HALL OF COLOMBIA
On August 20, 1927, was made delivery of land for the construction of the Pavilion by the Executive Committee of Queen Victoria Avd or Palm and more specifically in the Glorieta de Mexico, pre-eminence within the enclosure exhibition, to be constituted as a main communications within the urban planning process that the south suffers by reason of the statement, signed scripts on November 22, 1928, enjoy a deadline of 75 years, after which there would be the automatic reversion to the City of Seville without compensation, ie the November 22, 2003.
Partial view of the facade, current
facade of the original draft Granados
Of the thirteen foreign pavilions were built, ten of them were designed and run by technicians sent by the respective countries, only Colombia, Guatemala and Venezuela trusted to control the design and English technicians and more specifically in this case the components of the Technical Office of the Organizing Committee.
Thanks to the interest shown by the Consul Ernesto Tirado leaned back, the Colombian government commissioned the architect José Granados de la Vega and Dimples Ángel Martínez surveyor flag design representative of this country.
Also planned are also two non-permanent pavilions smaller, one dedicated to "Café Suave" whose facade representing the head of an Indian feathered chibcha, also made by Granados and another to snuff, the latter is not certain of its construction. None of them have survived. Granados
when deciding on the style you should design the building, must have had many difficulties, the proof is abundant documentation that the architect asked the Consul.
Just keep in mind that although some authors state that was inspired by the Baroque Colombia, it can be said that there was no, because during the time period in which it develops this style, architecture in this country was quite modest and the development of Baroque was slowed by the diversity of regions and geographical constraints and existing communications, with very few other examples of this type of colonial architecture in the Viceroyalty of New Granada.
At this point we think that the author chose a personal interpretation, mixing religious and civil architectural elements. Based on simple volumes that attaches decorative elements, with plain walls decorated with isolated elements, typical of colonial buildings, and adds two towers at its entrance as the contribution of architecture
Start the ladder type and source rule religious art.
plant canopy is very broken, and some have seen in her the model of Temple of the eighteenth century, however Graciani Amparo Garcia, who has done a magnificent job of research on this flag is different from that assertion and Villar Movellán Granados said of the plant have been inspired Mudejar Pavilion Aníbal González. any case, the author distributes the building on two floors. The center has a patio, as a lobby, surrounded by galleries on two floors, which communicates with the spaces designed as exhibition halls. The two side wings, designed as the interim, existing only on the first floor, being replaced on the top floor terraces.
Ceramic Tile. Colombia in the world
This distribution around courtyards and galleries, is very typical of the colonial house in Colombia and even Venezuela, and served superbly to display purposes. A top floor is accessed by an imperial staircase that leads into a courtyard perimeter gallery that connect the three areas which were equipped, air couriers, journalism and management as well as access to the terraces.
Access to the building is done, after passing through the front door, which leads to a hallway flanked by two towers of 18 meters high, for which Grant was inspired-by-similarity in the top of the body Catedral de San Luis de Potosí, perhaps by personal taste as this baroque church belonged to the Viceroyalty of New Spain (Mexico).
From close observation of the original project (see reproduction) we can see that on the first square body of the towers, the second one ordered octagonal furnishing them with twisted columns on each of the eight corners, instead of two as in the San Luis. Open arches on alternate sides, continues vault section pointed tops ceramic coated drum with trapezoidal pinnacle, like the Mexican temple. Large decorative brackets of four fronts the tower were personal contribution of the architect. In the first body and a progression to finish decorating the tower, designed balconies elongated proportions.
On both sides of the hall, for access and porter, you can still see two large mosaics, one of Colombia in the world and one of the areas compared between the Colombian Republic and the Iberian Peninsula , giving step the square courtyard composed of twelve Tuscan columns of marble, on which are held four rings of half a large egg on the lintels.
The patio serves as a communication with the side wings, which as we said above, only found on the floor, and provided a large exhibition rooms. On the left starts the imperial grand staircase that leads to the second floor. Facing the staircase, the room designed elliptical path for the exposure of coffee, one of its main products, and collections of emeralds. Opposite the main gate and across the courtyard, there is a roundabout way to stay open to the outside with three large windows, on the sides of this area were two small rooms dedicated to kitchen and powder room. Tower simulating the outside and form one showroom upstairs.
ceramic mosaic in the lobby. Surfaces compared to Colombia and the Iberian Peninsula
as
The building was designed by Granados, was devoid of many allusions to the civil constructions in order to bring to the sculptural decoration that he performed Rómulo Rozo.
In this regard, and if you look at the design of the original building, we can see, as the cantilevered balcony above the main door wood, widely used in the cities along the Caribbean, taken from the model Islands, is replaced by a stone balustrade balcony, or as the arbor of the side terraces, is suppressed. Likewise, the cornice with curved profiles and finishes Roelas mixtilinear aspect to the gateway, is replaced by another end to a mythological allegories described later when we play the iconographic theme.
balcony of the main facade
Construction flag is carried out conventionally, he built brick walls on foundation trench run, to the fabric used horizontal metal beams and decks were determined to Andalusia. The total built area is 1,300 m2, was inaugurated on September 26, 1929
If the direction of the works were carried out by English technicians, Colombian Rómulo Rozo, was responsible for the design and development of sculpture and relief items to enrich the building in an exceptional manner. Rozo get together in his anthropological synthesis identifies the Colombian people. Alluding to the great myths of the Chibcha people, one of civilizations that populated the plateau Cundinamarca, Bogotá, the iconographic program covers topics mythological, heraldic and allusions to the flora and fauna.
The decoration was carried out on cement, religious themes focusing on the main facade and side face of Moliní Avenue.
The sculptor Romulo Rozo to one of his works
TEXTS IN RED, METHOD FOR THE SYNTHESIS OF WORK:
"INTERNATIONAL EXHIBITION HALLS IBEROAMERICANA. The flag of Colombia. Unpublished. Graciani Amparo García EXPRESSLY STATED BY AUTHOR'S DESIRE
MYTH OF MANKIND: At first everything was plunged into darkness, until Chiminigagua, omnipotent and omnipresent, creates trees and plants as well as some birds that were illuminating the world with the shining light to shed its peak. Made of light, one of the lakes comes Bachué, carrying a child in her arms, lives with him until he reaches puberty, joining in marriage. The two walked the land populated by children, due to the high fertility Bachué, when the world was populated, and his son returned Bachué the Iguaque Lake from where they came, becoming snakes and joining forever. Calling before their children peace and law enforcement.
Both worlds are separated by a ceramic frieze masked priests, by Ramos Rejano, which represents the ritual procession Gesar, consisting the imprisonment of a child (Gues), which until 10 years he was growing up in the sun temple Sogamoso, leaving only to walk in the path Bochica had come, after 15 years he led a column Bochica followed by a procession of masked priests, is bound to the column and were shot dates, sticking out the end the heart. It was the rite of sacrifice to give honor to Bochica.
Detail of the frieze ceramic masks representing the procession of priests Gesar
The figures of the Chibcha warrior goddesses flanking the front door frontalism remembered for his bottles, with human figures, used to store cocaine, drug consumption in the high plateau. Dressed in rich robes and covered with ornaments, necklaces, bracelets on arms and legs, plumage, it was like attending the celebrations of the deity and war, the undulations of the pedestal seems to make them emerge from the waters of the lake. Following in the front door, and stopping in the molding that fits, we can see, the different thicknesses of it, represented the land for corn and flowers, the air by the tongues of fire and water with the repetitive representation of Holy Frog Ata, which also displayed on the balconies of the towers.
The iron gate, is a magnificent example of the Andean path alludes to the myth of Cundimarca on transporting souls to the afterlife, to be very significant this issue at the door for the symbolic value in all cultures. Recreated through symbols transport the soul of a warrior beyond, he uses in the center on these weapons and the spider, which was done on the boat to cross the underground river, it is represented by the sacred fish greca . It also employs the symbolism of the arrows in the gate by the warlike character of the Chibcha culture. Finally two coiled snakes guard the entrance to the temple of Bachu mode é.
Goddess Chibcha flanking the front door holding the symbols of the Moon and the Sun details
addition to these sculptures with mythological symbols, there are countless others in the pavilion, which are discussed in different photographs.
As mentioned above, takes the heraldic Rozo also as a decorative element and does so in various parts of the flag, the national emblem which crowns the facade. In his two young indigenous people in the fitness of worship carry, and a condor with its wings outstretched, symbolizing freedom, you take it with its claws. There are also heraldic in the side doors on the lintel of the same, with the representation of the grenade, the ancient name of the country (New Granada) between two figures Bachué in its transformation.
Finally in the rear facade, a couple of soldiers shooting their bows, symbolizing the final outcome of the myth of the origin of man.
The exhibition of their products had no direct representation, being all official and as a means of propaganda.
Topics displayed in the various rooms are as follows:
- Public Education: statistical graphics and photographs of the organization and development of education and craft School.
- Newspapers and books: A collection of books, newspapers and magazines in the country.
- political, administrative and finance.
- Domestic and foreign trade: With graphics of Colombian trade.
- Directorate General of Health: Pharmaceutical Showcase National Laboratory.
- Way of communication: graphs with statistical data communications road, rail and air.
- Agriculture, Livestock and Industry: display of agricultural, industrial and artisanal.
- Minas: sample oil, platinum, emerald and information on jobs in mining and hydropower.
- Paintings: in the floor, setting out works of contemporary painters from the Museum of Fine Arts in Bogotá.
- Salon de la Plata, with old hammered silver object.
- Emerald Hall: Exhibition of a collection of emerald and history of the stone from its geological formation to its final cut. Had contest jewelers who had works of great economic value.
- Golden Hall: Representation of an Indian temple which contained among others the Treasury Quimbaya Colombia donated by the Queen Regent María Cristina in 1892 and currently on display at the National Archaeological Museum.
exhibits any of the treasure of Quimbayas
Trim , candle and trim detail the front door with various symbols of earth, air and water.
Symbols Heard. Window of the ladder
allusion to the Colombian fauna. A detailed bat outside of the tower
rear facade and rotunda. The windows were decorated, the plant with a river and the sun fertilizing the fruit. Right coca coffee and rice and left the cocoa, pineapple and tropical fruit design is due to Rozo Any Krauss wife. Here were exhibited sculptures of Colombian artists. On the occasion of the end gable of the origin of man.
The Silence (1920), marble work of Marco Tobon Mejia, was exhibited at the roundabout next to other works. It was acquired by the Colombian government in 1928 to be exhibited each year following the Latin American Exhibition in Seville and then be transferred to the National Museum of Colombia.
addition to the flag of "Café Suave" outlining economic data production, with a diorama of a plantation and a bar where coffee was served. Esteba enlivened by groups of Colombian singers.
26 to September 30, 1929, was held the week of Colombia with the assistance as a government representative D. Antonio Gómez Restrepo, President of the Columbian Academy of Language and former Minister of Foreign Affairs.
Interior flag a craft show .
Once the exhibition closed, it lost some of the Pavilion for the installation of the Nautical School San Telmo, conserving the remainder for the consulate, with a clause for review every 4 years , which was reduced to 6 months in 1968, leaving aside the said assignment in 1985, thereby recovering the entire Colombian Government Pavilion.
Since 1986, efforts are under way aimed at the granting of a contract extension extinction scheduled for November 22, 2003, which will maintain the building diplomatic representation in that country, whose establishment dates back to 1882.
exterior ornamentation of one of the corners of the building
National Shield Colombia's main facade
Two warriors and the Sun frame a service door beside the staircase
Details warrior mask adorns the start of an arc of Parthia.
The towers are topped by four Chibcha Indians holding the vessel ideal Sacred Fire Colombia. In the four corners of the devil holds the world Chichabcuma produce earthquakes when it changes from shoulder. The spiral columns entwined serpents represent the fourth supporting human heads. The figures placed between the columns symbolize the gods of agriculture, trade, industry and navigation.
Arcade Gallery based higher quimbaya architecture remains, adorned with the symbols of the indigenous music and poetry. Supports a glass with colored fret pre-Hispanic motifs in the center symbol of a star guard Colombian Aborigines.
source Rozo available as a statue of the goddess Bachu nude carved in black granite, now defunct.
Rozo in his workshop, carving Bachu goddess of the source.
Two images from inside the pavilion on the left court, right newsroom.
The Sermon on the Mount work Gustavo Arcila Uribe made in patinated plaster .
Will Work of Gustavo Arcila Uribe. Gold Medal.
inserted acontinuación A COMPILATION OF VARIOUS COURTS IN CONNECTION WITH THIS HALL TO APPEAR ON THIS SITE
SOURCES:
- THE HALL OF COLOMBIA, José María Méndez
Head Magazine SURVEYOR No.. June 22, 1987
- HISTORY American Exhibition in Seville in 1929, Eduardo Rodríguez Bernal
- Flags of the Latin American Exhibition, Alberto Villar Movellan
The American Exhibition "Newspaper Municipal Funds"
- THE LATIN AMERICAN CAMPUS EXPOSURE, BUILDING AREA, AND HALLS CONSERVATION, José María Méndez
Head Andalucía and America in the Twentieth Century, Proceedings of the Sixth Conference of Andalusia and Latin
1987 - Exhibit Guide 1929-1930
IBERO
- COLOMBIA IN THE LATIN AMERICAN EXHIBITION "THE LIBERAL" 22 June, 1929
- American Exhibition "THE LIBERAL" 27 September 1929
- INTERNATIONAL FLAGS American Exhibition. The flag of Colombia. Unpublished. Graciani Amparo García.
- SEVILLA hundred buildings. Guillermo Vazquez Consuegra.
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