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Chiesa dei Santi Cerbone e Michele a Montorsaio - Parish Church of the Saints Cerbone and Michele in Montorsaio (Campagnatico, Grosseto Tuscany)

 

Montorsaio è quel piccolissimo paese sulla superstrada Siena Grosseto una quindicina di Km. prima di Grosseto sulla destra in cima ad una collina dominante la Maremma Grossetana. Di chiare origini medievali, il paese fu dominio di diverse famiglie senesi dopodiché nel secolo XIII passò sotto il diretto dominio di Siena che lo affidò alla famiglia Salimbeni la quale la mantenne fino alla fine del XIV secolo.

Tale affidamento della Repubblica di Siena venne esteso ad altre famiglie cittadine fino al 1555, anno della definitiva caduta della repubblica e passò nel Granducato di Toscana con tutti gli altri territori vicini.

Oggi ha non più di 100 abitanti ma mantiene le case in pietra dell'epoca e la sua struttura urbanistica medievale fatta di vicoli piccolissimi e stretti fra le case a testimonianza di un passato antico e una vita paesana tranquilla sulla splendido panorama della Maremma Grossetana.

 

Montorsaio is that tiny village on the Siena Grosseto highway about fifteen kilometers before Grosseto on the right on top of a hill overlooking the Maremma Grossetana. Of clear medieval origins, the village was under domain of several Sienese families after which in the thirteenth century it passed under the direct dominion of Republic of Siena which entrusted it to the Salimbeni family who kept it until the end of the fourteenth century.

This entrustment of the Republic of Siena was extended to other city families until 1555, the year of the definitive fall of the republic and passed into the Grand Duchy of Tuscany with all the other neighboring territories.

Today it has no more than 100 inhabitants but retains the stone houses of the past times and its medieval urban structure composed of tiny and narrow alleys between the houses as evidence of an ancient past and a peaceful village life on the splendid panorama of the Maremma Grossetana.

  

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de/from wikipedia:

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es.wikipedia.org/wiki/Besalú

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El origen de la ciudad fue el castillo de Besalú que ya se encuentra documentado en el siglo x, construido encima de un cerro donde están los restos de la canónica de Santa María, en la Alta Edad Media. El trazado actual de la villa no responde fielmente a su estado original pero sí que posibilita a grandes rasgos la lectura de la urbanización de la Edad Media con la existencia de importantes edificios: el puente, los baños judíos, la iglesia del monasterio de San Pedro de Besalú y San Julián, antiguo hospital de peregrinos, la casa Cornellá, la iglesia de San Vicente y la sala gótica del Palacio de la Curia Real.

 

Besalú deja ver una estructura arquitectónica y urbanística bastante coherente con el pasado medieval. La importancia monumental de Besalú viene dada fundamentalmente por su gran valor de conjunto, por su unidad, que la determina como una de las muestras más importantes y singulares de los conjuntos medievales de Cataluña.

 

Miró I el Joven fue el primer conde independiente de Besalú. Besalú comenzó a adquirir importancia como capital de condado independiente después de la muerte de Wifredo el Velloso en el año 902, condición que perdió al morir Bernat III, yerno de Ramón Berenguer III, sin descendencia; como consecuencia, en 1111 el condado de Besalú pasó a la casa de Barcelona.

 

En el siglo xix, durante la Guerra de la Independencia, se produjo una batalla con victoria de las tropas españolas al mando de Juan Clarós.

 

En 1966, fue declarada «Conjunto Histórico-Artístico Nacional» por su gran valor arquitectónico. Actualmente, Besalú está desarrollando un proyecto social y turístico importante, señalizando el centro histórico para destacar los atractivos turísticos de la población y haciendo excavaciones para investigar diferentes hallazgos arqueológicos.

 

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en.wikipedia.org/wiki/Besalú

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Besalú (Catalan pronunciation: [bəzəˈlu]) is a town in the comarca of Garrotxa, in Girona, Catalonia, Spain.

 

The town's importance was greater in the early Middle Ages, as capital of the county of Besalú, whose territory was roughly the same size as the current comarca of Garrotxa but sometime extended as far as Corbières, Aude, in France. Wilfred the Hairy, credited with the unification of Catalonia, was Count of Besalú. The town was also the birthplace of Raimon Vidal, a medieval troubadour.

 

Besalú was designated as a historical national property ("conjunt històric-artístic") in 1966. The town's most significant feature is its 12th-century Romanesque bridge over the Fluvià river, which features a gateway at its midpoint. The church of Sant Pere was consecrated in 1003. The town features arcaded streets and squares and also a restored mikveh, a ritual Jewish bath dating from the eleventh or twelfth century, as well as the remains of a medieval synagogue, located in the lower town near the river. Besalú also hosts the Museum of miniatures created by jeweler and art collector Lluís Carreras.

 

The name Besalú is derived from the Latin Bisuldunum, meaning a fort on a mountain between two rivers. It is also the historical capital of the county of “La Garrotxa”. One key date is the year 894, when Besalú was converted to a county with its own dynasty. The county changed from “L’Empordà” to “El Ripollès”. In the year 1111, Besalú lost its independence, for historical reasons in favor of the county of Barcelona. Centuries later, Besalú started a decadent period, worsened by the redemptions, wars with the French and carlists.

 

In 1966, Besalú was declared a site of historical and artistic importance.

 

The monument is circled by the ancient wall from the c. XII-XIV. Unfortunately only parts of the original walls still exist. The urban configuration of the site is almost identical to the original layout. Without a doubt, the Medieval Bridge is the emblem of the town, of an angular design with seven uneven arcs and two towers. The part of the town nearest to the bridge there are many narrow streets that belong to the ancient Jewish quarter. It is in this area where you will find the Miqvé, the purification baths, which date from c. XII, and demonstrate the presence of an important Jewish community. The street from the medieval bridge leads to the Town Square “Plaça Major”, a square whose arcades date from c. XVI, and used to be the centre of the medieval town. Important buildings are the Local Government “Ajuntament” dating from c. XVII, the Royal Curia “Cúria Reial”, dating from c. XIV, and the "Casa Tallaferro". The street “Tallaferro” leads to the entrance to the Castle precinct. Inside the precinct there remains one of the towers from the ancient County Castle, and the apse of Saint Mary “Santa Maria” that dates from c. XI. Along with the street “Portalet” these are the remains which best retain the medieval appearance, along with panoramic views of the Romanic Bridge. Leading up from the Main Street “Carrer Major”, there are the “Casa Romà” (c. XIV) and the parish church of Saint Vincent “Sant Vicenç” dating from c. XI-XII which has very sculpturesque doors and windows. Near to the Main Town Square, there is the “Prat de Sant Pere”, wide and spacious which used to be the Cemetery of the Benedictine monastery of Saint Peter “Sant Pere”. Today there only remains the three-nave church and one apse, dating from the c. XI. Also there is the small chapel of Saint James “Sant Jaume” (c. XII) and the “Casa Cornellà” (Llaudes) dating from the c. XII and which has a patio with three galleries. Behind the monastery there is the church of the hospital of Saint Julia “Sant Julià”, with one nave and no apse, dating from c. XII, and an outstanding entrance portal.

Mogarraz es un municipio y localidad española de la provincia de Salamanca, en la comunidad autónoma de Castilla y León. Se integra dentro de la comarca de la Sierra de Francia.

Está declarada Bien de Interés Cultural con categoría de conjunto histórico en 1998, presentando una estructura urbanística de trama típicamente medieval, con calles estrechas y trazado irregular.

  

Mogarraz is a Spanish municipality and town in the province of Salamanca, in the autonomous community of Castilla y León. It is integrated within the Sierra de Francia region.

It was declared a Site of Cultural Interest in the category of historical complex in 1998, presenting an urban structure with a typically medieval plot, with narrow streets and an irregular layout.

 

Mogarraz est une municipalité et une ville espagnoles de la province de Salamanque, dans la communauté autonome de Castilla y León. Il est intégré dans la région de la Sierra de Francia.

Il a été déclaré site d'intérêt culturel dans la catégorie des complexes historiques en 1998, présentant une structure d'urbanisme typiquement médiévale, avec des rues étroites et un tracé irrégulier.

Situat al capdamunt de les popularment anomenades Escales o Pujada de la Pera, en ple Call jueu, via procedent de la reforma urbanística del segle XVI, que va estructurar els accessos a la Catedral, el conjunt de la font de la Pera és una obra escultòrica visible des del carrer de la Força.

 

Consta, a la part alta, d'una imatge barroca de la Mare de Déu de la Pera, del 1785; el nom, tant de la imatge com de la font i les escales, es deu a la fruita que la verge mostra amb la mà dreta. L'escultura actual va substituir l'original del segle XVI, actualment perduda.

Pedres de Girona

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Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Mogarraz es un municipio y localidad española de la provincia de Salamanca, en la comunidad autónoma de Castilla y León. Se integra dentro de la comarca de la Sierra de Francia. Pertenece al partido judicial de Ciudad Rodrigo y a la Mancomunidad Sierra de Francia..

La villa de Mogarraz está declarada Bien de Interés Cultural con categoría de conjunto histórico en 1998, presentando una estructura urbanística de trama típicamente medieval, con calles estrechas y trazado regular.

 

Mogarraz is a municipality and Spanish town of Salamanca, in the autonomous community of Castilla y Leon. It is integrated into the region of the Sierra de France. It belongs to the judicial district of Ciudad Rodrigo and the Sierra de Francia Commonwealth ..

The village of Mogarraz is declared of cultural interest with category of historical site in 1998, presenting a typically medieval urban fabric structure with narrow streets and regular layout.

 

Mogarraz est une municipalité et la ville espagnole de Salamanque, dans la communauté autonome de Castilla y Leon. Il est intégré dans la région de la Sierra de France. Il appartient à l'arrondissement judiciaire de Ciudad Rodrigo et la Sierra de Francia Commonwealth ..

Le village de Mogarraz est déclaré d'intérêt culturel avec catégorie de site historique en 1998, présentant une structure de tissu urbain typiquement médiéval avec ses rues étroites et la forme régulière.

Per costruirla Guarino Guarini fu chiamato a Torino nel 1666 dal proprio ordine dei Teatini, che aveva avuto in dono dai duchi il prestigioso lotto di terreno affacciato sulla piazza castello, sull'angolo del taglio della "contrada nova vitozziana" di via Palazzo di Città. Sul piccolo lotto Guarini impostò una architettura statisticamente e morfologicamente prodigiosa a pianta centrale con lati concavi - convessi, alto tamburo a volta ad arconi intrecciati che filtra la luce con effetto spettacolare.

La decorazione interna è in marmi policromi.

La chiesa è preceduta dall'Oratorio dell'Addolorata nello spazio originario a portico. La facciata barocca testimoniata dalla incisione dei "Dissegni di architettura civile ed ecclesiastica" dello stesso Guarini, non fu costruita, prevalendo la norma urbanistica ducale della uniformità architettonica voluta per la piazza.

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To build it Guarino Guarini was called to Turin in 1666 by his own order of the Theatines, who had been given the prestigious plot of land overlooking the piazza castello, on the corner of the "contrada nova vitozziana" in via Palazzo di Città as a gift from the dukes. On the small lot Guarini set a statistically and morphologically prodigious architecture with a central plan with concave - convex sides, a high vaulted drum with interwoven arches that filters the light with a spectacular effect.

The internal decoration is in polychrome marble.

The church is preceded by the Oratory of the Addolorata in the original porticoed space. The Baroque façade, testified by the engraving of Guarini's "Drawings of civil and ecclesiastical architecture", was not built, prevailing the ducal urban planning norm of the architectural uniformity desired for the square.

 

www.youtube.com/watch?v=Pus5BTqk1Ic

Urban detail. Dettaglio urbano. Frammenti di Valencia. Valencia's fragments. Valencia Spagna 2020

Albenga . Il centro storico con le sue torri caratterizza il profilo dell'intera piana, infatti è visibile da tutto l'entroterra di Albenga; lo stesso scenario visibile ora è quello dei secoli passati, infatti non ci sono edifici più alti delle torri in tutto il territorio circostante.

Quando venne fatta una campagna di scavi a 6 metri di profondità si sono riscontrate delle mura in pietra risalente al periodo di Silla e Cesare; quelle di Costanzo coincidono perfettamente con esse.

Fino all'Unità d'Italia, la città è rimasta intatta, per un inviluppo economico e demografico, conservando l'urbanistica e l'architettura che aveva nei secoli XI – XIII, l'epoca più fiorente dei comuni: le torri delle potenti famiglie, del Comune e della Chiesa. La maggior parte delle strade sono quelle romane, o al più medievali. Albenga costituisce un esempio unico in Liguria, raro in l'Italia, di continuità tra l'antichità classica Romana e il Medioevo.

Battistero : La struttura fa parte delle testimonianze dell'epoca storica tardo romana-alto medievale della città di Albenga. L'ipotesi al momento più accettata è che la costruzione sia avvenuta tra la seconda metà del V secolo e la prima metà del VI secolo.

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English.

Albenga. The historic center with its towers characterizes the profile of the entire plain, in fact it is visible from all over the hinterland of Albenga; the same visible scenario is now that of past centuries, in fact there are no taller buildings than the towers in the surrounding area.

When an excavation campaign was carried out at 6 meters of depth, stone walls dating back to the Silla and Cesare period were found; those of Constantius coincide perfectly with them.

Until the unification of Italy, the city remained intact, due to an economic and demographic envelope, preserving the urban planning and architecture it had in the XI - XIII centuries, the most flourishing epoch of the municipalities: the towers of the powerful families , the Municipality and the Church. Most of the streets are Roman, or at most medieval, ones. Albenga is a unique example in Liguria, rare in Italy, of continuity between classical Roman antiquity and the Middle Ages.

Baptistery: The structure is part of the evidence of the late Roman-early medieval historical period of the city of Albenga. The most accepted hypothesis at the moment is that the construction took place between the second half of the fifth century and the first half of the sixth century.

 

Fonte/from Wikipedia

Madrid Río is a park in the Spanish city of Madrid, consisting of a pedestrian and recreational area built between 2006 and 2012 on the two banks of the Manzanares River, largely on the underground route of the M-30 ring road , From the South node to the link with the A-5. In 2016, the project was made with the Veronica Rudge Green Prize in Urban Design award from Harvard University for its design and social and cultural impact on the transformation of the river.

The Manzanares River sits on a 69-kilometer basin that starts at 2,258 meters of altitude in the Sierra de Guadarrama, and ends at the Jarama River at 527 meters above sea level. On its way, it receives water from more than thirty streams and coexists with different types of infrastructure, some of which are its own, such as bridges, dams and reservoirs, and others that cross or limit it, such as roads, railways and conduits.

 

The diversity of landscapes that it crosses and the multiple biotopes that it travels make the Manzanares a unique element in which there are situations of great contrast: from the snows of the mountains that last until the end of spring, to the almost desertic moors of the south of the basin. The river until the recent urban transformation, has been little accessible in almost all its route and often became an uncomfortable and even unknown accident.

 

Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,​ desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río.

El río Manzanares se asienta sobre una cuenca de 69 kilómetros que se inicia a 2.258 metros de altitud en la sierra de Guadarrama, y finaliza en el río Jarama a 527 metros sobre el nivel del mar. En su recorrido recibe el agua de más de treinta arroyos y convive con distintos tipos de infraestructuras, unas que le son propias como puentes, presas y embalses, y otras que lo cruzan o limitan, como carreteras, vías férreas y conducciones.

 

La diversidad de paisajes que atraviesa y los múltiples biotopos que recorre hacen del Manzanares un elemento singular en el que se dan situaciones de gran contraste: desde las nieves de la sierra que perduran hasta el final de la primavera, hasta los páramos casi desérticos del sur de la cuenca. El río hasta la reciente transformación urbanística, ha sido poco accesible en casi todo su recorrido y muchas veces se convertía en un accidente incómodo y hasta desconocido.

La struttura urbanistica di Finale Ligure si articola in tre nuclei principali, fino al 1927 comuni distinti: Finalmarina (o Finale Marina), la zona di più recente urbanizzazione grazie al turismo, i cui abitanti sono chiamati "gnabbri" in dialetto finalese, Finalpia (o Finale Pia), sita sulla costa che conserva la struttura originaria della città e Finalborgo (o Finale Borgo, il capoluogo dello storico Marchesato del Finale circondato dalle antiche mura quattrocentesche e sovrastato dai castelli Govone e San Giovanni).

Le alture alle spalle questa area fanni si che le località litoranee facenti parte del Comune di Finale Ligure abbiano un microclima caratterizzato da inverni miti, con temperature medie giornaliere che, nel trimestre dicembre-febbraio si attestano attorno ai +9/+10 °C.

  

The urban structure of Finale Ligure is divided into three main nuclei, until 1927 distinct municipalities: Finalmarina (or Finale Marina), the most recently urbanized area thanks to tourism, whose inhabitants are called "gnabbri" in Finalese dialect, Finalpia ( or Finale Pia), located on the coast that preserves the original structure of the city and Finalborgo (or Finale Borgo, the capital of the historic Marquisate of Finale surrounded by the ancient fifteenth-century walls and dominated by the castles Govone and San Giovanni).

The heights behind these areas make sure that the coastal resorts belonging to the Municipality of Finale Ligure have a microclimate characterized by mild winters, with average daily temperatures which, in the December-February quarter, are around + 9 / + 10 ° C.

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Anne Sophie Mutter - Winter.

youtu.be/oonc89S4glk

 

The urban nucleus of San José is considered the capital of the Natural Park, for being the largest population within the park and for having all the necessary services. It is part of the municipality of Níjar, and has about 800 inhabitants, doubling or tripling this number in summer, House in San Jose Cabo de Gata even if its environment is not out of keeping with the environment of the Park, their houses are small white walls constructions that are governed by the urbanistic law of the interior of the natural parks. San José was a small town dedicated to fishing and nowadays its main activity is the tourist sector, and all kinds of services have been built, such as the marina. Some houses overlook the sea from the medium cliffs that enclose the town, having a spectacular view of the sea.

   

The village square has a lot of life, there are restaurants with their terraces and a shop. Great playground, which gives joy for the number of children who enjoy it. Also starting from the square and extending to the small promenade, we can find on certain holidays some craft stalls with necklaces, pendants, decorative objects, etc. made in various materials such as leather, metal or shells. These interesting places show a part of the Bohemian foreigners who have chosen the enclave of the Natural Park to live and make a living with their craft or artistic activity.

 

El núcleo urbano de San José es considerado la capital del Parque Natural, por ser la población más grande dentro del parque y por contar con todos los servicios necesarios. Forma parte del municipio de Níjar, y tiene censados unos 800 habitantes, duplicando o triplicando este número en verano,Casa en San Jose Cabo de Gata aún siendo así su ambiente no desentona con el entorno del Parque, sus casas son construcciones bajitas de paredes blancas que se rigen por la ley urbanística del interior de los parques naturales. San José fue un pueblecito dedicado a la pesca y en la actualidad su actividad fundamental es el sector turístico, siendo así, se han construido todo tipo de servicios como el puerto deportivo. Algunas casas se asoman al mar desde los medianos acantilados que encierran al pueblo, teniendo una vista espectacular del mar.

   

La plaza del pueblo tiene mucha vida, hay establecimientos de restauración con sus terrazas y alguna tienda. Estupendo el parque infantil, que da alegría por la cantidad de niños que lo disfrutan. También partiendo de la plaza y alargándose hasta el pequeño paseo marítimo, podemos encontrar en determinados dias festivos unos puestos de artesanía con collares, colgantes , objetos decorativos etc. realizados en diversos materiales como cuero, metal o conchas. Estos interesantes puestos dan muestra de una parte de los foráneos bohemios que han elegido el enclave del Parque Natural para vivir y ganarse la vida con su actividad artesanal o artística.

I borghi più belli d'Italia

The most beautiful villages in Italy

 

Civita è una frazione del comune di Bagnoregio, in provincia di Viterbo, nel Lazio, facente parte dei borghi più belli d'Italia, famosa per essere denominata "La città che muore".

Civita venne fondata 2500 anni fa dagli Etruschi. Sorge su una delle più antiche vie d'Italia, congiungente il Tevere (allora grande via di navigazione dell'Italia Centrale) e il lago di Bolsena.

All'antico abitato di Civita si accedeva mediante cinque porte, mentre oggi la porta detta di Santa Maria o della Cava, costituisce l'unico accesso al paese. La struttura urbanistica dell'intero abitato è di origine etrusca, costituita da cardi e decumani secondo l'uso etrusco e poi romano, mentre l'intero rivestimento architettonico risulta medioevale e rinascimentale.

 

Civita was founded by Etruscans more than 2,500 years ago.

The location of his boyhood house has long since fallen off the edge of the cliff. By the 16th century, Civita was beginning to decline, becoming eclipsed by its former suburb Bagnoregio.

 

At the end of the 17th century, the bishop and the municipal government were forced to move to Bagnoregio because of a major earthquake that accelerated the old town's decline. At that time, the area was part of the Papal States. In the 19th century, Civita's location was turning into an island and the pace of the erosion quickened as the layer of clay below the stone was reached in the area where today's bridge is situated. Bagnoregio continues as a small but prosperous town, while Civita became known in Italian as il paese che muore ("the town that is dying"). Civita has only recently been experiencing a tourist revival.

The population today varies from about 12 people in winter to more than 100 in summer.

Piazza John Kennedy, EUR district, Rome. The "Palazzo della Civiltà Italiana", aka "Colosseo quadrato" is visible in background.

 

The Eur is a district of Rome designed starting from 1935 to host the 1942 Universal Exposition in Rome (never held because of World War II). The design is the result of the work of numerous architects of the time technically coordinated by Marcello Piacentini. The EUR district was inspired by classical Roman urbanism enriched by elements of Italian rationalism, according to the fascist ideology of that time.

 

L’Eur è un quartiere di Roma progettato a partire dal 1935 per ospitare l’Esposizione Universale a Roma nel 1942 (esposizione che non si tenne mai a causa della II guerra mondiale). Frutto del lavoro di numerosi architetti del tempo coordinati tecnicamente da Marcello Piacentini. Il quartiere fu ispirato all'urbanistica classica romana arricchita da elementi del razionalismo italiano, in accordo all’ideologia fascista dell’epoca.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Piaaza delle Vettovaglie a Pisa

 

Mentre la maggioranza dei turisti che visitano Pisa si concentra sul complesso monumentale di Piazza dei Miracoli e la Torre Pendente, gran parte del centro storico cittadino è molto bello, antico e da visitare anche perchè la città ebbe un passato storico importante come Repubblica Marinara arrivando ad essere una grande potenza economica, militare e culturale attraverso la sua prestigiosa università-

Nei pressi del Borgo Stretto tra piazza Sant'Omobono e via Borgo Stretto si trova questa splendida area pubblica chiamata Piazza delle Vettovaglie fatta costruire per volere di Cosimo I De'Medici dal 1544 al 1545 e arrivata fino all'epoca attuale subendo numerosi rifacimenti e ristrutturazioni. Il suo nome in italiano antico "vettovaglie" significa "generi alimentari", utilizzo che ha avuto ed ha tutt'ora con la vendita di generi alimentari essendo sede dal 1900 fino ad oggi del mercato ortofrutticolo ambulante della città di Pisa.

Tra la fine del Quattrocento e l'inizio del Cinquecento la famiglia Medici diede avvio ad una riqualificazione urbanistica della città. Venne pertanto individualta l'area attuale per la sua vicinanza al fiume Arno e perchè ubicata nel centro cittadino; si diede avvio alla demolizione delle case circostanti acquisite dall'Opera del Duomo e venne affidato a Duccio di Cristofano, Operaio del Duomo, la realizzazione di uno degli stemmi che dovevano ornare il loggiato.

Il nome di Piazza delle Vettovaglie le venne dato due secoli dopo, ovvero sotto il governo di Pietro Leopoldo di Lorena, nel 1771

 

While the majority of tourists who visit Pisa focus on the monumental complex of Piazza dei Miracoli and the Leaning Tower, much of the historic city center is very beautiful, ancient and worth visiting also because the city had an important historical past as a Maritime Republic. be a great economic, military and cultural power through its prestigious university.

Near the Borgo Stretto between piazza Sant'Omobono and via Borgo Stretto there is this wonderful public area called Piazza delle Vettovaglie built at the behest of Cosimo I De'Medici from 1544 to 1545 and arrived up to the present time undergoing numerous renovations and renovations. Its name in ancient Italian "vettovaglie" means "foodstuffs", a use it has had and still has with the sale of foodstuffs, since it has been the seat from 1900 until today of the itinerant fruit and vegetable market in the city of Pisa.

Between the end of the fifteenth and the beginning of the sixteenth century, the Medici family started an urban redevelopment of the city. The current area was therefore identified due to its proximity to the Arno river and because it was located in the city center; the demolition of the surrounding houses acquired by the Opera del Duomo began and the construction of one of the coats of arms that were to adorn the loggia was entrusted to Duccio di Cristofano, Worker of the Duomo.

The name of Piazza delle Vettovaglie was given to it two centuries later, or under the government of Pietro Leopoldo di Lorraine, in 1771.

  

© Riccardo Senis, All Rights Reserved

This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

I borghi più belli d'Italia

The most beautiful villages in Italy

 

Civita è una frazione del comune di Bagnoregio, in provincia di Viterbo, nel Lazio, facente parte dei borghi più belli d'Italia, famosa per essere denominata "La città che muore".

Civita venne fondata 2500 anni fa dagli Etruschi. Sorge su una delle più antiche vie d'Italia, congiungente il Tevere (allora grande via di navigazione dell'Italia Centrale) e il lago di Bolsena.

All'antico abitato di Civita si accedeva mediante cinque porte, mentre oggi la porta detta di Santa Maria o della Cava, costituisce l'unico accesso al paese. La struttura urbanistica dell'intero abitato è di origine etrusca, costituita da cardi e decumani secondo l'uso etrusco e poi romano, mentre l'intero rivestimento architettonico risulta medioevale e rinascimentale.

 

Civita was founded by Etruscans more than 2,500 years ago.

The location of his boyhood house has long since fallen off the edge of the cliff. By the 16th century, Civita was beginning to decline, becoming eclipsed by its former suburb Bagnoregio.

 

At the end of the 17th century, the bishop and the municipal government were forced to move to Bagnoregio because of a major earthquake that accelerated the old town's decline. At that time, the area was part of the Papal States. In the 19th century, Civita's location was turning into an island and the pace of the erosion quickened as the layer of clay below the stone was reached in the area where today's bridge is situated. Bagnoregio continues as a small but prosperous town, while Civita became known in Italian as il paese che muore ("the town that is dying"). Civita has only recently been experiencing a tourist revival.

The population today varies from about 12 people in winter to more than 100 in summer.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Composition with red, yellow and grey colors. Street detail. Via Emilia Levante. Bologna 2016

Vista dal Ponte di via Libia. View from Via Libia's bridge. Bologna 2021.

Una de las mayores barbaridades urbanísticas cometidas en el mundo mundial, por decir algo

Ladies and gentleman The biggest Bristish tourist destination city in the world in live

Better on L

Xicon

Nel 1629 moriva Carlo Maderno, l’architetto della «fabbrica di San Pietro», autore dell’ampliamento nonché della facciata della basilica. Nella prestigiosa ed ambita carica gli successe Gian Lorenzo Bernini, che in quegli anni già lavorava in San Pietro per la costruzione del baldacchino.

Il nuovo ruolo consentì al Bernini di occuparsi in maniera più diretta dell’architettura, ed egli fu sicuramente l’artista che più contribuì a dare a Roma un volto barocco. E di certo, quale architetto, la sua realizzazione più importante, ed anche la più originale e geniale, rimane la sistemazione di piazza San Pietro.

Dare una forma armonica allo slargo di fronte la basilica non doveva essere un problema semplice, anche perché sia la chiesa, sia i palazzi sul lato destro, già esistevano Bernini riuscì a trovare la soluzione giusta, inventando un colonnato che circondava lo spazio senza sovrapporsi agli edifici già esistenti, tra cui il palazzo degli alloggi papali, da dove il pontefice si affacciava per impartire la sua benedizione. La genialità del Bernini fu nella forma che diede a questo colonnato. I due primi lati partono dalle estremità della facciata di San Pietro e proseguono non paralleli, ma convergenti. Alla fine proseguono in due emicicli che disegnano uno spazio apparentemente ellittico. La grande selva di colonne (in numero di 284) creano un’immagine monumentale, maestosa, che segna lo spazio in maniera molto forte, pur senza di fatto chiudere alcuno spazio. In pratica questo colonnato, al pari del baldacchino che Bernini realizzò all’ interno della basilica, è quasi più una scultura che non un’opera architettonica. In realtà, Bernini risolve un problema spaziale a scala urbana (di fatto l’opera è architettura e urbanistica insieme) con una soluzione da scultore. Una ulteriore dimostrazione di quanto l’artista barocco in genere, e Bernini in particolare, sappia integrare le diverse arti plastiche tra loro per ottenere soluzioni «globali» sul piano della forma.

La scelta, di unire lo spazio della piazza alla facciata con due lati non paralleli, fu un’altra intuizione geniale. Bernini, molto attento agli effetti di percezione visiva, e ben conoscendo le leggi della prospettiva ottica, facendo convergere questi due lati di raccordo riesce a produrre la sensazione che la facciata della basilica si avvicini alla piazza. In questo modo si rinnova la capacità illusionistica dell’arte barocca, capace di sfruttare tutti gli espedienti per ottenere il risultato più scenografico e spettacolare possibile.

---------------------------------------------------------------

Carlo Maderno died in 1629, the architect of the "factory of San Pietro", author of enlargement as well as the facade of the basilica. In the prestigious and coveted office succeeded Gian Lorenzo Bernini, who at that time was working in St. Peter's for the construction of the canopy.

The new role allowed Bernini to deal in a more direct way of architecture, and he was certainly the artist who contributed most to give Rome a face baroque. And certainly, as an architect, his most important achievement, and also the most original and ingenious, is the arrangement of St. Peter's Square.

Give a harmonious shape to the clearing in front of the church was not to be a simple problem, because it is the church, and the buildings on the right side, already existed Bernini managed to find the right solution, inventing a colonnade that surrounded the space without overlap with existing buildings, including the palace of the papal apartments, where the pontiff looked to impart his blessing. The genius of Bernini was in the form that gave this colonnade. The first two sides start from the ends of the facade of St. Peter and continue not parallel, but converging. Eventually they continue in two semicircles that form a space apparently elliptical. The great forest of columns (in number of 284) create a monumental, majestic, marking the space in a very strong, without actually closing any space. In practice this colonnade, like the canopy that Bernini inside the basilica, it is almost more a sculpture that is not a work of architecture. In fact, Bernini solves a space problem in urban scale (in fact the work is architecture and urban planning together) with a solution by sculptor. A further demonstration of the baroque artist in general, and Bernini in particular, know how to integrate the different arts together to achieve solutions "global" in terms of form.

The choice, to join the space of the square to the front with two non-parallel sides, was another brilliant idea. Bernini, very attentive to the effects of visual perception, and well aware of the laws of optical perspective, by bringing together the two sides of the fitting can produce the feeling that the facade of the basilica is as close to the square. This will renew the ability of Baroque illusionistic, capable of exploiting all the tricks to get the results more dramatic and spectacular as possible.

 

I borghi più belli d'Italia

The most beautiful villages in Italy

 

Civita è una frazione del comune di Bagnoregio, in provincia di Viterbo, nel Lazio, facente parte dei borghi più belli d'Italia, famosa per essere denominata "La città che muore".

Civita venne fondata 2500 anni fa dagli Etruschi. Sorge su una delle più antiche vie d'Italia, congiungente il Tevere (allora grande via di navigazione dell'Italia Centrale) e il lago di Bolsena.

All'antico abitato di Civita si accedeva mediante cinque porte, mentre oggi la porta detta di Santa Maria o della Cava, costituisce l'unico accesso al paese. La struttura urbanistica dell'intero abitato è di origine etrusca, costituita da cardi e decumani secondo l'uso etrusco e poi romano, mentre l'intero rivestimento architettonico risulta medioevale e rinascimentale.

 

Civita was founded by Etruscans more than 2,500 years ago.

The location of his boyhood house has long since fallen off the edge of the cliff. By the 16th century, Civita was beginning to decline, becoming eclipsed by its former suburb Bagnoregio.

 

At the end of the 17th century, the bishop and the municipal government were forced to move to Bagnoregio because of a major earthquake that accelerated the old town's decline. At that time, the area was part of the Papal States. In the 19th century, Civita's location was turning into an island and the pace of the erosion quickened as the layer of clay below the stone was reached in the area where today's bridge is situated. Bagnoregio continues as a small but prosperous town, while Civita became known in Italian as il paese che muore ("the town that is dying"). Civita has only recently been experiencing a tourist revival.

The population today varies from about 12 people in winter to more than 100 in summer.

The Iaras

Water mirror and the sculpture "As Iaras" by Alfredo Ceschiatti, at the Entrance Portal

Main Façade

Palace of the Dawn

Oscar Niemeyer's architectural project

Urban design by Lúcio Costa

First Landscape Project of

Yoichi Aikawa and later

by Roberto Burle Marx

Official residence of the President of Brazil

Currently CLOSED FOR PUBLIC VISITIONS

 

As Iaras

Espelho d'água e a escultura "As Iaras" de Alfredo Ceschiatti,

Fachada Principal

Palácio da Alvorada

Projeto arquitetônico de Oscar Niemeyer

Concepção urbanística de Lúcio Costa

Primeiro Projeto Paisagístico de

Yoichi Aikawa e posteriormente

por Roberto Burle Marx

Residência oficial do presidente do Brasil

Atualmente FECHADO PARA VISITAÇÕES públicas

 

Brasília, Brasil

 

The photo does not translate all the beauty of the work

The polished marble floor glows with the glow of the sky.

Tall columns that give a touch of lightness and spaciousness.

The traces of Oscar Niemeyer who was inspired by the hammocks hanging on the balconies of the old "big houses" have become symbols of Brasilia. (Google Translator)

A foto não traduz toda beleza da obra

O chão em mármore polido, reluz com o brilho do céu.

Colunas altas que dão um toque de leveza e amplitude de espaço.

Os traços de Oscar Niemeyer que se inspirou nas redes de descanço penduradas nas varandas das antigas "casas grandes" se tornaram simbolos de Brasília.

Fachada Interna

Palácio da Alvorada

Projeto arquitetônico de Oscar Niemeyer

Concepção urbanística de Lúcio Costa

Primeiro Projeto Paisagístico de

Yoichi Aikawa e posteriormente

por Roberto Burle Marx

Residência oficial do presidente do Brasil

Atualmente FECHADO PARA VISITAÇÕES públicas

 

Brasília, Brasil

 

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Old Market of Born (1874-1876).

 

CATALÀ

En l'actualitat el mercat aixopluga aquestes restes arqueològiques corresponents a part del barri de la Ribera, enderrocat per la construcció de la Ciutadella el 1717, després de la desfeta de la guerra de successió. És un dels jaciments més complets de l'edat moderna a Europa.

El Born va obrir l'11 de setembre de 2013 com "El Born Centre Cultural", aprofitant la celebració de la Diada, incloent les restes arqueològiques, un museu relatiu a la guerra de successió a Catalunya i diverses sales destinades a usos culturals.Un terç de la superfície amb restes queda a la vista, només protegida per la coberta de l'antic mercat. La resta queda sota el pis on hi ha els espais culturals.

 

ESPAÑOL

En febrero del 2002, mientras se realizaban unas obras para instalar en el edificio la Biblioteca Provincial de Barcelona, aparecieron restos arqueológicos de época medieval y en un estado de conservación excelente que corresponden a la evolución urbanística del Barrio de la Ribera desde el siglo XIV hasta que fue destruido en el año 1714 después de la Guerra de Sucesión Española.

En 2006, el gobierno de la Generalidad de Cataluña declaró el edificio como bien cultural de interés nacional.

Empezaron obras de restauración a principios de 2011 las cuales duraron dos años, finalizándose así con su inauguración el 11 de septiembre de 2013, coincidiendo con la Diada de Cataluña, con la conmemoración del tricentenario del sitio de Barcelona de 1714.

 

ENGLISH

Restoration work started and stopped several times since the closure of market. Each successive city government had a different plan for the very large space. At some points, there were even plans to lease it to a retail establishment such as FNAC who had expressed interest.

After closure, it fell into a state of disrepair and was restored 1977 to 1981 under the direction of Pere Espinosa.

In 2002 work was started to install the Biblioteca Provincial de Barcelona, but during excavations, extensive ruins of the medieval city were discovered. It was then decided to preserve the ruins and move the library project to another location.

Currently, the market covers these archaeological ruins which were part of the la Ribera district that was demolished in the early eighteenth century after the defeat of Catalonia in the War of Succession in 1714. This portion of la Ribera was forcibly demolished to make way for the construction of the Ciutadella military structure as ordered by the new Spanish king, Philip V.

The plan that finally came to fruition in 2013 was to expose the subterranean ruins for visitors while preserving space around the exterior of them for mixed use, cultural center, in addition to having a museum about the War of Succession onsite. At the same time, it is now possible for pedestrians to pass freely from Passeig del Born through to the other side that leads to the park of Ciutadella.

The official inauguration of the restored market was September 11, 2013.

  

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

I borghi più belli d'Italia

The most beautiful villages in Italy

 

Civita è una frazione del comune di Bagnoregio, in provincia di Viterbo, nel Lazio, facente parte dei borghi più belli d'Italia, famosa per essere denominata "La città che muore".

Civita venne fondata 2500 anni fa dagli Etruschi. Sorge su una delle più antiche vie d'Italia, congiungente il Tevere (allora grande via di navigazione dell'Italia Centrale) e il lago di Bolsena.

All'antico abitato di Civita si accedeva mediante cinque porte, mentre oggi la porta detta di Santa Maria o della Cava, costituisce l'unico accesso al paese. La struttura urbanistica dell'intero abitato è di origine etrusca, costituita da cardi e decumani secondo l'uso etrusco e poi romano, mentre l'intero rivestimento architettonico risulta medioevale e rinascimentale.

 

Civita was founded by Etruscans more than 2,500 years ago.

The location of his boyhood house has long since fallen off the edge of the cliff. By the 16th century, Civita was beginning to decline, becoming eclipsed by its former suburb Bagnoregio.

 

At the end of the 17th century, the bishop and the municipal government were forced to move to Bagnoregio because of a major earthquake that accelerated the old town's decline. At that time, the area was part of the Papal States. In the 19th century, Civita's location was turning into an island and the pace of the erosion quickened as the layer of clay below the stone was reached in the area where today's bridge is situated. Bagnoregio continues as a small but prosperous town, while Civita became known in Italian as il paese che muore ("the town that is dying"). Civita has only recently been experiencing a tourist revival.

The population today varies from about 12 people in winter to more than 100 in summer.

Plate found in the archaeological site of the Old Market of Born (1874-1876).

 

CATALÀ

En l'actualitat el mercat aixopluga aquestes restes arqueològiques corresponents a part del barri de la Ribera, enderrocat per la construcció de la Ciutadella el 1717, després de la desfeta de la guerra de successió. És un dels jaciments més complets de l'edat moderna a Europa.

El Born va obrir l'11 de setembre de 2013 com "El Born Centre Cultural", aprofitant la celebració de la Diada, incloent les restes arqueològiques, un museu relatiu a la guerra de successió a Catalunya i diverses sales destinades a usos culturals.Un terç de la superfície amb restes queda a la vista, només protegida per la coberta de l'antic mercat. La resta queda sota el pis on hi ha els espais culturals.

 

ESPAÑOL

En febrero del 2002, mientras se realizaban unas obras para instalar en el edificio la Biblioteca Provincial de Barcelona, aparecieron restos arqueológicos de época medieval y en un estado de conservación excelente que corresponden a la evolución urbanística del Barrio de la Ribera desde el siglo XIV hasta que fue destruido en el año 1714 después de la Guerra de Sucesión Española.

En 2006, el gobierno de la Generalidad de Cataluña declaró el edificio como bien cultural de interés nacional.

Empezaron obras de restauración a principios de 2011 las cuales duraron dos años, finalizándose así con su inauguración el 11 de septiembre de 2013, coincidiendo con la Diada de Cataluña, con la conmemoración del tricentenario del sitio de Barcelona de 1714.

 

ENGLISH

Restoration work started and stopped several times since the closure of market. Each successive city government had a different plan for the very large space. At some points, there were even plans to lease it to a retail establishment such as FNAC who had expressed interest.

After closure, it fell into a state of disrepair and was restored 1977 to 1981 under the direction of Pere Espinosa.

In 2002 work was started to install the Biblioteca Provincial de Barcelona, but during excavations, extensive ruins of the medieval city were discovered. It was then decided to preserve the ruins and move the library project to another location.

Currently, the market covers these archaeological ruins which were part of the la Ribera district that was demolished in the early eighteenth century after the defeat of Catalonia in the War of Succession in 1714. This portion of la Ribera was forcibly demolished to make way for the construction of the Ciutadella military structure as ordered by the new Spanish king, Philip V.

The plan that finally came to fruition in 2013 was to expose the subterranean ruins for visitors while preserving space around the exterior of them for mixed use, cultural center, in addition to having a museum about the War of Succession onsite. At the same time, it is now possible for pedestrians to pass freely from Passeig del Born through to the other side that leads to the park of Ciutadella.

The official inauguration of the restored market was September 11, 2013.

  

I borghi più belli d'Italia

The most beautiful villages in Italy

 

Civita è una frazione del comune di Bagnoregio, in provincia di Viterbo, nel Lazio, facente parte dei borghi più belli d'Italia, famosa per essere denominata "La città che muore".

Civita venne fondata 2500 anni fa dagli Etruschi. Sorge su una delle più antiche vie d'Italia, congiungente il Tevere (allora grande via di navigazione dell'Italia Centrale) e il lago di Bolsena.

All'antico abitato di Civita si accedeva mediante cinque porte, mentre oggi la porta detta di Santa Maria o della Cava, costituisce l'unico accesso al paese. La struttura urbanistica dell'intero abitato è di origine etrusca, costituita da cardi e decumani secondo l'uso etrusco e poi romano, mentre l'intero rivestimento architettonico risulta medioevale e rinascimentale.

 

Civita was founded by Etruscans more than 2,500 years ago.

The location of his boyhood house has long since fallen off the edge of the cliff. By the 16th century, Civita was beginning to decline, becoming eclipsed by its former suburb Bagnoregio.

 

At the end of the 17th century, the bishop and the municipal government were forced to move to Bagnoregio because of a major earthquake that accelerated the old town's decline. At that time, the area was part of the Papal States. In the 19th century, Civita's location was turning into an island and the pace of the erosion quickened as the layer of clay below the stone was reached in the area where today's bridge is situated. Bagnoregio continues as a small but prosperous town, while Civita became known in Italian as il paese che muore ("the town that is dying"). Civita has only recently been experiencing a tourist revival.

The population today varies from about 12 people in winter to more than 100 in summer.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

Cadaqués, Empordà, Girona, España.

 

Cadaqués es el pueblo más oriental de la península ibérica. Su término municipal ocupa la mayor parte de la costa de levante del macizo del cabo de Creus. Aislado por la montaña del Puig de Paní y el Puig de Bufadors del resto de l'Empordà, el pueblo pesquero de Cadaqués vivió de cara al mar y prácticamente separado, por tierra, del resto de l'Empordà, hasta finales del siglo XIX.

 

El origen del topónimo es "Cap de Quers" o "Cap d'Aques"​ que se traduce por 'Cabo de rocas'.

 

Tradicionalmente dedicado a la pesca, se conocen Ordenanzas de pesca​ propias de Cadaqués desde el siglo XVI. En el siglo XIX fueron famosas las industrias de salazones que, aunque hoy en día no tienen la importancia que tuvieron en el pasado, suponen una parte de la economía local no dedicada al turismo, destacando entre sus productos las Anchoas de Cadaqués. El prolongado aislamiento del pueblo hizo que el catalán que allí se habla, aunque con las particularidades típicas de la zona, sea un caso único de diferenciación, con libros publicados expresamente para tratar esta peculiar habla.4​ También este aislamiento se convirtió en un factor de atracción para artistas y turistas. A principios del siglo XX comenzaron a llegar turistas que se fueron diseminando entre las diferentes zonas de más fácil acceso, mientras ignoraban sus parajes más recónditos y, como consecuencia, conservaron la virginidad urbanística. El cultivo de los olivos se abandonó con la helada de 1956, pero hoy en día múltiples olivares están siendo recuperados como parte de una economía sostenible, en el ámbito del parque natural del Cabo de Creus (que ocupa una parte importante del municipio) y como elemento de lucha contra los incendios, endémicos en esa zona.

 

Varias familias de Barcelona, Figueras, Gerona y otras ciudades cercanas veranean en Cadaqués desde hace muchos años, a partir de 1905.

 

A partir de 1958, Marcel Duchamp, el artista probablemente más influyente del siglo XX, fijó en Cadaqués su residencia veraniega. El pintor surrealista Salvador Dalí, cuya familia tenía en el pueblo la residencia veraniega, donde había estado de visita en su época de estudiante Federico García Lorca, volvió de Nueva York en 1948 y se instaló en Port Lligat una de las calas del término. También atrajo Cadaqués a celebridades tan destacadas como Eugenio D'Ors que escribió sobre sus estancias veraniegas​ en el pueblo, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués ha atraído a muchos otros pintores cuya lista sería muy extensa, como Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro o Joan-Josep Tharrats.

 

Cadaqués is the easternmost town on the Iberian Peninsula. Its municipal area occupies most of the eastern coast of the Cap de Creus massif. Isolated by the mountain of Puig de Paní and Puig de Bufadors from the rest of l'Empordà, the fishing village of Cadaqués lived facing the sea and practically separated, by land, from the rest of l'Empordà, until the end of the 19th century.

 

The origin of the place name is "Cap de Quers" or "Cap d'Aques" which translates to 'Cape of rocks'.

 

Traditionally dedicated to fishing, Cadaqués's own fishing ordinances have been known since the 16th century. In the 19th century the salting industries were famous which, although today they do not have the importance that they had in the past, they represent a part of the local economy not dedicated to tourism, highlighting among their products the Anchovies from Cadaqués. The prolonged isolation of the town made the Catalan spoken there, although with the typical peculiarities of the area, a unique case of differentiation, with books published expressly to deal with this peculiar speech.4 This isolation also became a factor attraction for artists and tourists. At the beginning of the twentieth century, tourists began to arrive who were scattered among the different areas with easier access, while they ignored their most remote places and, as a consequence, they preserved their urban virginity. The cultivation of olive trees was abandoned with the frost of 1956, but today multiple olive groves are being recovered as part of a sustainable economy, within the Cabo de Creus natural park (which occupies an important part of the municipality) and as fire fighting element, endemic in that area.

 

Several families from Barcelona, ​​Figueras, Gerona and other nearby cities have spent the summer in Cadaqués for many years, starting in 1905.

 

Starting in 1958, Marcel Duchamp, probably the most influential artist of the 20th century, established his summer residence in Cadaqués. The surrealist painter Salvador Dalí, whose family had a summer residence in the town, where Federico García Lorca had been visiting when he was a student, returned from New York in 1948 and settled in Port Lligat one of the coves of the term. Cadaqués also attracted such prominent celebrities as Eugenio D'Ors who wrote about his summer stays in town, Pablo Picasso, Marcel Duchamp, Joan Miró, Richard Hamilton, Albert Ràfols-Casamada. Cadaqués has attracted many other painters whose list would be very extensive, such as Antoni Pitxot, Rafael Durancamps, Gustavo Carbó Berthold, Maurice Boitel, Mauricio Sbarbaro or Joan-Josep Tharrats.

IL SALOTTO BUONO DELLA CITTA' RIMESSO A NUOVO.

  

Via Mercatovecchio non solo è la parte più caratteristica della città, ma nella storia del suo sviluppo economico occupa un posto di fondamentale importanza. Nel suo territorio sorse il primo mercato concesso dal Patriarca Bertoldo di Andechs nel 1223 all’allora borgo medioevale.

La presenza del mercato, unita alla possibilità di non pagare le tasse (concessa nel 1248) attirò molti uomini liberi, che divennero ‘burgenses’ o borghesi di Udine, costruirono nuove case e fecero ingrandire il paese murato fino a farlo diventare una città.

Ancora oggi la via, fiancheggiata su entrambi i lati da sottoportici, è interamente occupata da negozi.

A metà circa della strada, sul lato sinistro, sorge l’imponente Palazzo del Monte di Pietà e poco più avanti la Casa Sabbadini (civico 24) che presenta sulla facciata le tracce sbiadite di affreschi, opera del pittore udinese Giovan Battista Grassi (XVI sec.). Sull’angolo di questa casa si può ancora vedere l’anello dove nel 1500 s’infilava l’asta con la bandiera rossa che indicava il traguardo della corsa del Palio.

  

Consiglio,modestamente,di igrandire la foto per apprezzarne i dettagli.

 

IMMAGINE realizzata con lo smartphone HUAWEI MATE 20 PRO

Per costruirla Guarino Guarini fu chiamato a Torino nel 1666 dal proprio ordine dei Teatini, che aveva avuto in dono dai duchi il prestigioso lotto di terreno affacciato sulla piazza castello, sull'angolo del taglio della "contrada nova vitozziana" di via Palazzo di Città. Sul piccolo lotto Guarini impostò una architettura statisticamente e morfologicamente prodigiosa a pianta centrale con lati concavi - convessi, alto tamburo a volta ad arconi intrecciati che filtra la luce con effetto spettacolare.

 

La decorazione interna è in marmi policromi.

 

La chiesa è preceduta dall'Oratorio dell'Addolorata nello spazio originario a portico. La facciata barocca testimoniata dalla incisione dei "Dissegni di architettura civile ed ecclesiastica" dello stesso Guarini, non fu costruita, prevalendo la norma urbanistica ducale della uniformità architettonica voluta per la piazza.

 

_____

   

To build it Guarino Guarini was called to Turin in 1666 by his own order of the Theatines, who had been given the prestigious plot of land overlooking the piazza castello, on the corner of the "contrada nova vitozziana" in via Palazzo di Città as a gift from the dukes. On the small lot Guarini set a statistically and morphologically prodigious architecture with a central plan with concave - convex sides, a high vaulted drum with interwoven arches that filters the light with a spectacular effect.

 

The internal decoration is in polychrome marble.

 

The church is preceded by the Oratory of the Addolorata in the original porticoed space. The Baroque façade, testified by the engraving of Guarini's "Drawings of civil and ecclesiastical architecture", was not built, prevailing the ducal urban planning norm of the architectural uniformity desired for the square.

Su origen se remonta al periodo nazarí, debiendo desempeñar un papel importante debido a su proximidad al núcleo comercial y mercantil de la ciudad sito en la Alcaicería y en el Zacatín, en cuyo conjunto de pequeñas y entramadas calles se fraguaba la vida comercial de la ciudad.

Si bien en la época musulmana fue escenario de los intercambios comerciales, en otros periodos fue en esta plaza donde se desarrollaban justas, corridas de toros y fiesta en general, aunque poco a poco cambió su importancia y al igual que numerosas plazas y calles de la ciudad de Granada fue objeto de profundas transformaciones urbanísticas.

Plaza hacia 1907, en las páginas de La Alhambra, y en el siglo XXI, respectivamente.

Así tras la remodelación de finales del siglo XVI su tamaño fue similar al actual, pero fue hacia la mitad del siglo XX cuando se abre la calle Príncipe para comunicar la plaza Bib-rambla con la calle de Reyes Católicos que discurre sobre el embovedado del río Darro y la plaza del Carmen, donde se encuentra ubicado el Ayuntamiento de Granada.

En su configuración actual es una plaza de corte rectangular presidida por la fuente de NEPTUNO o de los Gigantes de motivos paganos y detalles bucólicos propios de una plaza comercial. En los extremos de la plaza se halla decorada por farolas fernandinas de hierro de finales del siglo XIX provenientes de una fundición hispalense.

Rodeando la fuente se encuentran las casetas de las flores que cambian radicalmente pasando de las ventas de los abetos, pinos y pascueros en Navidad, a los ramos de flores en el día de los enamorados y en el día de las madres. Los árboles de la plaza son tilos. (Wikipedia)

 

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Fuente de los Leones, Plaza Mayor, Soria.

En el centro de la plaza, encontramos la Fuente de los Leones, denominada la "viajera" que estuvo ausente durante años, trasladada en la última renovación urbanística de la Plaza Mayor en 1987, desde su última ubicación en el Cerro del Castillo. Se trata de una fuente ornamental del siglo XVIII realizada según reza en la inscripción de la base del pináculo durante el reinado de Carlos IV, el año de 1798.

 

In the center of the square, we find the Fountain of the Lions, called the "traveler" who was absent for years, moved in the last urban renewal of the Plaza Mayor in 1987, since its last location in Cerro del Castillo. It is an ornamental fountain of the XVIII century realized as it prays in the inscription of the base of the pinnacle during the reign of Carlos IV, year of 1798.

El Ter Vell és, com el seu nom indica, una antiga desembocadura del Ter.

L'espai ocupa unes 32 hectàrees de superfície i es troba a tocar de la zona urbana de l'Estartit (Costa Brava) CAT.

Es tracta d'una zona humida formada per un conjunt d'aiguamolls i de llacunes d'aigua dolça alimentades per l'excedent de regadiu de la plana agrícola adjacent i per les aigües de precipitació.

 

L’espai és un d’aquells racons interessants i bonics que prestigien un territori i n’enriqueixen el paisatge.

Enmig d’una regió, la Costa Brava, amb una elevada pressió urbanística, aquesta petita joia natural ens mostra la riquesa natural de les zones humides litorals ben conservades, amb vegetació de ribera i una fauna molt diversa.

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Wetlands of the Ter Vell.

 

The Ter Vell is, as its name suggests, an ancient mouth of the Ter.

The space occupies about 32 hectares and is located next to the urban area of Estartit (Costa Brava) CAT.

It is a wetland formed by a set of wetlands and freshwater lagoons fed by the irrigated surplus of the adjacent agricultural plain and by the precipitation waters.

 

The space is one of those interesting and beautiful corners that prestige a territory and enrich its landscape.

In the middle of a region, the Costa Brava, with a high urban pressure, this small natural gem shows us the natural richness of the well-preserved coastal wetlands, with riparian vegetation and a very diverse fauna.

Fuente de los Leones, Plaza Mayor, Soria.

En el centro de la plaza, encontramos la Fuente de los Leones, denominada la "viajera" que estuvo ausente durante años, trasladada en la última renovación urbanística de la Plaza Mayor en 1987, desde su última ubicación en el Cerro del Castillo. Se trata de una fuente ornamental del siglo XVIII realizada según reza en la inscripción de la base del pináculo durante el reinado de Carlos IV, el año de 1798.

 

In the center of the square, we find the Fountain of the Lions, called the "traveler" who was absent for years, moved in the last urban renewal of the Plaza Mayor in 1987, since its last location in Cerro del Castillo. It is an ornamental fountain of the XVIII century realized as it prays in the inscription of the base of the pinnacle during the reign of Carlos IV, year of 1798.

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