FLAG INDUSTRIES, MANUFACTURING AND DECORATIVE ARTS OR MUDÉJAR.
From The oldest reference to it from even contest the basis of ideas of 1911, which shows the fundamental construction of ten buildings, only two would be permanent and would be located in the Garden of Mary, in a compound called Plaza of Honor, the embryo of the future of America Plaza we know. At the level of 1912, Aníbal González draws the plant the flag, even before finalizing the Plaza, it even uses it as a link between the Park of Maria Luisa, then project implementation phase Forestier, as the culmination of one of the main avenues of the park, which in turn coincides with the minor axis of the Plaza de America. Thus the lodge back of the building by a staircase that was never built, is the substance of the proposed trip by the French gardener.
flag plant schematic.
These two permanent pavilions, the other one is witness to it, synthesize half of the ideological program of the exhibition dedicated to the craft of the beloved medieval state, humble, anonymous and human fertilization. While the other flag, Fine Arts, synthesizes Western culture. Aníbal González, the art is based on anonymous and often medieval Islam, with notable references to the Alhambra in Granada, the Alcazar of Seville, the Palace of the Duque de la Algaba, and of Rabida Mudejar cloister or San Isidoro del Campo. But turn masterfully mixing with other Islamic elements Plateresque getting the attraction of the viewer by the picturesqueness of the effect.
floor of the building
Perspective
building project Mudejar Pavilion predates the Plaza de America, since this project was approved in 1913, and construction of the pavilion was opened on July 17, 1912, while the Pavilion of Fine Arts.
As discussed also in this last flag, the state of public opinion in Seville in the months before the start of construction was a widespread tension, given the proximity of the date for the opening of the event (1914), and the lack of projects implemented. The trigger was a letter from Pedro Fernández Palacios on June 11, 1912, which criticized the administrative delays Committee, offering his company to take over the construction of the Halls of Fine Arts and Industries and Decorative Arts, be forfeited if the competition, as had happened with the first. Being willing to accept the budget that would set the Committee and receive as payment obligations that would issue the City Council. Oddly enough the next day published in the Bulletin of the exhibition contests for the two permanent pavilions, with a budget of 746,328.08 pts for the Fine Arts and 716,490.79 pts. for Industry and Decorative Arts.
however, become almost paralyze the allocation of works which, some members of the Commission doubted the suitability of the site, Porl loss of green area that was destroyed in the Garden of Mariana, and proposed the adaptation of the Palacio de San Telmo, at the time in the process of being acquired by the City Council . Finally the work was awarded to contractors José Bernedo Arebalos, Grenada, and Juan Manuel Pozo.
start works immediately, leaving virtually completed in 1914, being delivered by contractors in early 1915. Something more than a year later it is completed, the April 26, 1916, it opened the Plaza of the Americas by Reyes. Intervened mainly in the decoration Manuel Martín Romero ceramist, who worked at the factory of John Laffite.
Alberto Villar, in his book "Architecture of Regionalism in Seville 1900-1935" describes the building: "The building has a very pronounced longitudinal axis comprises a central body and two wings. These are articulated with a very lively floor and gallery surrounding exterior arches is to eliminate any sense of heaviness. The central body, lush colors, is resolved in the front with a personal interpretation of traditional copyright models - Fortress, Palace of Marques de la Algaba, etc .- and in the courtyard with allusions to San Isidoro del Campo, La Rabida, Loreto, with emphasis on brick and ceramic inlays "
The building occupies the left side of the Plaza de America, if we access from Avenida de la Palmera. The ground floor is raised above the height of the square by 2.5 m, excluding access by a grand staircase and two side ramps that surround this, occupying the entire facade.
Once through the doors penetrate the large rectangular hall of 17 X 8.50 m. and 9.60 m. height, is divided into three areas by organizing the structure formed by three series of arches, each time in a narrower range, up to the roof, these are supported by three arches with marble columns resting on three arches stilted semicircular brick on which to base other horseshoe formed by intersecting them. On the sides of the hall are two areas of functionality, on the right is the staircase, preceded by a cover delicate carved carved in brick and tiles, on the left units of service, from the lobby direct access to the cloistered courtyard.
two images of time in order lobby.
current lobby Views
Photography time. Right view of the courtyard from the lobby. Left, detail of the interior courtyard of the cloister of
The courtyard of two storey, all brick carving carved on a sill of a meter rise octagonal pilasters, also of brick, where the round arches supporting banked point, and framed within a rectangular frame that is decorated with tiles painted in Renaissance style. The upper floor is organized with a plateresco treatment worked columns between which are located a mullioned windows with central column. The courtyard has two competing proposals, addressed by arch with flare, implemented by way of beaded covers Mudejar churches.
The ambulatory surrounding the courtyard, there are five entrances to expositional rooms, located a the bottom, symmetrical to the lobby, with an open loggia at one of the main walks Maria Luisa Park, where there other access to the original project, and on the shorter sides of the courtyard and placed two on each side, they on their side is square-shaped end to which is added to a semicircle. The move to these is through a doorway made with arch, stilted and lobed made of plaster and supported by column. The composition of repeats in the transition from one room to another.
These wings are surrounded by an open gallery of arches of brick supported on slender columns of white marble.
basically provided the pavilion on one level, as were more symbolic than useful. Steps in the lobby was accessed to the mezzanine, which dealt only with the wandering in the courtyard and the towers of the facade. On this stood Plant Honor, it was only a room occupied by the vestibule and the towers of the facade.
access to one of the side rooms from the cloister.
Different internal steps between rooms
The foundation was made with concrete footings to a depth of 2.50 m . Built vertical supporting elements are of solid brick and marble column, as appropriate, from ground level. One of the serious defects in construction that has been, how to solve the horizontal trusses, making the fuck out of the vault on a cast metal frame, causing corrosion of these profiles and therefore the various states of ruin and collapse. Another shortcoming is the lack of expansion joints, which makes a building more than 90 m. long, causing continuous cracks.
Views from inside and outside the terrace room of the background is the rear facade
The chromaticism so exciting about this building, which quickly made out the flag with more aesthetic role of the square, which reflects the same composition as the building. Superimposing two plants of different buildings, one being a very elongated rectangle topped by two semicircles, and the other centered plant that develops around a courtyard. It is an almost literal juxtaposition only harmony often unified design.
The first is inspired by the great edifices of the world exhibitions held previously, is more than significant similarity to the central building of the Paris Exposition of 1867 by Frederic Le Play, with a rectangular finished in semi-circles and galleries perimeter. The second that overlaps the first factor represents the introduction of exotic, has a clear reference to the palatial buildings of the environment Islamic East, as the Umayyad palaces central plan arranged around a courtyard, flanked by towers with covers.
This staircase was designed by Aníbal González was demolished in 1972, when Joseph Galnares Sagastizabal conducted some works commissioned by the Ministry of Culture for adapting the building as a museum and replaced by the current marble located in the octagon, and installation of elevators in the space occupied by the old staircase. In these works also appeared in a basement of the museum installations.
New staircase designed by Joseph Galnares.
View inside one of the halls of the end of the wings.
Views outer edge of one wing.
Views inside and outside the galleries perimeter.
Two samples of work displayed in the courtyard of the pavilion, and made the Miss Justina Iseru Duque Calderon Llosent and Nela .
But this was not the only transformation performed in the building. It has news on the 50s there was the ceiling sink west side so the cover as the disappearance Gallery perimeter of the wing. This occurred just days after they held a dinner he was attending Franco. The reconstruction was made by Antonio Delgado Roig, city architect, who was the replacement concrete porch above the upper windows of the body affected side. In the mid sixties of last century, and by the same architect, was performed in all the rooms that have double-height, ie the background, the two ends and octagons, and built a mezzanine, whose structure is independent and boots from the basement
In the catalog that was published on the exhibits "Catalogue of Ancient Art Section Mudejar Palace" consists 2314 pieces, with reference to the institution or person yields. The material presented was very mixed: dresses, shoes, religious ornaments, tapestries, paintings, imagery, silverware, etc. The provenance of these were very wide, but most came from the province of Seville, also had the Cathedral of Oviedo, Santiago, Salamanca and Gerona.
The value of the sample was very diverse, some negligible, justified their presence only by the display of the owners to gain prestige. Also the chronological or thematic approach was nonexistent.
Most were anonymous, but among them were many of great importance, as the Victoria Cross, the Cross of Nicodemus or the Fund of agate from the Cathedral of Oviedo. In this aspect was also reviewed, the great treasure locked up in churches and convents of Andalusia, were able to show here, one of its main attraction.
also exhibited works of Philippe de Rivas, Martinez Montanes, Mengs and Goya, among many other artists of international renown. Here are some pictures to show footage of some of the rooms during the exhibition.
Three different aspects of Room 3
Room 6
Room 7
Room 9
Two images of the Room 10
As city-owned building from his inauguration, he gave it to the University for holding exhibitions and conferences, such as Hispanic American History and Geography held in 1921 or the National Overseas Trade in 1923 and the International Road in 1926. He also served, as evidenced by a square in the lobby of the pavilion, between 1921 and 1922 the Red Cross Hospital during the War of Morocco.
After the exhibition, continued to maintain its use as an exhibition of various shades low salons and galleries of the courtyard. On the upper floor stood the Newspaper Hall, whose newspaper holdings and magazines especially Seville, reached almost a thousand titles. The oldest dates are from a "Noticias de Sevilla" in 1691, some newspapers are also interesting contemporary Seville War of Independence, the collections of the papers of our city since 1850 and the Gaceta de Madrid since 1743, transferred to the Godmother Pavilion at the Jardines de San Telmo and currently in the Newspaper Hall, located on Calle Almirante Apodaca.
Detail ceramic ornamentation
In 1972 he created the Museum of Popular Arts, inaugurated al año siguiente sus instalándose en la primera planta y galerías del semisótano mas próximas a la Plaza de América, continuando las salas de la planta baja dependientes del Ayuntamiento para los mismos fines expositivos. No es hasta el año 1980, cuando el Consistorio Hispalense cede la totalidad del edificio al Ministerio de Cultura uso como Museo de Artes y Costumbres Populares, para mas tarde ser trasferida la gestión a la Consejería de Cultura de la Junta de Andalucía.
Su función como museo es pues muy reciente y sólo se utiliza parte del pabellón; el resto está destinado a salas de exposición. En él prevalecen los aspectos antropológicos y etnográficos, siendo muy variadas the collections it contains.
SOURCES
- MUDEJAR PAVILION IN THE DESIGN OF THE EXHIBITION, 1929, Fernando Villanueva Sandino.Revista SURVEYOR
No. 35 March 1988 - History of the Latin American Exhibition in Seville in 1929, Eduardo Rodríguez Bernal
- Flags of the Latin American Exhibition, Alberto Villar Movellán
The American Exhibition "Newspaper Municipal Funds"
- Exhibit Guide IBERO
1929-1930 - AERIAL IMAGE OF SEVILLE ALFONSO XIII (forms and perspectives of urban area 1920-1930), Alfonso Braojos Garrido.
- Regionalism ARCHITECTURE IN SEVILLE 1900-1935 .- Alberto Villar Movellán
- www.sevillasigloXX.com
- www.sevilla21.com
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