Royal Academy of Fine Arts of San Fernando
On the occasion of the commemoration of the third centenary of the birth in the capital
enlightened king and Madrilenian par excellence
through the General Directorate of Cultural Heritage
organized this exhibition in collaboration with National Heritage and the Royal Academy of Fine Arts of San Fernando
to publicize the influence exercised by the monarch in the architectural and urban innovation and adaptation of the Villa de Madrid and the Royal Sites
Carlos III was a fundamental king in the configuration of a Spain that had aspirations of modernity and homologation with Europe
The monarch's reformist policy was expressed in a particularly clear way in the territory that the Community of Madrid currently occupies
acquired its definitive shape as a center of political power
since the king and his court lived throughout the year both in the Villa de Madrid and in the other Royal Sites
Carlos III only spent eight weeks a year in the Villa de Madrid
the king enjoyed the rest of the Royal Sites: Spring in Aranjuez
Christmas in Madrid and Winter in El Pardo
the urban and architectural adaptation effort was not limited to the capital
but rather each of the four satellite towns was configured as a small model city
the capital should be both like the country
The territory was equipped with infrastructures within a modern arrangement that today
in addition to constituting the base of the current roads
offers a series of monumental landmarks that are part of the identity of Madrid
the sense of capital overflows the framework of a locality and is related to a European reality manifested in other countries: the systems of Royal Sites around capitals
The latter become small versions of what the capital should be
becoming more perfect than the Villa and Corte itself
Carlos III and the Royal Sites offered an approximation to the vision that the monarch had of Madrid
its territory and the architecture that should guide the construction of its cities
all through a tour in which the transformations of the Royal Sites according to the seasonal use made of them
A fundamental part of the exhibition is the spatial and temporal journey through the "days" of the Spanish Court through the Royal Sites and during the four seasons of the year
which allowed the visitor to place a set of monumental pieces in the context of the Community: some that he could already recognize as such - palaces - and others that are no less so - walks
paths - and that he was used to considering as mere spaces “given” by nature or by modernity
The exhibition allowed to contemplate a magnificent selection of works
some of them unpublished or never exhibited
from national and international institutions
The pieces were donated by various institutions
The Royal Academy of Fine Arts of San Fernando
the Ministry of Finance and the Bank of Spain
It should be noted the presence of a gouache and two unpublished watercolors
as well as some pieces not previously exhibited
among which it is worth mentioning: View of the façade of the Royal Palace of Aranjuez
Drawing for the engraving of the series of Views of the Real Sitio
by Domingo de Aguirre; and the plate for the engraving on the drawing Facade of the Royal Palace of Aranjuez "Seen from the middle street that passes between the barracks of the Infantry Guards"
The gaps that all this historical documentation fails to cover have been addressed through an extraordinary work of graphic reconstruction
which allows us to contemplate as a whole the architectural program of Carlos III
the first king who articulated the territory of the current Community of Madrid
Historical and contemporary graphic production coexists in the exhibition
especially with regard to historical designs prior to the realization of the monuments
an extraordinary work of graphic production has been carried out
it is possible to offer a global panorama of the architectural phenomenon in the territory of our region
at the beginning and end of the exhibition
in which the Royal Sites are toured from animation and they are recreated in 3D
The court of such a prominent sovereign demanded a deployment of dignitaries and servants
and the government of the European monarchy with the largest overseas dominions required a developed bureaucratic structure
A good part of that environment had to accompany His Majesty outside Madrid
which explains the development of the four court populations in the Royal Sites
urban structures are conceived that shelter both buildings built by the Crown for its servants
as well as individuals who want to build houses
will serve to house those who have to follow the king or want to do what
among which Spain occupied a prominent place
the sovereign changed residence throughout the year
Versailles was the seat of the court and the government
The court traveled annually to Fontainebleau in the autumn
and used to make short stays in the palaces closest to Versailles
In Naples Carlos III followed this example when undertaking the enormous royal palace of Caserta
during his reign he had built several residences outside the capital where he spent much of the year
Turin is the most classic example of capital surrounded by a "crown" of country palaces for hunting and life in certain seasons
these residences had been created in the XNUMXth century
but were developed in the XNUMXth with much more imposing architectures
the kings of Castile enjoyed hunting rights in the mountains near Madrid and even somewhat further north of the city of Segovia
Felipe II reaffirmed those rights through continued pragmatics by his successors
the Casa de Campo in front of the Alcázar in Madrid and other smaller enclaves
It also consolidated this entire structure of country residences with the construction of the palaces of Valsaín and El Pardo and the ordination of Aranjuez
In these Royal Sites the Habsburgs spent three months a year and in Madrid the remaining nine
and his son Carlos III followed that pattern
This circumstance implied improving the network of roads and bridges
so that the service to the needs of the Crown overlaps with the creation of roads
The urban improvement of Madrid carried out by Carlos III was decisive for cleaning the streets
this reform was not accompanied by rethinking in the urban fabric
opening of new streets or squares or corrections in the road layout
the main interest of the monarch consisted in creating a comfortable exit towards his country residences by means of the slopes as smooth as possible
large structures and land clearings directed by Sabatini
the slope of San Vicente and the walks of Florida and the Virgen del Puerto
The area of Madrid that becomes the image of the city of the reformist government of Carlos III is the Paseo del Prado
The need for its reform was raised not only because it was the main place for public recreation
but also because it was close to the Real Sitio del Buen Retiro
Conceived as a royal recreation place on the edge of the Villa
it was in the Retiro where the king spent his stays in the capital until the New Palace was completed in 1764
In 1767 he undertook the reform of the adjacent Prado de San Jerónimo with the creation of the Prado Hall and its sources
according to plans by the architects José de Hermosilla and Ventura Rodríguez
from the Spring Garden and Puerta de Alcalá to the Royal Botanical Garden
the Paseo del Prado becomes the urban image of enlightened reformism
was expanded by Fernando VI through the purchase of land from individuals and the Villa de Madrid
He also undertook the construction of a wall that closed the Mount
Carlos III completed this purchase and closing operation
since in the great religious festivals it should be visible in the capital
it was possible to travel to Pardo from the capital on the day to “make court” with the king on his birthday
and therefore it was the place where urban development was least necessary
Identified with spring since the Habsburgs
becomes with Carlos III the mirror of the ideal nation
constituting the most ordered and complete of these small court cities
Carlos III added new tree-lined streets to the avenue system created by Felipe II
and expanded with Felipe V and Fernando VI towards the Long Bridge
The new streets have an ornamental character
but above all practical because they articulate the spaces destined to model crops such as those undertaken in the Real Cortijo
in the Campo Flamenco and in the environment of these economic experiments that have a model value for the country and image for the government
the Royal Site of San Ildefonso in La Granja
cannot be disassociated from the Bourbon court cycle
having constituted the royal summer residence until the XNUMXth century
Carlos III undertook a complete rethinking of the population
Its most visible landmarks were the Gates of Segovia and the Queen
and the Glass Factory; but the greatest interest lies in the urban complex
which responded to the enlightened ideals of sanitation
placing the hospital and similar services outside the walls
the king ordered in the Montes de Valsaín an operation similar to that of El Pardo
the purchase of the forests and their incorporation into the Crown
cannot be understood without its Royal Forest created by this monarch
and which Carlos III and Carlos IV maintained and consolidated
rebuilding the stone fence that limited it
El Escorial was a magnificent hunting ground for autumn
returning to Madrid on the day of the Immaculate Conception
an important feast for the Court and patron saint of the Order of Charles III
In El Escorial they also spent the night in mid-July
The new plant population was designed by Juan Esteban in 1767
and not by the author of the best buildings that exist in it
who since 1768 was an architect of the Jerón community
It was also the prince of Asturias and the Infantes
For his servants he built a building in front of the main facade of the Monastery
the Casa de Infantes; next to it that of the Minister of State
and other buildings in the town for the Crown and for individuals
The origins of the Museo del Prado
when the building in Madrid that the Prado now occupies was commissioned by King Charles III
The museum contains the most complete collections in the world of the works of El Greco
as well as of such Spanish masters as José de Ribera and Francisco de Zurbarán. It also has a rich assortment of other major European painters
These 20 paintings are just a small subset of the Prado’s vast collection
Earlier versions of the descriptions of these paintings first appeared in 1001 Paintings You Must See Before You Die
with its restricted palette and looser style
The god’s wide-eyed stare suggests madness and paranoia
and disturbingly he seems unselfconscious in carrying out his horrific act
Although it is uncertain whether Ribalta ever visited Italy
Bernard reflects many of the features of the Italian Baroque
and it is most likely drawn from a replica of a Caravaggio altarpiece Ribalta is known to have copied
as dramatic spotlights—in the manner of Caravaggio—highlight certain areas
Ribera’s toothless philosopher has a wrinkled face and gaunt frame
The way he grasps papers in one hand and a compass in the other tells us he is a man of learning but also emphasizes his bony fingers with their dirty nails
The great man (who had traditionally been identified as Archimedes) looks less like a revered scholar and more like an impoverished old man from a contemporary Spanish village
Ribera painted a series of eminent scholars in this way
in a bold move away from the accepted artistic traditions that favored painting important people in an idealized and heroic classical style
This work offers a religious subject dealt with in a highly original way: a real character shown in a natural pose
with a pared-down composition that concentrates solely on the subject
Painted to adorn the throne room of King Philip’s Buen Retiro palace
as part of a series of images showing Spanish military triumphs
there is a directness and natural quality that is typical of Velázquez’s work
Although the composition was diligently devised—and in fact resembles the work of Rubens—it gives a sense of being in the center of a very real
Soldiers look in various directions and the foreground horse is trotting away from the viewer
The artist abandons detail to create realism
showing the main protagonists with lifelike accuracy
while leaving nameless troops more sketchy
The natural lighting and broad brushwork were undoubtedly influenced by Italian masters
It is easy to see from this picture why Velázquez became a favorite of the Impressionists
It is Velázquez’s only surviving historical painting
who was especially drawn to Velázquez’s brushwork
The allegorical subject matter was one that was particularly popular at this time
and Giordano’s inclusion of the venerated Rubens would have been widely praised
He has used a complicated structural composition with figures and cherubs massed together on the right side crowded into a small picture plane
The white dove in the foreground forms a focal point
radiating energy and action to direct attention to the figure of Rubens in the rear
In 1687 Giordano moved to Spain where he was employed by the royal court for ten years
A wealthy man on his return to Naples in 1702
he donated large sums of money to the town
The model’s pubic hair is visible—considered obscene at the time—and the lower-class status of the maja
suggests the subject is more sexually accessible than the traditional goddesses of Western art
she is more than merely an object of male desire
Goya may be portraying the new marcialidad (“forthrightousness”) of Spanish women of the day
The maja’s pose is complicated by her confronting gaze and cool flesh tones
Goya paid for his taboo-breaking act in 1815
when the Inquisition interrogated him about this painting
and he was subsequently stripped of his role as court painter
while Velázquez painted himself as artist in a dominant position
emerging from the shadows of two canvases on the far left
The brightly lit study of a naked child’s body casts strong shadows around him
and Fortuny mingles complementary colors to give a fresh feel to the subject
several young artists in France were experimenting with effects of light and color
making painting en plein air a new and exciting departure from studio work
He died a few months after completing Nude on the Beach at Portici
having contracted malaria while painting this work in southern Italy
the tradition was characterized by an acute attention to detail that was afforded by the use of oil paint
Although oil as a medium had been used as far back as the 8th century
it took artists such as van Eyck and van der Weyden to realize its full potential
Van der Weyden’s painting was originally commissioned by the Guild of Archers in Louvain
the moment when the dead body of Christ is taken down from the cross takes place within what appears to be an enclosed
Although the Netherlandish tradition was notable for its use of domestic interiors
here the artist’s use of space lends the overall scene a sense of intimacy
The body of Christ is gently lowered by Joseph of Arimathaea on the left and Nicodemus on the right
the diagonal that is formed by the Virgin’s limp body echoes the lifeless body of Christ above it
This poignant mirroring is also evident in the positioning of Mary’s left hand in relation to Christ’s right hand
Van der Weyden raises the emotional register of the scene to an unprecedented level
The downcast eyes of the nine witnesses to Christ’s death collectively speak of an inconsolable grief
and the artist is able to portray a grief that is unrelenting in its sorrow and emotional pathos
is dressed in the clothes of the 15th-century bourgeoisie
It is produced in Campin’s usual taut style
and his customary symbols explain the event
An empty vessel stands before the carefully rendered folds of Mary’s dress
serves to remind us of the mysteries to follow in this young woman’s life
An unexplained light—symbolizing the Holy Spirit—illuminates the Virgin
Campin implies that she is wise—an allusion to the throne of wisdom
But she sits at a lower level than Gabriel
The painting is divided vertically by a pillar
The left-hand side with Gabriel is the divine half
while the right-hand side portrays the human aspect of Mary before her life changes irrevocably
He paints himself in the fashion of an Italian aristocrat
in a three-quarter pose that is typical of contemporary Italian portraiture
The background is reminiscent of Venetian and Florentine painting with its subdued neutral colors and an open window showing a landscape stretching to distant
The face and hair are painted realistically—another Italian influence—while the gloved hands are typical of Dürer
since he painted hands with especial skill
This self-portrait shows why Dürer is often thought of as the bridge between Gothic and Renaissance styles
Patinir’s depiction of landscape and his surreal
imaginative works greatly influenced the development of the landscape in painting
Italian art—especially that of Raphael—was a great influence on Spanish art at this time
and Juan may well have studied in Italy at some point
He has even been called “the Spanish Raphael.” There is plenty of adept technical skill in the depiction of the folded drapes of clothing
and highlights glancing off dishes and vessels
Juan’s style became very popular and was much copied
His appeal did much to establish a Spanish school of religious art known for being harmonious
The imaginative quality of his work was to have a significant effect on the development of Surrealism in the 20th century
Bruegel was one of the most successful and celebrated Flemish painters of his day
He was known as “Velvet Bruegel” for his subtle and detailed rendering of surfaces
This picture belongs to a series of five allegorical works painted by Rubens and Brueghel for the Spanish regents of the Netherlands
in which each image is devoted to one of the senses
filled with paintings and precious objects—astronomical instruments
The large figure seated at the table is a personification of sight
The painting of Madonna and Child ringed with flowers in the bottom right corner is an actual work by Rubens and Brueghel
The double portrait behind the table depicts the two patrons
Pictures of (oftentimes imaginary) art collections became extremely popular in 17th-century Antwerp
these paintings recorded a collection and frequently included a portrait of the owner
that show him at his most effective and demonstrate his accomplished treatment of light in landscape settings
Here he has used broad areas of flat color that reflect a golden haze as sun streaks down through the thick cloud cover
The painting evokes the sensation of a sudden lull sensed either before or after a heavy rainfall
The figures are frozen in motion—with the archer on the point of releasing his bow—and appear suspended in animation
The architectural features of the scene form a natural “stage” on which the archery takes place
emphasizing the spectator nature of the event
Teniers was widely celebrated as an artist in his day
and he was one of the founding forces behind the establishment of the Brussels Academy of Fine Arts in 1663 and the Academy of Fine Arts in Antwerp
A casual visitor to Tijuana would have little reason to stumble upon a place like Villa del Prado
You get to it by heading southeast from the city's urban core
Many of the homes in Villa del Prado are around 300-square-feet
But people like Ruth Betancourt bought into the idea of having their own home — even if it’s a tiny one — in a manicured neighborhood
Betancourt and her husband moved to Villa del Prado eight years ago from the state of Sinaloa
they and hundreds of thousands of other residents in developments like Villa del Prado are watching their neighborhoods decay and their neighbors flee
In Villa del Prado, one out of four homes is abandoned, according to a study done by Provive
a firm that buys up abandoned homes and refurbishes them
Many of them have been severely vandalized
“People get high in them,” Betancourt said
who has at least four abandoned homes on her cul-de-sac in Villa del Prado
“Sometimes they sleep in them and keep tabs on the neighbors’ comings and goings
so they can break into their homes and rob them.”
The 2008 global economic downturn combined with bad urban planning and other factors have led many lower-middle-class Mexicans to abandon their newly purchased homes in recent years
Provive estimates that there are 50,000 abandoned homes in Tijuana and some 600,000 across Mexico
When Betancourt first moved to Villa del Prado with her husband and then-infant daughter
“There weren’t many people,” Betancourt said
This type of planned housing development sprang up on the outskirts of Mexican cities starting in the 1990s
Provive estimates that there are about 15 in Tijuana
They're modeled on the American suburb, according to Larry Herzog
professor of city planning at San Diego State University
“It’s often built because of fear of crime,” Herzog said
“People often want to get away from the city; they want to move somewhere where they feel safer.”
These suburbs were largely fueled by a government agency called Infonavit
Mexican employers pay into a fund managed by Infonavit
which is used to finance mortgages for Mexican workers
seeks to combat the shoddy building and erratic urban expansion that have plagued cities like Tijuana
Infonavit financed many of the homes in Villa del Prado
In the years after Betancourt and her family moved to Villa del Prado
stores and Internet cafes on the ground floor of their homes
There are abandoned and vandalized homes on nearly every street
Two that sit across the street from Betancourt’s house are missing doors and windows
The back room of one of the units is overflowing with trash
The walls of the other abandoned unit are covered with graffiti
The neighborhood built on a dream of safety is now crime-ridden
A variety of factors have led to the decay of Villa del Prado and other low-income suburbs
many people lost their jobs when the global economy tanked and could no longer pay their mortgages
But distance has also played a role in the demise of some neighborhoods
Developers built where land was cheap and plentiful — sometimes far away from urban centers and shopping districts
Builders and city planners hoped and expected the city to grow up around the neighborhoods
but Herzog said this often hasn’t happened
“Other investors aren't coming in and building shopping centers
Many residents don’t have cars and public transportation is often wanting
But Betancourt said crime drove her neighbors away
She said one couple who used to live across the street moved out after armed robbers broke into the house
scaring the pregnant woman so badly that she miscarried
abandoned units are a huge drag on the value of neighboring homes
Provive estimates that 2 million houses across Mexico are underwater because of the phenomenon
Housing authorities are aware of these problems
and they admit they’ve made mistakes with the suburban model
They’re now trying to correct those mistakes
“Our new goal is quality of life and quality surroundings,” said Alejandro Arregui
Arregui said Infonavit is now focused on funding sustainable housing that's close to where people work
and that has access to good public transportation
Provive has restored and resold more than 600 homes throughout Tijuana
The company only works in suburbs that it deems recoverable
measured by their proximity to workplaces and shopping areas and by the desire of residents to participate in neighborhood improvement projects
The firm opened a branch in Mexicali earlier this year and is now expanding to Guadalajara and Monterrey
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ce paysage culturel a évolué depuis la création
de l’avenue bordée d’arbres du Paseo del Prado
Ce site incarne une nouvelle conception de l’espace urbain et un modèle d’urbanisme remontant à la période de l’absolutisme éclairé du XVIIIe siècle
Les édifices dédiés aux arts et aux sciences se joignent à d’autres
Tous illustrent collectivement l’aspiration à une société utopique durant l’apogée de l’Empire espagnole lié aux idées des Lumières de democratisation du savoir et a exercé une influence notable en Amérique latine
Les Jardines del Buen Retiro (Jardins de la Bonne Retraite) couvrant 120 ha
vestige du palais du Buen Retiro du XVIIe siècle
Le site abrite également le Jardin botanique royal en terrasses et le quartier essentiellement résidentiel de Barrio Jerónimos
qui présente une grande variété d’édifices des XIXe et XXe siècles
notamment des lieux culturels et scientifiques
يقع هذا المشهد الثقافي الذي يمتد على مساحة قدرها 200 هكتار في قلب مدينة مدريد، وقد أنشئ في القرن السادس عشر حيث كان عبارة عن جادَّة تصطف على جانبيها الأشجار، وكانت نموذجاً للألميدا "alameda" الإسبانية
وتضم الجادَّة بين جنباتها نوافير كبيرة، مثل نافورة سيبيل ونافورة نبتون، وساحة سيبيل التي تعتبر أحد الرموز البارزة في المدينة، وهي محاطة بمبانٍ عريقة
ويجسِّد هذا الموقع تصوراً جديداً للحيز الحضري ويعتبر تطوراً للحكم المطلق المستنير خلال القرن الثامن عشر
وتجتمع في الموقع الأبنية المخصصة للفنون والعلوم مع تلك المكرسة للصناعة والرعاية الصحية والبحوث، التي تعكس مجتمعة التطلع نحو بناء مجتمع طوباوي، الذي كان سائداً خلال فترة أوج الإمبراطوروية الإسبانية
وتشغل حديقة "بوين ريتيرو" (أي المعتكف اللطيف)، أكبر جزء من الموقع حيث تبلغ مساحتها 120 هكتاراً، وهي من آثار قصر "بوين ريتيرو"، وتظهر فيها أنماط مختلفة للحدائق تعود إلى الفترة الممتدة من القرن التاسع عشر حتى وقتنا الحاضر
كما يضمُّ الموقع بين جنباته حديقة النباتات الملكية المدرَّجة وحي "باريو جيرونيموس" الذي يطغى عليه الطابع السكني، ويتميز بالتنوع الكبير في أبنيته التي تعود إلى القرنين التاسع عشر والعشرين، والذي يتضمن مقرات ثقافية
这个占地200公顷的文化景观位于马德里的城市中心,自西班牙式林荫大道的原型普拉多大道于16世纪落成以来不断发展。大道的特色是大型喷泉(尤其是大地女神喷泉和海神喷泉),以及被知名建筑环绕的城市地标大地女神广场。该遗产地体现了18世纪开明专制主义时期对城市空间和发展的新理念,艺术和科学领域的建筑与工业、医疗保健和研究用途的建筑相得益彰,共同阐释了西班牙帝国鼎盛时期人们对乌托邦社会的渴望。面积120公顷的丽池花园是建于17世纪的布恩·丽池宫的遗迹,是该遗产区最大的组成部分,展示了从19世纪至今的多种园林风格。遗产地还包含错落有致的皇家植物园和多为民居的耶罗尼姆斯街区,那里有丰富多样的19-20世纪建筑,其中也包括文化场所。
Расположенный в центре Мадрида культурный ландшафт площадью 200 гектаров сформировался с момента создания в XVI веке засаженного деревьями бульвара Paseo del Prado
в частности Фонтан Сибелес (Fuente de Cibeles) и Фонтан Нептун (Fuente de Neptuno)
а также окруженная престижными зданиями Площадь Сибелес (Plaza de Cibeles)
Объект воплощает в себе новую идею городского пространства и развития в период просвещенного абсолютизма XVIII века
В совокупности они демонстрируют стремление к утопическому обществу в период расцвета Испанской империи
Парк Buen Retiro («Парк приятного уединения») площадью 120 гектаров
оставшийся от дворца Buen Retiro XVII века
В парке представлены различные стили садоводства с XIX века до наших дней
На территории объекта также находится Королевский ботанический сад с террасами и преимущественно жилой квартал Barrio Jerónimos с его богатым разнообразием зданий XIX и XX веков
Este paisaje cultural situado en el centro urbano de Madrid evolucionó desde su creación en el siglo XVI como una avenida arbolada
El paseo cuenta con fuentes monumentales como la Fuente de Apolo
la Fuente de Neptuno y la Fuente de la Cibeles
El sitio representa una idea innovadora del espacio y del urbanismo correspondiente al periodo absolutista ilustrado del siglo XVIII
Los edificios dedicados a las artes y las ciencias se unen a otros dedicados a la industria
a una sociedad utópica ligada a la idea ilustrada de democratización del conocimiento
que tuvo amplia influencia en Latinoamérica
Las 120 hectáreas de los Jardines del Buen Retiro
vestigio del conjunto del Palacio del Buen Retiro construido en el siglo XVII
El sitio también incluye el Real Jardín Botánico
con una rica variedad de edificios de los siglos XIX y XX que incluyen centros culturales y científicos
a landscape of Arts and Sciences is located at the urban heart of Madrid
It includes the Paseo del Prado as the prototype of a Hispanic alameda (tree-lined avenue) from the 16th century and modified in the 18th century
a designed public space providing natural elements within the city for the enjoyment of its citizens
The property is an example of a new idea of urban green space and of an urban development model from the enlightened absolutist period of the 18th century
This model exercised influence in Latin America
illustrating the aspiration for a utopian society in Spanish overseas territory
Jardines del Buen Retiro (Gardens of the Buen Retiro) and the Real Jardín Botánico (Royal Botanic Garden)
combine culture and nature as a designed cultural landscape in an urban environment that has evolved over centuries
It was a new concept and a complex project with a clear social element that included the establishment of an innovative group of buildings and facilities dedicated to science and to educating the public
Buildings dedicated to the arts and sciences joined others devoted to industry
healthcare and research in a 200-hectare cultural landscape
Its special links to arts and sciences increased over time
resulting in an extraordinary area that is still dedicated to nature for the leisure of citizens
Criterion (ii): The Paseo del Prado is believed to be the first public green space designed within a European capital in the early modern period
originating in the 16th century though substantially modified in the 18th century
that had a strong influence in Spanish America as a model contributing to town development
It was the first and an important example of an alameda or paseo
Criterion (iv): The Paseo del Prado and Buen Retiro is an urban development model
a prototype of a new idea of improvement of urban space with a strong social content guided by rational criteria to enhance ornamentation
It is an important expression of enlightened ideals applied to town development projects with the distinctive addition of the sciences as an essential component
all with a view to making knowledge widely available to citizens
Its different parts are adjacent and linked by the idea of creating a great urban space featuring natural elements (composed of a tree-lined avenue
park and botanical garden) in different stages of history from the Renaissance to the Enlightenment
Criterion (vi): The Paseo del Prado and Buen Retiro represents a utopian society linked to the arts and the sciences
within a framework of natural elements within the city
It also represents the idea of making knowledge available to citizens
in an area which is otherwise devoted to leisure
It was an idea to improve society that crossed the borders of Spain and extended to Latin America
industry and research are all part of an exchange of human and scientific values that promote the dissemination of knowledge
and their public and social roles have been preserved with outstanding vitality
All attributes of Outstanding Universal Value are preserved within the property’s boundaries; they are in good condition
are adequately maintained and no significant neglect has been identified
The property retains its integrity as a planned series of urban developments
challenges to integrity include the ambitious enlargement of museums and historical buildings in the past
as well as the presence of a large sporting complex in the Gardens of the Buen Retiro
Additional issues relate to the vegetation and some urban fabric
Factors to be managed include short-term intense uses and overexploitation
specifically in relation to the trees in the Paseo del Prado
Jardines del Buen Retiro and Real Jardín Botánico
The attributes of the property have demonstrated authenticity which is supported by extensive original documents
in municipal archives such as the Archivo de Villa
and others such as the archives of the Real Jardín Botánico
Jardines del Buen Retiro and Real Jardín Botánico mostly retain their historical use and function
Many of the buildings on the Hill of Sciences are still used as originally intended
and other buildings such as the Prado Museum and the Atocha railway station preserve their original use
authenticity has been diminished by changes to the historical interiors of some buildings
The three main green areas comprising most of the property are listed as Properties of Cultural Interest (Bien de Interés Cultural)
along with more than 30 other elements (fountains and monuments) and 40 major buildings included within the property
About 300 individual trees are protected through inclusion in municipal inventories and the Catálogo de Árboles Singulares de la Comunidad de Madrid
Three different institutional levels are involved in the legal protection of the property: national
providing the general framework with the Ley de Patrimonio Histórico Español (LPHE
regional (Ley de Patrimonio Histórico de la Comunidad de Madrid
as the whole area is protected by the Madrid General Urban Development Plan (PGOUM)
A buffer zone has not yet been established although consideration is being given to its creation based on the PGOUM
A new management system has been tested and implemented and takes account of existing public and private management initiatives
It is based on coordination between many parties
professional corporations and local associations
It is designed to function at different levels
promoting engagement with the property by citizens and stakeholders
This system coordinates different departments and agencies involved in the property
particularly the institutional agencies with legal responsibilities
and addresses implementation by different groups: a World Heritage Commission
composed of the three institutional levels (state
and an Advisory Civic and Social Council formed of the representatives of the three administrations
and cultural and scientific institutions and other stakeholders
The role and independence of the Civic and Social Board could be enhanced as a means of ensuring community involvement
The inventory of all the buildings needs to be finalized
Further development and implementation of an interpretation strategy for the overall property and the full monitoring system
with special care to achieve an integrated approach
needs to be addressed in the management system
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Exhibition exploring how women have been treated in art world runs into criticism
The last face that meets visitors to the Prado’s first post-lockdown exhibition is one of the very few that appears to look the spectator squarely in the eye
The cool gaze of the Portuguese-Spanish artist María Roësset – free of guilt
saccharine virtue or predatory intent – comes as something of a relief after the sanctimonious
salacious and often sad series of pictures that precede it
a gauntlet must be run: of women depicted in art variously as fallen
her face partially bathed in red light and a cigarette clasped in a holder between her fingers
The exhibition, whose English title is Uninvited Guests
explores how artworks bought and celebrated by the Spanish state between 1833 and 1931 treated women as people and artists
The show is divided into 17 self-explanatory sections such as “the patriarchal mould”
is to explain “how the state – and the middle classes – came to fix on and publicly value certain images
prototypes and cliches that eventually became a collective imagination in which women were always represented in certain ways”
the image of a crone-like clairvoyant and the many
View image in fullscreenPride by Baldomero Gili y Roig (1873-1926)
Photograph: Baldomero Gili y Roig/Museo Nacional del PradoLuis García Sampedro’s 1895 work
shows a priest interceding on behalf of a young woman as she begs her father’s forgiveness for running off with a more well-to-do suitor
The second part of the exhibition chronicles how women finally managed to invite themselves to the party by working in the less threatening roles of miniaturists
But efforts to progress further than that and to paint whatever they wanted were sometimes thwarted
Aurelia Navarro’s 1908 Female Nude, which strongly echoes Velázquez’s Rokeby Venus
won much admiration and an award at that year’s national exhibition
But the attendant publicity and family pressure eventually led Navarro to abandon art and secular life and enter a convent in Córdoba
full-length self-portrait is the last exhibit
was born into a more progressive and cosmopolitan family
her career as an artist only began in earnest after she was widowed while still in her 20s
signposts the beginning of a somewhat more enlightened age
The exhibition has not been without its ironies nor its controversies. Last Wednesday, the Prado had to pull one of the paintings from the show after it emerged that it had been misattributed and was the work of a male
It has also faced criticism from some female artists and academics
who have accused the museum of echoing the very misogyny it has sought to expose by focusing on many works by men rather than celebrating those by women
“It’s meant to be the first time that the Prado has considered the question of female artists in the 19th century
but it’s also been done from a misogynistic point of view and still projects the misogyny of that century,” the art historian and critic Rocío de la Villa told the Guardian
She described the exhibition as a “missed opportunity”
adding: “It should have been about recovering and rediscovering female artists and giving them their due.”
View image in fullscreenDetail from self-portrait by Maria Roësset (1882-1921)
Photograph: EFE News Agency/AlamyIn an open letter to Spain’s culture ministry
De la Villa and seven other female experts said the Prado had failed “in its fundamental role as a bastion of the symbolic values of a democratic and equal society”
argues that Uninvited Guests is partly an act of self-criticism by the Prado over its complicity in ignoring so many female artists in the 19th century
He points out that the exhibition is intended to provide social
historical and artistic context and is not a standalone showcase for female artists
the biggest problem female artists had in the 19th century was how they were treated by a state that protected
promoted and indulged male artists and left them totally passed over,” he said
“It reduced them to decorative elements like still-life painters and flower painters
I think contemporary criticism doesn’t get that because it can’t contextualise the process of a historical exhibition.”
But Navarro believes it’s “not a question of numbers but of arguments and reasoning
Visitors aren’t going to be counting the works as they go around; it’s about them understanding what happened
and going home and thinking about which pictures the Prado has and which ones it doesn’t have.”
was always meant to provoke discussion about the museum’s past – and its future
“I’d like there to be a debate about the second part and about how we represent the profile of 19th-century female artists in the museum,” he said
But we need them to be constructive: what do we do with the pictures of the girls
Our stores are full of these kinds of images so what should we do with them
Which of the pictures in this exhibition should be on permanent show
That’s what I’d like people to debate because that’s the feedback museums need.”
Uninvited Guests is at the Prado until 14 March 2021
It’s almost a decade since a much-shared Harvard Business Review article declared data scientist the sexiest job of the 21st century
But is working with data still as novel or as exciting as it was then
El Salvador will officially recognise Bitcoin as legal currency
and one that will likely stimulate a huge amount of economic growth as Salvadoreans leapfrog from a largely cash-based society straight to a system characterised by the frictionless
finger-snap efficiency of digital currency
A federal judge has temporarily blocked President Donald Trump’s executive order to ban WeChat over concerns the ban would threaten users’ first amendment rights
The software maker’s quarterly revenue exceeded analysts’ expectations
as remote working drove greater demand for its cloud-computing services
rural areas are witnessing rapid demographic decline – many are already completely abandoned
Arresting this trend and attracting people back to the countryside won’t be easy
rural communities are victims of a positive feedback loop: people leave
which means essential amenities cannot be sustained
individuals might hop into their autonomous car
pick up some goods and leave without handing over any cash
Bins could automatically send a message to waste management teams alerting them that they need to be emptied
Utilities will be able to inform the relevant engineering teams when they require maintenance
These futuristic features would fit right in alongside the gleaming skyscrapers of New York and Shanghai
but that might not be where they are destined to have the greatest impact
The smart city may be one of tech’s most talked-up innovations
but smart countrysides are making their way into reality too
Increasingly, rural areas are being stripped of the communities and infrastructure that sustain them as more people move to towns and cities, usually in search of better employment prospects. According to the United Nations
55 percent of the global population already lives in urban areas
with this figure set to reach 68 percent by 2050
This increasing concentration is often discussed in relation to urban infrastructure: how will cities cope with this influx of people
The depopulation of villages and hamlets is an afterthought
Rural areas are being stripped of the communities and infrastructure that sustain them as more people move to towns and cities
gentle pace of life and proximity to nature are all things to be treasured – it’s why many of those moving to cities do so with a heavy heart
governments and private enterprises are looking at ways of preventing the countryside from being hollowed out
But when the agricultural work started to dwindle
things became more difficult for the inhabitants
Madrid or further afield in search of work
the village of El Alamín was completely deserted
save for the odd visit by graffiti artists and airsoft players (a military simulation game not dissimilar to paintball)
but when already-threadbare services begin to disappear entirely
“People living in the rural areas of developing countries face a range of challenges that threaten to isolate them from benefits that can be enjoyed by the rest of their populations,” Paul Marshall
founder and COO of global Internet of Things (IoT) company Eseye
“Two major examples are with regards to accessing essential utilities such as water and power
as well as the challenges associated with accessing financial services and payment credit.”
rural areas are struggling to sustain themselves
with many inhabitants retired or less mobile
Families that remain usually find that younger members leave for the city as soon as they get the chance
eager for change and a bigger social group
there are currently an estimated 896 towns and villages that will no longer be viable for living in by 2040
replacing the ageing population in rural areas is not easy
Policies that encourage population redistribution are essential to counteracting urban migratory flows
The cycle simply repeats until entire villages are left empty
as a glut of new jobs is unlikely to suddenly appear within the agricultural sector
New ways of attracting people back to the countryside must be explored instead
intelligent security systems and e-government services are also being deployed
The rural-urban living gap is slowly being closed
utilities are delivered from a central source
the economics of delivering electricity to small villages of only 50 people
with technological developments in areas such as water purification or solar energy
people are now not only enjoying a better quality of life
but these communities are able to source these utilities locally
whether it’s per property or per village.”
Poor access to financial services can also act as a factor driving people away from rural areas. In Akodara, a village of just over 1,000 inhabitants situated in India’s Gujarat state
the settlement was ‘adopted’ by India’s largest private bank
which quickly set about revamping the infrastructure: a Wi-Fi tower was erected to provide high-speed broadband
and a cashless payment ecosystem was installed
all transactions now take place through mobile apps
that Akodara has earned the title of India’s first digital village
digital solutions are allowing individuals living outside of major conurbations to gain access to essential services
These are just a handful of the communities acting as test cases
trialling whether technology can attract people to a life in closer proximity to the natural world
Marshall explained: “Eseye has seen some great examples of how [the] IoT has transformed the capabilities of rural areas
paving the way for the emergence of phone-charging shops and even stories of people charging entry to their homes in order to allow visitors to watch major sporting events
The supplier of the equipment is allowed to manage and maintain their assets because of the integration of IoT technology
which provides them with constant performance updates.”
Governments around the world are looking into innovative ways of preventing rural depopulation and attracting newcomers to greener pastures
it is simply expected that someone will fix them as a matter of urgency
In rural areas – even those located in some of the richest economies in the world – things are very different
whether developed by cutting-edge start-ups or national governments
can help ensure that even individuals living in sparsely populated areas are never truly cut off
“Collaboration between local suppliers is the key to long-term success for global IoT providers,” Marshall noted
“By speaking with these suppliers to create a tailored
it helps to deliver the most appropriate service possible
by understanding the end consumers in these rural areas and how they will benefit from IoT technology
vendors can create solutions that work out of the box.”
with locals and unions arguing that it would put pressure on employees to work longer shifts in preparation for the unmanned hours
In Akodara, individuals involved with the recent digitalisation efforts have been keen to talk of ‘rurban’ life
which combines modernity with rural living
but it will require a delicate balancing act
People move to the countryside to disconnect
not to remain pestered by the 21st century’s digital hum
It’s also important to remember that newfangled gadgets alone might not be enough to attract people back to the countryside. Moving somewhere remote is daunting and a lack of information is often the first cause of reticence. In Spain, for example, Pueblos Vivos
offers advice and guidance to anyone looking to move to rural parts of the country’s Aragon region
Services like these could prove just as useful as any app or sensor in convincing people to give up the convenience of city life
Living in the countryside is not for everyone
but governments should do more to ensure that individuals do not have to move to the city out of necessity
It is true that digital technologies are once again making isolated locations viable places to call home by providing remote working opportunities
better connectivity and more sustainable energy options
but a shift in mindset regarding how rural areas are viewed still needs to occur
More proposals like this are needed to convince current and prospective residents that provincial locations represent more than just a sepia-tinged ideal of how life used to be – they can be forward-looking too
Sophie Wilde by David Sims for Loewe Perfumes
Loewe Perfumes ‘Un Paseo por Madrid’ collection
Loewe Perfumes ‘Mimosa’ and ‘Tuberose’ scented candles from its new ‘Textura’ collection
Jamie Dornan stars alongside Sophie Wilde in the new Loewe Perfumes 2024 campaign
shot by David Sims in Le Corbusier’s Villa Savoye
Loewe ambassadors Jamie Dornan and Sophie Wilde are the brand’s 2024 fragrance campaign stars
which was built in the early 1930s in the suburbs of Paris
Soundtracked with Mulatu Astatke’s 1970 Ethio-jazz instrumental ‘Yègellé Tezeta’
watering manicured grass outside on a warm day
it then cuts to Wilde ascending the villa’s spiral staircase
She walks into the bathroom to find Dornan luxuriating in the glass-tiled sunken bath
before taking place on its adjacent reclining bed (which famously mimics the shape of Corbusier’s LC4 chaise lounge
designed with Jeanneret and Charlotte Perriand)
Loewe has described the narrative as ‘a tensity of quotidian scenes whirling together with beauty and attraction
whilst simultaneously straddling undercurrents of the natural world that seep in through the windows.’
which debuted in 2016 with scent ‘001’
Anderson has looked to nature and master craftspeople as an enduring source of inspiration
So the choice of modernist masterpiece Villa Savoye
situated in a sprawling open field and lit by the movement of the sun
The 2024 campaign spotlights four scents from Loewe Perfumes’ ‘Botanical Rainbow’ and ‘Un Paseo por Madrid’ collections: ‘Esencia’
‘Un Paseo por Madrid Doré’ and ‘Prado’
The latter is one of the brand’s latest fragrance editions
taking its name from Madrid’s Museo del Prado
escapism and design stories from around the world direct to your inbox
a scented candle offering featuring three new floral scents by Loewe’s in-house nose Núria Cruelles
The aquatic and juicy ‘Mimosa’
immersive ‘Tuberose’ and bright accords of ‘Dendrochilum Orchid’ are each contained in artisanal ceramic and granite pots
perfumesloewe.com
Hannah Tindle is Beauty & Grooming Editor at Wallpaper*. She brings ideas to the magazine’s beauty vertical, which closely intersects with fashion, art, design, and technology.
Published: Oct 19, 2020written by Antonis Chaliakopoulos
The Prado Museum in Madrid faces serious criticism for its “Uninvited Guests exhibition”
Academics and museum experts accuse the museum of not including enough artworks by female artists and adopting a misogynistic viewpoint
This is not the first time the exhibition receives negative publicity
the institution announced the withdrawal of a misattributed painting that belonged to a male
This is the museum’s first temporary exhibition after its reopening on June 6. The show will be available until March 14 at the Prado Museum in Madrid
The exhibition titled “Uninvited Guests: Episodes on Women
ideology and the visual arts in Spain (1833-1931)” deals with an admittedly interesting topic
It examines the way power structures disseminated the role of women in society through the visual arts
The exhibition is divided into two parts. The first explores the role of the State in promoting certain female images that conform to its middle-class ideal. The second investigates the professional lives of women, especially in the arts. This second part presents works by women artists from Romanticism to various avant-garde movements of the time
The show is further divided into 17 sections such as “the patriarchal mould”
“one of the most interesting aspects of this exhibition lies precisely in the fact that it is directed towards official art of the time rather than the periphery
Some of these works may be surprising to our modern sensibility but not for their eccentricity or doom-laden aura
rather for being an expression of an already outmoded time and society.”
Highlights of the exhibition include a self-portrait by Maria Roësset
the dazzling gaze of the woman in “Phalaena” by Carlos Verger Fioretti
Especially thought-provoking is the story of Aurelia Navarro’s “Female Nude” which drew inspiration from Velázquez’s “Rokeby Venus”
Navarro won an award at the national exhibition of 1908 for this work
the pressure from her family circle forced the artist to abandon painting and enter a convent
On October 14, the Prado announced the removal of one of the 134 paintings in the exhibition
The announcement was the result of Concha Díaz Pascual’s research which proved that the painting was actually called “The Soldier’s Departure” instead of “Family scene”
The real creator of the work was Adolfo Sanchez Mejia and not the female artist Mejia de Salvador
The work depicted three women engaged in housework observing a man bidding farewell to a boy. Before its withdrawal, the painting played an important role in the exhibition. It could be found in a room of its own “to highlight the historical marginalization of female artists”
“Uninvited Guests” is proving more controversial than expected as scholars and museum professionals accuse the Prado of misogynism
In an interview at the Guardian
the art historian Rocío de la Villa calls the exhibition a “missed opportunity”
She also believes that it adopts “a misogynistic point of view and still projects the misogyny of the century”
things should be different: “It should have been about recovering and rediscovering female artists and giving them their due.”
De la Villa has sent an open letter to the Spanish Culture Ministry alongside seven other female experts
the Prado has failed to uphold its role as a “bastion of the symbolic values of a democratic and equal society”
although the exhibition is meant to celebrate women
it features more paintings by male artists
According to Carlos Navarro – the curator of the exhibition – this criticism is unjust
Navarro defended the exhibition saying that the paintings are there to provide contextual information
He also added that this is not a standalone exhibition for female artists
the biggest problem for female artists in the 19th century was their objectification within a patriarchal state
He also stated that: “contemporary criticism doesn’t get that because it can’t contextualize the process of a historical exhibition”
Antonis is an archaeologist with a passion for museums and heritage and a keen interest in aesthetics and the reception of classical art
He holds an MSc in Museum Studies from the University of Glasgow and a BA in History and Archaeology from the University of Athens (NKUA)
Preview the exhibition below | View Apollo’s Art Diary here
in which two children play and a woman sweeps – while another is glimpsed through a doorway at her needlework – is celebrated both for its meticulous realism
which breaks the sky up into rectangles and triangles upon the canvas
Paired with Vermeer’s Little Street is this work by Velázquez
unusual in the Spanish painter’s oeuvre in that it presents no narrative to the viewer
architecture and light are the main focus here
One of more than 40 painted self-portraits by Rembrandt
He can be identified as Saint Paul through the hilt of the sword that protrudes from his coat
The light that shines from the left casts the figure half in shadow
giving an overall effect of solemnity that is emphasised by the artist’s expression
Rembrandt’s self-portrait (above) is hung in the exhibition with this work by Velázquez
It was possibly painted for King Philip IV’s hunting lodge
where it would have hung alongside other works by the painter of court jesters
Menippus was known as a Cynic philosopher who satirised fools with pretensions to wisdom; the paintings together would have presented a warning to the king not to forget the wisdom of common people
Event website
Irina Dumitrescu
Claudia Tobin
Michael Prodger
Tim Smith-Laing
Apollo
This episode explores an ancient funeral stele
and how digital technologies are helping to preserve Egyptian heritage sites
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La Cancioneta<\/p>\r\n\r\n\u2022 Andes Norte - Urb
Balc\u00f3n Del Lindaraja<\/p>\r\n\r\n\u2022 Niza Suba - Urb
La Arboleda De Suba<\/p>\r\n\r\n\u2022 Niza Suba - Urb. Lourdes<\/p>\r\n\r\n\u2022 Niza Suba - Urb
Palo Alto<\/p>\r\n\r\n\u2022 Niza Suba - Urb
Palos Verdes<\/p>\r\n\r\n\u2022 Niza Suba - Urb
San Gregorio<\/p>\r\n\r\n\u2022 Niza Suba - Urb
El Condado De Iberia<\/p>\r\n\r\n\u2022 Prado Veraniego Norte - Urb
Nuevo Horizonte<\/p>\r\n\r\n\u2022 Prado Veraniego Norte - Urb
Tuna Alta<\/p>\r\n\r\n\u2022 S.C Altos De Chozica<\/p>\r\n\r\n\u2022 S.C Atenas<\/p>\r\n\r\n\u2022 S.C Britalia<\/p>\r\n\r\n\u2022 S.C Casablanca Suba<\/p>\r\n\r\n\u2022 S.C Prado Veraniego Norte<\/p>\r\n\r\n\u2022 S.C Santa Rosa<\/p>\r\n\r\n\u2022 S.C Suba Urbano<\/p>\r\n\r\n\u2022 S.C Vereda Suba Cerros<\/p>\r\n\r\n\u2022 S.C Vereda Suba Naranjos<\/p>\r\n\r\n\u2022 S.C
Altos De Chozic\u00e1<\/p>\r\n\r\n\u2022 S.C
Ciudad Jard\u00edn Norte<\/p>\r\n\r\n\u2022 S.C
Gilmar - La Sirena (Predio)<\/p>\r\n\r\n\u2022 S.C
Prado Veraniego Norte<\/p>\r\n\r\n\u2022 S.C
Prado Veraniego Sur<\/p>\r\n\r\n\u2022 S.C
Vereda Suba Cerros<\/p>\r\n\r\n\u2022 S.C
Vereda Suba Cerros II<\/p>\r\n\r\n\u2022 S.C
Echeverr\u00eda<\/p>\r\n\r\n\u2022 San Jos\u00e9 del Prado - Urb
La Manuelita<\/p>\r\n\r\n\u2022 San Jos\u00e9 del Prado - Urb
Alamedas De San Diego<\/p>\r\n\r\n\u2022 Urb
Alhambra Sur Oriental<\/p>\r\n\r\n\u2022 Urb
Arcos De Cantalejo<\/p>\r\n\r\n\u2022 Urb
\u00c1ticos Del Norte<\/p>\r\n\r\n\u2022 Urb
Balc\u00f3n De Suba<\/p>\r\n\r\n\u2022 Urb
Bosque de La Colina<\/p>\r\n\r\n\u2022 Urb
Caminos de Atlanta<\/p>\r\n\r\n\u2022 Urb
Colina Norte II Etapa<\/p>\r\n\r\n\u2022 Urb
El Cerro De Tuna Alta<\/p>\r\n\r\n\u2022 Urb
El Paseo De La Colina<\/p>\r\n\r\n\u2022 Urb
El Rinc\u00f3n De Provenza<\/p>\r\n\r\n\u2022 Urb
Eucaliptos De La Colina<\/p>\r\n\r\n\u2022 Urb
Floresta III (Sauces II)<\/p>\r\n\r\n\u2022 Urb
Floresta Norte II Sector<\/p>\r\n\r\n\u2022 Urb
Iberia Tri\u00e1ngulo<\/p>\r\n\r\n\u2022 Urb
La Floresta IV Sector<\/p>\r\n\r\n\u2022 Urb
La Floresta Reservada<\/p>\r\n\r\n\u2022 Urb
La Floresta V Sector<\/p>\r\n\r\n\u2022 Urb
Lagos De C\u00f3rdoba<\/p>\r\n\r\n\u2022 Urb
Las Colinas De Suba<\/p>\r\n\r\n\u2022 Urb
Nogales De La Colina<\/p>\r\n\r\n\u2022 Urb
Parque Industrial Villa Concha<\/p>\r\n\r\n\u2022 Urb
Parques de La Colina<\/p>\r\n\r\n\u2022 Urb
Pontevedra Sector I. <\/p>\r\n\r\n\u2022 Urb
Portal de Los Pinos<\/p>\r\n\r\n\u2022 Urb
Portales del Norte I<\/p>\r\n\r\n\u2022 Urb
Potos\u00ed II Sector<\/p>\r\n\r\n\u2022 Urb
San Rafael Norte II<\/p>\r\n\r\n\u2022 Urb
Bosque De Pinos<\/p>\r\n\r\n(No te vayas sin leer: \u00bfConoces los subsidios funerarios que otorga el Distrito
Aqu\u00ed te contamos \ud83d\udc47\ud83c\udffb<\/a>)<\/strong><\/p>\r\n\r\n\u2022 S.C
El Bosque<\/p>\r\n\r\n\u2022 Villa Del Carmen<\/p>\r\n\r\n\u2022 Villa Magdala<\/p>\r\n\r\n\u2022 Villa Nueva Urb
El tercer turno del octavo ciclo de racionamiento de agua en Bogotá corresponde a este sábado 15 de junio de 2024 y será en barrios en las localidades de Barrios Unidos
La restricción o racionamiento del servicio de agua potable en cada turno iniciará a las 8:00 a
(Te puede interesar: Racionamiento de agua: municipios aledaños a Bogotá que más y menos han ahorrado)
Calles 170 a 173 y entre las carreras 7 a 8
• La Castellana - José María Carbonel
• La Castellana - Urb. Paseo De La Castellana
• Ciudad Jardín Norte - Portal De La Colina
• Ciudad Jardín Norte - Villas de Covaria
• Estoril - Conjunto Residencial Teruel
• Niza Suba - Quimbaya San Carlos
• Pasadena - Conjunto El Rincón De La 100
• Prado Veraniego Norte - La Hacienda
• Prado Veraniego Sur - Córdoba Niza Ix
• San José del Prado - Agrupación de Vivienda Calua
• San José del Prado - Multifamiliar Neptuno
• Santa Helena - Puerta De Hierro Las Acacias
• Vereda Suba Cerros - Mirador Del Espino
(Consulta aquí: Municipios aledaños a Bogotá con racionamiento de agua 13 al 21 de junio 2024)
• Caobos Salazar Urb. Capri I y II Sector
(No te vayas sin leer: ¿Conoces los subsidios funerarios que otorga el Distrito? Aquí te contamos 👇🏻)
Cra 8 N° 10-65 / Tel: +57 (601) 381-3000 Horario de atención al público: Lunes a viernes de 7:00 a.m
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fran silvestre arquitectos has designed an urban canopy that references the low-weight pergolas and porticated structures traditionally used in mediterranean cultures
‘sostre’ provides a restaurant with additional floor area as well as activating the surrounding streetscape in villarreal
the structure does not interfere with pedestrian transit
the hard-wearing metallic design does not require maintenance
while a retractable shading device can be employed to increase the project’s intimacy
sound and air conditioning facilities establishing the project as a versatile and adaptable piece of urban furniture
the urban canopy that references low-weight pergolas traditionally used in mediterranean culturesphoto by alfonso calza
‘sostre’ provides a local restaurant with additional floor spacephoto by alfonso calza
the structure can be used as a meeting point
playground or shade to stand under photos by alfonso calza
a retractable shading device can be employed to increase the design’s intimacyphoto by alfonso calza
the structure does not interfere with pedestrian transitphoto by alfonso calza
project name: sostre / canopy location: villareal
spainarchitecture: fran silvestre arquitectosproject team: fran silvestre (principal in charge)
jordi martínez (architect)collaborators: adrián mora (architect)
ángel fito (architect)collaborators (companies): alfaro hofmann
butech / krion /systempool (grupo porcelanosa) photography: alfonso calzaart direction: adrián mora developer: pedro del prado (da vinci villareal)built area: 31 sqm finishes / surfaceexterior surface: krion
butech (porcelanosa group)equipments / furniture outdoor furniture
gandía blasco (design by mario ruiz)lighting / cortavientos
gandía blasco (design by josé a
AXOR presents three bathroom concepts that are not merely places of function
but destinations in themselves — sanctuaries of style
Mobility Week fills the capital with sports activities
There will be from a mobile gym to hiking routes through emblematic places of Madrid
On Sunday, September 22, skating lovers have an appointment in Cibeles: they are invited to dance to the best songs of the seventies and eighties on skates, and in an emblematic environment of the capital: the Paseo del Prado.
Children can also join the party: from 11 am to 3:30 pm, there will be monitors who will give free lessons to people of all ages and levels to skate without fear, as well as exhibitions led by professional skaters. At 4:00 pm will begin the disco session, which will be complemented by the Cubo Gym: a container that will be transformed into a portable gym where you can exercise to the rhythm of the latest hits.
View this post on Instagram Also on Sunday will be organized walking tours through some of the most touristic areas of Madrid
which will be used to show how the passage of time has affected the flora of the enclave
There will also be a bicycle route from the Dehesa de la Villa Environmental Education Center to the Paseo del Prado
which will begin at 11:00 am and end at 1:00 pm
children will be able to sign up for road safety circuits
Madrid Calle 3o will present its children’s circuit in front of the Reina Sofia Museum from 18:00 to 21:00
obstacles and traffic signs will be installed for the little ones to learn basic traffic rules
just six hours after Spain's state weather agency (Aemet) lifted its red and amber alerts for heavy downpours and storms in the central area of the country on Sunday
It was just as Madrid and parts of Castilla La Mancha region were confident they had avoided the large storm that was expected to deposit large quantities of rain during Sunday afternoon and evening
A 'dana' (depresión aislada en niveles altos)
a 'cold drop' depression at high levels of the atmosphere hit Madrid with force
but six hours after Aemet lifted its most extreme 'risk' warnings (red and amber) catching many people unprepared
Torrential rains fell just after 5am this Monday morning
The heaviest downpours fell in the municipalities of Casarrubios del Monte
southwest of Madrid where a local resident died despite emergency services attempting to rescue him from his car
emergency teams are searching for a vehicle that fell into the Alberche river early this Monday morning
Four people from the same family were inside: the parents and their two children
The mother and daughter were found alive shortly after the incident and were both taken to the Rey Juan Carlos hospital
was rescued at 8am after he miraculously managed to climb a tree
a 20-year-old resident died trapped in a lift when he was going down to an underground garage just after midnight on Sunday
another driver died as a result of heavy rains when he was travelling on the A-40 at kilometre 117
the Civil Guard is looking for a missing person
a 54-year-old woman who was traveling in a Seat Altea on the CM-4004
The most affected area in the Community of Madrid
which has so far been hit by two large downpours at 6am and 8.30am
specifically the municipalities of Aldea del Fresno
The heavy rain that fell in Spain's capital city at rush hour caused the temporary closure of the M-30
cuts and delays on three of the six radial motorways in the south (A2
A3 and A4) and the suspension of several Metro and Cercanías (local train) lines
and the flooding of several underground stations
Between 2pm on Sunday and 7am this Monday morning
the 112 emergency services' number has received 1,491 call outs for help in Madrid
the Community of Madrid deployed a rescue helicopter to the Toledo municipalities of Escalona and Bargas following a request from Castilla-La Mancha alerting that there were people trapped on the roofs of their homes
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Looking for beach resorts near Metro Manila
One of the provinces in the country that boast of many beaches in Quezon Province
The beaches of the province will captivate you as you embark on your journey
you don’t have to go very far from Manila as it’s just a couple of hours away to reaches some of these beaches
Here are some of the Beach Resorts in Quezon Province
Look out to the China Sea when you check in this private beach resort in Quezon Province
The resort has a huge space (10 hectares) and native rooms that allow you to feel nature’s beauty
and other recreational activities for big groups
You’ll love the unobstructed view of the sea from Tamarind Tree Beach Resort
so you can go hiking in the surrounding areas
It’s one of the few beach resorts in Quezon Province with a swimming pool
This is the perfect place to stay if you are planning to visit Borawan Island
The first thing you’ll notice with one of the top beach resorts in Quezon Province is its boho vibe
There aren’t too many of that in the Philippines
That’s why it’s a hit with local and foreign tourists
An arm with the right activities like beach bumming
and meeting new friends at the common area
and you get a really fantastic beach holiday
PaRK is a beach resort in Quezon Province near Manila
Many company outings take place in the resort because of its inexpensive accommodations and a big area
and the beach area can be nice for some picnic activities
which can make a good backdrop for photo ops
The beach resort is on a white sand beach on the island of Cagbalete
They have activities like island hopping tours to Bonsai Island and Yang-in Mangrove plus snorkeling activities
You can also play ping pong and watch fire dance or fireworks when available o your visit
Experience the gift of nature in Villa del Prado Resort
They have different activities for everyone like floating fiberglass raft
and play with them at the playground where there are slides and giant cartoon characters figurines
They also offer catering services and host company outing events
Borawan Island Resort is a quiet sea escape wherein you can enjoy looking at different flora species like coconut trees
The resort features clean accommodations and peaceful surroundings
You can go on a boat tour and enjoy the rock formations of the beach area
The beach area has cream-colored sand and stunning sunsets
The low tide season in Quezon Province allows you to go on an adventure trek to see ‘The Magic Tree,’ ‘Nature’s Jacuzzi,’ and the ‘Moon Walk.’ These can only be seen during low tide
and you shouldn’t miss it because these three are the top spots in the resort
you can rent a ‘de sagwan Banca’ (local paddle boat)
The resort used to be a private beach house owned by a World War II veteran
Staying in the resort will allow you to enjoy the beach and enjoy the beautiful scenery
Plenty of activities can be done like hiking
Finding respite in the Philippines isn’t hard
With glistening beaches that adorn the province
That’s just the perfect place for you or your family
Want more updates about new hotels and resorts in Quezon Province? Follow #TeamOutofTown, on Facebook, Twitter, Instagram, Bloglovin, and Pinterest for more travel ideas.
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