Tag Archives: modernismo

Palacio Episcopal de Astorga by neobit

This Modernist building in the neo-Gothic style consists of a castle, church and stately mansion, and houses the Los Caminos museum. Although designed by Gaudí himself in 1887, this monument was completed by the architect Ricardo García Gureta.
In January 1887, Gaudí was called to Astorga by Bishop Joan Baptista Grau i Vallespinós, who had just seen to blaze the episcopal palace. Gaudi was grateful to his countryman. He wrote on Feb. 8, 1887 to express their gratitude and warning him that he was very busy with the Sagrada Família and the Güell house, and that he could not travel to Astorga to finish the home of his wealthy admirer. He sent therefore a questionnaire to find a letter containing information essential to the development of the project. Gaudí took a few months in the project of the new episcopal palace of Astorga. In July 1887 sent by mail and Dr. Grau was quick to send a telegram: “It likes a lot. Congratulations. I wait letter.” The identification between the two Reus men was total in undertaking the adventure. The budget amounted to 150,000 pesetas. Under the concordat, it was paying to the Government of S. M., and therefore was mandatory approval of the Real Academia de Bellas Artes de San Fernando, which was a long pending. The Academy appointed as reporter to the Marquis de Cubas, the architect of La Almudena cathedral in Madrid, who, given their limited technical and artistic taste reprehensible, was clearly not very qualified to understand the technical revolution and the artistic genius of the young architect Gaudí. Thus, the Real Academia de Bellas Artes de San Fernando brought great difficulties to the project and demanded to Gaudí a number of changes, that unlike much to the architect. However, for friendship with Dr. Grau, Gaudí went ahead and June 24, 1889 was solemnly the first stone. The building is to be a symbiosis of bishop temple and seigniorial castle. Its interior and exterior forms, drawn by Berenguer in the distant release of the Sagrada Família, are incredibly Spanish at all and, in turn, beyond any of the typical fickle when Spanish architecture lapses or degenerates; the result is a precise and exquisite intimate knowledge of the soul of Spain who had the Catalan Gaudí. During the summer and autumn of 1889, it was made the basement. It is a single stay, a gigantic cave of impressive beauty, heightened by the darkness that invades. The following year, 1890, it was built the ground floor. Its most characteristic element is the triple arc of the entry, which was personally assembled by Gaudí. Between 1891 and 1893, Gaudí took the main floor. This plant so wonderful is that Gaudí properly understood as a “palace or the residence of the bishop” for his friend Dr. Grau. The decor is very nice and the key and essential piece is the chapel. This has exquisite proportions and a delicate execution, which invites the sensitive soul to pray. In the outer towers, Gaudí recorded the coats of Mons. Grau i Vallespinós. The architect was traveling frequently to Astorga, where he was badly received by the forces of the small town, but very well received by Dr. Grau. They criticized Gaudi for having two managers and the architect was defended: -I do like the opera manager who had two tenors in the company and asked him why he did: to the other sings. On September 18, 1893, Dr. Grau died and this led to the interruption of the works. Gaudí resigned on November 4, 1893, and to leave expelled by the Chapter and by public opinion, the Catalan architect said the following sentence prophetic, which was settled by the case: “They will be unable to finish it and capable of leaving interrupted.” Indeed, the Chapter sought new professionals, who could not overcome the enormous difficulty of making the architectural elements half build with the encouragement coming out of the hands of Gaudí, and also failed to understand what he had done technically and filled to continue. Thus, when removing a wall, the vaults collapsed, which was used to disclose to the four winds that Gaudí was an incompetent. The works were suspended indefinitely. Many years later, it was ended up with a decent deck, but not very Gaudí. The building houses since 1962 the Museum of Roads.

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Villa Manolita (Fuensanta, Albacete, Spain) by FranciscoGarciaRios

Música (abrir en nueva pestaña) / Music (Open link in new tab): Our House – Madness.
This modernist palace, which is called villa Manolita (also known as los Mañas House) was built at the beginning of the 20th Century, and it is located in Fuensanta, a village in northern Albacete (Castilla La Mancha, Spain).
Its appearance keeps obvious similarities with the charasteristic manor houses from early twenty Century in Northern Spain , which were mostly built by the “Indianos”(spanish emigrants returned from America), after their return from America, having made a fortune.

The building is municipal property. After being restored in 2003, and until very recent times (January 2015), it was dedicated to the hospitality industry, hosting a rural Hotel and a restaurant, offering an incomparable setting with a very special charm. Nowadays this building remains closed.

-Español
En la localidad de Fuensanta, situada al Norte de la provincia de Albacete, se halla este palacete de estilo modernista, construido a principios del siglo XX, que por nombre lleva el de illa Manolita aunque es conocido también como a Casa de los Mañas

Su apariencia guarda evidentes similitudes con la de las casa señorial de principios del Siglo XX, que tan comunes son el Norte de España, y que fueron en su mayoría construidas por los ndianos al suyo retorno de las Américas tras haber hecho fortuna.

El edificio es de propiedad municipal. Tras ser restaurado en 2003, y hasta tiempos muy recientes (Enero del 2015), estuvo dedicado a la hostelería, albergando un establecimiento de alojamiento rural y un restaurante, a los que el incomparable marco que el palacete supone, dotaba de un muy particular encanto. Actualmente, el edificio permanece cerrado.

© Francisco García Ríos 2015- All Rights Reserved / Reservados todos los derechos.
The content of these images cannot be copied,di

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¡¡¡ Edificio Modernista en Barcelona !!! by FranciscoRodriguezPueyo

En el comienzo de la Calle Junqueres de Barcelona , podemos encontrar este edificio que es propiedad de una caja de ahorros, junto a la Via Laietana, la calle que vemos a su derecha, nos conducira al Palau de la Musica Catalana, que es toda una joya arquitectonica, en el otro extremo, enfrente de la calle ( derecha ) entraremos a la Calle Condal, donde nos conducira a varios puntos muy interesantes de la Ciudad, ( la Catedral, el Portal del Angel y Las Ramblas, todo el Barrio Gótico y bajando hasta el puerto, viendo asi unos de los puntos interensantisimos de Barcelona. )
Este edificio que os propongo hoy, es fruto tambien del arquitecto Enric Sagnier. que ya puse su comentario de él en otra foto anteriormente.
Metro L4 ( Urquinaona )
Un fuerte abrazo y feliz dia Amigos mios!!

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¡¡¡ L’Eixample de Barcelona !!! by FranciscoRodriguezPueyo

Dentro del circuito de L’Eixample de Barcelona, donde para mi, como ya os he dicho en otras ocasiones, constituye la gran joya de Barcelona, podemos apreciar, dentro del mismo estilo modernista, muchos y ricos matices, que tienen sus edificios. El cuadrado de Oro, donde muchos arquitectos, ( algunos de renombre ) y otros que se dieron a conocer por sus extraordinarias edificaciones, y que fue un trampolin para ellos, puesto que tuvieron gran demanda luego en hacer nuevos edificios por la Ciudad.
La extraordinaria gracia que todo esto conlleva, supone, que cada uno tenga su estilo propio, adquiriendo en cierta manera en las familias que los habitaban, tener su propio sello de identidad.
Entraba en juego mucho prestigio, la burguesia catalana, no escatimo en ningun momento, a la hora de invertir en lo que querian que fuese su espacio para vivir, los mejores balcones adornados con florituras artesanales en piedra, las mejores vidrieras y cristaleras policromadas, el mejor hierro artesanal forjado, y todo y mas lo que nos podamos imaginar, para constituir en todo su conjunto, el Maravilloso Cuadrado que es L’Eixample.
Ildefons Cerdá hizo el camino, y los Arquitectos el suyo, y en esta extraordinaria union, surgio lo que hoy en dia, y reconocido Internacionalmente, que Barcelona posee, en cuanto a su edificacion urbanistica, una de las mejores cualificaciones, dentro de las mejores Ciudades del Mundo.
Esta foto que os propongo hoy, es un claro ejemplo de lo que he comentado, el edificio es mucho mas amplio, pero me he querido recrear en sus ventanales, da a la parte exterior, teniendo como entrada, un semicirculo, como si de un pequeño patio hiciera su entrada.Este edificio esta situado en pleno Eixample, en la calle Bruc con la calle Diputacion de Barcelona.
Amigos mios tener un feliz dia, un abrazo fuerte!!

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Palacio Episcopal de Astorga by neobit

This Modernist building in the neo-Gothic style consists of a castle, church and stately mansion, and houses the Los Caminos museum. Although designed by Gaudí himself in 1887, this monument was completed by the architect Ricardo García Gureta.
In January 1887, Gaudí was called to Astorga by Bishop Joan Baptista Grau i Vallespinós, who had just seen to blaze the episcopal palace. Gaudi was grateful to his countryman. He wrote on Feb. 8, 1887 to express their gratitude and warning him that he was very busy with the Sagrada Família and the Güell house, and that he could not travel to Astorga to finish the home of his wealthy admirer. He sent therefore a questionnaire to find a letter containing information essential to the development of the project. Gaudí took a few months in the project of the new episcopal palace of Astorga. In July 1887 sent by mail and Dr. Grau was quick to send a telegram: “It likes a lot. Congratulations. I wait letter.” The identification between the two Reus men was total in undertaking the adventure. The budget amounted to 150,000 pesetas. Under the concordat, it was paying to the Government of S. M., and therefore was mandatory approval of the Real Academia de Bellas Artes de San Fernando, which was a long pending. The Academy appointed as reporter to the Marquis de Cubas, the architect of La Almudena cathedral in Madrid, who, given their limited technical and artistic taste reprehensible, was clearly not very qualified to understand the technical revolution and the artistic genius of the young architect Gaudí. Thus, the Real Academia de Bellas Artes de San Fernando brought great difficulties to the project and demanded to Gaudí a number of changes, that unlike much to the architect. However, for friendship with Dr. Grau, Gaudí went ahead and June 24, 1889 was solemnly the first stone. The building is to be a symbiosis of bishop temple and seigniorial castle. Its interior and exterior forms, drawn by Berenguer in the distant release of the Sagrada Família, are incredibly Spanish at all and, in turn, beyond any of the typical fickle when Spanish architecture lapses or degenerates; the result is a precise and exquisite intimate knowledge of the soul of Spain who had the Catalan Gaudí. During the summer and autumn of 1889, it was made the basement. It is a single stay, a gigantic cave of impressive beauty, heightened by the darkness that invades. The following year, 1890, it was built the ground floor. Its most characteristic element is the triple arc of the entry, which was personally assembled by Gaudí. Between 1891 and 1893, Gaudí took the main floor. This plant so wonderful is that Gaudí properly understood as a “palace or the residence of the bishop” for his friend Dr. Grau. The decor is very nice and the key and essential piece is the chapel. This has exquisite proportions and a delicate execution, which invites the sensitive soul to pray. In the outer towers, Gaudí recorded the coats of Mons. Grau i Vallespinós. The architect was traveling frequently to Astorga, where he was badly received by the forces of the small town, but very well received by Dr. Grau. They criticized Gaudi for having two managers and the architect was defended: -I do like the opera manager who had two tenors in the company and asked him why he did: to the other sings. On September 18, 1893, Dr. Grau died and this led to the interruption of the works. Gaudí resigned on November 4, 1893, and to leave expelled by the Chapter and by public opinion, the Catalan architect said the following sentence prophetic, which was settled by the case: “They will be unable to finish it and capable of leaving interrupted.” Indeed, the Chapter sought new professionals, who could not overcome the enormous difficulty of making the architectural elements half build with the encouragement coming out of the hands of Gaudí, and also failed to understand what he had done technically and filled to continue. Thus, when removing a wall, the vaults collapsed, which was used to disclose to the four winds that Gaudí was an incompetent. The works were suspended indefinitely. Many years later, it was ended up with a decent deck, but not very Gaudí. The building houses since 1962 the Museum of Roads.

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Palacio Episcopal de Astorga by neobit

This Modernist building in the neo-Gothic style consists of a castle, church and stately mansion, and houses the Los Caminos museum. Although designed by Gaudí himself in 1887, this monument was completed by the architect Ricardo García Gureta.
In January 1887, Gaudí was called to Astorga by Bishop Joan Baptista Grau i Vallespinós, who had just seen to blaze the episcopal palace. Gaudi was grateful to his countryman. He wrote on Feb. 8, 1887 to express their gratitude and warning him that he was very busy with the Sagrada Família and the Güell house, and that he could not travel to Astorga to finish the home of his wealthy admirer. He sent therefore a questionnaire to find a letter containing information essential to the development of the project. Gaudí took a few months in the project of the new episcopal palace of Astorga. In July 1887 sent by mail and Dr. Grau was quick to send a telegram: “It likes a lot. Congratulations. I wait letter.” The identification between the two Reus men was total in undertaking the adventure. The budget amounted to 150,000 pesetas. Under the concordat, it was paying to the Government of S. M., and therefore was mandatory approval of the Real Academia de Bellas Artes de San Fernando, which was a long pending. The Academy appointed as reporter to the Marquis de Cubas, the architect of La Almudena cathedral in Madrid, who, given their limited technical and artistic taste reprehensible, was clearly not very qualified to understand the technical revolution and the artistic genius of the young architect Gaudí. Thus, the Real Academia de Bellas Artes de San Fernando brought great difficulties to the project and demanded to Gaudí a number of changes, that unlike much to the architect. However, for friendship with Dr. Grau, Gaudí went ahead and June 24, 1889 was solemnly the first stone. The building is to be a symbiosis of bishop temple and seigniorial castle. Its interior and exterior forms, drawn by Berenguer in the distant release of the Sagrada Família, are incredibly Spanish at all and, in turn, beyond any of the typical fickle when Spanish architecture lapses or degenerates; the result is a precise and exquisite intimate knowledge of the soul of Spain who had the Catalan Gaudí. During the summer and autumn of 1889, it was made the basement. It is a single stay, a gigantic cave of impressive beauty, heightened by the darkness that invades. The following year, 1890, it was built the ground floor. Its most characteristic element is the triple arc of the entry, which was personally assembled by Gaudí. Between 1891 and 1893, Gaudí took the main floor. This plant so wonderful is that Gaudí properly understood as a “palace or the residence of the bishop” for his friend Dr. Grau. The decor is very nice and the key and essential piece is the chapel. This has exquisite proportions and a delicate execution, which invites the sensitive soul to pray. In the outer towers, Gaudí recorded the coats of Mons. Grau i Vallespinós. The architect was traveling frequently to Astorga, where he was badly received by the forces of the small town, but very well received by Dr. Grau. They criticized Gaudi for having two managers and the architect was defended: -I do like the opera manager who had two tenors in the company and asked him why he did: to the other sings. On September 18, 1893, Dr. Grau died and this led to the interruption of the works. Gaudí resigned on November 4, 1893, and to leave expelled by the Chapter and by public opinion, the Catalan architect said the following sentence prophetic, which was settled by the case: “They will be unable to finish it and capable of leaving interrupted.” Indeed, the Chapter sought new professionals, who could not overcome the enormous difficulty of making the architectural elements half build with the encouragement coming out of the hands of Gaudí, and also failed to understand what he had done technically and filled to continue. Thus, when removing a wall, the vaults collapsed, which was used to disclose to the four winds that Gaudí was an incompetent. The works were suspended indefinitely. Many years later, it was ended up with a decent deck, but not very Gaudí. The building houses since 1962 the Museum of Roads.

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