29 10 581 https://collections.ecu.edu/files/original/20/536/OR_Spain-Beach-Barcelona-Barceloneta-773230.jpg 7dcfff85722863fd0e17216db7551eaa https://collections.ecu.edu/files/original/20/536/Palmer_Brooke_La_Barceloneta.m4a 2567df0c5eb6030ffa52e9ca44789097 https://collections.ecu.edu/files/original/20/536/Barceloneta_Beach_-_Brooke_Palmer.pdf 44ce425897031ba565e1a220ab8cd833 PDF Text Text Barceloneta Beach Barcelona has undergone many alterations to its cityscape. Robert Hughes, author of Barcelona: The Great Enchantress goes as far as to say that the city, “had been punitively raped and degraded by business, by the unsupervised and opportunistic greed of developers” (Hughes, 2004: 30). One of the major modifications was the development of La Barceloneta in the 18th century. This was as a result of the War of Spanish Succession when the city needed a new area to house those removed from the region where a citadel was to be built (Hall 1997: 126). This area became almost a city within a city, as Barcelonan authority was quick to relocate some of its citizens to a space closer to the sea. Those relocated were moved to La Barceloneta, which was a suburb found right outside the city walls and designed by the architect Prospère de Verboom (Hall 1997: 127). The “historical crisis” of the War of Spanish Succession caused La Barceloneta to form, which is why, as Joan Ramon Resina claims, the city was almost found “anew” in 1715 (Resina 2008: 6). Despite the negative reasons for its creation, La Barceloneta has done well as a suburb. Since it is located on a part of Barcelona’s coast, it became known for its marine capabilities. Its long, narrow streets were home to those who worked beside the ocean, like sailors, fishers, fishmongers, and boat builders (Newsvine). It is a popular tourist attraction to this day, with beaches along the coast and the sight of “centur[y] old multi-story modules that rise up everywhere” (Newsvine). So, while it had a troubled start, La Barceloneta turned out for the better nearly three centuries after its original creation and purpose. �Works Cited Newsvine, Caloz. “Barceloneta - a little history and a side-street ‘show’” Spain: The Blog:. 07 July 2007. Web. 02 October 2016. � https://collections.ecu.edu/files/original/20/536/Barceloneta_Beach_-_Samuel_Alvarado.pdf a2eb1734bd2748a6dd0e60e1e3614313 PDF Text Text Barceloneta Beach The 1992 Olympic Games held in Barcelona were a pivotal moment for the city and its battered Catalan nationalism. Joan Ramon Resina describes this event as a “historical threshold” for the social transformation that that had been brewing in previous decades (2008: 6). Resina talks primarily about the social implications that the games had in solidifying a cultural identity for the Catalan city that had been defeated by a long history of political attacks. The impacts that the games had on Barcelona are similar to the revival the city had in 1888 with its first Universal Exposition. The exposition served as the first occasion in the modern history of Barcelona where the city’s culture and innovative ideas were displayed on the world stage, a sort of “rite of passage” according to Resina into the big leagues of prominent world powers (2008: 7). In the instance of the 1992 Olympic Games, much like that of the exposition of 1888 yet multiplied by the introduction of technology, the infrastructures built for the games created a whirlwind of economic and cultural changes. It is estimated that $8,012,000,000 (from http://olympicstudies.uab.es/pdf/wp030_eng.pdf) went into the extravagant remodeling of Barcelona’s cityscape in order to revive the infrastructure (and subsequently the Catalan sense of national pride) in preparation for the 1992 Olympic Games. Among these expenditures were 78 kilometers of new roads, the Olympic ring, parking areas, airport and hotel renovations, traffic control systems, various sports facilities and countless others (Brunet 1995: 6-7). Although the investment seems daunting, it is important to note the dramatic changes that Barcelona would quickly see in regard to employment, tourism and most importantly the overall sense of cultural pride. Much like the expansive plans of Cerdà (the architect who expertly laid out the extension from the old village of Barcelona into what is now known as �the Eixample) the city officials and planners for the Olympic Games kept the future of Barcelona in their minds. By demolishing two miles of industrial eyesores along the coast of the Mediterranean, space was created for a manmade beach known as Barceloneta Beach. Not only did this space serve the many visiting athletes and spectators of the Olympic Games – it became a tourist destination for travelers around the world. On this beach stands a monument commissioned for the Olympic Games and executed by German artist Rebecca Horn. This monument, known as “L’Estel Ferit” (The Wounded Shooting Star) acknowledges the history of the Barceloneta area that had been wiped clean in order to create the beachfront. Its twisting stacked cubes made of rusted metal stand prominently over the beach and act as a monument of a recent past. The windows added to the cubes are reminiscent of an old industrial building, yet they create a sort of visual passage from the urban setting of Barcelona into the ocean – essentially the core purpose of the newly laid beachfront area. Another iconic monument that resulted from the 1992 Olympic Games is Frank Gehry’s “Fish.” This enormous fish stands as a celebratory symbol, just outside the newly constructed Hotel Arts overlooking the newly constructed Olympic marina. This monument mimics the energetic motion and sleek form of a fish, utilizing the bright Barcelona sun in order to reflect the structure’s shining gold strips. These two monuments seem to work together in order to illustrate the reinvention of Barcelona. Horn’s tower pays tribute to the “old” Barcelona (weathered metal, unorganized stacked cubes, a static façade) while Gehry’s fish does just the opposite (shining gold, sleek form, organic motion). The Barceloneta Beach destination serves as a constant reminder of the lasting impact that the 1992 Olympic Games had on the city. Barcelona has proven to be a breeding ground for innovation in the field of art and design and the new renovations made here and elsewhere for the Olympic Games proved to be no different. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barceloneta Beach Subject The topic of the resource Barceloneta Beach Description An account of the resource Barceloneta Beach is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Samuel Alvarado, Brooke Palmer, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Barceloneta Beach Brooke Palmer Samuel Alvarado Spain https://collections.ecu.edu/files/original/20/525/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/20/539/Screen_Shot_2017-02-09_at_10.21.52_AM.png 7c65c40e3f4da0f17cf5a082151eabcb https://collections.ecu.edu/files/original/20/539/The_Hospital_De_La_Santa_Creu_-_Tricia_Malcolm.pdf a544caf8abe96373a6a1d8ab39a3ba81 PDF Text Text Hospital de la Santa Creu “If you look North from the fortress mountain of Montjuic […] you will see the emerging mass of the church of the Holy Family, the Sagrada Familia” as told by Sobrer (2002: 205). While Barcelona is known for this beautiful cathedral, it offers more to visitors in the form of architecture. The Hospital de la Santa Creu Sant Pau was one of the many buildings that was planned by Domènech i Montaner (Hughes 2004: 117). The project was assigned to Montaner because the original hospital, Hospital de la Sant Creu (“Holy Cross”) burned to the ground. Hughes claimed that Barcelonans were lucky that this occurred because “Barcelona in 1900 had never had an acceptable hospital” (2004: 117). The new hospital was to be erected in a more hygienic area known as the Eixample (Hughes 2004: 117). The Eixample, as explained by Zarsoso and Martínez-Vidal, “was the beginning of a new medical landscape based on a new approach to the spatial organization of health care architecture” (2016: 90). The hospital has all of their service areas underground which allowed for the patients to be more at ease. Domènech took great care in trying to alleviate the association between hospitals and death (Hughes 2004: 118). This is why the building has no resemblance to an ordinary hospital. To elevate the design further, Montaner installed a skylight, or claraboia, on the roof.,allowing for natural sunlight to enter and brightening the moods of all who arrived. Montaner’s main purpose was to make patients get better and continue on with their lives (Hughes 2004: 119). � https://collections.ecu.edu/files/original/20/539/OR_The_Hospital_de_la_santa_creu_i_sant_pau_-_Tricia_Malcolm.mp4 680772624293b2a64cf8ca0dbdeec0d5 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 Hospital de la Santa Creu Subject The topic of the resource Hospital de la Santa Creu Description An account of the resource The Hospital de la Santa Creu is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Tricia Malcom, 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, Video Date Created Date of creation of the resource. 02/06/2017 Barcelona Hospital de la Santa Creu Spain Tricia Malcom 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/20/574/Bench_Parc_Guell_Barcelona.jpg a5b25e71b3c4a5c34a7c331dcf7881df https://collections.ecu.edu/files/original/20/574/Victoria_Bishop_-_Park_Guell_Bench.pdf f4372d38905244ba0dba8257c1b4a44a PDF Text Text Bench in Parc Güell In Park Güell, designed by Antoni Gaudí, there is a long tile bench which consists of numerous interesting components, one of them being the art form of trencadís. Conrad Kent refers to the bench, in his article From Pleasure Gardens to Places of Dures, as a “brilliantly tiled bench that wraps around the central theater of the park” (Kent 2002: 227). The bench is not tiled like most would think, with the same decorative pattern all the way around, instead it decorated using trencadís. Trencadís is using broken tile from various sources to tile and decorate a specific item, there are different pictures and colors included when using this method. Trencadís is something that Gaudí is known for using, which as Robert Hughes points out in Barcelona the Great Enchantress, by saying that “Gaudí was fascinated by how mosaic fragmentation of trencadís” (Hughes 2004: 140). Gaudí asked people to bring him broken pieces of tile. There is also a deeper meaning to trencadís, as Josep Sobrer discusses in his article Against Barcelona, “in symbolic terms, trencadís exalts the poor, the broken, the outcast” (Sobrer 2002: 212). Gaudí got the tile from everyone who would give him tile, he did not just use tile from the rich and that is one way that Gaudí was able to uplift the poor. Gaudí was able to portray a deeper spiritual meaning and make something look absolutely astounding all while using trencadís, and the bench in Park Güell is a huge highlight of what he did while using this method. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bench in Parc Güell Subject The topic of the resource Bench in Parc Güell Description An account of the resource Parc Güell is home to a very particular bench, created by Gaudi. Parc Güell and the bench are located in Barcelona, Spain Creator An entity primarily responsible for making the resource Victoria Bishop Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 03/01/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 03/01/2017 Barcelona Bench in Parc Güell Spain Victoria Bishop https://collections.ecu.edu/files/original/20/531/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/20/545/OR_port.jpg 7174ea945656237e5dba28ac7e6a3753 https://collections.ecu.edu/files/original/20/545/Port_-_Victoria_Bishop.pdf e027f5f9a75fdde83ad9eafc9d80d260 PDF Text Text Barcelona’s Port One reason that Barcelona grew as much as it did and as fast as it did was the port. The port has provided many economic opportunities to the city and has been a stepping stone to its growth. In Barcelona: The Great Enchantress Robert Hughes points out that “Barcelona was shaped and its density determined, by the fact that it began as a port and has been one ever since” (2004: 31). Being a port city, Barcelona had the chance to grow, it had the opportunity to become the center of economic activity for the region. In Thomas Hall’s book, Planning Europe’s Capital Cities, Hall discusses how important the port was in making Barcelona the center of trade and industry: “Barcelona’s importance of a port and trading city was growing, and by the middle of the century the town had become a major industrial and trading centre” (Hall 1997: 128). Even today the port has played a big role in economic activity, and the port or docklands was redeveloped for the 1992 Olympics. Antonio Sánchez brings this topic up in his article “Barcelona’s Magic Mirror,” “these zones are often in desperate need of economic and social revitalization if they are to become a dynamic part of the city” (Sánchez 2016: 300). Over time the port has played a huge role in the development of Barcelona, as well as in the day to day activity of the city. Without the port, it is possible that Barcelona would have never developed into the city that it is today. � 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 Port Subject The topic of the resource Port Description An account of the resource The port is located in the South of 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 02/09/2017 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 Date Created Date of creation of the resource. 02/09/2017 https://collections.ecu.edu/files/original/20/573/Gaudi_-_Camille_Kresz_Benjamin_Fraser_[eds].pdf f42a0feece9e0fa8a2427c7eae374185 PDF Text Text Gaudí: Nature, Religion and Politics The documentary Antoni Gaudí by Teshigahara (1984) is a great showcasing of the buildings that were designed by the architect, such as the Casa Milà, Colonia Güell, Park Güell, and the Casa Batlló, but especially the Sagrada Família. The Sagrada Família is of the most famous tourist destinations in Barcelona. This beautiful piece of architecture, like Gaudí’s work in general, veered from the norm of the time. His architectural pieces were like nothing else in the city. While many buildings were very straight edged and industrial, Gaudí worked with a style that was more whimsical and curved, and he even tried to bring in aspects of the natural world. Because it is known as Gaudí’s most famous work, Sagrada Família is the last building shown in Teshigahara’s documentary, and its representation takes up the greatest chunk of time (56:30-1:10:53). His work has allowed for so many advancements to be made in Barcelona, and as a consequence, Gaudí will never be forgotten—his work will live on forever. Today, no one dares to challenge or correct his work or question his stylistic choices; however, this was not always the case. Prior to the Spanish Civil War (1936-39) there were people who opposed Gaudí’s work. Some of the intellectuals of the time mocked Gaudí’s creation, including George Orwell who called it “one of the most hideous buildings in the world” (Sobrer 2002: 210). Orwell quoted in his Homage to Catalonia that “the Anarchists had bad taste in not blowing it [Sagrada Família] up when they had the chance” during the Spanish Civil War (Orwell 1938: 225). Gaudí’s work was also representative of Catalan Modernisme, which was opposed by the Noucentistes (Sobrer 2002: 210). However, the traits that define Noucentistes—“noucentisme, imperialisme, arbitrarisme, classicisme, civiltat”—all align with Gaudí’s work as it improves previous architectural styles and encapsulates essence of Barcelona (Sobrer 2002: 211). Today, the Sagrada Família stands as a monument to a vision born of a period of social and ideological conflict; it is a supreme exemplar of values that Gaudí explored in almost all of his works (Kent 2002: 227). It contributes to the “standard, popular, totalizing �vision of Barcelona, figured as a combination of old and new emblematic elements” (Balibrea 2010: 204). Not merely an architectural genius, Gaudí also a member of the Asspciació Catalana d’Excursions Científiques. This group, full mountain aficionados, was a good fit for Gaudí. All of his life, Gaudí has had a special place in his heart for mountains. This affection and interest only grew when Gaudí began to establish solid philosophies towards nature. He took inspiration from another architect, Paul Abadie, the designer of a Parisian church located on the mountain Montmartre. However, Gaudí took a different approach to Abadie’s idea. He decided to forego using Barcelona’s mountains, Montjuïc and the Collserola range, and instead turn Barcelona into a mountain itself. To accomplish this, Gaudí toyed with the relationship between Barcelona’s neighboring city and the Sagrada Família (Sobrer 2002: 205-06). Rarely is a mention of Barcelona made without a reference to Antonio Gaudí—known for his unique and modern style that has made is works iconic. He drew many of his influences from nature and paid close attention to detail in his structures. His work manages to be “genuinely and forthrightly modern while still incorporating regional differences” (Hughes 2004: 113), an aspect that is important for Catalan architectural nationalism , as outlined by architect Domènech i Montaner. In most if not all of his plans Gaudí let religion, in addition to nature, inspire his design of the buildings. Heaven, or Paradise, was an inspiration for Gaudí. He incorporated his thoughts of what he thought Paradise is like into many of his works, not just Sagrada Família. When he designed and built Park Güell for example, “Gaudí created the garden with a series of references to Paradise” (Kent 2002: 226). Gaudí’s work also incorporated some political influences. When he was getting the original financing for the Sagrada Família done, he was able to reach across class lines to get people to donate to the project. Sobrer points out this fact, writing that “Gaudí himself, in his fund-raising efforts, spoke of sacrifice, of giving ‘til it hurts’ as he gathered contributions from �all runs of society” (Sobrer 2002: 218). This was unusual, as most of the time it was just people from the upper class that would donate to such projects and finance them. People from lower classes helping with funding was something that was not as common. He was also motivated by a populist impulse as he used techniques like trencandís and maqueta funicular, notably for the construction of Parc Güell. Trencadís is using broken tile from various sources to tile and decorate a specific item, there are different pictures and colors included when using this method. Gaudí asked people to bring him broken pieces of tile. There is also a deeper meaning to trencadís, as Josep Sobrer discusses in his article “Against Barcelona”: “in symbolic terms, trencadís exalts the poor, the broken, the outcast” (Sobrer 2002: 212). Gaudí did not just use tile from the rich, and that is one way that Gaudí was able to uplift the poor. Maqueta funicular is a technique using buckshot and string, or chain, to calculate the shape of arches and inclination of columns. Gaudí’s techniques, like his work, are also criticized for their anti-intellectualism and reactionary conservatism (Sobrer 2002: 213). However, the evolutionary nature of Gaudí’s work was not appreciated on a large scale until decades after his death. Indeed, in the middle of construction for Sagrada Família Gaudí unfortunately died when he “was killed by a street car one June day in 1926” (Hughes 2004: 128). According to Sobrer, “[Barcelona]'s reputation in the non-negligible world of tourism is built around Gaudí" (Sobrer 2002: 209). Antonio Gaudí’s unique style of architecture is incredibly specific to Barcelona, it blends a surrealist style and traditional architectural design into a beautiful functional structure. His designs truly are incomparable to those in any other city in the world, and have been highlighted by many photographers and filmmakers alike. Gaudí’s work was very different from that of other architects in his time; it has been closely associated with Catalan spaces. In fact, it can be argued that “to decry Gaudí would be to decry Barcelona, if not Catalonia” (Sobrer 2002: 209). �—Edited by Camille Kresz and Benjamin Fraser with text from Victoria Bishop, Ariel Fricke, Rachel Harris, Grace Langley, Tricia Malcom, Amy Musgrave, Kendall Schunk, Sarah Spangler, Vyas Jayati and Claudia Woznichak � 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 Gaudí: Nature, Religion and Politics Subject The topic of the resource Gaudí: Nature, Religion and Politics Creator An entity primarily responsible for making the resource Victoria Bishop, Ariel Fricke, Rachel Harris, Grace Langley, Tricia Malcom, Amy Musgrave, Kendall Schunk, Sarah Spangler, Jayati Vyas, Claudia Woznichak, 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 03/01/2017 Language A language of the resource English, Spanish Type The nature or genre of the resource Document Date Created Date of creation of the resource. 03/01/2017 Amy Musgrave Ariel Fricke Barcelona Claudia Woznichak Grace Langley Jayati Vyas Kendall Schunk Rachel Harris Sarah Spangler Spain Tricia Malcom Victoria Bishop https://collections.ecu.edu/files/original/20/559/Las_Ramblas_2.jpg f4995bc63dfcfad7ec7e946bb22f21e0 https://collections.ecu.edu/files/original/20/559/Las_Ramblas.jpg 5b96a3949420f2d14d7737ff975f5b49 https://collections.ecu.edu/files/original/20/559/Tricia_Malcom_Jayati_Vyas_-_La_Rambla.pdf dc992d49a631a0b02b43fb436434862e PDF Text Text La Rambla La Rambla, also known as Las Ramblas or Rambla del Raval, is a street in central Barcelona that attracts tourists and visitors alike. A pedestrian mall lined on both sides with luscious trees, La Rambla stretches for 0.75 miles. It forms the boundary between the quarters of Barri Gòtic to the east and El Raval to the west, and lies south of the Plaça de Catalunya. It is referred to as ‘Las Ramblas’ for the multitude of shorter streets that it is comprised of, including Rambla de Canaletes, Rambla dels Estudis, Rambla de Sont Josep, Rambla dels Caputxins, and Rambla de Santa Mónica. There was a period of time when La Rambla lost its charm—when the city of Barcelona was in a state of political and social transition. During this time, “the Rambla became a somewhat traumatic red light, with not infrequent cases of drug-fuelled physical attacks and even murder serving to disconnect the old town from la zona alta” (McNeill 2002: 251). A long, wide thoroughfare that replaced and cleansed the degraded zones of poverty and prostitution that is now used for festivals, markets, and sports, La Rambla is crowded throughout the day and well into the night. “The street is increasingly log-jammed, its old kiosk-inspired role as an informal ingestion of news replaced, or at least hindered, by an array of performance artists, the protrusion of metallic café chairs, caricaturists, and trinket stalls” (McNeill 2002: 250). La Rambla was initially a simple river bed. It then was transformed into a street and became a major part of the city (“Barcelona: The History of La Rambla” 2012). As Hall says, “It was now that La Rambla acquired the character of a promenade, as the watercourses were covered and trees were planted” (Hall 1997: 127-28). It also solved the city’s need for nature, because as Kent declares “Among the extreme architectural solutions to the need for parks […] is the Rambla de Mar…” (Kent 2002: 234). During this period, Hughes describes that, “Today, for most people, the Ramblas is Barcelona” (2004: 79). This streetway was always busy with visitors or various vendors selling �different products or goods. One of products frequently sold are flowers, in fact, one thing that Catalans are known for are their overly gaudy flower arrangements. Next door, people are selling different species of birds, such as finches, toucans, and macaws. Hilariously, the birds would occasionally escape and fly to the Parc de Ciutadella, joining the other escapees (Hughes 2004: 79). The most distinguishing feature of La Rambla, besides the assortment of business and restaurants, are the trees surrounding the roads on both sides (Hall 1997: 127-128). The best way to illustrate how important the Ramblas are would be described by Robert Hughes, “The Ramblas is and always will be one of the great, seedy, absorbing theatres of Spain, or for that matter of Europe” (2004: 80). —Edited by Irina Swain and Benjamin Fraser with text from Tricia Malcolm and Jayati Vyas � https://collections.ecu.edu/files/original/20/559/Bishop_Victoria_-_Las_Ramblas.pdf 09f18b62fe5515d8295077505cef30c3 PDF Text Text Las Ramblas When tourists are not at Sagrada Familia, another popular place to visit in Barcelona to experience the culture is Las Ramblas. There are many sites located on Las Ramblas that many tourists want to stop and see such as the Boquería, the statue of Christopher Columbus, the port, and shops and restaurants to try out. There is no shortage of people on the Las Ramblas and there is always some aspect of Catalan culture to look at, admire and take in the when on Las Ramblas. Las Ramblas is a place in Barcelona that extends from Plaça de Catalunya to the Port of Barcelona. Las Ramblas “became the first true avenue in Catalunya” (Hughes 2004: 79) making it quite the accomplishment in Barcelona, especially considering the fact that Las Ramblas is located in the old part of the city. In fact, “today, for most people the Ramblas is Barcelona” (Hughes 2004: 79) making it one of the top places that tourists come to see. At the end of Las Ramblas is the Port of Barcelona, where cruise ships come in and dock giving those passengers easy access to Las Ramblas. It is set up in a way that is very friendly to pedestrians—there is a large space in the middle of the road to walk up and down and look at everything that is going on, and cars drive by on each side. There are many crosswalks making it easy to cross the street and get to the shop that catches someone’s eyes. This is quite the place for tourists to go and get a quick glimpse at Barcelona. Also on Las Ramblas there are many vendors who set up and sell paintings and other crafts to the tourists. There are also stores on Las Ramblas that tourists can go into to get their souvenirs, along with kiosks that line the middle of the avenue. There are painters and street performers who line the street, including people who play the part of a statue. Hughes describes them: “here are ‘human statues’ poised immobile on their crates, bizarre and infrangibly silent” (2004: 79). There are so many different kinds of statues that line the streets, everyone can probably find one that they 1 �enjoy—and they are hard to miss because they are so common. When walking past the people standing there it can be easy at first to mistake them for actual statues, until they start to move to strike a different pose for those passing by to take a picture of them. Displays like that are what make the avenue a place that is to produce a “successful cultural product” (Vilarós 1995: 45). Las Ramblas is quite the place to experience the culture of Barcelona, and get a little bit of everything. While Las Ramblas has a lot of culture from Barcelona, there are some places on the avenue that may be familiar to international visitors. Because Las Ramblas is a poplar place for tourists to visit there are some chain restaurants located along the avenue, some of them are even popular here in the United States. Starting at the beginning of the Avenue in Plaça de Catalunya, there is a Hard Rock Café, the café is surrounded by shops that are from Spain, but it can give a sense of home to tourists who are visiting the city. There is also a Subway, KFC, and McDonalds located down the avenue, which plays to the international crowd that comes to visit Las Ramblas. In No Word From Gurb Eduardo Mendoza describes Las Ramblas as “full of the most varied specimens of the human race, and just seeing then would be enough to confirm that Barcelona is a seaport” (Mendoza 1990: 79). This shows how diverse that crowd on the avenue is and how being right off the port diversifies the crowd even more. Las Ramblas offers a wide array of activities to do, places to see and culture to witness. It gives the person who is visiting Barcelona that does not have much time an easy way to absorb a lot of the culture in a relatively short amount of time. So many wonderful things happen on Las Ramblas that it is totally worth a visit if one is ever in Barcelona because it will provide an experience that is unforgettable. 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 Las Ramblas Subject The topic of the resource Las Ramblas Description An account of the resource Las Ramblas are located in Barcelona, Spain Creator An entity primarily responsible for making the resource Victoria Bishop, Tricia Malcom, Jayati Vyas, Benjamin Fraser, Irina Swain Type The nature or genre of the resource Document, Still Image 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 02/16/2017 Rights Information about rights held in and over the resource Victoria Bishop Language A language of the resource English, Spanish Date Created Date of creation of the resource. 02/16/2017 Barcelona Jayati Vyas La Rambla Las Ramblas Spain Tricia Malcom Victoria Bishop https://collections.ecu.edu/files/original/6/25/Chrysanthemum.jpg 076e3caed758a1c18c91a0e9cae3368f 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 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo 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 Item Title Subject The topic of the resource Futurism