally, thus leaving open the square to the Paseo de las Delicias on the other side lower. This set is complemented by a large central pool and garden areas, leaving and made the Plaza of Honor, as it was called at first seed of what would Plaza of America. He urbanization
the plaza with a landscaped central rectangle, outlined by a calzasa and a cloth before each construction yard. Through it all, a terrace with pond and fountain, in which cast iron is the leading ornamental.
In these buildings, the first of the Exhibition, the author wanted to bring together the three historical styles, considered essential by the architect, Palace of Fine Arts, Renaissance, the Industry and Decorative Arts, Mudejar, and the Royal Pavilion, Gothic . The style is inspired by three pavilions make the plaza a supreme manifestation of historicism sought by Aníbal González, becoming a small sample that would present to the desired establishment of new national style
If half because of Seville was popular and crafts (Moorish), half the cultured and artist (Roman). Thus the architect is based on these concepts to perform the two main buildings. On the one hand, the Palace of Industrial and Decorative Arts, dedicated to craftsmanship, as configured in the anonymous art aesthetic, small and medieval Islam, with a duality of feelings, first released, with clear references to Alhambra and the other under Christian rule with references to Seville Alcázar del Rey Don Pedro, knowing conjugate in the Islamic symbiosis with plateresco, adding a powerful pictorial effect. Chromaticism attractive building, soon made him become the aesthetic character of the Plaza, then calling the common people Mudejar Pavilion.
The other building, the Pavilion of Fine Arts, the Renaissance based on aesthetics, style it, behind it all, with reference to the Universities of Salamanca and Alcalá, and towers of the city palace of the Tormes, and the Museo del Prado. Designed from the outset as a museum, the architect studies the main European buildings dedicated to this task, and articulates it for this function, highlighting the overhead lighting system, a novelty for the time, and good circulation of its rooms.
Postal the time of the Exposition. Shows the Sundial roundabout . Excited
the Committee with the idea of \u200b\u200bthe square, the grandeur of his concept, he decided to make permanent the Royal Pavilion, thus meeting the suggestion of the Royal Academy of Fine Arts. The author stands a beautiful building, like a small box of brick and pottery it were, a cross inscribed in a square, which symbolizes the triumph of Christianity sobre el Islam y la propia Roma, bajo la monarquía de los Reyes Católicos.
Victorias aladas de Lorenzo Coullant Valera y Pedro Carbonell de 1913.
También había diseñado el arquitecto para esta plaza, el monumento a la lengua castellana representada por Miguel de Cervantes, como tributo y homenaje a la Lengua Española, vehículo de transmisión cultural y unión permanente con América; ubicándolo en el lado menor que quedaba abierto al Paseo de las Delicias, y enfrentado al Pabellón Real. El proyecto fue confeccionado por Lorenzo Coullant, con un importe de 300.000 pts. El Comité lo consideró excessive given that the reform of the Parque de María Luisa, was budgeted at a slightly higher amount. Rejected the project, was commissioned to design Aníbal González Cervantes gazebo in the gardens of the Plaza, directly opposite the Royal Pavilion. Lorenzo discarded sketch Coullant served, with minor modifications, to erect in Madrid the Plaza of Spain. The
adorn the Plaza, are cared the most, as elements of artistic, with winged Victories on columns, designed by Lorenzo Valera and Pedro Carbonell Coullant 1913, or wrought iron lamps cast Juan Miró and wise landscaping, fountains and gazebos.
wrought iron lamps cast Juan Miró
The gardens of the square were rebuilt several times, and are composed mainly of a geometric design of flower beds, framed by euonymus hedges, within which are planted different varieties of roses. Finally tall and slender palm trees complete the picture.
At the end of access through the Paseo de las Delicias, white doves, internationally known, are concentrated to anyone who will provide food.
Before reaching the entrance esplanade the Royal Pavilion, on both sides there are two roundabouts, left erected in honor of Rodríguez Marín and right to Cervantes.
Glorieta dedicated to Rodríguez Marín, in the Plaza de America .
La Glorieta dedicated to the poet, literary critic and historian Rodríguez Marín (1855-1943), was designed, as the entire assembly by Aníbal González, Manuel García-tiled Montalvan, is almost square, prepared as a small patio, with a pond in central banks, backed ceramic bricks and wrought iron around it. In front stands a body, which fits a niche of four shelves, book writer, presided over by a tableau of blue and white tiles with the image of the poet. Given this and also in ceramic paintings, poems by Lope Mateo and Rafael Laffon dedicated to Rodríguez Marín who popularized the works of Miguel de Cervantes, and awarded Grand Prize at the American Exhibition for his copious work by Cervantes.
At the back of the last roundabout and close to a large jacaranda tree, planted in 1921 and given to him by an English subject, stands the roundabout dedicated to Cervantes. Also designed by Aníbal González, built around a magnificent specimen of Araucaria. It consists of four banks olambrilla covered with scenes inspired by illustrations of Don Quixote, made with cuerda seca technique and framed by a border of dark blue. In two of its sides open shelves for books, equestrian figures topped by D. Quixote and Sancho Panza, exist today.
Glorieta de Cervantes, today and some pictures back with equestrian figures of D. Quixote and Sancho Panza.
and detail of the base of the shelf with Cervantes firm
Detail scenes of Don Quixote in banks
The authors of them were Eduardo Muñoz ceramist and painter Pedro Borrego Bocanegra, execution in workshops Rejano Ramos and the visitor could read books Cervantes roundabout resulting in a living monument to the English language.
The square also completes the beautiful pond dotted with lily pads with a high central fountain surrounded by beautiful wrought iron chandeliers, with two mini-roundabouts one with a map of the Parque de Maria Luisa and Plaza de America and another with a sundial.
And so this square was opened by HM King Alfonso XIII, 25 April 1916, but that definitely was not completed until four years later, with the Count de Urbina Commissioner, is a true example of the spirit deeply Seville dominated by the Monarchy and the language, symbol and sign of the exhibition, English and American, which was named American Plaza.
Glorieta a map of the Parque de Maria Luisa and Plaza de America in ceramic
postal kiosk sales during exposure, together with the Royal Pavilion
Among 2002 and 2003 have been restored decorative architectural elements of the square, along with Bowers Cervantes Rodriguez Marin and the sundial designed by the architect D. Francisco González de Canales.
SOURCES - Regionalism ARCHITECTURE IN SEVILLE 1900-1935. Alberto Villar Movellán.
- The Ibero-American Exhibition and Surveyors. José María Cabeza Méndez. SURVEYOR No.
Magazine. 16.
- ABC, editing Sevilla, neighborhood by neighborhood
Collectible - HISTORY American Exhibition in Seville in 1929, Eduardo Rodríguez Bernal
- www.sevilla.org
- www.sevillasigloxx.com
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