1 10 52 https://collections.ecu.edu/files/original/20/570/1992_Olympics_medal.jpg ba24382ce80ba4a497e1e73762d75be8 https://collections.ecu.edu/files/original/20/570/Estadi_Olimpic_Lluis_Companys_-_Barcelona_Spain_-_Jan_2007.jpg 38764de1dafd3f9a38bea23752a4aba2 https://collections.ecu.edu/files/original/20/570/Palau_San_Jordi_Torre_Calatrava_Barcelona.jpg 85c4fc80ef6f64cc84f2c5d048e2c194 https://collections.ecu.edu/files/original/20/570/Palmer_Brooke_1992_Olympics.m4a 7c4ac2e0beb7093d26e18d38e532d451 https://collections.ecu.edu/files/original/20/570/1992_Olympics_-_Brooke_Palmer.pdf 7947238b588dfb2cee5e4e3d79405e7b PDF Text Text 1992 Olympic Games In 1992, it was time for the countries of the world to take part in another Olympic Games. That year, it was being hosted in Spain’s coastal city of Barcelona. The city is no stranger to the hostess role when it comes to internationally scaled events; they had previously hosted two International Exhibitions. However, this would be the largest event they would host to date. Located towards the southern part of Barcelona, the construction of the Olympic stadium and villages sparked a pretty large urbanization change. In fact, it was the third “building boom” in Catalan history to restore and refigure Barcelona (Hughes 2004: 38). Robert Hughes, author of Barcelona: The Great Enchantress states that Catalan building booms tend to “defy common sense”; this includes building and elaborating the city beyond financial means and, in the case of the Olympics, relocating some of the citizens (Hughes 2004: 39-40). Vila Olimpica, or Nova Icaria as it is known today, specifically required a complete reorganization of buildings, beaches, and architect's parks (Kent 2002: 234). If Barcelona was aware that hosting the Olympics would cause lavish amounts of renovation and trouble among their citizens, one may wonder why Barcelona dawned the task of holding the Olympics in the first place. When the Olympic structures were first being planned, Barcelonan’s took it as a chance to catch up on modernity. After the end of the Franco regime in the late 1970s, they were eager to escape the “grey vestige” Franco left behind (Hochadel and Nieto-Galan 2016: 2). They also took it as a chance to gain international attention and tourism. While they did gain attention as hosts, there was a, “lack of international attention for the city and its history” (Hochadel and Nieto-Galan 2016: 2). �Unfortunately, it seems that Barcelona encountered more negatives than positives by taking on the hostess job for the Olympics. While there were legitimate intentions behind the construction and execution of the games, it mostly lead to unrecognition and economic drain for the city. Today, the Olympic areas continue to stand as tourist attractions, but it is disappointing that attention came after a time they needed it most. � https://collections.ecu.edu/files/original/20/570/Olympics_-_Camille_Kresz_Benjamin_Fraser_[eds].pdf 0d61482a8aeb8f7cadb95d1af74787d0 PDF Text Text Olympic Games: Urbanization and Controversies One of the biggest and most drastic developments to hit the urban scene of Barcelona was the Olympic games of 1992. The city was awarded the games in 1986 and the preparation started right away, the need for an infrastructure upgrade was urgent. Barcelonans took the Olympic Games as a chance to catch up on modernity. After the end of the Franco regime in the late 1970s, they were eager to escape the “grey vestige” Franco left behind (Hochadel and NietoGalan 2016: 2). Catalunya was bringing back its culture and the Games were a way to show it off to the world, which is why the city was excited and proud. Redesigning a city is no easy task, and it is also not a cheap task. There had to be funding for all the projects that were going on in the city. The central government of Spain recognized the need to upgrade the city for the 1992 Olympic Games. Some believed that “a major international event such as the Olympic Games would be high-jacked once more by the Spanish state, [but] Barcelona was able to gain the world’s attention and to maintain it” (Hochadel and Nieto-Galan 2016: 2). There was a response from the government on the funding of the city overhaul: “the city received substantial financial aid from the central government to prepare the infrastructure needed to host the Olympics in 1992” (McNeil 2002: 247). This funding gave Barcelona the ability to do the upgrading that needed to happen. The city approached this endeavor by embarking upon and rendering many projects, such as new expressways, Olympic stadia, and two communications towers. Encompassed by Sant Andreu in the north, Sant Adriá del Besós in the east, the Mediterranean Sea in the south, and Ciutat Vella in the west, the Poblenou underwent a lofty renovation that commenced in the 1980s that brought upon the reconstruction of one of its districts into the Olympic Village. 1 �Occupying ex-industrial land and extending from the Gothic Quarter into the Mediterranean Sea, six large shopping centers were opened to the public in the years between 1992 and 2002 (McNeill 2002: 247). One of these centers included the Maremagnum, a mall the currently dominates the resting place of an old dockyard, Moll d’Espanya. Within the Maremagnum exists an abundance of stores that are attributed with encouraging “continuous consumption and insulation” from the reality found outside its walls (Sánchez 2000: 295). Its surrounding environment offers much to be seen, and has also been confronted with criticism that accuses it of following the path of many cities in the United States, in which the city is allegedly geared towards gratifying tourists rather than its own people. Antonio Sánchez’s article “Barcelona’s Magic Mirror” talks about the social repercussions that occurred as Barcelona tried to redevelop. He writes about the evolving city and how it turns from a city of nature to something filled with several large shopping malls, luxury leisure centers and tourist attractions.One of his most notable quotes was: “It can be said that Barcelona’s redevelopment has transformed the ailing modern city into a gigantic postmodern mirror reflection an idealized image of itself to local and global audiences alike” (Sánchez 2000: 303). This is a powerful statement; it essentially states that the image of the city is an illusion. Its efforts to revitalize were more concerned with improving how it was portrayed and interpreted rather than with what it truly is. This can be explained through Barcelona’s desire to be recognized as a world leader, often putting on a show so that others would believe they were just as developed. The period of time during and immediately after the Games in 1992 is, however, marked by a series of major crises as well, coinciding with cessation of the flow in public money due to the Olympics and repercussions of a general recession in the global economy. There were also widespread job cuts and the city grew increasingly dependent on wider trends in economic 2 �restructuring. The council pushed forth a number of new projects for development on certain sites in the city that were meant to “balance and spread development through the municipal territory” (McNeill 2002: 247), but instead, these projects put the city at risk for increased gentrification and loss of greenery. The world saw the city as modern and beautiful, but the residents saw the truth and their rights were pushed down to present this image. McNeill writes about how the Olympic have lost their nobility and how the buildings once built for the events now sit unused (McNeill 2002: 257). Are hosting the Olympics a blessing or a curse? Many cities will face an economic downfall after hosting the Olympics. They spent millions of dollars building facilities that will rarely be used after the Olympic are over. Nonetheless, the Olympics and the urbanization they entailed also had benefits, as “the city’s redevelopment has improved not only its aesthetic appearance but also its urban infrastructure and social cohesion” (Sánchez 2000: 305). The modernistic redevelopment of the city has positively affected citizens’ daily lives such as efficient public transport, improved social facilities, and full access to local public spaces. This shows that it is inevitable for a city to undergo urbanization, and in many cases, that may not be a bad thing after all. It is a very difficult thing to determine what the most beneficial thing would be for a city – to succumb to the fact-paced nature of modernism and revamp the landscape in order to fit in with the rest of the world, or to maintain the rich history that renders a city as unique and iconic? Overall, though the games did cause a small economic downfall before and after they were held, the games also brought attention to the city of Barcelona, to Catalunya and to the Spanish State. —Edited by Camille Kresz and Benjamin Fraser with text from Victoria Bishop, Brooke Palmer, Graziella Dominado, Lillie Rhodes, Kendall Schunk, Sarah Spangler and Vyas Jayati 3 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 Olympic Games Subject The topic of the resource 1992 Olympic Games Description An account of the resource Barcelona was chosen in 1992 to host the Olympics Creator An entity primarily responsible for making the resource Brooke Palmer, Victoria Bishop, Graziella Dominado, Lillie Rhodes, Kendall Schunk, Sarah Spangler, Jayati Vyas, Benjamin Fraser, Camille Kresz Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/27/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/27/2017 1992 Olympics Barcelona Brooke Palmer Camille Kresz Graziella Dominado Jayati Vyas Kendall Schunk Lillie Rhodes Sarah Spangler Spain Victoria Bishop https://collections.ecu.edu/files/original/20/528/Screen_Shot_2017-01-31_at_12.45.16_PM.png 86b93c04f6bf4c5501ef9c01f39bf52b https://collections.ecu.edu/files/original/20/528/Woznichak_Claudia_40_Large_Stones.m4a 9ebb205139ba9e11396dfc31d739926d https://collections.ecu.edu/files/original/20/528/40_Large_Rocks_-_Claudia_Woznichak.pdf 4726fb2a52944e3cde2e493854a34df3 PDF Text Text 40 Large Rocks (Museu Martorell) One significant contribution to the Parc de la Ciutadella was the addition of 40 large stones donated by those of significant standing. Those who donated did so because they felt moved enough and wanted Catalonian nationalism to be felt by others equally as strongly as they felt it. This was part of a series of projects that were “crucial for the formation of Catalan identity” (Vilaros 2000: 42). They were proud of where they, and their country, came from, and wanted people from every socioeconomic class and standing to be able to see that, too. It was said that the “donation of a selected piece of rock to the Museu Martorell not only demonstrated that the donor was connoisseur of the natural world, it also bore testimonies to his patriotic zeal and commitment to Barcelona and Catalonia” (Hochadel and Valls 2016: 37). The donors wanted everyone to know that where they came from and the ground that they stood on was extraordinary; it was not just normal stone, just as Barcelona was not a normal place, and it deserved recognition. The stones included “limestone, gypsum, basalt, granite, porphyry and slate” and were exhibited as “‘raw materials’ with a polished side” (Hochadel and Nieto-Galan 2016: 37). The 40 large stones were also accompanied by fish farms, which were added to the Parc de la Ciutadella in order to give the entire Parc a feeling of pride and to help people of every class and standing find ways to be more practical. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 40 Stones (Martorell Museum) Subject The topic of the resource 40 Stones (Martorell Museum) Description An account of the resource 40 Stones in front of the Martorell Museum (Museu Martorell) in Parc de la Ciutadella, Barcelona, Spain Creator An entity primarily responsible for making the resource Claudia Woznichak, Benjamin Fraser Publisher An entity responsible for making the resource available Irina Swain Date A point or period of time associated with an event in the lifecycle of the resource 02/01/2017 Rights Information about rights held in and over the resource Google Earth Pro Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/01/2017 40 Stones Barcelona Claudia Woznichak in front of the Martorell Museum Museu Martorell Parc de la Ciutadella Spain https://collections.ecu.edu/files/original/20/525/Arc_de_Triomf_[Barcelona]_OR.jpg 6d65669cc32651710082a7d3eaff58ef https://collections.ecu.edu/files/original/20/525/Arc_de_Triomf_by_Sarah_Spangler.pdf 4d5017b64f8f1e87ef0022d569207431 PDF Text Text Less than a quarter of a mile from the Parc de la Ciutadella, sits the towering structure that is Arc de Triomf. There are similar structures all around the world in cities such as Paris and New York. From the name, one might think that this arch is dedicated to some type of military conquest. This is not the case. This arch was built to be an extravagant entrance to Barcelona’s first World Exposition in 1888 (Hochadel and Nieto-Galan 2016: 2). The arch was designed by architect Josep Vilaseca and is made primarily of red brick. There are many details on Arc de Triomf including several stone bats sculpted by Josep Reynés. These bats were a tribute to King Jaume I who led Barcelona during a time of economic prosperity and also ordered the construction of the Saló de Cent (Hughes 2004: 13). The bat was the king’s lucky charm and is still an emblem of Valencia. The bat was so ingrained in the culture that it was actually part of the first crest of the Fútbol Club of Barcelona and stands to this day as a symbol of Catalan Independence. The arch also serves a more recreational and tourist use as a place to meet or an interesting place to take a walk or ride a bike. Arc de Triomf is located between the Parc de la Ciutadella and the Passeig de Sant Joan. It created a vivid cityscape that “has inspired successive generations of Barcelona's administrators to consider grand events as a means to transform the city in their own image” (Kent 2002: 225) � https://collections.ecu.edu/files/original/20/525/Arc_de_Triomf_by_Sarah_Spangler_Audio.m4a bf95c170ea95de5a7bd522fe96a0582d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Arc de Triomf Subject The topic of the resource Arc de Triomf Description An account of the resource Arc de Triomf in Barcelona was built in 1888 for the first World Exposition the city hosted. Creator An entity primarily responsible for making the resource Sarah Spangler, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/01/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 01/02/2017 Arc de Triomf Barcelona Sarah Spangler Spain https://collections.ecu.edu/files/original/20/568/Map_v2.png 1ef08bf6a30376efcd205a3f8e7a446a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barcelona Map Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/22/2017 Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 02/22/2017 Description An account of the resource <a href="https://pan.ecu.edu/neatline/show/digital-barcelona#records/133">Click here to access Barcelona's Interactive Map</a> https://collections.ecu.edu/files/original/20/536/OR_Spain-Beach-Barcelona-Barceloneta-773230.jpg 7dcfff85722863fd0e17216db7551eaa https://collections.ecu.edu/files/original/20/536/Palmer_Brooke_La_Barceloneta.m4a 2567df0c5eb6030ffa52e9ca44789097 https://collections.ecu.edu/files/original/20/536/Barceloneta_Beach_-_Brooke_Palmer.pdf 44ce425897031ba565e1a220ab8cd833 PDF Text Text Barceloneta Beach Barcelona has undergone many alterations to its cityscape. Robert Hughes, author of Barcelona: The Great Enchantress goes as far as to say that the city, “had been punitively raped and degraded by business, by the unsupervised and opportunistic greed of developers” (Hughes, 2004: 30). One of the major modifications was the development of La Barceloneta in the 18th century. This was as a result of the War of Spanish Succession when the city needed a new area to house those removed from the region where a citadel was to be built (Hall 1997: 126). This area became almost a city within a city, as Barcelonan authority was quick to relocate some of its citizens to a space closer to the sea. Those relocated were moved to La Barceloneta, which was a suburb found right outside the city walls and designed by the architect Prospère de Verboom (Hall 1997: 127). The “historical crisis” of the War of Spanish Succession caused La Barceloneta to form, which is why, as Joan Ramon Resina claims, the city was almost found “anew” in 1715 (Resina 2008: 6). Despite the negative reasons for its creation, La Barceloneta has done well as a suburb. Since it is located on a part of Barcelona’s coast, it became known for its marine capabilities. Its long, narrow streets were home to those who worked beside the ocean, like sailors, fishers, fishmongers, and boat builders (Newsvine). It is a popular tourist attraction to this day, with beaches along the coast and the sight of “centur[y] old multi-story modules that rise up everywhere” (Newsvine). So, while it had a troubled start, La Barceloneta turned out for the better nearly three centuries after its original creation and purpose. �Works Cited Newsvine, Caloz. “Barceloneta - a little history and a side-street ‘show’” Spain: The Blog:. 07 July 2007. Web. 02 October 2016. � https://collections.ecu.edu/files/original/20/536/Barceloneta_Beach_-_Samuel_Alvarado.pdf a2eb1734bd2748a6dd0e60e1e3614313 PDF Text Text Barceloneta Beach The 1992 Olympic Games held in Barcelona were a pivotal moment for the city and its battered Catalan nationalism. Joan Ramon Resina describes this event as a “historical threshold” for the social transformation that that had been brewing in previous decades (2008: 6). Resina talks primarily about the social implications that the games had in solidifying a cultural identity for the Catalan city that had been defeated by a long history of political attacks. The impacts that the games had on Barcelona are similar to the revival the city had in 1888 with its first Universal Exposition. The exposition served as the first occasion in the modern history of Barcelona where the city’s culture and innovative ideas were displayed on the world stage, a sort of “rite of passage” according to Resina into the big leagues of prominent world powers (2008: 7). In the instance of the 1992 Olympic Games, much like that of the exposition of 1888 yet multiplied by the introduction of technology, the infrastructures built for the games created a whirlwind of economic and cultural changes. It is estimated that $8,012,000,000 (from http://olympicstudies.uab.es/pdf/wp030_eng.pdf) went into the extravagant remodeling of Barcelona’s cityscape in order to revive the infrastructure (and subsequently the Catalan sense of national pride) in preparation for the 1992 Olympic Games. Among these expenditures were 78 kilometers of new roads, the Olympic ring, parking areas, airport and hotel renovations, traffic control systems, various sports facilities and countless others (Brunet 1995: 6-7). Although the investment seems daunting, it is important to note the dramatic changes that Barcelona would quickly see in regard to employment, tourism and most importantly the overall sense of cultural pride. Much like the expansive plans of Cerdà (the architect who expertly laid out the extension from the old village of Barcelona into what is now known as �the Eixample) the city officials and planners for the Olympic Games kept the future of Barcelona in their minds. By demolishing two miles of industrial eyesores along the coast of the Mediterranean, space was created for a manmade beach known as Barceloneta Beach. Not only did this space serve the many visiting athletes and spectators of the Olympic Games – it became a tourist destination for travelers around the world. On this beach stands a monument commissioned for the Olympic Games and executed by German artist Rebecca Horn. This monument, known as “L’Estel Ferit” (The Wounded Shooting Star) acknowledges the history of the Barceloneta area that had been wiped clean in order to create the beachfront. Its twisting stacked cubes made of rusted metal stand prominently over the beach and act as a monument of a recent past. The windows added to the cubes are reminiscent of an old industrial building, yet they create a sort of visual passage from the urban setting of Barcelona into the ocean – essentially the core purpose of the newly laid beachfront area. Another iconic monument that resulted from the 1992 Olympic Games is Frank Gehry’s “Fish.” This enormous fish stands as a celebratory symbol, just outside the newly constructed Hotel Arts overlooking the newly constructed Olympic marina. This monument mimics the energetic motion and sleek form of a fish, utilizing the bright Barcelona sun in order to reflect the structure’s shining gold strips. These two monuments seem to work together in order to illustrate the reinvention of Barcelona. Horn’s tower pays tribute to the “old” Barcelona (weathered metal, unorganized stacked cubes, a static façade) while Gehry’s fish does just the opposite (shining gold, sleek form, organic motion). The Barceloneta Beach destination serves as a constant reminder of the lasting impact that the 1992 Olympic Games had on the city. Barcelona has proven to be a breeding ground for innovation in the field of art and design and the new renovations made here and elsewhere for the Olympic Games proved to be no different. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barceloneta Beach Subject The topic of the resource Barceloneta Beach Description An account of the resource Barceloneta Beach is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Samuel Alvarado, Brooke Palmer, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Barceloneta Beach Brooke Palmer Samuel Alvarado Spain https://collections.ecu.edu/files/original/20/563/OR_Barrio_Chino.png 0190272438f0f1dd4d8434f726ac4d63 https://collections.ecu.edu/files/original/20/563/Barrio_Chino2_OR.1.jpg a3ae19961dc3d121e3e704d5c40b6cd5 https://collections.ecu.edu/files/original/20/563/Camille_Kresz_Benjamin_Fraser_[eds]_-_Barrio_Chino.pdf ded90165346de1135bdefbe7ac38925f PDF Text Text Barrio Chino: Description and Important Sites Barcelona is a city that is divided into two major sections: the old city, more specifically the Barrio Chino, and the Eixample. Historically, the Barrio Chino (Fifth District) was a place in Barcelona that remained constantly busy regardless of the bad reputation that it held. People went there to enjoy themselves and relish in the excitement of the nightlife full of sex, music, drugs and consequently disease. Nowadays, the area is characterized by construction sites, graffiti, debris, tight corners, and crooked streets, which paints a negative and grotesque view of El Barrio. The sounds of jackhammers, bulldozers, and breaking concrete that fill the streets creates an atmosphere of discontent and restlessness. The Barrio Chino had a poor reputation around the beginning of the 1900s. It was an area known for illicit activities, decrepit behavior, and libertarian forms of anarchism. It was full of crowded streets, large factories full of immigrants, and homes with people in desolate conditions. Along with these, it was a place that night-life thrived where visitors could gamble and listen to jazz music. Indeed, this borough played and large role in the emergence of various musical styles, including jazz, as well as housing concepts of political change related to libertarian anarchism. Most of the inhabitants of the Barrio Chino worked in factories and workshops. To quote Zarzoso and Pardo-Tomás, “Barrio Chino was home to a “complex coexistence of diverse urban subcultures” (2016: 165). Their cafes, cabarets, and taverns were buzzing with political and social talk. The streets that were known for drugs and prostitution were also home to places for the sick and poor to be cared for. The Barrio Chino is a place that brought medical advances, even despite the lack of attention, such as the layout of the healing houses. Likewise, the Barrio Chino contained anatomical museums, known as museos anatómicos, which helped to popularize medical culture for the masses. The Barrio Chino was also home to the exclusively 1 �female Queen Amalia prison dedicated to reforming prisoners. Nonetheless, the ruling government was disgusted, appalled, and wanted a change. (Zarsoso Pardo-Tomas 2016: 165). In April 1932, the Fifth District in Barcelona was poised to see a rapid change, when Francesc Macià, a significant political figure in Barcelona, Dr. Jaume Aiguade, the mayor of the time, and some young Barcelonan architects along with Le Corbusier constructed a plan to overhaul the space. These plans were incredibly aggressive: they proposed tearing down all buildings and roads in the area. Despite having high hopes for the region, very few aspects of the original plan were fully carried out. Construction was essentially halted at the onset of the civil war when the Franco regime came into power. While these improvements were largely positive for the new residents of Barrio Chino, the previous inhabitants faced many hardships with the renovations. Many inhabitants of the city were forced out of their homes and given a settlement for the homes to be rebuilt and sold at a higher price to middle-class homebuyers. The inability to convince middle-class homebuyers of the affluent status of the neighborhood caused the idea of gentrification to fail. The area was renamed El Raval after the post-Olympic era but is still informally known as the Barrio Chino (Zarzoso and Pardo-Tomás 2016: 178). Several important monuments are located in the Barrio Chino, such as the Romea Teater and the church of Sant Pau de Camp. —Edited by Camille Kresz and Benjamin Fraser with text from Samuel Alvarado, Victoria Bishop, Grace Langley, Tricia Malcom, Amy Musgrave, Lillie Rhodes, Kendall Schunk, Jayati Vyas and Ashley Weingartz 2 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barrio Chino Subject The topic of the resource Barrio Chino Description An account of the resource The Barrio Chino is a district located in Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, Victoria Bishop, Grace Langley, Tricia Malcom, Amy Musgrave, Lillie Rhodes, Kendall Schunk, Jayati Vyas Ashley Weingartz Camille Kresz, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/16/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/16/2017 Amy Musgrave Ashley Weingartz Barcelona Barrio Chino Camille Kresz Grace Langley Jayati Vyas Kendall Schunk Lillie Rhodes Samuel Alvarado Spain Tricia Malcom Victoria Bishop https://collections.ecu.edu/files/original/20/574/Bench_Parc_Guell_Barcelona.jpg a5b25e71b3c4a5c34a7c331dcf7881df https://collections.ecu.edu/files/original/20/574/Victoria_Bishop_-_Park_Guell_Bench.pdf f4372d38905244ba0dba8257c1b4a44a PDF Text Text Bench in Parc Güell In Park Güell, designed by Antoni Gaudí, there is a long tile bench which consists of numerous interesting components, one of them being the art form of trencadís. Conrad Kent refers to the bench, in his article From Pleasure Gardens to Places of Dures, as a “brilliantly tiled bench that wraps around the central theater of the park” (Kent 2002: 227). The bench is not tiled like most would think, with the same decorative pattern all the way around, instead it decorated using trencadís. Trencadís is using broken tile from various sources to tile and decorate a specific item, there are different pictures and colors included when using this method. Trencadís is something that Gaudí is known for using, which as Robert Hughes points out in Barcelona the Great Enchantress, by saying that “Gaudí was fascinated by how mosaic fragmentation of trencadís” (Hughes 2004: 140). Gaudí asked people to bring him broken pieces of tile. There is also a deeper meaning to trencadís, as Josep Sobrer discusses in his article Against Barcelona, “in symbolic terms, trencadís exalts the poor, the broken, the outcast” (Sobrer 2002: 212). Gaudí got the tile from everyone who would give him tile, he did not just use tile from the rich and that is one way that Gaudí was able to uplift the poor. Gaudí was able to portray a deeper spiritual meaning and make something look absolutely astounding all while using trencadís, and the bench in Park Güell is a huge highlight of what he did while using this method. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bench in Parc Güell Subject The topic of the resource Bench in Parc Güell Description An account of the resource Parc Güell is home to a very particular bench, created by Gaudi. Parc Güell and the bench are located in Barcelona, Spain Creator An entity primarily responsible for making the resource Victoria Bishop Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 03/01/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 03/01/2017 Barcelona Bench in Parc Güell Spain Victoria Bishop https://collections.ecu.edu/files/original/20/569/Biutiful_cover.jpg f4ceaad420af1f6db46815c50214fc98 https://collections.ecu.edu/files/original/20/569/thumbnail_Biutiful_screenshot_of_Plaza_Catalunya.jpg 838dc3cb936abe3a64da239f2b323fa1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Biutiful Subject The topic of the resource Biutiful Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/27/2017 Creator An entity primarily responsible for making the resource Kendall Schunk Benjamin Fraser Kendall Schunk https://collections.ecu.edu/files/original/20/531/OR_2_Barcelona-Rambla_de_San_Jose-Mercado_de_la_Boqueria.jpg 80e594515328f4f5fba2d2e59a141ee4 https://collections.ecu.edu/files/original/20/531/Boqueria_OR_1.jpg 381f9aa812b950c8f0abad9e1663f076 https://collections.ecu.edu/files/original/20/531/Boqueria_-_Victoria_Bishop.pdf 60ebd1e332e449281a23d28828ffe574 PDF Text Text Boqueria Catalan culture has not always been as vibrant as it is today; there was a time during the Franco regime that the culture was almost wiped out completely. In fact Teresa M. Vilarós comments on its comeback in the article “A Cultural Mapping of Catalonia,” saying that Catalan culture’s “present vibrancy cannot but be amazing” (1995: 45). One place to find the vibrancy of the culture, specifically food culture, is the Boquería. Robert Hughes discussed the area in his book Barcelona: The Great Enchantress, writing that “for any serious lover of food … there is no other place in the world quite like the Boquería” (2004: 74). The market features non-food items, all kinds of exotic food, and of course a large collection of fish. No matter what direction a person looks, fish is always in sight making the odor strong. In fact fish is so important to the Catalan way of life that a “[Fish Laboratory] was founded” in a local park in the city of Barcelona (Hochadel and Valls 2016: 38). The vendors in the market are friendly and willing to help customers find and get what they need. The Boquería is large and it is possible to spend an entire day looking at everything. One can even get lost in the maze of vendors because of how large it is. While getting in and out of the market is tough it is worth a stop because it is a good place to try local food. The experience of going in and seeing this renowned market is unlike any other. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boqueria Subject The topic of the resource Boqueria Description An account of the resource La Boqueria is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Victoria Bishop, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/06/2017 https://collections.ecu.edu/files/original/20/532/CasaBatllo_0170_OR.JPG 18a64b67e1c32e5299a5329395bf58e0 https://collections.ecu.edu/files/original/20/532/Casa_Mila_OR.jpg 13821062f277309e695c711b6afb2dc2 https://collections.ecu.edu/files/original/20/532/Casa_Mila.png 643f020ed4070ff85917095f2f56f54a https://collections.ecu.edu/files/original/20/532/Langley_Grace_Casa_Batllo_Casa_Mila.m4a 4c90c2473a50849ebb0b21250e9ca067 https://collections.ecu.edu/files/original/20/532/Casa_Batllo_Casa_Mila_-_Grace_Langley.pdf 515c6f3c12ef5a8e99e8fea1ac2c8a0f PDF Text Text Casa Batlló and Casa Milà The Casa Batlló was a renovation done by Antonio Gaudí of a preexisting apartment building, although little was left besides the ground levels. The building can be described as “a five-story crust of shifting, aqueous color” with a roof decorated with “giant ceramic scales” (Hughes 2004: 143). All of these characteristics come to life in Hiroshi Teshigahara’s film Antonio Gaudí (1984). The film only shows the exterior of the building, however, the influence of nature in Gaudí’s work can be identified through his use of color, misshapen balconies and arches. Further down the street, the Casa Milà came into view as competition for the Casa Batlló. In contrast to Casa Batlló, Casa Milà “was designed from the ground up not adapted from an existing building” (Hughes 2004:145). Antonio Gaudí was granted complete design autonomy of the building and, as a result, Gaudí created “a sea cliff with caves in it for people” (Hughes 2004:145). The balconies resemble the seafloor and the columns on the roof look like “eye sockets of a Cyclopean head” (Hughes 2004:145). The strange beauty that Gaudí created can also be seen in Teshigahara’s film. In the film, the deep sea is translated into architectural form through the sight of Gaudí’s work. Gaudí’s style strayed from the conventions of traditional beauty. No other architect at the time would have dared to attempt to use creativity on such an extreme level. However, Gaudí perfected nonconventionality seamlessly. Overall, both pieces were magnificent in their own right and represented Gaudí’s contributions to Barcelona’s Renaixença. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casa Batlló and Casa Milà Subject The topic of the resource Casa Batlló and Casa Milà Description An account of the resource The Casa Batlló and Casa Milà are located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Grace Langley, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Casa Batllo Casa Mila Grace Langley Spain