The Plaza of Spain is the largest building of those were built on the occasion of the Ibero-American Exposition, and it is also of that century, and can be compared with those who, from the sixteenth century, featured the outskirts of the city, including the Hospital of the blood or the Tobacco Factory.
Aníbal González
On 25 May 1912, the Executive Committee approved the plan submitted by Aníbal González for the site of the English-American Exhibition, which clearly shows three distinct cores. A large oval-shaped plaza in the fields of Tablada, formed by the flags of Agriculture and Machinery, this area would lead to over the years the Southern Sector of the exhibition. A second core known as the Plaza of Honor, located in the old Garden of Mariana, and consisting of the flags of Ancient Art (Moorish), Fine Arts (Archaeological Museum) and the Royal Family, was linked to the Parque de Maria Luisa and auction the same, this set would be called later as Plaza de America. And finally the core of the great square Stadium, installed below the access to the exhibition space, and registered between Maria Luisa Park and the Prado de San Sebastian. Of these three groups came to a successful conclusion only recourse to the Plaza de America.
As norm throughout the construction process of the event, these plans were constantly changed, one of the first was to relocate the Stadium, leading to the "Huerta del Carmen" in the Southern Sector. On May 16, 1913, a determination is to call Plaza of Spain, the empty space that the change of location occurs Stadium. Thus the July 31, 1914, it approved the new project presented by Aníbal González, the embryo of what would be the Plaza of Spain, whose design would suffer many alterations to its final conception.
Plan of the Plaza of Spain, 1914, in appreciating the three temporary buildings and connecting the two frames.
Aníbal González in his first conception of the project, set on a semi-elliptical surface, three temporary pavilions, the General Industry, Agriculture, and the two Acts and the Palais des Festivals in your elbows, you come together by linking them between two porches or pergolas arched floor, with terraces at different heights to be used by viewers. He also arranged for a canal or river which surrounded and cut into its center to provide access from the Park, with eight bridges that crossed it and served as access from the central plaza within walking distance of 35 meters high. wide.
Plaza definitive map of 1918.
Later, it was decided to construct a permanent building on the corner of the set, located in the School of Applied Arts and Industries. This occurs because the final design of the Plaza, under the name "University Project Workers and Plaza of Spain." The report of the project that the architect develops, in its first paragraph states clearly the two primary objectives: the first is the construction of a central building for School of Arts and Crafts and some aisles workshops aimed at learning, and second rise thanks to its provision may be used as Stadium, to celebrate all sorts of outdoor entertainment (racing, magazines, sports games, rides, etc). This second objective is clear as the author, never ceased to keep an eye on a place for big events, is precisely in this incomparable place where tube opening ceremony of the Ibero-American Exhibition in 1929.
The author makes in all five groups of buildings:
1 .- The School of Arts and Crafts used for teaching, with additional classrooms and offices, situated in the central building, three floors of honor , main and second, around a main courtyard portico and four ventilation and lighting; projected two entrances to this building, one from the square, by its facade covered with a gallery to which is added a large terrace flown qu ends at the edge of the estuary, and a rear with access from the Prado de San Sebastian, with arcades, under which passed the miniature train. This building includes a small theater in memory of its origins as the Palace of events and festivities.
Three images of the construction of the Plaza of Spain
2 .- The vessels on the left and right of the main building to workshops to learn different trades, of 20 mts. wide by 15 high, have in front of the main facade a gallery with a great colonnade corresponding to each arc a roundabout a English province. Willing to offer a wide variety of learning.
3 .- In the center of the ships on both sides of the main building, separate buildings registered under the name Gate of Aragon and Navarra, which is twofold, first as access to the galleries and workshops, and up the terraces galleries, by steps of size grades hosting a facade of three architectural orders that extend throughout the development of the plaza, and secondly as a means of communication and facilitate the connection with the Prado de San Sebastián and give the whole a more slender and proportionality. It is also supplemented with small factories, laboratories and public use.
4 .- The Museum of Art and Industry, at the ends of the assembly, whose purpose is to contain collections of objects that serve as models for the various teachings of the Workers' University. These rectangular buildings consist of two lower floors and main. Objects would be presented in a space of 696 m2 house one.
ceramic cloth of the roundabout for Guipúzcoa.
5 .- North and South Towers and entrance porch to the Plaza or union with the Parque de María Luisa. The towers are placed at the ends of the building, are for decorative purposes and rounding off the same functional as containers for water storage and applications for wireless telegraphy, reflectors, etc. The total height is 70 meters. and the interior is accessible by ramp and stairs at the top. Following
memory Aníbal González wrote about the project, said that the central esplanade semi-elliptical, has a diameter of 186'38 mts. the longest side and 93 the lowest, with an area of \u200b\u200b14,668 m2. Coupled with the Avd de las Palmeras (Avd Isabel la Católica), by a wide entrance, with the ground the same as that of the avenues of the park. The river which did not satisfy Forrestier, but remained in its expansion of the Park to the Plaza of Spain, except completely enveloped in its central part, which was the entrance to the park, has a width of 14.76 meters. and 513 mts. long. Four bridges, ceramic coated, called Castilla, Leon, Aragon and Navarra, communicated the central part of the Plaza with Walk to the public, somewhat higher than 25 meters. wide and 360 meters. length and with some slope to facilitate visual conditions of the spectators, who were connected at their ends directly to the Park thus forming two new hits.
Aerial view of the Plaza of Spain, November 1930 .
whole trip would be run by 48 banks against the wall, arranged in a "U" like boxes, each devoted to a English province. On his forehead, and be represented by ceramic altarpiece historical scene or customs of the province on both sides would place stacks of painted pottery which would be made of publications relating to it. The floor would consist of the provincial map tile, bordered by olambrilla shields of the population of the province. For decoration Aníbal González A particularly important brick, in addition to its constructive purpose, is used to trim both cut and carved reliefs, also specified as an essential basis of ornamentation, embossed and wrought iron, wood carved marble carved decorative constitute the whole. As relief glazed pottery, as painted tiles and its many applications. But because of the fragility of the material, breaks continuous suffering that necessitated continuous substitutions of these ornaments, so in 1946, to give a definitive solution is to strike the glazed ceramic lamps and replacement balustrade inside the estuary, with a similar natural stone. Obviously the problem is not resolved and the remaining balustrades continued to deteriorate.
All ornamentation offers a cultural and symbolic designed to convert the Plaza of Spain in the new identity of the Exhibition.
The floor area is 18,731 m2 and 31,360 m2 free and total joint 50,091 m2, this huge colossus of 170 X 100 mts. has a long journey that starts construction in August 1914 to reduce unemployment and workers' Sevilla suffering that culminated in May 1928.
on the grounds that Aníbal González art was inspired several theories exist. Víctor Pérez Escolano So, picking the words of the author in his projects "I was inspired by the English Renaissance. It is clear that modernizing it, interpreting it as the fundamental idea, so to speak, that standard has served me for what I have done ...." later in Seville in 1924 in memory of the North Tower says, "... .. the style is naturally the same as that of the whole construction of the Plaza, I mean, modern, inspired by the English Baroque and the inimitable examples in Santiago de Galicia, Valencia, Zaragoza, Ecija, etc.. " The author in 1924, defines the modern style inspired by the English Baroque and does not consider it inconsistent with inspiration in the English Renaissance Project General of the entire Plaza of Spain and the sequence of performances of renaissance and baroque and modern, but that does not mean that the principles of historicism nationalists are in full force since the beginning of the century, resulted from the official culture and reflected in most of English architecture. For Furthermore Pérez Escolano, also sees the influence of Andrea Palladio in the project, considering it a betrayal of nationalist inspiration.
Stairs main building, now Captain
Towers rise up in defiance of the Giralda, these were considered as "costly, unnecessary and not very beautiful" by the Academy of Fine Arts of St. Elizabeth of Hungary, to symbolize the arrogance of the new times and serve to demonstrate the teacher Villar how regionalist historicism came to be "cutting edge" in the Seville intellectual environment, raising towers breaking the urban landscape dominated by the Giralda.
The towers were cemented in 1923 with a system of piles piles, which then bind to the surface by a large slab of concrete, the building was awarded in December next year the Company Routes and Risk of Zaragoza . Its composition is terraced in the manner of the Cathedral Mosque of Cordoba, and the shape of its main hub brings us to the Clock Tower Santiago, likewise apply platerescos issues as the balcony of the Casa de los Muertos de Salamanca, but taking care at all when not crossing the thin boundary regionalists always placed between inspiration and copying.
This unique aesthetic based on the concept of regionalism, Aníbal González, use the brick and glazed ceramics as key elements. What size brick stone as it were, even more wood, as were the carpenters who were responsible for styling the decorations carefully, always extolling the essential character worker's local artist in their production, as evidenced by the written text of his own hand with a personal photo "Fair is recognizing that in Sevilla there are workers in all trades, highly skilled and intelligent and if they have not yet done work for the exhibition, is simply because they were never presented an opportunity for it, but they do and have done work much more difficult and sensitive of which are needed for this class of buildings. "
Postcards of the time with images of the central courtyard of the building .
Indeed, the brick is within the ambit old tradition that matures in Moorish architecture and construction continues in the local wisdom from the mudejarism to Baroque, extending historicist regionalism under the Ibero-American Exhibition and reflected not only in its buildings but architecture throughout the city.
The works began in August 1914 to reduce unemployment worker who suffered from Sevilla, as mentioned above, were made by partial contracts, conditioned by the lack of liquids of the Committee. The works were also very concerned about the difficult social situation of the second decade, leaving some deserts contests. Among the most outstanding companies for the awards were General Construction Company and Beams and Risks, SA made many detailed decorative work, too many ceramic factories worked for the project as "The Remedy" by José Laffite, Rejano Ramos, José Mensaque, Pedro Navia, Manuel García Montalvan, Pottery Bernal, etc. The works were completed in May 1928.
Calculating the cost of this monumental work was very problematic, Aníbal González made a realistic budget, I was introduced continuous modifications. The budget studies were never able to determine in advance economic costs. It was employing over a thousand workers, thus absorbing the crisis of local labor and even county.
In a report by the Works Department on the status of implementation of the works of the Plaza of Spain, it appears that the architect was flawed. But this responsibility is not only attributable to Aníbal González, under the direction of Vicente Traver, expenditures continued to overflow. In the original draft of the Workers' University and Plaza of Spain, the budget was 4,670,200 pesetas., But we can estimate that the total expenditure amounted to approximately 11,000,000 pts, almost three times more than originally budgeted . In any event, it appears to note the tiny amount from the current price for a building of this magnitude.
Between May and July 1926, final crisis occurs which requires Aníbal González to resign as architect of the Exposition. The clash between Commissioner Cruz Conde and the architect Aníbal González was due according to the interference in the decision-making as the latter were within its competence. With that decision prevents the completion of the work by its creator, and his departure also occurs up his assistant Aurelio Gómez Millán, falling on Pedro Sánchez Núñez responsibility for the direction of the few jobs that remained.
central building entrance from inside the square
In 1927, Vicente Traver, succeeding Aníbal González, and in exercise of its powers as Architect Director introduced unfortunate central source project, destroying the playfulness of the whole. To Traver important thing was not empty space, that derailed his work, if not the buildings that surrounded it, favoring the observation of themselves and their rich ornamentation, but this meant that the most important public works undertaken Sevilla stay in converted into a contemporary ornamental piece.
With the passage of time was changing the functionality of the monuments we know as the Plaza of Spain, Aníbal González initially planned to replace the Stadium, composed of three pavilions ephemeral, never forgetting the idea of \u200b\u200ba great venue for entertainment, close to town, then decided that one of the buildings were permanent and dedicated to Faculty of Science, and later the rest of the buildings house the Workers' University.
In 1927, under José Gómez Millán project the Ministry of Labour conditions the North Tower to house its facilities, After the exhibition, the Industrial School. By Order of September 11, 1936 General Queipo de Llano, provided that all buildings should be allocated to government offices, remains in use today with no little trouble adjusting to this role. Say
finally, yet all this, today the Plaza of Spain is a place of recreation and tourist attraction of the first order. Not having been hardly exploited the large central plaza for shows, in part by the foreign element is the addition of the central source of Traver.
Hispanic American College .
South Tower lit
Curiosa aerial view of the Plaza of Spain flooded in 1948.
The plaza and fountain illuminated
In the description of the contents displayed in the Plaza of Spain, Eduardo Rodríguez Bernal ago in his History of the Latin American Exhibition in Seville in 1929, is mainly based on the Catalogue and Exhibition Official Guide, as well as articles appeared in local newspapers and in brochures published by some of the bodies exhibitors.
This illustration shows where the various exhibits were placed
INDUSTRIAL MUSEUM
RO
On March 21, 1929, establishing the Royal College Training professionalism of Seville that would occupy, once the exhibition, the north tower of the square. This facility was the provision that the Ministry of Labour, made the tournament in Seville. It had boiler shops, forging, fitting, machinery, foundry, carpentry and electricity, physics and chemistry laboratory. Units pretending to be a model for other facilities of this kind, with showers and central heating. Also statistics outlining the activities of Spain's Industrial Schools, photographs and drawings.
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STATEMENT OF DEPARTMENT OF SOCIAL ACTION AND MINISTRY OF LABOR MIGRATION
The Directorate General of Social Action alternated with historical data pertaining to emigration century English XX. Documents were displayed in glass cases, books about the colonization of America and files with names of the English who traveled to the New World during the sixteenth century, VII and XVIII, with statistical tables and graphs maps of the migration of English emigration.
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a model was exhibited at the University of Deusto, which at that time was being built, and a collection of photographs of cultural and charitable foundations created in Spain by returning migrants.
capitulations of Santa Fe
EXPOSURE AND CARTOGRAPHIC HISTORY OF THE DISCOVERY AND SETTLEMENT OF AMERICA.
This exhibition documents showed enormous historical importance, related to the discovery, as the capitulations of Santa Fe and the Surrender of Granada, the Journal-book of Columbus and other documents of the Archives of Columbus acquired by the State to the Duke of Veragua.
also had six dioramas with scenes reproduced polls moments in the conquest of America and a model of Lima in 1687, decorated with paintings and swords.
Dioramas depicting scenes from the Conquest of Mexico, and the Foundation of Buenos Aires .
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SEVILLE HOUSE
This exhibition was divided into three parts. The first was developed in several rooms and they were archaeological sites in the province, then other venues such as the so-called San Fernando, Don Pedro the Cruel, Knights Twenty, which was reproduced in the Chapter House floor the City of Sevilla, Cervantes and Siglo XVIII. Basically, documents showing the different periods, such as Tombs of the Catholic Monarchs, the Partidas of Alfonso X, medieval privileges granted to the city, a copy of the first edition of Don Quixote, coin collections, paintings, tapestries, drawings and models of the ancient gates of Seville.
The second rebuilt in a stately nineteenth-century Seville, decorated with nineteenth-century Elizabethan furniture and paintings and prints, the author was Pedro Sánchez Núñez, which received high praise for the wisdom of their work. The historical rooms and the house of Seville, were connected by a path that mirrored the Callejón del Agua del Barrio de Santa Cruz.
Finally there was the Museo Taurino, which occupied two rooms, which outlined a gallery of portraits of bullfighters, costumes, trophies, pictures, personal belongings of famous bullfighters, etc.
PRESS ROOM
The Conde de los Andes, Minister of National Economy, opened on June 18, 1929 this room, it was a sample of newspapers and magazines around the world in English and Portuguese.
The participation of the Madrid Municipal Newspaper was very prominent, was divided into two sections, one old and one modern, the old section in the old copies were exhibited in 1661, the Gazette of political and military susessos most of world and the Gazeta de Madrid of the particular things new So then political and military Zaragoza. There was also a copy of the News of Seville, 1691. The modern section hosted an example of the current national newspapers sorted by province, as well as Portugal and America.
MONUMENTAL MAP OF SPAIN
was a giant relief map of the Iberian Peninsula.
CANAL LOUNGE II
models were displayed, statistics, photographs and drawings of the construction of the canal that supplied water to Madrid. There exhibition brochure.
(photographs were exhibited at the Salon)
Engine Room Centra lift the water and building of the Central high water. Discharge pipe of 0.90 m,
Construction of the Second Deposit Deposit also known as Mayor which construction began in 1863 and, after successive breaks, was not completed until 1879. Its facilities still in operation
UNITS OF THE MINISTRY OF EDUCATION AND FINE ARTS
Exhibition of works by students from the Schools of Arts and Crafts in Barcelona, \u200b\u200bCordoba, Ciudad Real, La Coruña, Madrid, Palencia, Valladolid and Sevilla, ceramics, embroidery, printing, painting and sculpture.
INSTALLATION OF THE NATIONAL PROVIDENT PARTNERS AND BOXES Exhibition held
with graphs and statistics of the work in photo and models of cheap houses built by the Institute in different English cities.
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Model and map "Cheap Houses"
PERAL DEPARTMENT OF SUBMARINE
This department plans and scale model showing the Isaac Peral submarine as well as documents and personal belongings of the ocean.
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Office with objects Isaac Peral and personal model of the submarine. (Museo Naval de Cartagena)
UNITS AND MARINE GEOLOGICAL INSTITUTE OF SPAIN.
mineral collections were shown, as well as maps of the work of this organization.
FACILITIES DEVELOPMENT MINISTRY
Show with models of major public works being carried out in Spain in the last twenty years.
GUADALQUIVIR TRADE UNION CONFEDERATION BASIN.
This predecessor to the current Guadalquivir River Basin, exposed models, photographs and graphics demonstration of works carried out or planned as the reservoir of the Beas Tranco.
Photographs were exposed to the marshes of Cala and Tranco
MUSEUM BOOK This section occupied the building edge, which is next to the South Tower. Unfolded in a sample of the history of the alphabet in its various forms, calligraphy, paleography, typography, etc., And the elements that make up the book, such as paper, printing, decoration and bookbinding; and the evolution of the different techniques that have evolved over the course of history.
Plano explaining the distribution of the showcases
Downstairs, reproduced an pergaminería Scriptorum and a monk of the Middle Ages, and a print shop at the beginning of printing with technicians dressed in the fashion of the time Guntemberg. While modern machinery are also exhibited, in operation, printing and binding.
of honor on the ground was decorated with friezes that recalled all the alphabets used in Spain American and Hispanic countries. There was a rich collection of unique of all the styles of binding, and enforceable, privileges, royal letters, etc.., In special display cases showing documents like the Codices Mozárabes of Santo Domingo de Silos, or Santa Maria Cantigas of Alfonso el wise, in other English texts printed abroad, especially in Portugal, the Netherlands and Naples. There was also a selection of items from the former office of prototipógrafo Plantin of Antwerp and an example of the printing shop of the New World, with explanatory panels.
In the first-floor galleries, is exhibiting selected copies of production of prints made by individuals, institutions and organizations, which appreciated the elegance and high level achieved by new techniques. In one room was annexed Book Fair held under the auspices of the Chambers of the Book.
then inserts a wide range of images in this exhibition:
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of nobility of Alvaro de Salazar, Juan de Frías and Hernando de Villarroel .
Map with the alphabets used in Iberia
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Book Fair as an illustration of the pamphlet published by the Book Section
medieval sciptorium Reconstruction a monastery.
Primitivo print shop operators at the time dressed
Different views of the courtyard and gallery Book Museum.
MODERN ART EXHIBITION
This exhibition of Modern Art, was to have been held between September and October 1929, in galleries located in the main building, with the participation of all artists of the countries represented at the event. But did not take place, with some countries included in their respective wards samples of fine arts. Despite the Ateneo de Sevilla organized an exhibition with local authors, led by Gustavo Bacarisas in April 1930 in the Brazilian Pavilion, where he had already been dismantled prematurely.
The central building of the Plaza, it left room for the offices of the Executive Committee and even small theater. The same held an exhibition of Oceanography mounted for Congress in this matter that took place a few days before the opening of the event. On October 17, 1929, opened a National Women's Work Exhibition with the support of HRH Princess Louise, was organized by the Protection of Women's work in Madrid and were shown hand-sewing and other poor women transferred by members of the nobility and commercial firms.
central building's main facade
• Six Renaissance windows.
• Sevilla's shield adorning the door of Navarra and Aragon.
• 24 imperial eagles in the arms of Charles V.
• The 48 medallions with the bust of famous English on each arc that covers each province.
heralds
• Four-foot-high towers flanking the central building framing, representing the kingdoms of Castilla, Leon, Navarra and Aragon.
Below are the ornamental details and construction of the Puerta de Navarra.
exterior facade
Home boot ceramic stairs. In this mosaic are represented many gods of mythology, all of them as children, learning to be their future professions. Hermes appears in the image on the right, easily recognized by his winged helmet. Next to him, looks at Eros, which is recognized by its wings on the back. The last of the gods of this fragment is Dionysus, who, with a bunch of grapes in his hand, takes one of them in their mouths.
Navarre Canvas ceramic landscapes of the lobby door of Henry of Navarre all Orce.
Three views of the stairwell .
carved brick column and detail of the carving of the same
facade into the Plaza de la Puerta de Navarra - Detail of ironwork
coffered gallery.
ceramic Canvas Seville scenes
Since the beginning of 1937, to implement the Royal Decree of 24 March 1931 on the use of fifteen agencies, is installed in the main body of the Plaza of Spain, the seat of the Captaincy General Military.
This place is little known but in a strikingly beautiful not only outwardly but inwardly. We get nothing but impressed by the front door access from the outside, to find the incredible panorama of the two floors of the building, if we raise our eyes, we can admire the ceiling, the frescoes painted by Garzon, whose central theme is the royal coat of arms, and upper gallery whose arches show the peculiarity of being supported by double columns of white marble.
View of the lobby ceiling frescoes
main courtyard
Below is the main courtyard of the building of indescribable beauty, which surrounds the base, is made of colored tiles with busts of various explorers and conquerors of the New World. On the left side of the chapel is a Baroque altarpiece, headed by an Immaculate.
On the first floor, are a magnificent theater with capacity for six hundred people, we must not forget the representative character of Honor as building planned for institutional or events during the exhibition, is admirable and impressive central window was spectacular made by an American company at the time, still the same central motif, the royal shield, surrounded by the four historic English kingdoms, Castile, Leon, Navarra and Aragon.
Detail ceramic socket canvas patio and view of the chapel
Overview of the theater and the glass dome of the .
Adjoining the theater is the Board of the plans, this room was dominated by the box "Compromise of Caspe" on loan from the Prado Museum and since 1992, in City Hall. Instead it has put in tile, a reproduction of "The Surrender of Granada" Pradilla work, whose original is in the Senate building.
Drawings Room
The so-called Throne Room or Andalusia, currently reserved for formal events and celebrations, is adjacent to the former and the theater was one of the spaces institutional representative.
Throne Room or Andalusia
Finally, as an anecdote, strikes us an image of Santa Catalina in ceramic white on a blue background on the front on which stands the flagpole flag, we could say it's a freedom that was taken Aníbal González, in tribute to his mother that was his name.
THE SPANISH FILM ARCHIVE edited a book entitled "THE EXHIBITION OF 1929" TO BE PICKED UP IN THE PICTURES OF THE EXHIBITION OF LATIN AMERICAN AND INTERNATIONAL SEVILLA BARCELONA
INSERTED BELOW IS A COMPILATION VARIOUS CUTS OF RELATED ARGENTINA PAVILION LISTED IN THIS WORK
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SOURCES
- Programme published by the Hydrographic Confederation of the Guadalquivir.
- Fact Book Section
- www.madrimasd.org
- http://es.wikipedia.org/wiki/Plaza_de_Espa% C3% B1a_ (Sevilla)
- http://www.galeon .com/juliodominguez/2005/cap1.html
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