14 10 581 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/20/527/OR_Font_de_la_Cascada_-_Parc_de_la_Ciutadella.jpg ba4cdb01c76b2cc19be7b2b78d809e2c https://collections.ecu.edu/files/original/20/527/Parc_de_la_Ciutadella_-_Ariel_Fricke.pdf f60137129eb13c175fd4ba9e8c6fbd17 PDF Text Text Parc de la Ciutadella The connection between places and scientific discoveries has been explored by historians of science. The attention in this research has been shifted away from “‘traditional’ sites of knowledge such as laboratories, observatories and collections” and toward “sites such as […] hospitals, churches, princely courts, pubs, and coffee house[s]… and many more” (Hochadel and Nieto-Galan 2016: 7). It was found that the location of the site and of the discovery mattered. Visitors to such sites determine the “social meaning” of the “urban space” by using it as a place for “everyday activities” rather than making these discoveries in distant laboratories (Sánchez 2002: 296). The urban environment of Barcelona “shaped the practices […] related to science, technology and medicine” but these practices also “changed the urban environment” (Hochadel and Nieto-Galan 2016: 7). This two-way dynamic relationship between practice and environment helps shape the city and its ideas. In Barcelona there are several specific locations that have “scientific practices” associated with “a particular quarter” or “in a specific urban place” (Hochadel and Nieto-Galan 2016: 7). The significance of these places exists in the minds of society. For example, it matters “where the amusement parks were located, where the Barcelonese visited the museums […], and where the sick sought medical advice and treatments” (Hochadel and Nieto-Galan 2016: 7). These places show “the ways in which scientific knowledge was transferred” (Hochadel and Nieto-Galan 2016: 7). The Board of Natural Sciences, or The Junta, had these ideas in mind when they created Parc de la Ciutadella. Parc de la Ciutadella was created to be “a space for the popularization of natural history” (Hochadel and Valls 2016: 25). The Parc was created with the idea that “Public parks […] were supposed to provide a social remedy” (Hochadel and Valls 2016: 27). The “remedy” was the �idea of “social control of the working classes” that they planned to provide in the Parc, “by means of ‘civilized’ entertainment and recreation” (Hochadel and Valls 2016: 27). The other agenda behind the panning of the park was to educate its visitors and to popularize the ideas of science. The plan for the Parc was approved in 1872. It was to be located “just north of the city centre” (Hochadel and Valls 2016: 25) at the former site of a military fort. The first building in the park was “the enormous Cascada in the northern corner of the Parc” (Hochadel and Valls 2016: 29). An artificial lake was also created on the Parc grounds to enhance the natural experience. A major addition came in 1882 when the “the Museu Martorell was inaugurated in the Parc” and became the “first public museum in Barcelona” that was “devoted to natural history and archeology” (Hochadel and Valls 2016: 30). The idea for creating a zoo in the Parc de la Ciutadella was a natural one, since exotic animals gifted to the government were already stored there. The inauguration of the zoo took place in 1892. Originally the zoo was owned by Lluís Martí-Codolar and managed by Francesc Darder. They collected “roughly 160 animals” but then “financial difficulties led Martí-Codolar to sell it to the city of Barcelona in the spring of 1892” (Hochadel and Valls 2016: 32). Operating costs of the facility were covered by the sale of the animals and of their products. The Parc zoo was small when taken in comparison with other European zoos but was still majorly successful. Due to the success of the zoo, the Junta “advocated the development of the scientific facilities of the Parc” (Hochadel and Valls 2016: 34). The idea behind these new developments was to be able to provide the city with a way to combat urban poverty. To do this they tried to show the public the ways they could capitalize on natural resources. The Junta inaugurated an aquarium in 1908. To expand this project, the Fish Laboratory was added in 1909. The �laboratory contained a breeding program and was conceived with the plan “to repopulate the rivers and lakes of Catalonia” (Hochadel and Valls 2016: 38). Municipalities could take advantage of this resource and obtain fish and fish eggs for their rivers and lakes. The many resources and attractions of the Parc led to its popularization. This popularization led to the spread of the ideas and the scientific topics it sought to promote. The public then incorporated these ideas into society but still maintained the constant association with the Parc and its ideas. � https://collections.ecu.edu/files/original/20/527/Parc_de_la_Ciutadella_-_Andrew_Lee.pdf 2f723bea5330bde75f41e97f1d64ac38 PDF Text Text Parc de la Ciutadella The Parc de la Ciutadella, or Citadel Park, was created by Catholic naturalists to conserve, protect, and popularize natural history for the public. The park contains a life-size mammoth statue that would dwarf most men and women. This is meant to represent the “fragmentary mammoth fossils found in Catalonia since 1883,” to educate those who visited the monument, and most of all, to impress (Hochadel and Valls 2016: 25). The mammoth statue was not the only attraction that the park had to impress visitors. An impressive collection of massive rocks was gathered, each representing both the donations of a “connoisseur” and “the richness and utility of the geological resources” available to the Catalan (Hochadel and Valls 2016: 37). Additional attractions were added to the park over time, including a Fish Laboratory and Zoological Garden. These served two purposes: education and economic growth. Nature could be utilized to teach visitors while simultaneously producing revenue for the Catalan who wanted to preserve their history and identity. The Parc de la Ciutadella also contained the first public museum, Museu Martorell. This reflects a change in the “landscape of Barcelona’s scientific institutions” at the turn of the century (Hochadel and Nieto-Galan 2016: 5). Architecture also evolved greatly with the park’s inception. The Arc de Triomf by Josep Vilaseca “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). The park’s focus remained on revenue and impressing visitors with attractions rather than their own culture. As a result, while the Parc de la Ciutadella succeeded in bringing history to the people, it may not have succeeded in preserving Catalan culture to the fullest. � https://collections.ecu.edu/files/original/20/527/Lee_Andrew_Parc_de_la_Ciutadella.aiff 07d66dd3f72d28c95711b10c6fd0f6af 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 Parc de la Ciutadella Subject The topic of the resource Parc de la Ciutadella Description An account of the resource The Parc de la Ciutadella, or Citadel Park, was created to conserve, protect, and popularize natural history for the public. It is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Ariel Fricke, Andrew Lee, 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. 02/01/2017 Andrew Lee Ariel Fricke Barcelona Parc de la Ciutadella Spain 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/20/529/OR_1260px-Museu_Martorell_de_Geologia.jpg 2315b785d38d90696b8055b24767f477 https://collections.ecu.edu/files/original/20/529/Museu_Martorell_-_Rachel_Harris.pdf af4f659afa6cf2ed6a3653b2dbff47f0 PDF Text Text Museu Martorell It is undeniable that science, technology, and medicine has influenced the lives of people in Barcelona. Science can metamorphose areas by rejuvenating them. To celebrate the scientific/technological culture, the Parc de La Ciutadella was crafted. “The parks and gardens also provide Barcelona with a “memory” of its deep structures,” this would include the advances that science provided (Kent 2002: 222). The Parc de La Ciutadella is known for the Museu Martorell. This museum was unprecedented at its time of creation since never before had a public museum been opened and operated. Serving as a representation of the “educational” aspect of the park, the museum generally received praise from all visitors. The museum also allowed historians of science to “look at ‘traditional’ sites of knowledge production at laboratories, observatories, and collections (cabinets and museums)” (Hochadel and Nieto-Galan 2016: 7). Due to the patronage of Francesc Martorell i Pena, who lived from 1822 to 1878, the museum was able to receive enough funds to operate. The building itself is beautifully designed using the neoclassical style by a local architect named Antoni Rovira i Trias. Perhaps this style is fitting since the Greeks were honored for their attention to order and logic, which is precisely what Barcelona was celebrating. “The donation of a selected piece of rock to the Museu Martorell [...] bore testimony to [the donor’s] patriotic zeal and commitment to Barcelona” (Hochadel and Valls 2016: 25). While it originally housed various scientific artifacts, now the museum exclusively exhibits geology collections. � https://collections.ecu.edu/files/original/20/529/Harris_Rachel_Museu_Martorell.m4a fa5faf3b533e36b02c94de5af13453b0 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 Museu Martorell Subject The topic of the resource Museu Martorell Description An account of the resource The Museu Martorell is located in the Parc de la Ciutadella, in Barcelona, Spain. Creator An entity primarily responsible for making the resource Rachel Harris, 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. 02/01/2017 Barcelona Museu Martorell Rachel Harris Spain https://collections.ecu.edu/files/original/20/530/Screen_Shot_2017-02-01_at_12.45.43_PM.png 21d87e1f537c479469001eb80a2b1dfc 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 Map 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 https://collections.ecu.edu/files/original/20/533/OR_Casa_de_la_Ciutat.JPG de2f806c280dc3074923545ba4fd22c1 https://collections.ecu.edu/files/original/20/533/OR_Salo_de_Cent.jpg e49e72f9075a44de0184ec6c72690575 https://collections.ecu.edu/files/original/20/533/Salo_de_Cent_-_Tricia_Malcom.pdf 128998dfb8de469792975481994e1135 PDF Text Text Saló de Cent Robert Hughes, the acclaimed author, is head over heels for Barcelona. In one of his books, Barcelona the Great Enchantress, Hughes wrote about how he decided to have his third wedding in Barcelona at the city’s town hall. As Hughes describes it, the Town Hall—previously acknowledged as the Casa de la Ciutat (‘house of the city’)—is the home to, “its most splendid and history laden ceremonial room, the Saló de Cent” (2004: 1-3,12-14). The Saló de Cent (Hall of the Council of One Hundred), is a room full of vibrant history originally designed by the architect Pere Llobet. The chamber was tragically destroyed during a workers’ uprising in 1842, but was eventually restored by Lluís Domènech i Montaner in 1880. The room is draped in red and gold silk as a tribute to the Catalan flag (Hughes 2004: 14-14, 17-18). The Saló de Cent was the original assembly room of Barcelona’s government—formed around King Jaume I’s original system of probi homines (peers) that guided his majesty on overseeing the city in the thirteenth century (Hughes 2004: 13-14). As explained by Elorza, this was vastly different than how the government was run in the twentieth century by dictator Francisco Franco, who “sought to eradicate every last trace of cultural difference” (Elorza 1995: 332). Vilarós explains that, “during the height of Franco’s power and censorship Ferrater pronounced Catalan culture dead” (2000: 37). King Jaume’s original committee was comprised of twenty members while the newer committee contained merely seven. Two of the committee’s seven members were the chief magistrate and the mayor. Those two leaders had the power to decide which residents would fill the remaining five spots on the committee. This board was imperative since it was one of the first proto-democratic governments as well as one of the first boards that allowed all affiliates to have equivalent votes (Hughes 2004: 13-14). � https://collections.ecu.edu/files/original/20/533/Casa_de_la_Cuitat_-_Brooke_Palmer.pdf bcdcf28519d475e09ab6050224a53081 PDF Text Text Casa de la Ciutat and Saló de Cent City halls can be found in every metropolitan area. In Barcelona, Spain, it is the Casa de la Cuitat. The earliest government actions were conducted within its walls after its creation in the 13th century. The Saló de Cent, or the Hall of the Council of the One Hundred, was a room where a committee of prohoms, or peers to thirteenth century King Jaume I, would manage the city of Barcelona (Hughes 2004; 13). A system to govern Barcelona arose from this arrangement and lasted until the Bourbons of Madrid wiped it out in the 18th century (Hughes 2004: 14). So, just as the President of the United States cannot make major decisions without consulting the Congress, King Jaume I would consult the prohoms before making an official declaration. Throughout time, Barcelona has “historically reinvented itself with ingenuity and dramatic flare” (Kent 2002: 221). In the case of the Casa de la Cuitat, this applies in both an architectural sense and according to the building’s purpose. Located on the Plaça de Sant Jaume, Barcelona’s historical centre, the colors and decorations of the important building resemble the Catalan flag, reflecting the yellow and red stripes. The exterior is crafted with pillars, a trait found among many important government buildings around the world. The original entrance was a gothic façade that reflected the time period in which the building was originally constructed with the coats of arms and gothic stained glass windows (Calas). Today the entrance is a neoclassic façade, which was constructed to reform the Plaça de Sant Jaume (Calas). Part of this construction included the addition of two important figures: one of King Jaume I, and the other of Joan Fiveller, a conseller who became a symbol of strength for his stance on fairness among all social classes (Hughes 2004: 16). The Casa de la Cuitat radiates with historical and cultural importance. Especially when relating to one important room: The Saló de Cent. �The Saló de Cent is the most well-known part of the Casa la Cuitat. In fact, it is distinguished as “one of the noblest places in Spain” (Hughes 2004: 17). The famous room was designed by architect Pere Llobet in 1360 and was inaugurated in 1373 (Hughes 2004: 17). Originally recognized as the Saló del Trentenari, this historical room used to house the meetings of the Consell de Cent, a group of Catalan citizens that emerged from King Jaume’s original prohoms system (Calas). A council of one hundred Catalan citizens was created to have representation of all walks of the Barcelonan lifestyle (Hughes 2004: 14). Today, the famous room is used for weddings and special occasions, along with being a very popular Barcelonan tourist attraction (Calas). While it is one of the most popular attractions in Spain, this famous room is not the only feature the Casa de la Cuitat has to offer. Even though they are not as well-known as the Saló de Cent, there are other important areas of the city hall. The building’s courtyard is decorated with sculptures by famous Barcelonan artists, including Antonio Miró, Pablo Gargallo, and Manolo Hugué (Calas). Continuing with the artistry, the city hall has a room of chronicles with paintings along the walls and ceilings, all created by Catalan artist Josep Maria Sert (Calas). One room, the Room of the Regent Queen, was used more purposefully in the 1800s. This room was designed with candelabras and sculptures for Queen Maria Cristiana; its original purpose was to provide a space where she could socialize and drink tea, but today it is used as the plenary room (Calas). All of these spaces, including the Saló de Cent, are available for tourism today. During the 19th century, Spain was going through constant political conflict, and many of these disagreements resulted in violence. The issues mostly surrounded “progressive and reactionary régimes and radical groups advocating for social reforms” (Hall 1997: 128). The Casa de la Cuitat, or more specifically the Saló de Cent, was not excluded from the brutality. In �1842, the political building was bombarded during a workers uprising, and it was not rebuilt until the 1880s by Lluís Domènech i Montaner (Hughes 2004: 17). This would be the last attack the city hall has encountered that required reconstruction. Later on, neo-gothic decor was added, fortunately through a non-violent necessity, in 1914 (Hughes 2004: 17). Today, the Casa de la Cuitat is composed of three total buildings: the original building from the 14th century, the “Nou” or New Building, and the “Novíssim” or Very New Building, which are all interconnected (Historical). The addition of the newer buildings provided the Casa de la Cuitat with more space (Historical). The alterations did not stop there: in 1994 mutual connections were constructed between the three buildings to fulfill the original purpose, which was to, “improve the harmony between the three buildings and the rest of the neighborhood” (Historical). As one of the oldest buildings in all of Barcelona, the Casa de la Cuitat holds a lot of history artistically, culturally, and governmentally. Each room has a story and a purpose that is still being discovered by visitors and natives alike each day. � 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 de la Ciutat & Salo de Cent Subject The topic of the resource Casa de la Ciutat & Salo de Cent Description An account of the resource Casa de la Ciutat and its famous reception room, Salo de Cent, are located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Tricia Malcom, 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 Date Created Date of creation of the resource. 02/06/2017 Barcelona Brooke Palmer Casa de la Ciutat Salo de Cent Spain Tricia Malcom https://collections.ecu.edu/files/original/20/534/OR_Llotja_de_Mar_[Barcelona]_-_2.jpg a7ce695cf359e8b8384a0973e2e52470 https://collections.ecu.edu/files/original/20/534/Llotja.m4a 0d106405d3ed723a0299c93ae1e91e01 https://collections.ecu.edu/files/original/20/534/Casa_Llotja_de_Mar_-_Graziella_Dominado.pdf 095f6bd25626071e6758cb6de3902798 PDF Text Text Casa Llotja de Mar The beauty of Barcelona bewitches me, its network of streets morphing into a network of veins, meticulous and flawless, pumping culture rich with history mixed with urbanization back into the heart of the city. It grows, flourishes, and breathes life, all the while never losing sight of the past that roots it. Filling the spaces of Cerdà’s checkerboard blueprint for Barcelona’s Eixample, we find the Casa Llotja de Mar, a prime portrayal of Catalan Gothic with its eagerness, in the words of Hughes, to “show you its bones” (Choay 1969: 26; Hall 1997: 135). Comparable to many Barcelonan places, the Llotja has an enrapturing history of its own. Fast-forwarding through its past role as a meeting place for negotiating trading deals, and its shutdown and conversion into a barracks for troops during the Bourbon conquest of Barcelona, neoclassic architect Soler created plans for a new Llotja in 1764. After its completion in 1804, half of the top floor housed the Escola de Bellas Artes, the main art school in Barcelona. While Pablo Picasso’s father taught at the school as a professor, Pablo himself studied there as a student, in addition to Joan Miró and other lesser known—but still impressive—architects, artists, and the like (Hughes 2004: 47-52). Above all the ornate facets found in the Llotja, I find my eye drawn to the “bones” Hughes refers to, evident in the columns and open space seen in the main hall. Its bareness and lack of exorbitance provide it with a raw, organic beauty that only places of the past can capture and urbanization can overtake if excessively done. With names like Picasso walking through the stairways of the building, one can’t help but wonder what other life filled its skeleton. � 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 Llotja de Mar Subject The topic of the resource Casa Llotja de Mar Description An account of the resource The Casa Llotja de Mar is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Graziella Dominado, 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 Llotja de Mar Graziella Dominado Spain https://collections.ecu.edu/files/original/20/535/Calle_Asalto.jpg 10168593b585a0674f8b2bf84ad77d34 https://collections.ecu.edu/files/original/20/535/Conde_de_Asalto_-_Grace_Langley.pdf fd01857f72eb9933a43620c450a70a5d PDF Text Text 1 Conde de Asalto One of the main geographical features in El Barrio Chino is the Conde de Asalto. The Conde de Asalto is like a man-made river with constant foot traffic that connects the Rambles with the Parallel. The ‘river’ grants access to many of the houses, businesses, and clinics throughout El Barrio (Zarzoso and Pardo-Tomás 2016: 171). The presence of clinics along this river increased as the concept of social medicine became more popular. Social medicine is the commitment of physicians to provide necessary medical attention to deprived urban areas. The Conde de Asalto and El Barrio Chino lack sanitation regulations and public healthcare necessary for preventing illnesses and diseases. “The search for […] better hygienic conditions prompted some enterprising Barcelona surgeons” to transform the Conde de Asalto through the installation of clinics (Zarzoso and Martínez-Vidal 2016: 76). The clinics are necessary for providing adequate treatment to the natives of these areas (Zarzoso and Pardo-Tomás 2016: 160). In addition to clinics, the prevalence of museos anatómicos, or anatomical museums, increased. Professionals who practice social medicine use museos anatómicos to educate the public on medical science, disease prevention, possible treatments, etc. However, the museos anatómicos received negative views due to their explicit nature (Zarzoso and Pardo-Tomás 2016: 173-77). Also explicit in nature, prostitution and brothels are very popular and in high demand in the Conde de Asalto. Many of the establishments along the Conde de Asalto cater to the needs of prostitutes, such as rubber ware and bathing establishments, abortion clinics, and photographic studios, and granted access to brothels. The purpose of rubber ware and bathing establishments is to purchase condoms and to cleanse genitalia, respectively. Overall, there is a range of �2 businesses along the Conde de Asalto that slowly transforms from respectable to perverse as you travel from one end to another (Zarzoso and Pardo-Tomás 2016: 171-72). � https://collections.ecu.edu/files/original/20/535/Langley_Grace_Conde_de_Asalto_[edited].mp3 d75c987d7e68892b79cf8f62e8b5325d 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 Conde de Asalto Subject The topic of the resource Conde de Asalto Description An account of the resource The Conde de Asalto is 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 Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Conde de Asalto Grace Langley Spain