18 10 581 https://collections.ecu.edu/files/original/31/960/776px-Caminos_Santiago_actuales_-_01_Camino_France_s.svg.png 9c66bf54921025a18d79b56a57e045ed 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 Camino de Santiago Creator An entity primarily responsible for making the resource Irina Swain 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. 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 Camino de Santiago Map Subject The topic of the resource Camino de Santiago Map https://collections.ecu.edu/files/original/19/198/cape-hatteras.jpg a132d595c06ca115b07a7847cbfc0876 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 NC Lighthouses Subject The topic of the resource Selected lighthouses on the Outer Banks of North Carolina. 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. 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 Cape Hatteras Lighthouse Subject The topic of the resource North Carolina Lighthouses Description An account of the resource Cape Hatteras Light is a lighthouse located on Hatteras Island in the Outer Banks in the town of Buxton, North Carolina and is part of the Cape Hatteras National Seashore. The Outer Banks are a group of islands on the North Carolina coast that separate the Atlantic Ocean from the coastal sounds and inlets. Atlantic currents in this area made for excellent travel for ships, except in the area of Diamond Shoals, just offshore at Cape Hatteras. Nearby, the warm Gulf Stream ocean current collides with the colder Labrador Current, creating ideal conditions for powerful ocean storms and sea swells. The large number of ships that ran aground because of these shifting sandbars gave this area the nickname "Graveyard of the Atlantic." It also led Congress to authorize the construction of the Cape Hatteras Light. Its 210-foot height makes it the tallest brick lighthouse structure in the United States and 29th in the world. Since its base is almost at sea level, it is only the 15th highest light in the United States, the first 14 being built on higher ground. Date A point or period of time associated with an event in the lifecycle of the resource 1794 Date Created Date of creation of the resource. 1794 lighthouse https://collections.ecu.edu/files/original/19/199/Cape-Lookout.jpg 6ab050e5f3e3cd0d622e8fe02165bf7b 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 NC Lighthouses Subject The topic of the resource Selected lighthouses on the Outer Banks of North Carolina. 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. 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 Cape Lookout Lighthouse Subject The topic of the resource North Carolina Lighthouses Description An account of the resource The Cape Lookout Lighthouse is a 163-foot high lighthouse located on the Southern Outer Banks of North Carolina. It flashes every 15 seconds and is visible at least 12 miles out to sea and up to 19 miles. The Cape Lookout Light is one of the very few lighthouses that operate during the day. It became fully automated in 1950. The Cape Lookout Lighthouse is the only such structure in the United States to bear the checkered daymark, intended not only for differentiation between similar light towers, but also to show direction. The center of the black diamonds points in a north-south direction, while the center of the white diamonds points east-west. Date A point or period of time associated with an event in the lifecycle of the resource 1859 Date Created Date of creation of the resource. 1859 lighthouse https://collections.ecu.edu/files/original/20/532/CasaBatllo_0170_OR.JPG 18a64b67e1c32e5299a5329395bf58e0 https://collections.ecu.edu/files/original/20/532/Casa_Mila_OR.jpg 13821062f277309e695c711b6afb2dc2 https://collections.ecu.edu/files/original/20/532/Casa_Mila.png 643f020ed4070ff85917095f2f56f54a https://collections.ecu.edu/files/original/20/532/Langley_Grace_Casa_Batllo_Casa_Mila.m4a 4c90c2473a50849ebb0b21250e9ca067 https://collections.ecu.edu/files/original/20/532/Casa_Batllo_Casa_Mila_-_Grace_Langley.pdf 515c6f3c12ef5a8e99e8fea1ac2c8a0f PDF Text Text Casa Batlló and Casa Milà The Casa Batlló was a renovation done by Antonio Gaudí of a preexisting apartment building, although little was left besides the ground levels. The building can be described as “a five-story crust of shifting, aqueous color” with a roof decorated with “giant ceramic scales” (Hughes 2004: 143). All of these characteristics come to life in Hiroshi Teshigahara’s film Antonio Gaudí (1984). The film only shows the exterior of the building, however, the influence of nature in Gaudí’s work can be identified through his use of color, misshapen balconies and arches. Further down the street, the Casa Milà came into view as competition for the Casa Batlló. In contrast to Casa Batlló, Casa Milà “was designed from the ground up not adapted from an existing building” (Hughes 2004:145). Antonio Gaudí was granted complete design autonomy of the building and, as a result, Gaudí created “a sea cliff with caves in it for people” (Hughes 2004:145). The balconies resemble the seafloor and the columns on the roof look like “eye sockets of a Cyclopean head” (Hughes 2004:145). The strange beauty that Gaudí created can also be seen in Teshigahara’s film. In the film, the deep sea is translated into architectural form through the sight of Gaudí’s work. Gaudí’s style strayed from the conventions of traditional beauty. No other architect at the time would have dared to attempt to use creativity on such an extreme level. However, Gaudí perfected nonconventionality seamlessly. Overall, both pieces were magnificent in their own right and represented Gaudí’s contributions to Barcelona’s Renaixença. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casa Batlló and Casa Milà Subject The topic of the resource Casa Batlló and Casa Milà Description An account of the resource The Casa Batlló and Casa Milà are located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Grace Langley, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Casa Batllo Casa Mila Grace Langley Spain https://collections.ecu.edu/files/original/20/533/OR_Casa_de_la_Ciutat.JPG de2f806c280dc3074923545ba4fd22c1 https://collections.ecu.edu/files/original/20/533/OR_Salo_de_Cent.jpg e49e72f9075a44de0184ec6c72690575 https://collections.ecu.edu/files/original/20/533/Salo_de_Cent_-_Tricia_Malcom.pdf 128998dfb8de469792975481994e1135 PDF Text Text Saló de Cent Robert Hughes, the acclaimed author, is head over heels for Barcelona. In one of his books, Barcelona the Great Enchantress, Hughes wrote about how he decided to have his third wedding in Barcelona at the city’s town hall. As Hughes describes it, the Town Hall—previously acknowledged as the Casa de la Ciutat (‘house of the city’)—is the home to, “its most splendid and history laden ceremonial room, the Saló de Cent” (2004: 1-3,12-14). The Saló de Cent (Hall of the Council of One Hundred), is a room full of vibrant history originally designed by the architect Pere Llobet. The chamber was tragically destroyed during a workers’ uprising in 1842, but was eventually restored by Lluís Domènech i Montaner in 1880. The room is draped in red and gold silk as a tribute to the Catalan flag (Hughes 2004: 14-14, 17-18). The Saló de Cent was the original assembly room of Barcelona’s government—formed around King Jaume I’s original system of probi homines (peers) that guided his majesty on overseeing the city in the thirteenth century (Hughes 2004: 13-14). As explained by Elorza, this was vastly different than how the government was run in the twentieth century by dictator Francisco Franco, who “sought to eradicate every last trace of cultural difference” (Elorza 1995: 332). Vilarós explains that, “during the height of Franco’s power and censorship Ferrater pronounced Catalan culture dead” (2000: 37). King Jaume’s original committee was comprised of twenty members while the newer committee contained merely seven. Two of the committee’s seven members were the chief magistrate and the mayor. Those two leaders had the power to decide which residents would fill the remaining five spots on the committee. This board was imperative since it was one of the first proto-democratic governments as well as one of the first boards that allowed all affiliates to have equivalent votes (Hughes 2004: 13-14). � https://collections.ecu.edu/files/original/20/533/Casa_de_la_Cuitat_-_Brooke_Palmer.pdf bcdcf28519d475e09ab6050224a53081 PDF Text Text Casa de la Ciutat and Saló de Cent City halls can be found in every metropolitan area. In Barcelona, Spain, it is the Casa de la Cuitat. The earliest government actions were conducted within its walls after its creation in the 13th century. The Saló de Cent, or the Hall of the Council of the One Hundred, was a room where a committee of prohoms, or peers to thirteenth century King Jaume I, would manage the city of Barcelona (Hughes 2004; 13). A system to govern Barcelona arose from this arrangement and lasted until the Bourbons of Madrid wiped it out in the 18th century (Hughes 2004: 14). So, just as the President of the United States cannot make major decisions without consulting the Congress, King Jaume I would consult the prohoms before making an official declaration. Throughout time, Barcelona has “historically reinvented itself with ingenuity and dramatic flare” (Kent 2002: 221). In the case of the Casa de la Cuitat, this applies in both an architectural sense and according to the building’s purpose. Located on the Plaça de Sant Jaume, Barcelona’s historical centre, the colors and decorations of the important building resemble the Catalan flag, reflecting the yellow and red stripes. The exterior is crafted with pillars, a trait found among many important government buildings around the world. The original entrance was a gothic façade that reflected the time period in which the building was originally constructed with the coats of arms and gothic stained glass windows (Calas). Today the entrance is a neoclassic façade, which was constructed to reform the Plaça de Sant Jaume (Calas). Part of this construction included the addition of two important figures: one of King Jaume I, and the other of Joan Fiveller, a conseller who became a symbol of strength for his stance on fairness among all social classes (Hughes 2004: 16). The Casa de la Cuitat radiates with historical and cultural importance. Especially when relating to one important room: The Saló de Cent. �The Saló de Cent is the most well-known part of the Casa la Cuitat. In fact, it is distinguished as “one of the noblest places in Spain” (Hughes 2004: 17). The famous room was designed by architect Pere Llobet in 1360 and was inaugurated in 1373 (Hughes 2004: 17). Originally recognized as the Saló del Trentenari, this historical room used to house the meetings of the Consell de Cent, a group of Catalan citizens that emerged from King Jaume’s original prohoms system (Calas). A council of one hundred Catalan citizens was created to have representation of all walks of the Barcelonan lifestyle (Hughes 2004: 14). Today, the famous room is used for weddings and special occasions, along with being a very popular Barcelonan tourist attraction (Calas). While it is one of the most popular attractions in Spain, this famous room is not the only feature the Casa de la Cuitat has to offer. Even though they are not as well-known as the Saló de Cent, there are other important areas of the city hall. The building’s courtyard is decorated with sculptures by famous Barcelonan artists, including Antonio Miró, Pablo Gargallo, and Manolo Hugué (Calas). Continuing with the artistry, the city hall has a room of chronicles with paintings along the walls and ceilings, all created by Catalan artist Josep Maria Sert (Calas). One room, the Room of the Regent Queen, was used more purposefully in the 1800s. This room was designed with candelabras and sculptures for Queen Maria Cristiana; its original purpose was to provide a space where she could socialize and drink tea, but today it is used as the plenary room (Calas). All of these spaces, including the Saló de Cent, are available for tourism today. During the 19th century, Spain was going through constant political conflict, and many of these disagreements resulted in violence. The issues mostly surrounded “progressive and reactionary régimes and radical groups advocating for social reforms” (Hall 1997: 128). The Casa de la Cuitat, or more specifically the Saló de Cent, was not excluded from the brutality. In �1842, the political building was bombarded during a workers uprising, and it was not rebuilt until the 1880s by Lluís Domènech i Montaner (Hughes 2004: 17). This would be the last attack the city hall has encountered that required reconstruction. Later on, neo-gothic decor was added, fortunately through a non-violent necessity, in 1914 (Hughes 2004: 17). Today, the Casa de la Cuitat is composed of three total buildings: the original building from the 14th century, the “Nou” or New Building, and the “Novíssim” or Very New Building, which are all interconnected (Historical). The addition of the newer buildings provided the Casa de la Cuitat with more space (Historical). The alterations did not stop there: in 1994 mutual connections were constructed between the three buildings to fulfill the original purpose, which was to, “improve the harmony between the three buildings and the rest of the neighborhood” (Historical). As one of the oldest buildings in all of Barcelona, the Casa de la Cuitat holds a lot of history artistically, culturally, and governmentally. Each room has a story and a purpose that is still being discovered by visitors and natives alike each day. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casa de la Ciutat & Salo de Cent Subject The topic of the resource Casa de la Ciutat & Salo de Cent Description An account of the resource Casa de la Ciutat and its famous reception room, Salo de Cent, are located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Tricia Malcom, Brooke Palmer, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/06/2017 Barcelona Brooke Palmer Casa de la Ciutat Salo de Cent Spain Tricia Malcom https://collections.ecu.edu/files/original/20/534/OR_Llotja_de_Mar_[Barcelona]_-_2.jpg a7ce695cf359e8b8384a0973e2e52470 https://collections.ecu.edu/files/original/20/534/Llotja.m4a 0d106405d3ed723a0299c93ae1e91e01 https://collections.ecu.edu/files/original/20/534/Casa_Llotja_de_Mar_-_Graziella_Dominado.pdf 095f6bd25626071e6758cb6de3902798 PDF Text Text Casa Llotja de Mar The beauty of Barcelona bewitches me, its network of streets morphing into a network of veins, meticulous and flawless, pumping culture rich with history mixed with urbanization back into the heart of the city. It grows, flourishes, and breathes life, all the while never losing sight of the past that roots it. Filling the spaces of Cerdà’s checkerboard blueprint for Barcelona’s Eixample, we find the Casa Llotja de Mar, a prime portrayal of Catalan Gothic with its eagerness, in the words of Hughes, to “show you its bones” (Choay 1969: 26; Hall 1997: 135). Comparable to many Barcelonan places, the Llotja has an enrapturing history of its own. Fast-forwarding through its past role as a meeting place for negotiating trading deals, and its shutdown and conversion into a barracks for troops during the Bourbon conquest of Barcelona, neoclassic architect Soler created plans for a new Llotja in 1764. After its completion in 1804, half of the top floor housed the Escola de Bellas Artes, the main art school in Barcelona. While Pablo Picasso’s father taught at the school as a professor, Pablo himself studied there as a student, in addition to Joan Miró and other lesser known—but still impressive—architects, artists, and the like (Hughes 2004: 47-52). Above all the ornate facets found in the Llotja, I find my eye drawn to the “bones” Hughes refers to, evident in the columns and open space seen in the main hall. Its bareness and lack of exorbitance provide it with a raw, organic beauty that only places of the past can capture and urbanization can overtake if excessively done. With names like Picasso walking through the stairways of the building, one can’t help but wonder what other life filled its skeleton. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casa Llotja de Mar Subject The topic of the resource Casa Llotja de Mar Description An account of the resource The Casa Llotja de Mar is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Graziella Dominado, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Barcelona Casa Llotja de Mar Graziella Dominado Spain https://collections.ecu.edu/files/original/29/947/Castle_complex-northeast.jpg b80b447540aef952d1450f4c1b532fdb 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 Diagrams and Cross Sections Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU 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 Castle Complex Description An account of the resource View of castle complex from the north-east. The bawn yard would likely have contained more structures and have been much more cluttered in real life. https://collections.ecu.edu/files/original/27/907/70.jpg ea86e8cef86c1b15d9ca5890a78e935f 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 Reconstructed Kilcolman Gallery Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU 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 Castle complex. View from east. https://collections.ecu.edu/files/original/27/908/71.jpg 2f4aabf4cf4ba36f7cc6a885b7d0bc00 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 Reconstructed Kilcolman Gallery Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU 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 Castle complex. View from the south. https://collections.ecu.edu/files/original/27/839/2.jpg a39f6a9fad0f01a8f3c70eb4450b416c 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 Reconstructed Kilcolman Gallery Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU 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 Castle, view from north-east