28 10 581 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/20/543/OR_Creueta_del_Coll1.jpg 092694b257d3cb16465bf7cdacf26860 https://collections.ecu.edu/files/original/20/543/Parc_de_la_Creueta_del_Coll_-_Rachel_Harris.pdf 9b9f1f0e11c482a418006f1ec162e590 PDF Text Text Parc de la Creuta del Coll Parks serve as a reprieve from the hustle and bustle of life. This fact is articulated in the statement that “whenever rapid industrialization occurs; the imagination of a people is altered. Typically, a pastoral ideal reemerges” (Sobrer 2002: 217). Grasping onto this concept, Barcelona created many parks to recreate the ‘mood’ of their overcrowded city. Signed into construction by Josep Martorell and David Mackay, the Parc de La Creueta del Coll began the process of landscaping, design, and planning. Devoid of vast and lust green spaces, the park was saturated with statues. The Parc de La Creueta del Coll is situated within a quarry in the Collserola range. While the terrain is difficult to work and many people were skeptical about how a park can be created from this location, Martorell and David Mackay succeeded. Their success mainly derived from their collaboration with artists. For example, centered in the middle of the park was a cement statue by the artist Eduardo Chillida. Born in the Basque country, he was known for his colossal public installations. It is not a coincidence that he would be sought out since it is evident through his works that he has talent with spatial concerns. With this location, it is important for the sculpture to complement the park—not take away from it. Unlike other parks during this time, it was an ‘architect’s park’. Chillida has been quoted as saying, “my work is a rebellion against gravity” (from an interview with the artist published in Sculpture Magazine). This statement is especially true in regards to the statue in Parc de La Creueta del Coll. Without his defiance of gravity, the park would lack a certain level of awe. His contribution was a sculpture crafted from heavy cement. Using four incredible hefty cables, the sculpture remains in perpetual stagnation as it is suspended over the quarry’s pool. “[T]he Parc de la Creueta del Coll is an artistic tour de force on 16.4 hectares of rugged terrain” (Kent 2002: 233). It gives an impression of stone-cold beauty. �In juxtaposition to architecture parks, there are simple green spaces that function as public spectacles as well. These green spaces permeate a different aura than the Parc de la Creueta del Coll. While the park mentioned is revered for its innovative use of human-made objects and highlights the beauty that can be created solely by humankind, the green parks serve as a reminder of how citizens can be shepherds of nature. In summary, one emphasizes humankind’s domination of materials; the other emphasizes our harmony with the earth. Green space can be considered as monotonous due the repetitive use of bland trees. Especially during the 1980s, these types of parks were “defined by rectilinear plantings of a limited range of palm trees” (Kent 2002: 235). A couple parks notorious for their simplicity are in a close range to the Vila Olímpica. While these parks may not be as strikingly beautiful as the Parc de la Creueta del Coll, they were designed to need little maintenance, and they serve that purpose well, since the potted palms do not have a tendency to overgrow; however, a downfall to primary green parks is the fact that the monolithic impression on citizens reduces the experience of the natural environment, rather than enhance it. In particular, the Parc de la Creueta del Coll was created due to the evolution of Spain from a rural economy to a heavily industrialized nation. When the location of the 1992 Olympics was chosen to be Barcelona, the city’s engineers marveled at how to transform it into something to be envied. They had the onerous task of creating buildings in addition to the added struggle of needing to make sure their ideas addressed the issues of transportation, housing, and public spaces. A complete metamorphosis was needed. To accomplish this, many energy plants were razed to make room for the Parc de la Creueta del Coll. Since it is obvious that “paying attention to how the senses frame our experience of cities invites us to capture a largely ignored aspect of city life that is as significant as their physical structure, namely their ‘character’ or ‘mood’” (Hochadel and Nieto-Galen 2016: 5), the city strove to repossess the beauty that was lost by �previous haphazard urban planning. In conclusion, both the architectural design of parks and green space can function as a bridge between the cityscape and nature. � 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 Creuta del Coll Subject The topic of the resource Parc de la Creuta del Coll Description An account of the resource The Parc de la Creuta del Coll is located 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 02/06/2017 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 Parc de la Creuta del Coll Rachel Harris Spain https://collections.ecu.edu/files/original/20/576/Hospital.jpg 95ed8a13c187e07696c1bea2d3c7af65 https://collections.ecu.edu/files/original/20/576/Corporacio_Sanita_ria_Parc_Tauli_by_Rachel_Harris.docx 3e411377b665609e92a3b2e34d2230f4 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 Corporació Sanitària Parc Taulí Subject The topic of the resource Digital Barcelona, Spain Description An account of the resource Corporació Sanitària Parc Taulí Creator An entity primarily responsible for making the resource Rachel Harris, Benjamin Fraser Publisher An entity responsible for making the resource available Irina Swain Type The nature or genre of the resource Document, still image Barcelona Corporació Sanitària Parc Taulí Hospital Parc Tauli Rachel Harris Spain https://collections.ecu.edu/files/original/6/27/manifeste_de_la_femme_futuriste.docx 98d8fd746e252dbbc009a592e1ad1874 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 Futurism 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 Manifeste de la Femme Futuriste Subject The topic of the resource Les Rôles Stéréotypés Description An account of the resource Manifeste de la Femme Futuriste: Les Rôles Stéréotypés Le texte, <<Manifeste de la Femme Futuriste>>, pousse l'idée que ni les hommes ni les femmes ne sont supérieures les uns aux autres. Selon une citation directe du texte, <<la majorité des femmes n'est ni supérieure inferieure a la majorité ni des hommes (Saint Point,7). <<Toutes deux sont égales>> (Saint Point, 7). Ce n’est cependant pas le seul argument avancé. Dans le texte, elle déclare qu’il est important que les hommes et les femmes n’aient pas des rôles assignés dans la société. Dans la société, les hommes sont censés à se comporter d'une certaine manière, et les femmes sont appelés à agir d'une certaine façon ainsi. Le texte indique que la société forcé les gens à assumer des rôles stéréotypés. Une autre citation dans le texte <<Manifeste de la Femme Futuriste>>, Saint Point décrit la division immoral contre les hommes et les femmes. Elle écrit <<il est absurde de diviser l’humanité en femmes et en hommes (Saint Point,8).>> Elle croit qu’un héros n’a pas seulement les qualités d’un personne masculine. Cette idée est un stéréotype typique. Une personne qui désire faire une différence doit exprimer d’éléments d’une personne masculine et féminine. Elle écrit que pour une personne être complet, ils doivent posséder d’éléments de féminisme et masculin. << Un individu exclusivement viril, n’est pas une brute ; un individu, exclusivement féminin, n’est qu’une femelle>> (Saint Point, 8). Cette citation déclare que c’est injuste qualifier les personnes parce qu'ils ont l’air une façon certaine. Si une personne semble être très grande et forte, cela ne signifie pas qu'ils sont une personne violente. Si une personne est faible, cela ne signifie pas qu'elle est une femme. La <<Manifeste de la Femme>> n’est pas seulement s’agit de les également entre les hommes et les femmes. La citation prouve que le futur du féminisme et également mettre l'occasion d’adopter les rôles différent, pas seulement les rôles que votre propre sexe devrait suivre. Saint Point écrit que la société est composée d'éléments de la masculinité et de féminité. Cela est évidemment très commun. Mais elle affirme que l'humanité ne peut pas être divisée entre les hommes et les femmes. Un sexe ne peut pas être placé au-dessus de l'autre comme s'il était supérieur. Saint Point écrit, << Toute femme doit posséder non seulement des vertus féminines, mais des qualités viriles, sans quoi elle est une femelle (Saint Point, 9). >> Les femmes ne doivent pas avoir pas seulement adopté les qualités de féminismes. La citation indique que les femmes peuvent assumer des rôles de la masculinité. Elles ont été condamnées par les stéréotypes de la société pour des milliers d'années. <<Le Manifeste de la Femme Futuriste>> veut leur faire sortir de ces rôles, et de s'adapter plus masculins ses qualités ainsi. Le texte donne beaucoup d’exemples de femmes qui adoptent les positions de dirigeant. Les Jeanne d’Arc, les Jeanne Hachette, les Judith, les Cléopâtre et Les Messaline. Toutes ces femmes ont lutté les guerres que seuls les hommes étaient censés combattre. Ces femmes sont capables d'être des héros. Dans leur temps, c'était du jamais vu pour une femme d’assumer des rôles de dirigeant. Elles ont été forcées à ces rôles que la société leur avait donnés. Ils ont été stéréotypés parce qu'elles étaient des femmes, et le monde croient qu'ils pourraient ne pas prendre plus de rôles masculins. Un thème important dans le <<Manifeste de Saint Point>> est égalité. Le texte décrit des stéréotypes de femmes, et piégés dans des rôles féminins pour des milliers d'années. Elles peuvent être chefs, et elles peuvent être soldats. Les rôles stéréotypés masculins, peuvent maintenant être assumés par les femmes aussi bien dans l'avenir. Le texte montre que les femmes peuvent être tout aussi puissantes que les hommes, physiquement et émotionnellement. Comment pouvons-nous changer ces stéréotypes que le mode donne les deux, les hommes et les femmes ? Les idées de Saint Point dit qu’il est nécessaire qu’enseigner les égalités. Selon le texte, c’est important que toutes les femmes comprennent féminisme parce que si elles ne sont pas adopte de nouveaux et plus rôles masculin, elles seront condamnés à la domestication et l’inégalité. Creator An entity primarily responsible for making the resource Ronnie Rizek Date A point or period of time associated with an event in the lifecycle of the resource 1912 https://collections.ecu.edu/files/original/20/546/OR_Teatre_Romea_-_Barcelona_[Catalonia].jpg 4348b1a0e61bb16cdb03f0fe614d4da1 https://collections.ecu.edu/files/original/20/546/Romea_Theater_-_Samuel_Alvarado.pdf 4a07c97b819eb2fb23239f39380a0ad3 PDF Text Text Romea Theater In the writings by Alfons Zarsozo and José Pardo-Tomas entitled “Anatomy of an Urban Underworld,” they refer back to tourist guides produced in Barcelona in 1929 that featured routes through the area known today as El Raval (Zarsozo and Pardo-Tomas 2016). Simply mentioning “severe overcrowding” while skimming the surface of the character and history of El Raval, tour guides purposely avoided the conditions of the residents living there. One particular point of interest for tours within the El Raval, on the corner of Carrer de l’Hospital and Carrer de la Junita de Comerc (just a block away from La Rambla) was the Romea Theater. According to the Government of Catalunya website, individuals and establishments are awarded with the Cross of St. George as an esteemed honor in Catalonian culture that signifies great nobility. Created in 1981, the award (named after the patron saint of Catalonia) is for those people or locations that performed “outstanding services in Catalonia in defense of their identity” or otherwise civic and cultural accomplishments. The Romea Theater was awarded the Cross of St. George in 2015 for its contributions to the spirit of Catalonian culture. As discussed in Robert Hughes’ writings of Barcelona, the Catalonian culture was nearly defeated several times by government forces as well as a political crisis during the reign of Francisco Franco (2004). This theater stood as a representation of Catalunya art and humanity that managed to thrive despite the constant opposition, giving an outlet to an array of creative minds in the form of writers, directors, and actors. The theater itself still operates today, giving residents and tourists an upscale location to marvel both at classic architecture and modern theater. � https://collections.ecu.edu/files/original/20/546/Alvarado-Romea_Theater_Audio.mp3 37fa89373518742563ab1577df74a4d5 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 Romea Theater Subject The topic of the resource Romea Theater Description An account of the resource The Romea Theater is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Samuel Alvarado, 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 02/09/2017 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. 02/09/2017 Barcelona Romea Theater Samuel Alvarado Spain https://collections.ecu.edu/files/original/20/552/OR_Tibidabo.jpg b65580c24b596885ad46058285907658 https://collections.ecu.edu/files/original/20/552/Tibidabo_Park_-_Samuel_Alvarado.pdf 32f788b8bb83184c01d9d9235ebb066c PDF Text Text Tibidabo Amusement Park Tibidabo Amusement Park in Barcelona began as a group venture by the elite to create an exclusionary park for wealthy citizens. This kind of exclusion was sought after in the wake of a city-wide movement for inclusion and more open-area recreational sites for Barcelonans of all ages and incomes. High in the Collserola mountain region of Barcelona, this group began to construct a sort of getaway, complete with expensive eateries, comfortable hotels and high-end amusements away from the hustle and bustle of the city below. By securing ownership of the land, transportation and parks themselves, they were able to produce expensive attractions to which only the upper class had access. Among these mountain parks (Tibidabo, American, Lake Valley, the Rabassada and the Turo Parks) only the Tibidabo Amusement park remains standing today (Sastre-Juan and Valentines-Alvarez 2016: 100). Many factors could be attributed to the impressive lifespan of this historic park. Opened in 1901, it stood atop the Tibidabo mountainside allowing visitors to witness a stunning panoramic view of the city and oceanfront below. To reach the mountainside park, visitors had the opportunity to ride in new forms of transportation: the tram (Tramvia Blau) and the Funicular. These two methods of climbing the mountain were introduced along with the opening of the amusement park. Still in operation today, the tram and Funicular were engineering oddities to the people of Barcelona, and continue to carry that same sense of wonder today. I am sure that simply reading or listening to descriptions of the ride to the top of the mountain could never translate the atmosphere that surrounds this marvelous park, complete with smells of carnival food, screams of joy and breathtaking views of the city of Barcelona. � https://collections.ecu.edu/files/original/20/552/Alvarado-Tibidabo_Audio.mp3 b72d1bf35e77df5161517684d939d14b 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 Tibidabo Park Subject The topic of the resource Tibidabo Park Description An account of the resource Tibidabo Park is located North of Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, 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 02/09/2017 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. 02/09/2017 Barcelona Samuel Alvarado Spain Tibidabo Tibidabo Amusement Park https://collections.ecu.edu/files/original/20/553/sant_pau_del_camp_OR.jpg b11b6646a0343a187ef9b988b3dab3e7 https://collections.ecu.edu/files/original/20/553/Alvarado-Sant_Pau_del_Camp-Audio1.mp3 f7d21883dc23db9d3a162e4db63373ba https://collections.ecu.edu/files/original/20/553/Sant_Pau_del_Camp_-_Samuel_Alvarado.pdf 897aa51182a7a0d74ff36be52746dcdd PDF Text Text Sant Paul del Camp Barcelona has been represented in cinema in various forms, most notably by experimental filmmaker José Luis Guerín. En Construcción by Guerín is a pseudo-documentary that utilizes several cinematic techniques to represent the essence of the Barrio Chino. Joan Roman Resina reads into the mind of the director and the way he depicted this neighborhood of Barcelona. He describes Guerín’s tactic of still shots, rarely panoramic or overhead, in order to achieve a feeling of intimacy with the streets and buildings. Resina writes about the Barrio Chino as being a maker of “ghosts,” specifically the historic buildings that are pushed aside as relics or lost forever for the sake of innovation (Resina 2008: 263). One such building that survived the reconstruction of the Barrio Chino was Sant Pau del Camp (Church of St. Paul of the Countryside), a Romanesque church that was featured several times in En Construcción, presumably as one of the “ghosts” that remained as a reminder of the past. The construction of this site is a mystery, with clues to the time of inception like the gravestone of Guifre II Borrell from the year 911 (“Sant Pau del Camp”). Traces of the original architecture can be seen on the capitals and bases of the portal, yet the remainder of the structure was rebuilt in the 11th and 12th centuries following its destruction during a Muslim raid of 985 AD (“Sant Paul del Camp, Barcelona”). Longhurst writes about the Spaniards of the 1960s “abandoning their roots” in search of opportunity in the city, a social shift that continues to draw the center of culture out of rural Barcelona (Longhurst 2000: 19). This is evident with the Benedictine monastery, which was once located outside of the city of Barcelona, yet through generations of construction, renovation and expansion, it now sits within the Barrio Chino surrounded by tall buildings, bustling streets and curious tourists. This site was declared a National Monument in 1879. �Work cited:  “Sant Pau del Camp”: http://www.barcelonaturisme.com/wv3/en/page/499/sant-paudel-camp.html  “Sant Paul del Camp, Barcelona”: http://www.sacreddestinations.com/spain/barcelona-sant-pau-del-camp � 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 Sant Pau del Camp Subject The topic of the resource Sant Pau del Camp Description An account of the resource Sant Pau del Camp is located in Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, 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 02/10/2017 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. 02/10/2017 Barcelona Samuel Alvarado Sant Pau del Camp Spain https://collections.ecu.edu/files/original/20/567/Sagrada_OR.jpg 574f88f5412b3bc262306715050d2c06 https://collections.ecu.edu/files/original/20/567/Sagrada_OR_2.jpg bade4ba89caaf2f4cb8c9f344279c6bc https://collections.ecu.edu/files/original/20/567/Sagrada_Familia_-_Camille_Kresz_Benjamin_Fraser_[eds].pdf f77952ae90c396f1a98866bfdd9dd35b PDF Text Text Sagrada Família The Temple Expiatori de la Sagrada Família located in the heart of the city of Barcelona began to be built in 1875. This expiatory temple is one of the most well-known monuments in Barcelona, and even Spain as a whole, for a variety of reasons. One of those reasons is because it is technically a construction project; one that has lasted a little over one hundred and thirty years. Indeed, the proposal for the project was made in 1870 and fundraising began in 1873 (Sobrer 2002: 205-06). Francisco de Paula del Villar was the first architect to work on the Sagrada Família project. Antoni Gaudí took over in at the end of 1883 when Francisco de Paula del Villar abandoned the project and he worked on it until his death in 1926. His detailed plans were used after his death until they were vandalized or destroyed during the Spanish Civil War a few years later (Sobrer 2002). The Sagrada Família is a very interesting looking building—unlike many of the surrounding buildings, it is not quadratic. The shapes of the building are soft and round. The steeples are rounded and pointed, with unique figurines at the top of each one. Another aspect of the church that adds to its beauty is the extensive use of alabaster. The windows are coated with layers, which allows the church to possess a distinguished look. Alabaster, the semi-soft stone, is usually flaxen or very faint in color—almost see-through. This contributes to the surreal atmosphere of the church and presents the viewer with a sense that they are in a space that is touched by heaven. Other rare procedures were used, like maqueta funicular, or unique touches like trencadís, the recycling of scrap materials to create convoluted mosaics (Sobrer 2002: 209-210). 1 �Antonia Gaudí was very well known for his naturistic designs. Intended to resemble a mountain of its own, the Sagrada Família will triangulate the two peaks that Barcelona sits at the foot of: Montjuïc and Tibidabo. Inside the Sagrada Família are many more allusions to the beauty of the natural world. There are stained glass windows, but unlike most stained glass windows that are present in many other churches, these windows are stained with bright greens and blues that allow more natural light to come into the cathedral. The shades of blue and green are reflected all around the room giving it the look and feel of a forest setting. The columns along the halls work with these colorful cascades to further the illusion of the forest. Having the plan of morphing Barcelona into a city interwoven with nature, Gaudí shaped the Sagrada Família in accordance with the outline of Montserrat, the holy mountain home to La Moreneta, the patron saint of Catalonia (Sobrer, 2002: 208). In doing so, Gaudí introduced the concept of faith through an architectural tribute to Barcelona. It is believed that Gaudí designed the church to reach a height slightly below that of Montjuïc (the highest point in Barcelona) so that God’s creation was “never superseded by man (Structure and form: web).” It was built to inspire religious and patriotic revival within the people. The church features three grand façades, so that no matter what entry point visitors choose they will experience something deeply profound. The Nativity Façade was the most directly influenced by Gaudí, being designed and completed under his direction. The Nativity portal is known as the one clear Catholic reformism. This façade is dedicated to the birth of Jesus and faces northeast toward the direction of the rising sun, covered in intricately sculpted designs and figures. The Passion façade was one of the features added after the loss of Gaudí and his coveted plans. This façade faces the West and was designed to strike fear in the viewer. Facing the setting sun, it shows a stark contrast to the intricacies of the Nativity Façade with its bare walls and columns made to imitate human bones. All of these design elements allude to the fact that 2 �this façade was designed to tell the story of the death and suffering of Christ. Construction began for the final façade in 2002, the Glory Façade. This façade will eventually be the main access to the central nave, dedicated to the journey of humankind through the acceptance of God, death, final judgment and eventually Glory. Throughout its history, the Sagrada Família has also been the subject of criticisms and controversies. After the Spanish Civil War, Barcelona was in shambles; the Franco regime caused all of Barcelona to become neglected and ignored. The architectural masterpiece was regarded as nothing more than “disposable rubbish,” with famous author George Orwell calling the monument “one of the most hideous buildings in the world” (Hughes 2004: 29-30). Thankfully, as time passed Barcelona began to redevelop itself as a city. Matters such as architecture began to gain importance again. Another controversy is the fact that today many locals to Barcelona are upset that tourists are funding a holy and sacred church, but a few accept that there are not many other way to receive a continuous large sum of money to complete the church. Its ongoing construction is now almost completely funded by tourists who flock to the site. On one hand, this is bringing tremendous tourist traffic to Barcelona and greatly impacting the economy. On the other hand, many are concerned that this tourist traffic is actually taking away from the cultural significance of the Sagrada Família. While tourism is definitely an effective way to raise funds, there are concerns that this form of funding obstructs the original intention of the Sagrada Família. Sobrer proudly proclaims that, “In its monumentality, the Sagrada Família is a triumph, an outburst of imagination and playfulness” (Sobrer 2002: 206). Even more, the Sagrada Família is a sign of perseverance. Despite the controversies, despite the lead architect dying before its completion, and despite the hardships of Barcelona’s past, the mighty building is not 3 �only still standing—its construction continues even today. This contributes to the building’s strength against time and its strength against life. No matter the obstacle, the Sagrada Família stays strong as almost a symbol: if it can go through the life that it has, it, along with Barcelona, can conquer anything. —Edited by Camille Kresz and Benjamin Fraser with text from Samuel Alvarado, Graziella Dominado, Rachel Harris, Amy Musgrave, Brooke Palmer, Lillie Rhodes, Sarah Spangler and Vyas Jayati 4 � https://collections.ecu.edu/files/original/20/567/Ashley_Weingartz_-_Sagrada_Familia.pdf 65d70938017133a3210fb6ae7e285372 PDF Text Text Sagrada Família The Sagrada Família is a powerful example of nature being brought into the actual architecture of the city. The Sagrada Família began construction in 1882, and since then has become an iconic tourist attraction in Barcelona. The building is said “to be a mountain itself instead rather than sit on one” which helps explain why tourists find it so awe-inspiring (Sobrer 2002: 206). The architect of the Sagrada Família was Antoni Gaudí and as Hughes notes in his book, Barcelona: The Great Enchantress, “The Sagrada Família was intended to be what its name says: a ‘temple,’ where Catalans (and, Gaudí hoped, eventually the whole Catholic world) would converge to do penance for the sins of ‘modernity’” (Hughes 2004: 130). The construction still continues today but while the construction began as a great symbol of religious ideals, it has become an icon of Barcelona’s tourism industry and is now funded as such (Sobrer 2002: 206). The larger question in all of this is whether the Sagrada Família is a uniquely Barcelonan conception or just an attempt to attract tourism and set itself on the world stage of other modern cities. Though it does follow the pattern of iconic cultural spaces being exploited and/or funded by tourists, the Sagrada Família is uniquely Barcelonan in its foresight to include nature in its architecture. The scene of the Tree of Life in the Sagrada Família from Teshgahara’s documentary about Antoni Gaudí shows how nature was integrated into this massive monument. Gaudí was intentional about his use of nature and as Sobrer notes, “Nowadays the emblem of the city’s architecture is the Sagrada Família, and the city’s reputation in the non-negligible world of tourism is built around Gaudí” (Sobrer 2002: 209). � 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 Sagrada Família Subject The topic of the resource Sagrada Família Description An account of the resource The Sagrada Família is a church located in Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, Graziella Dominado, Rachel Harris, Amy Musgrave, Brooke Palmer, Lillie Rhodes, Sarah Spangler, Jayati Vyas, 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 02/21/2017 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. 02/21/2017 Amy Musgrave Barcelona Brooke Palmer Graziella Dominado Jayati Vyas Lillie Rhodes Rachel Harris Sagrada Familia Samuel Alvarado Sarah Spangler 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/20/544/OR_Placa_de_catalunya.jpg 7f326860aa7d6c691d4518c178dd9e59 https://collections.ecu.edu/files/original/20/544/Placa_de_Catalunya_Samuel_Alvarado.pdf c9c6aa78803747a1e891c2681006894c PDF Text Text Plaça de Catalunya Plaça de Catalunya serves an interesting purpose as the point of intersection between the medieval districts of Barcelona and the modernized expansion known as the Eixample. A popular place for tourists, Plaça Catalunya makes two appearances in the worldrenowned book No Word From Gurb by Barcelonan author Eduardo Mendoza. The main character visits the site to “sit and think on a bench,” noting the swarms of tourists and pigeons that congregate there. In his deconstruction of No Word From Gurb, Jeffrey Oxford describes “both the traffic situation and the massive population of pigeons” as markers of a globalizing city (2004: 81; also Mendoza 1990: 89). The square features several artistic sculptures intended to illustrate the city’s rich history while also highlighting the artistic community that has flourished in Barcelona. The Monument to Francesc Macià found in the plaza is an ode to the Catalan history and one of its many heroes. Macià served as president of the Generalitat de Catalunya from 1931 to 1933, also founding the pro-independent party of Catalunya and serving as president of its Republican Left. The monument, constructed out of travertine marble, concrete, iron and bronze, includes imagery of an upside staircase. Although Catalunya has been repeatedly bombarded by negative forces intending to demolish its infrastructure, the people have managed to uphold their identity and come out on top. This staircase symbolizes the uphill battle faced by the Catalan people, who have had to rebuild their upturned society one step at a time. The staircase is set upon a solid concrete base, a reflection of the sturdiness and resilience that has become synonymous with Catalunya. � https://collections.ecu.edu/files/original/20/544/OR_Alvarado_Plaza_Catalunya.mp4 3ba71827dc0a581d34e2b4e807987c21 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 Plaça de Catalunya Subject The topic of the resource Plaça de Catalunya Description An account of the resource The Plaça de Catalunya is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Samuel Alvarado, 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 Plaça de Catalunya Samuel Alvarado Spain