Vitoria-Gasteiz
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Arno en la Sierra de Entzia (Araba). He llegado un poco tarde ya con las hojas de los árboles caidas, pero creo que ha quedado decente también.
Volvemos a caminar sobre las nubes, año y pico después.
Un abrazo a todos, y mis disculpas por no dedicaros el tiempo que merecéis. Qué ganas de que llegue la jornada intensiva...
(Panorámica de dos fotos)
Vista de los jardines que hay en la parte trasera de la iglesia de Estarrona, situada en la punta de la colina donde se asienta este pueblo alavés. De frente se ve Vitoria-Gasteiz, a la izquierda están las pistas del aeropuerto de Foronda.
I came across this vintage car in a shopping mall in Istanbul's Unalan District. They decorated it with artificial flowers to welcome the arrival of spring.
But if something characterizes the nineteenth-century period, it is the appearance of a new urban concept, based on hygienist theories. One of the main contributions will be the water supply, with the construction of laundries and public fountains. In 1845, the architect Martín Saracibar was entrusted with the construction of the new fountain of San Juan, with a budget of 14,618 reales de vellón, invested in the construction of a stone work that was never carried out.
Work was also carried out in the hospital. In 1848 its reform was undertaken by the master carpenters Cristóbal Murua, Quirico Junguitu and Andrés Garay. Although the work was not specifically adjusted to the plan, we know that it involved a total transformation of the east façade and some of the interior rooms.
As for the corn exchange, it was raised from a new plant in 1847, next to the Portal del Rey, following the plans and plans of Cristóbal Murua. It was a Heredia ashlar construction, distributed over three heights, with a trapezoidal plan, covered with a gabled roof, thick walls and thin partitions, without intermediate pillars that impeded the passage, and which had three main doors.
The 20th century began by continuing the concern of the preceding century to provide the Villa with comforts, decisive for its entry into urban modernity. In 1905 the City Council ordered the construction of the fountains in the Plaza de San Juan, the Plaza de Santa María and the Plazuela de los Caños. This stands out for its decorative character: on a stone base, on which the date 1905 can still be read today, it is a richly decorated double-spout fountain. Iron, the material champion of modernity, becomes the constructive and decorative protagonist, where tritons and fauns with satirical grimaces are intermingled with four snakes coiled around the crown.