Edificio Victory Garden (original) (raw)
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Gardens as Architectural Heritage of the Bastion Castle Ensemble
Heritage
Historic gardens are often seen in the context of botanical heritage, which emphasizes their aesthetic and botanical value. Yet, their architectural importance as an integral part of the architectural heritage of the bastion castle ensemble is ignored. Finding the relationship between the castle and the garden is presently complicated by considerable changes in the townscape since the 17th century and the lack of details on these gardens’ depictions on maps. The paper demonstrates how historical maps, especially military ones combined with modern on-site analyses can reveal the main architectural types of the gardens in the bastion castle ensemble and show their most important architectural features that should be preserved. The results demonstrate three scenarios in the relationship between the garden and the palace component of bastion castle, their main features, and the challenges facing them. This elucidation of the main features can help to conserve and to valorize plans for t...
W.W. Dunmire, 2004. Journal of Historical Geography, Vol. 34, No. 1, pp. 180-182.
National Register of Historic Places, 2004
The Edificio Del Valle is locally significant under Criterion C in the area of Architecture as an outstanding Spanish Renaissance Revival building in San Juan and also representative of the work of a master, renowned Puerto Rican architect Rafael Carmoega Morales (1894-1968).
Rome was the paramount power in the Iberian Peninsula from around 200 BC to the fifth century AD, and the gardens enjoyed by Romans in other parts of the Empire would have existed in the prosperous Spanish provinces, though minimal archaelogical evidenence has come to light up to the present.
Architect Victor Beltri y Roqueta. 150th Anniversary
Víctor Beltrí Roqueta (Tortosa 1862 - Cartagena 1935) was an architect who especially contributed to the dissemination of Modernisme in the city of Cartagena thanks to his training at the Architecture School of Barcelona. Having settled in Cartagena in 1897, he was commissioned by the major fortunes of the day in mining to design such emblematic mansions and buildings as the Gran Hotel, Casa Alessón, Palacio Aguirre, Casa Zapata, Casa Cervantes or Casa Llagostera.
Urban Space as Heritage in Late Colonial Cuba: Classicism and Dissonance on the Plaza de Armas of Havana, 1754-1828 considers the commemoration of Havana’s foundational site in the late colonial period as a heritage process. According to national legend, Havana, Cuba, was founded under the shade of a ceiba tree whose branches sheltered the island’s first Catholic mass and meeting of the town council (cabildo) in 1519. The founding site was first memorialized in 1754 by the erection of a baroque monument in Havana’s central Plaza de Armas, which was reconfigured in 1828 by the addition of a neoclassical work, El Templete. Viewing the transformation of the Plaza de Armas from the new perspective of heritage studies, this book investigates how late colonial Cuban society narrated Havana’s founding to valorize Spanish imperial power and used the monuments to underpin a local sense of place and cultural authenticity, civic achievement, and social order.
The garden in the modern hospital architecture of the ‘Carioca School’ in Rio de Janeiro, Brazil
Gardens and Landscapes of Portugal, 2018
The purpose of this article is to explore the role of gardens in the architecture of hospitals of the so-called "carioca school" of architecture, between the years of 1930 and 1960. In other words, to analyze gardens in the works of carioca architects who surrounded the architect Lucio Costa, or whose projects were influenced by the conceptions of this first generation of modern architects, who first graduated architecture school at the National College of Fine Arts and then, after 1945, at the National College of Architecture, in Rio de Janeiro. The importance of gardens in the architecture of hospitals was mentioned in Edward Stevens's book "The American hospital of the twentieth century", in 1918, a publication which can be found at the UFRJ Architecture School library, as well as in the Brazilian doctors' book collections at the time. Stevens dedicates a chapter of this book to the landscape theme, where he states that the hospital designer and the landscape architect should work together. On the other hand, Pasteur's discoveries and their implications in the management of hospital space did not occur without the mediation of landscaping. They resulted in changes when it came to choose the site for the hospital building within a city, as well as in its formal typology-from the Tollet model of pavilions, to the existence of green areas surrounding high buildings, and overlapping nurseries. It is also relevant to bear in mind that public nationalist buildings played an important role after the revolution of 1930 in Brazil as they represented the state, and this resulted in significant projects. We are therefore going to present four hospital buildings which were analyzed in our research on the integration of the Arts in the architecture of hospitals. Although the Lagoa Hospital, by Oscar Niemeyer, the Sanatorium Complex of Curicica, by Sérgio Bernardes, the IPPMG, by Jorge Machado Moreira, and the Souza Aguiar Hospital , by Ary Garcia Roza, all have different programs, formal typologies and links with their surrounding area, they are good examples for debating the presence of gardens in the Modern architecture of hospitals in the city of Rio de Janeiro. Three of these examples have fortunately included projects by landscape designer Roberto Burle Marx-the Lagoa Hospital, the IPPMG and the Souza Aguiar Hospital. The two former hospitals have had their buildings be surrounded by large gardens, in order to mitigate the harmful health effects related to the inclusion of The garden in the modern hospital architecture of the 'Carioca School' in Rio de Janeiro, Brazil 23 hospitals within urban areas. The latter has been built in the 1960s with a complex program, in a dense historical area downtown, but adjacent to an urban park. It includes a vertical garden, which delimits, along with a panel in the hall (also by the same designer), a hallway for the user, between the urban and the healing space.