Sights of Interest

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Sights of Interest

Lugares emblemáticos

The best sights of interest of Valencia To find them: PLEASE, COPY & PASTE THE LINKS ON YOUR WEB BROWSER
THE CARMEN NEIGHBORHOOD Location: https://goo.gl/maps/qWUg9np1qqzPzMLn6 About the neighborhood: Built around the Plaza del Carmen, the Barrio del Carmen takes you to the history of the millenary Valencia. This neighborhood grew between the walls built by the Muslims in the eleventh century on its east side, and the wall of the Christians, from the fourteenth century, which, with the towers of Serranos and Las Torres de Quart, made the place the main point of Entry and exit of Valencia, these old medieval doors were part of the city walls. In the fourteenth century, the construction of the new wall was necessary to better defend the city, but the Muslim wall was preserved as a second defense. The neighborhood has seen centuries of history go by, being a Muslim neighborhood, a marine neighborhood and a workers' zone during the industrial revolution. Among the buildings that can be seen in the Carmen neighborhood are the Torres de los Serranos, which led to the royal route of Zaragoza and Barcelona, ​​the IVAM, the Valencian institute of modern art, Prehistory museum, Lead Soldiers Museum and part of the Carmen church , with a beautiful square and the convent turned into a museum. But the most interesting thing is to get carried away to observe the life of the neighborhood where its streets contain cafes, tapas bars, fashion boutiques and souvenir shops. The terraces and dance floors of its many night bars are always overflowing.
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El Carmen
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THE CARMEN NEIGHBORHOOD Location: https://goo.gl/maps/qWUg9np1qqzPzMLn6 About the neighborhood: Built around the Plaza del Carmen, the Barrio del Carmen takes you to the history of the millenary Valencia. This neighborhood grew between the walls built by the Muslims in the eleventh century on its east side, and the wall of the Christians, from the fourteenth century, which, with the towers of Serranos and Las Torres de Quart, made the place the main point of Entry and exit of Valencia, these old medieval doors were part of the city walls. In the fourteenth century, the construction of the new wall was necessary to better defend the city, but the Muslim wall was preserved as a second defense. The neighborhood has seen centuries of history go by, being a Muslim neighborhood, a marine neighborhood and a workers' zone during the industrial revolution. Among the buildings that can be seen in the Carmen neighborhood are the Torres de los Serranos, which led to the royal route of Zaragoza and Barcelona, ​​the IVAM, the Valencian institute of modern art, Prehistory museum, Lead Soldiers Museum and part of the Carmen church , with a beautiful square and the convent turned into a museum. But the most interesting thing is to get carried away to observe the life of the neighborhood where its streets contain cafes, tapas bars, fashion boutiques and souvenir shops. The terraces and dance floors of its many night bars are always overflowing.
VIRGIN SQUARE: Location: https://goo.gl/maps/VcvuMEYYSUEM86Th6 About the Virgin Square: The Plaza de la Virgen, is located in the district of Ciutat Vella, in the historic center of the city, is completely pedestrian and houses the Cathedral, the Basilica of the Virgin of the Forsaken the Palace of the Generalitat Valenciana and by the so-called House Costumes, which serves as a meeting place for members of the Water Tribunal before and after their sessions before the Cathedral Door of the Apostles. A plaque commemorating the visit to Pope John Paul II's square on December 8, 1982 is located on the facade of the Casa Vestuario For more than a thousand years, the Door of the Apostles of the Cathedral meets the Tribunal de las Aguas every Thursday of the year at 12:00 noon. This court is the oldest existing legal institution in Europe, and probably also the oldest in the world. In relation to the Tribunal de las Aguas, in the northern half of the square is the Turia Fountain, an allegorical representation in bronze, of the Turia River, surrounded by eight female figures, naked and with a headdress of Valencian stylists, representing the eight main ditches that irrigate the Vega de Valencia (Quart, Benáger and Faitanar, Acequia de Tormos, Mislata, Mestalla, Favara, Rascaña and Rovella). The fountain is the work of sculptor Manuel Silvestre Montesinos and was inaugurated in 1976 It is in the Plaza de la Virgen where the Offering of Flowers ends, one of the most emotional acts of the falleras parties. The different accesses of the square are: To the north: Navellos Street - where the Palace of Benicarló, seat of the Valencian Courts - is located, which joins it with the old Turia riverbed, now occupied by the Turia Garden. From the south: Miguelete Street, which borders the Cathedral and links the Plaza de la Virgen with the Plaza de la Reina. By the west: the street of Knights - old place of residence of the local nobility, that unites it with the Place of the Tossal. To the east: the small Plaza de los Coros de la Virgen, which links it to Calle del Almudín, where the old almudín is located, today the Almudín Museum.
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Plaza de la Virgen
4 Plaça de la Verge
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VIRGIN SQUARE: Location: https://goo.gl/maps/VcvuMEYYSUEM86Th6 About the Virgin Square: The Plaza de la Virgen, is located in the district of Ciutat Vella, in the historic center of the city, is completely pedestrian and houses the Cathedral, the Basilica of the Virgin of the Forsaken the Palace of the Generalitat Valenciana and by the so-called House Costumes, which serves as a meeting place for members of the Water Tribunal before and after their sessions before the Cathedral Door of the Apostles. A plaque commemorating the visit to Pope John Paul II's square on December 8, 1982 is located on the facade of the Casa Vestuario For more than a thousand years, the Door of the Apostles of the Cathedral meets the Tribunal de las Aguas every Thursday of the year at 12:00 noon. This court is the oldest existing legal institution in Europe, and probably also the oldest in the world. In relation to the Tribunal de las Aguas, in the northern half of the square is the Turia Fountain, an allegorical representation in bronze, of the Turia River, surrounded by eight female figures, naked and with a headdress of Valencian stylists, representing the eight main ditches that irrigate the Vega de Valencia (Quart, Benáger and Faitanar, Acequia de Tormos, Mislata, Mestalla, Favara, Rascaña and Rovella). The fountain is the work of sculptor Manuel Silvestre Montesinos and was inaugurated in 1976 It is in the Plaza de la Virgen where the Offering of Flowers ends, one of the most emotional acts of the falleras parties. The different accesses of the square are: To the north: Navellos Street - where the Palace of Benicarló, seat of the Valencian Courts - is located, which joins it with the old Turia riverbed, now occupied by the Turia Garden. From the south: Miguelete Street, which borders the Cathedral and links the Plaza de la Virgen with the Plaza de la Reina. By the west: the street of Knights - old place of residence of the local nobility, that unites it with the Place of the Tossal. To the east: the small Plaza de los Coros de la Virgen, which links it to Calle del Almudín, where the old almudín is located, today the Almudín Museum.
VALENCIA CATHEDRAL Location: https://goo.gl/maps/ZworezHezPM4BYaj8 About the Valencia Cathedral: Consecrated in 1238, the Cathedral is the seat of the Archbishopric of Valencia and is dedicated to Jaume I the Conqueror. With regard to the interior, highlight the Chapel of the Holy Chalice, the ambulatory and the main and lateral nave of the Gothic and the main altar, with some very beautiful and newly restored paintings of Renaissance style, with some added from the Baroque. The site of the cathedral has been a place of worship since Roman times, since there was a temple dedicated to Jupiter or Diana, from which even today the columns can be seen standing in the Almoina Museum, next to the Cathedral. 1 On that temple the Valencian cathedral was erected, during the Visigothic period. With the Arab conquest, the place became the seat of the Balansiya Mosque (Valencia in Arabic); until in the thirteenth century, it returned to be a Christian church, after the conquest of the city by Jaime I. The main structure of the Valencia Cathedral rose between the 13th and 15th centuries, so it is mainly Gothic. However, its construction lasted for centuries, which is why there is a mixture of artistic styles - ranging from the early Romanesque, to the subtle renaissance, the ornate baroque and the most neoclassical content - which is the most relevant feature of the Valencia Cathedral and that makes it a jewel of universal architecture. Excavations in the adjacent Almoina Archaeological Center have unearthed remains of the ancient Visigothic cathedral of the 5th century, which later became a mosque.3 There is documentary evidence that until decades after the Christian conquest (1238) the mosque-cathedral remained standing -even with the Alcanic sentences on the walls-, until finally on June 22, 1262, Brother Andreu d'Albalat4 decided to tear it down and build a cathedral instead, in correspondence with the architect's plans Arnau Vidal It was used to lift material from the neighboring quarries of Burjasot and Godella, but also from other places further away such as Benidorm and Jávea, where the stones came from by boat. The Cathedral rises above the old Balansiya Mosque as it was built to mark the territory of Christians in front of Muslims, reasons that explain the simplicity and sobriety of the Valencia Cathedral in its construction since it was not a sumptuous work of no monarch, but an eminently citizen construction funded by the local bourgeoisie.
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Valencia Cathedral
s/n Plaça de l'Almoina
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VALENCIA CATHEDRAL Location: https://goo.gl/maps/ZworezHezPM4BYaj8 About the Valencia Cathedral: Consecrated in 1238, the Cathedral is the seat of the Archbishopric of Valencia and is dedicated to Jaume I the Conqueror. With regard to the interior, highlight the Chapel of the Holy Chalice, the ambulatory and the main and lateral nave of the Gothic and the main altar, with some very beautiful and newly restored paintings of Renaissance style, with some added from the Baroque. The site of the cathedral has been a place of worship since Roman times, since there was a temple dedicated to Jupiter or Diana, from which even today the columns can be seen standing in the Almoina Museum, next to the Cathedral. 1 On that temple the Valencian cathedral was erected, during the Visigothic period. With the Arab conquest, the place became the seat of the Balansiya Mosque (Valencia in Arabic); until in the thirteenth century, it returned to be a Christian church, after the conquest of the city by Jaime I. The main structure of the Valencia Cathedral rose between the 13th and 15th centuries, so it is mainly Gothic. However, its construction lasted for centuries, which is why there is a mixture of artistic styles - ranging from the early Romanesque, to the subtle renaissance, the ornate baroque and the most neoclassical content - which is the most relevant feature of the Valencia Cathedral and that makes it a jewel of universal architecture. Excavations in the adjacent Almoina Archaeological Center have unearthed remains of the ancient Visigothic cathedral of the 5th century, which later became a mosque.3 There is documentary evidence that until decades after the Christian conquest (1238) the mosque-cathedral remained standing -even with the Alcanic sentences on the walls-, until finally on June 22, 1262, Brother Andreu d'Albalat4 decided to tear it down and build a cathedral instead, in correspondence with the architect's plans Arnau Vidal It was used to lift material from the neighboring quarries of Burjasot and Godella, but also from other places further away such as Benidorm and Jávea, where the stones came from by boat. The Cathedral rises above the old Balansiya Mosque as it was built to mark the territory of Christians in front of Muslims, reasons that explain the simplicity and sobriety of the Valencia Cathedral in its construction since it was not a sumptuous work of no monarch, but an eminently citizen construction funded by the local bourgeoisie.
THE MICALET TOWER: Location: https://goo.gl/maps/Bg3d54TViXmJ8EqE8 About The Micalet Tower: The Micalet tower is the bell tower of the Valencia Cathedral. It is known as El Miguelete or Torre del Micalet in Valencian. The construction of the tower begins in 1381 and ends in 1429. Due to its complexity and long years of construction, it was directed successively by several construction masters; being the first Andrés Juliá, since 1381. Others were José Franch (1396), Pedro Balaguer (1414, builder of the Serranos Towers); until Martín Llobet (1425), the last of the architects who intervened in the construction. Subsequently the bulrush (1660-1736) was added. The Micalet is a tower of Valencian Gothic style, it is 51 m high to the terrace, which measures its perimeter, and 63 m in total. It is shaped like an octagonal prism and has 207 steps. For many centuries it was called "Campanar Nuevo" or "Campanar de la Catedral", to differentiate it from the "Campanar Viejo", a square tower with a Romanesque bill, located in the Barchilla street, and of which there are few remains . Little by little his name was transformed into "Torre del Micalet", for the great bell of the hours, which has served to name, by metonymy, the whole. Originally it was an exempt tower, joined to the Cathedral at the end of the 15th century when the central nave was extended. It has access by an angular cover adorned with archivolts and a passage covered with curious veined voltas. The octagonal tower measures 50.85 m, its perimeter being equal to its height, soberly decorated outside by the binoculars buttresses of the edges and the fine moldings that indicate the different levels of the floors. The first body is solid, leaving only the helical stairwell; the second body has a vaulted enclosure, which is the old "Prison" or Cathedral Asylum with a single exterior window; the third body is the "Casa del Campanero", another vaulted enclosure similar to the previous one, although larger and with two windows. The upper floor is the bell room opened by 8 windows, 7 of them occupied by the bells. The eighth corresponds to the spiral staircase, which from here becomes narrower. In 1425 the tower to the terrace was already completed, the needle project conceived by Antonio Dalmau was not thriving, and it is preserved in the Municipal Historical Museum of Valencia. The bell of the hours hung from a wooden structure, located on stone pillars, similar to that existing in many other bell towers of the Crown of Aragon. The current bulrush is an attachment built between 1660 and 1736. The terrace had an elegant openwork crescent or "apitrador", which served as a crown, and was razed in the eighteenth century, being first replaced by a wooden railing and in the 19th century by a metal railing until the restoration of 1983, carried out without respecting the archaeological witnesses preserved until that moment on the same terrace, and which are now exposed in the "Casa del Campanero". The last bellman who lived in the "House of the Ringer" was Mariano Folch, who was in charge of the bells for more than sixty years and died around 1905. In 1940 the original set of eleven bells (six small and five large) had been altered with the addition of Eloy, a bell from the bell of Santa Catalina, which at that time was about to become an icon in the middle of a prolonged Peace Avenue The entrance of this bell, very loud, modified the touches and the loudness of the ensemble.
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Torre del Micalet
s/n Pça. de la Reina
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THE MICALET TOWER: Location: https://goo.gl/maps/Bg3d54TViXmJ8EqE8 About The Micalet Tower: The Micalet tower is the bell tower of the Valencia Cathedral. It is known as El Miguelete or Torre del Micalet in Valencian. The construction of the tower begins in 1381 and ends in 1429. Due to its complexity and long years of construction, it was directed successively by several construction masters; being the first Andrés Juliá, since 1381. Others were José Franch (1396), Pedro Balaguer (1414, builder of the Serranos Towers); until Martín Llobet (1425), the last of the architects who intervened in the construction. Subsequently the bulrush (1660-1736) was added. The Micalet is a tower of Valencian Gothic style, it is 51 m high to the terrace, which measures its perimeter, and 63 m in total. It is shaped like an octagonal prism and has 207 steps. For many centuries it was called "Campanar Nuevo" or "Campanar de la Catedral", to differentiate it from the "Campanar Viejo", a square tower with a Romanesque bill, located in the Barchilla street, and of which there are few remains . Little by little his name was transformed into "Torre del Micalet", for the great bell of the hours, which has served to name, by metonymy, the whole. Originally it was an exempt tower, joined to the Cathedral at the end of the 15th century when the central nave was extended. It has access by an angular cover adorned with archivolts and a passage covered with curious veined voltas. The octagonal tower measures 50.85 m, its perimeter being equal to its height, soberly decorated outside by the binoculars buttresses of the edges and the fine moldings that indicate the different levels of the floors. The first body is solid, leaving only the helical stairwell; the second body has a vaulted enclosure, which is the old "Prison" or Cathedral Asylum with a single exterior window; the third body is the "Casa del Campanero", another vaulted enclosure similar to the previous one, although larger and with two windows. The upper floor is the bell room opened by 8 windows, 7 of them occupied by the bells. The eighth corresponds to the spiral staircase, which from here becomes narrower. In 1425 the tower to the terrace was already completed, the needle project conceived by Antonio Dalmau was not thriving, and it is preserved in the Municipal Historical Museum of Valencia. The bell of the hours hung from a wooden structure, located on stone pillars, similar to that existing in many other bell towers of the Crown of Aragon. The current bulrush is an attachment built between 1660 and 1736. The terrace had an elegant openwork crescent or "apitrador", which served as a crown, and was razed in the eighteenth century, being first replaced by a wooden railing and in the 19th century by a metal railing until the restoration of 1983, carried out without respecting the archaeological witnesses preserved until that moment on the same terrace, and which are now exposed in the "Casa del Campanero". The last bellman who lived in the "House of the Ringer" was Mariano Folch, who was in charge of the bells for more than sixty years and died around 1905. In 1940 the original set of eleven bells (six small and five large) had been altered with the addition of Eloy, a bell from the bell of Santa Catalina, which at that time was about to become an icon in the middle of a prolonged Peace Avenue The entrance of this bell, very loud, modified the touches and the loudness of the ensemble.
CENTRAL MARKET: Website: https://www.mercadocentralvalencia.es Location: https://goo.gl/maps/zxHgAEL9X6Xp7e3J7 About the Central Market: The Central Market of the city of Valencia is located in the Plaza Ciudad de Brujas without number of the city of Valencia (Spain). It is considered one of the masterpieces of Valencian modernism. It is a Valencian modernist style construction that began to be built in 1914 by Francesc Guàrdia i Vial and Alexandre Soler i March, both trained at the School of Architecture of Barcelona and having worked in the team of collaborators of Domènech i Montaner, architect which was characterized by its own style within the lines of modernism. After some disagreements and some modifications in the initial project, the direction of the works will be executed by the Valencian architect Enrique Viedma Vidal, ending in January 1928. Since 2004, the Integral Rehabilitation of the Central Market is in charge of the Madrid studio Fernández del Castillo Arquitectos, directed by Horacio Fernández del Castillo. His intervention has consisted of a complete restoration of the building; and an update of the commercial function as a market and its facilities. It is located in the Market Square, next to the Silk Exchange and the city square of Bruges. The old street of La Paja separates the Central Market from the Church of the Santos Juanes. On the opposite side, the Central Market overlooks the beautiful Palafox streets, En Gall square and Calabazas street. This spectacular bazaar, has 1,200 stalls in which all kinds of food such as fish, seafood, fruits, spices, meats and sausages are sold both for domestic consumption and to supply important restaurants in Valencia, which is crowned as the market of Europe's largest fresh produce. The purchase in this place is full of great charm for the beauty of its architecture and the tradition and history of the market. The Central Market combines metal, domes, glass, columns, to the gothic memory of modernism, as if it were a cathedral of commerce, combined with the neighboring Lonja de la Seda. In the center of the building you can see a large dome crowned by a weather vane.
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Central Market of Valencia
s/n Plaça de la Ciutat de Bruges
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CENTRAL MARKET: Website: https://www.mercadocentralvalencia.es Location: https://goo.gl/maps/zxHgAEL9X6Xp7e3J7 About the Central Market: The Central Market of the city of Valencia is located in the Plaza Ciudad de Brujas without number of the city of Valencia (Spain). It is considered one of the masterpieces of Valencian modernism. It is a Valencian modernist style construction that began to be built in 1914 by Francesc Guàrdia i Vial and Alexandre Soler i March, both trained at the School of Architecture of Barcelona and having worked in the team of collaborators of Domènech i Montaner, architect which was characterized by its own style within the lines of modernism. After some disagreements and some modifications in the initial project, the direction of the works will be executed by the Valencian architect Enrique Viedma Vidal, ending in January 1928. Since 2004, the Integral Rehabilitation of the Central Market is in charge of the Madrid studio Fernández del Castillo Arquitectos, directed by Horacio Fernández del Castillo. His intervention has consisted of a complete restoration of the building; and an update of the commercial function as a market and its facilities. It is located in the Market Square, next to the Silk Exchange and the city square of Bruges. The old street of La Paja separates the Central Market from the Church of the Santos Juanes. On the opposite side, the Central Market overlooks the beautiful Palafox streets, En Gall square and Calabazas street. This spectacular bazaar, has 1,200 stalls in which all kinds of food such as fish, seafood, fruits, spices, meats and sausages are sold both for domestic consumption and to supply important restaurants in Valencia, which is crowned as the market of Europe's largest fresh produce. The purchase in this place is full of great charm for the beauty of its architecture and the tradition and history of the market. The Central Market combines metal, domes, glass, columns, to the gothic memory of modernism, as if it were a cathedral of commerce, combined with the neighboring Lonja de la Seda. In the center of the building you can see a large dome crowned by a weather vane.
THE SILK MARKET: Location: https://goo.gl/maps/jvvHeLvsTsHKvDjw6 About the Silk Market: The Lonja de la Seda de Valencia or Lonja de los Mercaderes (in Valencian Llotja de la Seda or Llotja de Mercaders) is a masterpiece of the Valencian civil gothic located in the historic center of the city of Valencia (Spain). Declared, in 1996, a World Heritage Site by Unesco, it is located in the Market Square, number 31, in front of the Church of Santos Juanes and the Central Market of Valencia. It was built between 1482 and 1548, and its first builder was Pere Compte between 1483 and 1497 on the model of the Lonja de Palma de Mallorca, becoming an emblematic building of the wealth of the Valencian Golden Age (XV century) and shows of the commercial revolution during the Low Middle Ages, of social development and prestige achieved by the Valencian bourgeoisie. The construction of the Lonja, in Valencian «llotja», in the Valencian Community and the Balearic Islands, 3 4 has been interpreted as the result of the commercial prosperity achieved by Valencia in the fifteenth century, and as a symbol of the power of the city to attract merchants, at a time when difficult times were already in sight for the local economy derived from the discovery of America and the consequent shift of trade from the Mediterranean to the Atlantic. The fish markets in the Crown of Aragon were built following the same scheme: a rectangular plan room supported by columns. The one in Valencia was preceded by the Lonja de Barcelona (1380-1392) and the Lonja de Palma (1420-1448), with helical pillars where the cross vaults of three naves are held.5 Between 1541 and 1551 He built the fish market of Zaragoza of the same type, but with a Renaissance style. Considering that the architectural scheme was always the same, the General Council of the City, in 1469, insisted on the beauty of the building that should be: "very beautiful, magnificent and sumptuous, which would be the honor and ornament of this famous city." 6 The work was commissioned to the teacher Pere Compte, already known in the city for having been in charge of the works of the last section of the Cathedral. World Heritage of Valencia Exterior view. It was named a National Monument since 1931 and Unesco declared the World Heritage Silk Market on December 5, 1996 as a “totally exceptional example of a secular building in late Gothic style, which splendidly illustrates power and wealth of one of the great mercantile cities of the Mediterranean », being considered as one of the brightest examples of European civil gothic. The rectangular facades of chopped stone, the sumptuous Renaissance medallions, the artistic sculptures and gargoyles, the perfect proportions of the doors and windows, the shields and the merlons, remind us of the splendor of the Valencian late Gothic. In 2013, thanks to a new valuation method specifically designed for historic-artistic properties, the value of the Lonja was estimated between 350 and 400 million euros. The Lonja de la Seda is located in the very center of the city (Market district), in front of the Market Square, described by numerous chroniclers as a colorful and noisy scenario endowed with a very special sensuality. Built between 1482 and 1533, this set of buildings was destined from the beginning to the silk trade and since then it has been performing commercial functions. Masterpiece of the flamboyant Gothic, the fish market and its great Recruitment Hall illustrate the power and richness of a large Mediterranean mercantile city in the fifteenth and sixteenth centuries. Unesco, December 5, 1996 Declaration as a World Heritage Site
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La Lonja de la Seda
2 Carrer de la Llotja
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THE SILK MARKET: Location: https://goo.gl/maps/jvvHeLvsTsHKvDjw6 About the Silk Market: The Lonja de la Seda de Valencia or Lonja de los Mercaderes (in Valencian Llotja de la Seda or Llotja de Mercaders) is a masterpiece of the Valencian civil gothic located in the historic center of the city of Valencia (Spain). Declared, in 1996, a World Heritage Site by Unesco, it is located in the Market Square, number 31, in front of the Church of Santos Juanes and the Central Market of Valencia. It was built between 1482 and 1548, and its first builder was Pere Compte between 1483 and 1497 on the model of the Lonja de Palma de Mallorca, becoming an emblematic building of the wealth of the Valencian Golden Age (XV century) and shows of the commercial revolution during the Low Middle Ages, of social development and prestige achieved by the Valencian bourgeoisie. The construction of the Lonja, in Valencian «llotja», in the Valencian Community and the Balearic Islands, 3 4 has been interpreted as the result of the commercial prosperity achieved by Valencia in the fifteenth century, and as a symbol of the power of the city to attract merchants, at a time when difficult times were already in sight for the local economy derived from the discovery of America and the consequent shift of trade from the Mediterranean to the Atlantic. The fish markets in the Crown of Aragon were built following the same scheme: a rectangular plan room supported by columns. The one in Valencia was preceded by the Lonja de Barcelona (1380-1392) and the Lonja de Palma (1420-1448), with helical pillars where the cross vaults of three naves are held.5 Between 1541 and 1551 He built the fish market of Zaragoza of the same type, but with a Renaissance style. Considering that the architectural scheme was always the same, the General Council of the City, in 1469, insisted on the beauty of the building that should be: "very beautiful, magnificent and sumptuous, which would be the honor and ornament of this famous city." 6 The work was commissioned to the teacher Pere Compte, already known in the city for having been in charge of the works of the last section of the Cathedral. World Heritage of Valencia Exterior view. It was named a National Monument since 1931 and Unesco declared the World Heritage Silk Market on December 5, 1996 as a “totally exceptional example of a secular building in late Gothic style, which splendidly illustrates power and wealth of one of the great mercantile cities of the Mediterranean », being considered as one of the brightest examples of European civil gothic. The rectangular facades of chopped stone, the sumptuous Renaissance medallions, the artistic sculptures and gargoyles, the perfect proportions of the doors and windows, the shields and the merlons, remind us of the splendor of the Valencian late Gothic. In 2013, thanks to a new valuation method specifically designed for historic-artistic properties, the value of the Lonja was estimated between 350 and 400 million euros. The Lonja de la Seda is located in the very center of the city (Market district), in front of the Market Square, described by numerous chroniclers as a colorful and noisy scenario endowed with a very special sensuality. Built between 1482 and 1533, this set of buildings was destined from the beginning to the silk trade and since then it has been performing commercial functions. Masterpiece of the flamboyant Gothic, the fish market and its great Recruitment Hall illustrate the power and richness of a large Mediterranean mercantile city in the fifteenth and sixteenth centuries. Unesco, December 5, 1996 Declaration as a World Heritage Site
PALACE OF THE MARQUIS DE DOS AGUAS & National Museum of Ceramics and Sumptuous Arts Location: https://goo.gl/maps/RqenRstDvmKauvhn6 About the palace: The Marqués de Dos Aguas palace is located in the historic center of Valencia, (Spain), between the streets of Poeta Querol (formerly Villarrasa and María de Molina), Culture Street (Abbey Street of San Martín) and street from San Andrés. The space in which it is located is believed to be probably the land intended for a Roman necropolis from the 1st to 3rd centuries AD, due to the findings in one of its courtyards on September 9, 1743. The building that can be visited today is destined to house the National Museum of Ceramics and Sumptuous Arts González Martí, the result of a radical reform carried out on the old Gothic-style manor house owned by the Rabassa de Perellós, who acquired the Marquesado de Dos Aguas title in 1699 granted to the family by Carlos II. By 1740 Giner Rabassa de Perellós y Lanuza began the renovation in the palace offering some degree of renovation compared to the previous ones, since it includes ornamental elements in front of the severe character of the old manor house.1 For this modification it has the collaboration by the painter Hipólito Rovira, the sculptor Ignacio Vergara and the adornist Luis Domingo, especially highlighting the alabaster door, the return of the noble staircase and the float of the Nymphs. Square and facade. Of irregular quadrangular plant, organized around a patio and with towers in the corners, its facades rise in two heights on the basement corresponding to the subsoil and the ground floor; while on one side the main door is opened, made in alabaster from the Niñerola quarries in Picassent (province of Valencia) -of the then manor of the Two Waters- by Ignacio Vergara on the design of Hipólito Rovira. It is chaired by the image of the Virgin of the Rosary, work of Francisco Molinelli, embedded in a niche that allows its opening with a convex sliding door from where two flows of water descend in allusion to the title of the Marquises, with two atlantes to the sides which symbolize two rivers, all with a decorative result of overflowing voluptuousness. The aspects related to the iconology and iconography of this monumental cover have been very discussed and diverse, on which articles by Salvador Aldana and Santiago Sebastián are recommended. At that time the entire facade was decorated with frescoes by Rovira, but between 1853 and 1867, when he had the title Vicente Dasí Lluesma, the palace underwent a new remodeling, in which the paintings disappeared, which at the time were in poor condition due to moisture, being replaced by stuccoes in gray and pink tones imitating marbles. In addition, the balconies of French flavor were also made, with undulating railings replacing the previous ones in iron. However, the maximum remodeling can be seen on the noble floor, where the rooms were reorganized around the internal courtyards and converging on the main staircase of the building.
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Palace of the Marqués de Dos Aguas
4 Carrer del Marquès de Dos Aigües
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PALACE OF THE MARQUIS DE DOS AGUAS & National Museum of Ceramics and Sumptuous Arts Location: https://goo.gl/maps/RqenRstDvmKauvhn6 About the palace: The Marqués de Dos Aguas palace is located in the historic center of Valencia, (Spain), between the streets of Poeta Querol (formerly Villarrasa and María de Molina), Culture Street (Abbey Street of San Martín) and street from San Andrés. The space in which it is located is believed to be probably the land intended for a Roman necropolis from the 1st to 3rd centuries AD, due to the findings in one of its courtyards on September 9, 1743. The building that can be visited today is destined to house the National Museum of Ceramics and Sumptuous Arts González Martí, the result of a radical reform carried out on the old Gothic-style manor house owned by the Rabassa de Perellós, who acquired the Marquesado de Dos Aguas title in 1699 granted to the family by Carlos II. By 1740 Giner Rabassa de Perellós y Lanuza began the renovation in the palace offering some degree of renovation compared to the previous ones, since it includes ornamental elements in front of the severe character of the old manor house.1 For this modification it has the collaboration by the painter Hipólito Rovira, the sculptor Ignacio Vergara and the adornist Luis Domingo, especially highlighting the alabaster door, the return of the noble staircase and the float of the Nymphs. Square and facade. Of irregular quadrangular plant, organized around a patio and with towers in the corners, its facades rise in two heights on the basement corresponding to the subsoil and the ground floor; while on one side the main door is opened, made in alabaster from the Niñerola quarries in Picassent (province of Valencia) -of the then manor of the Two Waters- by Ignacio Vergara on the design of Hipólito Rovira. It is chaired by the image of the Virgin of the Rosary, work of Francisco Molinelli, embedded in a niche that allows its opening with a convex sliding door from where two flows of water descend in allusion to the title of the Marquises, with two atlantes to the sides which symbolize two rivers, all with a decorative result of overflowing voluptuousness. The aspects related to the iconology and iconography of this monumental cover have been very discussed and diverse, on which articles by Salvador Aldana and Santiago Sebastián are recommended. At that time the entire facade was decorated with frescoes by Rovira, but between 1853 and 1867, when he had the title Vicente Dasí Lluesma, the palace underwent a new remodeling, in which the paintings disappeared, which at the time were in poor condition due to moisture, being replaced by stuccoes in gray and pink tones imitating marbles. In addition, the balconies of French flavor were also made, with undulating railings replacing the previous ones in iron. However, the maximum remodeling can be seen on the noble floor, where the rooms were reorganized around the internal courtyards and converging on the main staircase of the building.
SERRANOS TOWERS: Location: https://goo.gl/maps/nMBAfUhfU1gcRvrF8 About The Towers: The Torres de Serranos or Puerta de Serranos are one of the two fortified gates of the medieval wall of Valencia that still stand. The set is formed by two polygonal towers joined by a central body where the door itself is opened, in the form of a semicircular arch. The name of the door seems to come from its situation, to the northwest of the old town, as a natural entrance that communicated with the roads that went to the Los Serranos region (the royal road of Zaragoza, which converged at this point also with the royal road from Barcelona). Another theory assumes that it could take the name of the main family that inhabited the homonymous street. The jurors of Valencia entrusted the construction of the Towers to the teacher Pere Balaguer, who was inspired by other Gothic doors, with polygonal towers, such as the Royal Gate of the monastery of Poblet, influenced by the Genoese architectural style, or the door of San Miguel de Morella Work began on April 6, 1392 on the grounds of the previous portico. In 1397, almost finished the works, the need to improve access to the noble floor of the towers was raised. That is why the monumental stone staircase was projected, which enlarged the building and facilitated its use in the welcome parties. On March 19, 1398, the works were completed. Its main use for a long time was to serve as a defense in any siege or eventual attack on the city, but more generally it was used for ceremonies and official entrances of ambassadors and kings, and it was considered (and still considered) as the entrance Main city. In 1586, after the fire of the city, the towers were converted into a prison of nobles and knights, until the prisoners were transferred to the convent of San Agustín in 1887. From that moment on, it had various utilities until today, how to serve now Museum or for various events. Shield of Valencia with the crown of the kingdom and the “rat penat” or bat, in one of the bars of the interior stairs. Their uses as a prison (as in the case of the Torres de Cuart) caused them to survive the dismantling of the wall, ordered by Cirilo Amorós, civil governor of Valencia, but they also mistreated the building, especially in its interior structure. Thus, their large open arches were blinded to the interior and the outer wall was perforated by various windows, while the crenellated barbican that crowned them disappeared. In 1871, the city council decided to fill the moat in front of the doors, but it affected the vision and appearance of the doors. Between 1893 and 1914, the Royal Academy of San Carlos, carried out a restoration directed by the sculptor and academic José Aixá. During the Spanish civil war it was used as a repository for the evacuated works of the Prado Museum, after a necessary adaptation was made for this purpose. In this sense, in December 1936 a reinforced concrete vault of 90 cm thick was built on the floor of the first floor aimed at preventing the works of art, housed in the lowest floor, from being damaged in the event of bombardment and collapse of the building. On this vault a meter of rice husk (destined to act as a buffer) and, on it, a meter of land were accumulated. On the second floor another meter of land was accumulated and the terrace was covered with earth bags. In addition, an automatic humidity and temperature control system was installed. All this done following the project, and under the direction, of the architect of the Central Board of Salvation of the Artistic Treasure, José Lino Vaamonde. In 2000 the stone was cleaned and the door was left with its current appearance. At present the Towers can be visited and climbed to the top, from where you have a formidable view of Valencia. The Serranos gate is used for various acts of the city. The most characteristic is the creation or call of the Fallas festival. On the last Sunday of February, the major fallera proclaims the Valencians and falleros who are already in Fallas, from a stand raised in front of the exterior facade. Then the Anthem of the Valencian Community is sung.
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Torres De Serrano station
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SERRANOS TOWERS: Location: https://goo.gl/maps/nMBAfUhfU1gcRvrF8 About The Towers: The Torres de Serranos or Puerta de Serranos are one of the two fortified gates of the medieval wall of Valencia that still stand. The set is formed by two polygonal towers joined by a central body where the door itself is opened, in the form of a semicircular arch. The name of the door seems to come from its situation, to the northwest of the old town, as a natural entrance that communicated with the roads that went to the Los Serranos region (the royal road of Zaragoza, which converged at this point also with the royal road from Barcelona). Another theory assumes that it could take the name of the main family that inhabited the homonymous street. The jurors of Valencia entrusted the construction of the Towers to the teacher Pere Balaguer, who was inspired by other Gothic doors, with polygonal towers, such as the Royal Gate of the monastery of Poblet, influenced by the Genoese architectural style, or the door of San Miguel de Morella Work began on April 6, 1392 on the grounds of the previous portico. In 1397, almost finished the works, the need to improve access to the noble floor of the towers was raised. That is why the monumental stone staircase was projected, which enlarged the building and facilitated its use in the welcome parties. On March 19, 1398, the works were completed. Its main use for a long time was to serve as a defense in any siege or eventual attack on the city, but more generally it was used for ceremonies and official entrances of ambassadors and kings, and it was considered (and still considered) as the entrance Main city. In 1586, after the fire of the city, the towers were converted into a prison of nobles and knights, until the prisoners were transferred to the convent of San Agustín in 1887. From that moment on, it had various utilities until today, how to serve now Museum or for various events. Shield of Valencia with the crown of the kingdom and the “rat penat” or bat, in one of the bars of the interior stairs. Their uses as a prison (as in the case of the Torres de Cuart) caused them to survive the dismantling of the wall, ordered by Cirilo Amorós, civil governor of Valencia, but they also mistreated the building, especially in its interior structure. Thus, their large open arches were blinded to the interior and the outer wall was perforated by various windows, while the crenellated barbican that crowned them disappeared. In 1871, the city council decided to fill the moat in front of the doors, but it affected the vision and appearance of the doors. Between 1893 and 1914, the Royal Academy of San Carlos, carried out a restoration directed by the sculptor and academic José Aixá. During the Spanish civil war it was used as a repository for the evacuated works of the Prado Museum, after a necessary adaptation was made for this purpose. In this sense, in December 1936 a reinforced concrete vault of 90 cm thick was built on the floor of the first floor aimed at preventing the works of art, housed in the lowest floor, from being damaged in the event of bombardment and collapse of the building. On this vault a meter of rice husk (destined to act as a buffer) and, on it, a meter of land were accumulated. On the second floor another meter of land was accumulated and the terrace was covered with earth bags. In addition, an automatic humidity and temperature control system was installed. All this done following the project, and under the direction, of the architect of the Central Board of Salvation of the Artistic Treasure, José Lino Vaamonde. In 2000 the stone was cleaned and the door was left with its current appearance. At present the Towers can be visited and climbed to the top, from where you have a formidable view of Valencia. The Serranos gate is used for various acts of the city. The most characteristic is the creation or call of the Fallas festival. On the last Sunday of February, the major fallera proclaims the Valencians and falleros who are already in Fallas, from a stand raised in front of the exterior facade. Then the Anthem of the Valencian Community is sung.
MUSEUM OF FINE ARTS OF VALENCIA: Website: http://www.museobellasartesvalencia.gva.es/es/inicio Location: https://goo.gl/maps/GuuuW7vAEKcN9ojK6 Catalog of Collections: http://www.museobellasartesvalencia.gva.es/es/catalogo About the Museum: The Museum of Fine Arts of Valencia (in Valencian, Museu de Belles Arts de València) is a state-owned museum, managed by the Valencian Generalitat. Due to the importance of its collections, it is one of the first painting museums in Spain, being a clear reference in terms of ancient Valencian masters. Its collection of Gothic tables from the 14th and 15th centuries is of international relevance, although some of its best-known jewels are Velázquez's Self-Portrait and a Virgin with the Child and a donor of the Italian Pinturicchio. In 1913, through a royal decree of July 24, the Museum is officially separated from the Royal Academy of Fine Arts of San Carlos, becoming since then an autonomous institution dependent on the State and governed by a Board of Trustees. During the Civil War the Museum, at that time located in the former convent of Carmen Calzado, was dismantled and used as a warehouse for the Artistic Treasury, and part of its funds were transferred to Madrid and deposited in the Prado Museum. Mr. Manuel González Martí, director of the Museum, once the Civil War ended, managed the recovery of these funds and commissioned a report on September 5, 1939, to assess the damage suffered by the convent building during the contest with the intention of rehabilitating it , it was not carried out, making the decision to transfer it then to the Seminary College of San Pío V. The Building The Colegio de San Pío V, current headquarters of the Museum of Fine Arts in Valencia, was founded by Archbishop Juan Tomás de Rocabertí for the formation of priests. Projected by Juan Pérez Castiel in 1683, its execution was delayed well into the 18th century. It is composed of two parts: the school and the temple. The school has a quadrangular plan arranged around a cloister, its two towers on the facade that looks out over the old Turia channel give it a certain aspect of fortress, a frequent element then in the monasteries and in certain palaces of the city. In this façade, the cushioning of the corners stands out, in the form of diamond points, the straight and curved alternating pediments that crown the windows, the cornices and the vases and ball finishes. Inside you can admire the rehabilitation of the Vich Ambassador's Courtyard, whose pieces of marble from Genoa had been guarded by the San Carlos Academy, after the demolition of the palace that housed it in 1859, and was rebuilt in this place in 2006. The temple is attached to this rectangle with its octagonal floor plan and its large blue glazed tile dome, rebuilt after it was demolished in 1925. It is also worth mentioning its facade, the work of José Mínguez with two floors, pilasters in a highlight and a pediment curvilinear that tops it, all of which is situated in the passage from baroque to neoclassicism. Between 1820 and 1826 it was the headquarters of the Beneficence, and in 1835 it became dependent on the State, which dedicated it to the warehouse of army supplies and, during the Civil War, to a military hospital. After the conflict it happened to house the Museum of Fine Arts of Valencia.
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Museu de Belles Arts de València
9 Carrer de Sant Pius V
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MUSEUM OF FINE ARTS OF VALENCIA: Website: http://www.museobellasartesvalencia.gva.es/es/inicio Location: https://goo.gl/maps/GuuuW7vAEKcN9ojK6 Catalog of Collections: http://www.museobellasartesvalencia.gva.es/es/catalogo About the Museum: The Museum of Fine Arts of Valencia (in Valencian, Museu de Belles Arts de València) is a state-owned museum, managed by the Valencian Generalitat. Due to the importance of its collections, it is one of the first painting museums in Spain, being a clear reference in terms of ancient Valencian masters. Its collection of Gothic tables from the 14th and 15th centuries is of international relevance, although some of its best-known jewels are Velázquez's Self-Portrait and a Virgin with the Child and a donor of the Italian Pinturicchio. In 1913, through a royal decree of July 24, the Museum is officially separated from the Royal Academy of Fine Arts of San Carlos, becoming since then an autonomous institution dependent on the State and governed by a Board of Trustees. During the Civil War the Museum, at that time located in the former convent of Carmen Calzado, was dismantled and used as a warehouse for the Artistic Treasury, and part of its funds were transferred to Madrid and deposited in the Prado Museum. Mr. Manuel González Martí, director of the Museum, once the Civil War ended, managed the recovery of these funds and commissioned a report on September 5, 1939, to assess the damage suffered by the convent building during the contest with the intention of rehabilitating it , it was not carried out, making the decision to transfer it then to the Seminary College of San Pío V. The Building The Colegio de San Pío V, current headquarters of the Museum of Fine Arts in Valencia, was founded by Archbishop Juan Tomás de Rocabertí for the formation of priests. Projected by Juan Pérez Castiel in 1683, its execution was delayed well into the 18th century. It is composed of two parts: the school and the temple. The school has a quadrangular plan arranged around a cloister, its two towers on the facade that looks out over the old Turia channel give it a certain aspect of fortress, a frequent element then in the monasteries and in certain palaces of the city. In this façade, the cushioning of the corners stands out, in the form of diamond points, the straight and curved alternating pediments that crown the windows, the cornices and the vases and ball finishes. Inside you can admire the rehabilitation of the Vich Ambassador's Courtyard, whose pieces of marble from Genoa had been guarded by the San Carlos Academy, after the demolition of the palace that housed it in 1859, and was rebuilt in this place in 2006. The temple is attached to this rectangle with its octagonal floor plan and its large blue glazed tile dome, rebuilt after it was demolished in 1925. It is also worth mentioning its facade, the work of José Mínguez with two floors, pilasters in a highlight and a pediment curvilinear that tops it, all of which is situated in the passage from baroque to neoclassicism. Between 1820 and 1826 it was the headquarters of the Beneficence, and in 1835 it became dependent on the State, which dedicated it to the warehouse of army supplies and, during the Civil War, to a military hospital. After the conflict it happened to house the Museum of Fine Arts of Valencia.
COLON MARKET: Website: http://mercadocolon.es/en/ Location: https://goo.gl/maps/W3uRqBgFPRxuti6D7 The Colon market is located on Jorge Juan street number 19 of the city of Valencia, (Spain). The building was conceived and made by the architect Francisco Mora Berenguer between 1914 and 1916. It is one of the best examples of Valencian modernism architecture at the beginning of the century. It is also declared as a National Monument. It is currently rehabilitated and equipped with shops and establishments dedicated to the hospitality industry. It was intended to cover the growing needs of the Ensanche of Valencia, dominated by the bourgeois class. The Colón market has a total area of ​​3,500 m². It has a basilica plant with 3 naves, a central of 18.60 m. high and two lateral ones less than 9.70 m. of light with overhangs of 6 m. on each side, organized in 9 bays 7 m apart. The structure is made up of metal lattice trusses and arches made by means of profiles composed of robbed joints, and screws in the links with the cast iron pillars that support the roof, with heights of 8 and 5 m, with ornate capital and base. The cover is made using square fiber cement plates model "eternit", fastened with wire according to their diagonals. The different heights of the cover cloths facilitate longitudinal openings for lighting and ventilation of the space. A skylight was opened along the ridge that provides the ship's natural lighting. On the diaphanous ground floor, marked by the pillar alignments, there are market stalls that do not correspond to the initially planned designs, as also happened with the perimeter fence. The access to the enclosure is produced by eight large doors that provide great permeability and functionally connect with the environment throughout its perimeter. They are made with profiles and steel sheets, with ornamental elements of cast iron and forge. The doors are located in the chamfers and in the centers of each facade. A pavilion for municipal uses, 31 x 7.5 m base, which rises in an ogival arch 16 m high and 13 m light between supports , with the depth of a crack. Start of two rectangular bodies, in one of which is the access staircase to the upper gallery. In the other one there are several municipal galleries distributed in three floors. Between both elements crosses a gallery for offices, built as a bridge between the arch supports. Its execution, made from a brick factory with arches, lintels, corners and edges of artificial stone and natural stone bases, presents a polychrome coating of Venetian mosaic in the arch and Venetian mosaic in the inner vaults, in the same way as the Pinnacles, which are crowned with vitrified ceramic pieces in bright colors. On the roof of the pavilion, there are two chimneys topped with curved shapes covered with ceramic fragments. This facade presents a complete iconographic and symbolic program, in which they are present from the poultry (turkeys, ducks, pheasant hens, geese, roosters) to the butcher shop (meats, pigs, cows, rabbits), passing through the fish market (crabs, crayfish, eels, fish, mollusks), vegetables (pumpkins, corn, peppers, tomatoes, cucumbers), snails, flowers of various kinds and, of course, fruit (figs, lemons, apricots, pineapples, pineapples, vines, bananas , melons, pomegranates, apples, oranges, pears). This approach of the decorative program was common in other architects of the time such as Doménech i Montaner, Puig i Cadafalch or Gaudí, but its complete and exhaustive development necessarily reminds of the Cover of the Birth of the Holy Family of Barcelona of Gaudí, whose erection Francisco Mora was a direct witness during his student years, during his visits to Gaudí's workshop. Unlike the façade of Jorge Juan street, the one in the one of Conde Salvatierra, consists of a single plan devoid of volumetry, also executed in a brick factory and a combination of natural and artificial stone. The plan of this facade is limited laterally by two truncated conical columns finished in pinnacles, in whose center a large parabolic arch of a brick factory of similar dimensions to the other opens and whose eardrum is closed by a colossal stained glass window. The lower part of it is finished at a height of about 4 m by means of a glass canopy on metalwork. At the base of the two large lateral pinnacles are the flower stalls, very light and wavy cover also covered with ceramic fragments. This facade, on the other hand, appears disorganized, with the exception of some isolated and imperceptible details in the set such as rams, snails, pears and garlic strips. The set is delimited by a perimeter fence of careful design, made of iron and natural stone, whose chamfers are raised four small one-floor edicules, one intended for public toilets and vendors and the rest used as a warehouse. The market was completely restored during 2003 with a cost exceeding 33 million euros. It currently includes commercial franchises, luxury coffee shops and underground parking.
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Mercado de Colón
19 Carrer de Jorge Juan
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COLON MARKET: Website: http://mercadocolon.es/en/ Location: https://goo.gl/maps/W3uRqBgFPRxuti6D7 The Colon market is located on Jorge Juan street number 19 of the city of Valencia, (Spain). The building was conceived and made by the architect Francisco Mora Berenguer between 1914 and 1916. It is one of the best examples of Valencian modernism architecture at the beginning of the century. It is also declared as a National Monument. It is currently rehabilitated and equipped with shops and establishments dedicated to the hospitality industry. It was intended to cover the growing needs of the Ensanche of Valencia, dominated by the bourgeois class. The Colón market has a total area of ​​3,500 m². It has a basilica plant with 3 naves, a central of 18.60 m. high and two lateral ones less than 9.70 m. of light with overhangs of 6 m. on each side, organized in 9 bays 7 m apart. The structure is made up of metal lattice trusses and arches made by means of profiles composed of robbed joints, and screws in the links with the cast iron pillars that support the roof, with heights of 8 and 5 m, with ornate capital and base. The cover is made using square fiber cement plates model "eternit", fastened with wire according to their diagonals. The different heights of the cover cloths facilitate longitudinal openings for lighting and ventilation of the space. A skylight was opened along the ridge that provides the ship's natural lighting. On the diaphanous ground floor, marked by the pillar alignments, there are market stalls that do not correspond to the initially planned designs, as also happened with the perimeter fence. The access to the enclosure is produced by eight large doors that provide great permeability and functionally connect with the environment throughout its perimeter. They are made with profiles and steel sheets, with ornamental elements of cast iron and forge. The doors are located in the chamfers and in the centers of each facade. A pavilion for municipal uses, 31 x 7.5 m base, which rises in an ogival arch 16 m high and 13 m light between supports , with the depth of a crack. Start of two rectangular bodies, in one of which is the access staircase to the upper gallery. In the other one there are several municipal galleries distributed in three floors. Between both elements crosses a gallery for offices, built as a bridge between the arch supports. Its execution, made from a brick factory with arches, lintels, corners and edges of artificial stone and natural stone bases, presents a polychrome coating of Venetian mosaic in the arch and Venetian mosaic in the inner vaults, in the same way as the Pinnacles, which are crowned with vitrified ceramic pieces in bright colors. On the roof of the pavilion, there are two chimneys topped with curved shapes covered with ceramic fragments. This facade presents a complete iconographic and symbolic program, in which they are present from the poultry (turkeys, ducks, pheasant hens, geese, roosters) to the butcher shop (meats, pigs, cows, rabbits), passing through the fish market (crabs, crayfish, eels, fish, mollusks), vegetables (pumpkins, corn, peppers, tomatoes, cucumbers), snails, flowers of various kinds and, of course, fruit (figs, lemons, apricots, pineapples, pineapples, vines, bananas , melons, pomegranates, apples, oranges, pears). This approach of the decorative program was common in other architects of the time such as Doménech i Montaner, Puig i Cadafalch or Gaudí, but its complete and exhaustive development necessarily reminds of the Cover of the Birth of the Holy Family of Barcelona of Gaudí, whose erection Francisco Mora was a direct witness during his student years, during his visits to Gaudí's workshop. Unlike the façade of Jorge Juan street, the one in the one of Conde Salvatierra, consists of a single plan devoid of volumetry, also executed in a brick factory and a combination of natural and artificial stone. The plan of this facade is limited laterally by two truncated conical columns finished in pinnacles, in whose center a large parabolic arch of a brick factory of similar dimensions to the other opens and whose eardrum is closed by a colossal stained glass window. The lower part of it is finished at a height of about 4 m by means of a glass canopy on metalwork. At the base of the two large lateral pinnacles are the flower stalls, very light and wavy cover also covered with ceramic fragments. This facade, on the other hand, appears disorganized, with the exception of some isolated and imperceptible details in the set such as rams, snails, pears and garlic strips. The set is delimited by a perimeter fence of careful design, made of iron and natural stone, whose chamfers are raised four small one-floor edicules, one intended for public toilets and vendors and the rest used as a warehouse. The market was completely restored during 2003 with a cost exceeding 33 million euros. It currently includes commercial franchises, luxury coffee shops and underground parking.
THE CITY OF ARTS AND SCIENCES: Website: https://www.cac.es/en/home.html Location: https://goo.gl/maps/Mk3p5eGv6PCXGtfZ9 The City of Arts and Sciences (in Valencian and officially Ciutat de les Arts i les Ciències) is an architectural, cultural and entertainment complex of the city of Valencia (Spain). The complex was designed by Santiago Calatrava and Félix Candela, together with the engineers who designed the structural design of the roofs of the L'Oceanografic Alberto Domingo and Carlos Lázaro. It was inaugurated on June 9, 1998 with the opening of El Hemisférico. The last major component of the City is the Agora, located between the bridge of l'Assut de l'Or and l'Oceanogràfic. The City of Arts and Sciences is located at the end of the old Turia riverbed (Jardín del Turia), a channel that became a garden in the 1980s, after the diversion of the river through the great flood of Valencia in 1957. In 2007, was one of the winners of the 12 Treasures of Spain contest.
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Ciudad de las Artes y las Ciencias
7 Av. del Professor López Piñero
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THE CITY OF ARTS AND SCIENCES: Website: https://www.cac.es/en/home.html Location: https://goo.gl/maps/Mk3p5eGv6PCXGtfZ9 The City of Arts and Sciences (in Valencian and officially Ciutat de les Arts i les Ciències) is an architectural, cultural and entertainment complex of the city of Valencia (Spain). The complex was designed by Santiago Calatrava and Félix Candela, together with the engineers who designed the structural design of the roofs of the L'Oceanografic Alberto Domingo and Carlos Lázaro. It was inaugurated on June 9, 1998 with the opening of El Hemisférico. The last major component of the City is the Agora, located between the bridge of l'Assut de l'Or and l'Oceanogràfic. The City of Arts and Sciences is located at the end of the old Turia riverbed (Jardín del Turia), a channel that became a garden in the 1980s, after the diversion of the river through the great flood of Valencia in 1957. In 2007, was one of the winners of the 12 Treasures of Spain contest.
OCEANOGRAFICO: Website: https://www.oceanografic.org/en/tickets/ Location: https://goo.gl/maps/nyCg9GK6C2Cw7mQb9 Oceanogràfic (in Spanish: Oceanographic) is a complex work by architects Félix Candela and José María Tomás Llavador, and engineers Alberto Domingo and Carlos Lázaro, where the different marine habitats (seas and oceans of approximately 100,000 m²) are represented. It was inaugurated on February 14, 2003 and is located in the eastern part of the city of Valencia (Spain), integrated into the complex known as the City of Arts and Sciences of Valencia. Since 2016 it is managed by the Avanqua company, which has developed an investment and improvement plan for the center in which they commit to investing every year in improvements and developments.
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L'Oceanogràfic
1B Carrer d'Eduardo Primo Yúfera
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OCEANOGRAFICO: Website: https://www.oceanografic.org/en/tickets/ Location: https://goo.gl/maps/nyCg9GK6C2Cw7mQb9 Oceanogràfic (in Spanish: Oceanographic) is a complex work by architects Félix Candela and José María Tomás Llavador, and engineers Alberto Domingo and Carlos Lázaro, where the different marine habitats (seas and oceans of approximately 100,000 m²) are represented. It was inaugurated on February 14, 2003 and is located in the eastern part of the city of Valencia (Spain), integrated into the complex known as the City of Arts and Sciences of Valencia. Since 2016 it is managed by the Avanqua company, which has developed an investment and improvement plan for the center in which they commit to investing every year in improvements and developments.
BIOPARC Website: https://www.bioparcvalencia.es Location: https://goo.gl/maps/qS7Y6rCEiWcGt6YR6 Oceanogràfic (in Spanish: Oceanographic) is a complex work by architects Félix Candela and José María Tomás Llavador, and engineers Alberto Domingo and Carlos Lázaro, where the different marine habitats (seas and oceans of approximately 100,000 m²) are represented. It was inaugurated on February 14, 2003 and is located in the eastern part of the city of Valencia (Spain), integrated into the complex known as the City of Arts and Sciences of Valencia. Since 2016 it is managed by the Avanqua company, which has developed an investment and improvement plan for the center in which they commit to investing every year in improvements and developments.
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Bioparc Valencia
3 Av. Pío Baroja
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BIOPARC Website: https://www.bioparcvalencia.es Location: https://goo.gl/maps/qS7Y6rCEiWcGt6YR6 Oceanogràfic (in Spanish: Oceanographic) is a complex work by architects Félix Candela and José María Tomás Llavador, and engineers Alberto Domingo and Carlos Lázaro, where the different marine habitats (seas and oceans of approximately 100,000 m²) are represented. It was inaugurated on February 14, 2003 and is located in the eastern part of the city of Valencia (Spain), integrated into the complex known as the City of Arts and Sciences of Valencia. Since 2016 it is managed by the Avanqua company, which has developed an investment and improvement plan for the center in which they commit to investing every year in improvements and developments.
BULLRING: Website: http://www.simoncasasproduction.com/valencia/ Location: https://goo.gl/maps/nmGNChnMkGkC4tbk6 The bullring of Valencia was built during the entire 1850.1 decade on the site of a previous square that, due to budget problems, never ended. It is neoclassical, specifically Doric simple, inspired by Roman civil architecture, the Flavian amphitheater (Colosseum), 1 or the Nimes amphitheater (France). It was built by the Valencian architect Sebastián Monleón Estellés. Its structure is formed by a 48-sided polygon, with 384 arches outside, made of brick following the Neomudéjar style.
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Bullring of Valencia
28 C/ de Xàtiva
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BULLRING: Website: http://www.simoncasasproduction.com/valencia/ Location: https://goo.gl/maps/nmGNChnMkGkC4tbk6 The bullring of Valencia was built during the entire 1850.1 decade on the site of a previous square that, due to budget problems, never ended. It is neoclassical, specifically Doric simple, inspired by Roman civil architecture, the Flavian amphitheater (Colosseum), 1 or the Nimes amphitheater (France). It was built by the Valencian architect Sebastián Monleón Estellés. Its structure is formed by a 48-sided polygon, with 384 arches outside, made of brick following the Neomudéjar style.
QUART TOWERS: Location: https://goo.gl/maps/irPRqxefqY6MS9W48 The Torres de Quart were built by Pere Bonfill who worked together with the mestres in the noble art of pedra Francesc Baldomar and Pere Compte in the 15th century, between 1441 and 1460. Tomás Oller and Jaume Pérez also intervened in the works. The style of the towers is late Valencian military Gothic, imitating the Towers or Arc de Triomphe of the Castel Nuovo of Naples, designed by the Mallorcan architect Guillem Sagrera and where other masters of the Crown of Aragon intervened when Naples was conquered by the troops of Alfonso V the Magnanimous. These walled towers have endured the French War of Independence, the Succession, the Cantonal and the Spanish Civil War. You can still see the traces of the impacts caused by the cannons of the War of Independence in its thick walls, thinking many people who are caused by the deterioration of the passage of time. In 1931 they were declared a National Monument, there being a reference to them in Law 16/1985 on Spanish Historical Heritage. The Torres de Quart are the remains that have come to our days of the old medieval wall of Valencia, along with the Serranos Towers, open to the north. Other access doors to the city of Valencia were the missing doors of San Vicente towards the south and Puerta del Mar towards the east or towards the port. These doors disappeared in the nineteenth century, along with the rest of the wall that surrounded the city of Vella, by order of the interim civil governor Cirilo Amorós, based on the pretext of giving work to unemployed workers, enlarging the city and improving their health. Since the last decade of the twentieth century, parrots and other exotic birds, escaped from their owners, have nested and reproduced in the holes caused by artillery on its exterior facade. Already in the 21st century, the Torres de Cuart are still standing, having been carried out in them a process of restoration of its exterior façade, blackened by the soot of road traffic that circulates incessantly on Quart street and Guillem de Castro street.
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Torres de Quart
1 Plaça de Santa Úrsula
228 personas locales recomiendan
QUART TOWERS: Location: https://goo.gl/maps/irPRqxefqY6MS9W48 The Torres de Quart were built by Pere Bonfill who worked together with the mestres in the noble art of pedra Francesc Baldomar and Pere Compte in the 15th century, between 1441 and 1460. Tomás Oller and Jaume Pérez also intervened in the works. The style of the towers is late Valencian military Gothic, imitating the Towers or Arc de Triomphe of the Castel Nuovo of Naples, designed by the Mallorcan architect Guillem Sagrera and where other masters of the Crown of Aragon intervened when Naples was conquered by the troops of Alfonso V the Magnanimous. These walled towers have endured the French War of Independence, the Succession, the Cantonal and the Spanish Civil War. You can still see the traces of the impacts caused by the cannons of the War of Independence in its thick walls, thinking many people who are caused by the deterioration of the passage of time. In 1931 they were declared a National Monument, there being a reference to them in Law 16/1985 on Spanish Historical Heritage. The Torres de Quart are the remains that have come to our days of the old medieval wall of Valencia, along with the Serranos Towers, open to the north. Other access doors to the city of Valencia were the missing doors of San Vicente towards the south and Puerta del Mar towards the east or towards the port. These doors disappeared in the nineteenth century, along with the rest of the wall that surrounded the city of Vella, by order of the interim civil governor Cirilo Amorós, based on the pretext of giving work to unemployed workers, enlarging the city and improving their health. Since the last decade of the twentieth century, parrots and other exotic birds, escaped from their owners, have nested and reproduced in the holes caused by artillery on its exterior facade. Already in the 21st century, the Torres de Cuart are still standing, having been carried out in them a process of restoration of its exterior façade, blackened by the soot of road traffic that circulates incessantly on Quart street and Guillem de Castro street.
MALVARROSA BEACH: Location: https://goo.gl/maps/SdcGWsgPGc66Uqj29 The Malva Rosa beach is a beach in Valencia (Spain). His name, as well as the neighborhood next to her, dates from 1848 and is due to a gardener, Felix Robillard, who at that time was the senior gardener of the Botanist. Felix bought a large area of ​​land that at that time was marjal with the idea of ​​recovering it, for it dried out and planted several plant species, among them the popular geranium Malva Pink. The beach, which in ancient times was used to land fishing and trade between different towns near the capital, became a resting place for the Valencian bourgeoisie. Among his illustrious vacationers were Sorolla and Blasco Ibáñez. At present, this wide and open beach has a very lively appearance both on the beach itself, for the amount of services it offers and on the promenade that defines it, whose construction began in 1990, and which houses restaurants and cafes. It has lifeguard posts and an area adapted for the bathroom of people with reduced mobility. Next and separated by a bridge that joins them, is the Patacona Beach. With fine sand and a wide promenade, it also houses restaurants, beach bars and coffee shops. Due to its proximity and open space, many activities are usually carried out. Each year it hosts an air festival, which is held in front of the promenade, and in which airplanes from all parts of Spain, international, and the army of the air participate. Crowds of fans and spectators congregate to see the aerobatics of the Spanish aerobatic champions, the eagle patrol, the fighters of the Spanish air army, to which paratroopers, airplanes from the Valencia aeroclub, and the CRJ-200 Air Nostrum, as well as classic and historical aircraft belonging to the Air Foundation of the Valencian Community. Every year during the failures there is a Neapolitan mascletá.
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Playa de la Malvarrosa
372 personas locales recomiendan
MALVARROSA BEACH: Location: https://goo.gl/maps/SdcGWsgPGc66Uqj29 The Malva Rosa beach is a beach in Valencia (Spain). His name, as well as the neighborhood next to her, dates from 1848 and is due to a gardener, Felix Robillard, who at that time was the senior gardener of the Botanist. Felix bought a large area of ​​land that at that time was marjal with the idea of ​​recovering it, for it dried out and planted several plant species, among them the popular geranium Malva Pink. The beach, which in ancient times was used to land fishing and trade between different towns near the capital, became a resting place for the Valencian bourgeoisie. Among his illustrious vacationers were Sorolla and Blasco Ibáñez. At present, this wide and open beach has a very lively appearance both on the beach itself, for the amount of services it offers and on the promenade that defines it, whose construction began in 1990, and which houses restaurants and cafes. It has lifeguard posts and an area adapted for the bathroom of people with reduced mobility. Next and separated by a bridge that joins them, is the Patacona Beach. With fine sand and a wide promenade, it also houses restaurants, beach bars and coffee shops. Due to its proximity and open space, many activities are usually carried out. Each year it hosts an air festival, which is held in front of the promenade, and in which airplanes from all parts of Spain, international, and the army of the air participate. Crowds of fans and spectators congregate to see the aerobatics of the Spanish aerobatic champions, the eagle patrol, the fighters of the Spanish air army, to which paratroopers, airplanes from the Valencia aeroclub, and the CRJ-200 Air Nostrum, as well as classic and historical aircraft belonging to the Air Foundation of the Valencian Community. Every year during the failures there is a Neapolitan mascletá.
The UMBRACLE TERRACE: Website: http://umbracleterraza.com/umbracle/inicio/ Instagram: https://www.instagram.com/umbraclemyavalencia/ Location: https://g.page/lumbracle?share L'Umbracle («El Umbráculo» in Valencian) is a small urban public garden that is part of the City of Arts and Sciences in the city of Valencia. It stands out as a modern construction in which a series of parallel arches in the form of an umbrella cover an elongated and narrow garden of palm trees and other Mediterranean plants. The structure is made with white trencadís, a typical style of the buildings of Santiago Calatrava. In the beginning it was a garden that tried to offer a sample of the native plants of the Valencian Community, although currently its eastern part is occupied by a disco lounge and the western part is operated by a company that offers a dinosaur attraction for children .
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Umbracle
5 Av. del Professor López Piñero
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The UMBRACLE TERRACE: Website: http://umbracleterraza.com/umbracle/inicio/ Instagram: https://www.instagram.com/umbraclemyavalencia/ Location: https://g.page/lumbracle?share L'Umbracle («El Umbráculo» in Valencian) is a small urban public garden that is part of the City of Arts and Sciences in the city of Valencia. It stands out as a modern construction in which a series of parallel arches in the form of an umbrella cover an elongated and narrow garden of palm trees and other Mediterranean plants. The structure is made with white trencadís, a typical style of the buildings of Santiago Calatrava. In the beginning it was a garden that tried to offer a sample of the native plants of the Valencian Community, although currently its eastern part is occupied by a disco lounge and the western part is operated by a company that offers a dinosaur attraction for children .