Large industrial warehouse, with warehouse destination. It was part of a larger complex in relation to other manufacturing facilities on Carrer dels Ferros.
The current Felipe Salvador street previously only existed as an access to this complex.
The wide nave (28 x 38 m.) is a diaphanous space of two heights with a two-sided roof on English-type trusses. The factory is of tile, very severe of classicist court with long gaps with semicircular arches, also of chained tile.
On the ground floor, gaps of greater amplitude and height are interspersed with other minors. Upstairs they are all the same setting a repetitive rhythm. Many of these gaps have now been blinded. At the end of the circular nave made with laborious tile work.
The strong cornice creates a cubic volume in the nave. It is currently the CEEM – MENTALIA PUENTO Medical Center.
Built at the request of the Board of Walls and Valleys between 1592 and 1596 (sixteenth century) with ashlar stone, after the previous wooden bridge or masonry was destroyed by a flood of the Turia in 1589.
It receives the name of Puente del Mar, because this is the natural way to the Grao or port, from where many goods that arrived in the city of Valencia by sea came. It is the work of the stonemason of Xàtiva, Francisco Figuerola, although a resident of Valencia (lapicida sive architector).
At the completion of the bridge in 1596 it was agreed to install a mansion that was commissioned to Figuerola himself. Inside is placed a cross and on the roof images of San Vicente Ferrer, San Vicente Mártir and San Juan Bautista. In 1709 lightning partially destroyed the house so it was recomposed but changing the cross for an image of the Virgin of the Forsaken, work of Francisco Vergara the Elder in 1721. The rest of the images of the saints are removed. Around 1677 another second mansion was placed with an image of San Pascual Bailón, opposite that of the Virgin.
The flood of 1776 deteriorated both houses, so the New River Factory ordered the sculptor Francisco Sanchiz to restore the image of San Pascual and build another new image of the Virgin of the Forsaken. The images were placed again in 1782. The previous image of the Virgin of the Forsaken by chance of fate would finally go to the Imperial School of Orphaned Children of San Vicente where it would be completely destroyed during the Civil War in 1936.
This shelter was part of the “Blasco Ibáñez” school group, in the playground area.
The Blasco Ibáñez school group was demolished in the 40s; In 1952, on the site it occupied, the Jesús y María school was built. In the courtyard of the latter is currently preserved the shelter that has been used for many years as a warehouse.
Between 6 and 22 September, archaeological work was carried out at the Civil War air-raid shelter in Massarrojos. These works consisted of documenting the shelter with the study of construction techniques and materials, as well as topographic survey with photogrammetry by scanning and 3D modeling.
The building is endowed, like almost all of these complexes, with a purely functional typology: small (occupies a plot of 408 m2 of which 240.83 m2 have been built), consists of an open patio, corralines and service sheds, all of them built with fairing stone walls, following the masonry technique, with green tiles that are still in good condition.
This building is internally linked to the Charity building and the Marqués de Campo Asylum, which overlooks Calle Corona.
Founded in 1863 as a Kindergarten Asylum by Sr. José Gabriel Campo y Pérez, later Marqués de Campo by appointment of Alfonso XII, is a typical building of the architecture of the second half of the nineteenth century, in which two different languages converge: on the one hand the neoclassical and academic style used in the original nucleus of the Asylum, which dates from more or less 1862, being its author the Englishman James Beaty; and on the other, the work made by José Camaña Laymón from 1882, in a late Gothic, evident above all in the church -today parish church of La Miraculosa
This construction consists of a ground floor and an upper floor, topped with a tympanum formed by its double-sided roof. On the ground floor is the access door flanked by two windows in the form of semicircular arches.
The façade of this is treated in two ways: the first is a smooth cement plaster as a plinth that covers the tiles of its structure. From this plinth and up to the upper limit of this ground floor, this plaster is ploughed as false ashlars.
The flour factory is located on an almost rectangular plot overlooking Ainguda del Port and Muñiz and H. d’Alba streets. It is composed of several buildings of very different volumetry, around a rectangular courtyard.
The companions of King James I who came to conquer Valencia from the mountainous region of Teruel settled in this area of the city, giving name to this bridge, as well as to the gate of the wall and the back street. It is the oldest of the existing bridges over the River Turia and its current appearance comes from 1518, when the “Old Factory of Walls and Valleys” arranged for the rebuilding of the existing one that had been washed away by the waters of the Turia the previous year and had previously replaced the Arab bridge of the A-Qantara. Built in stone, under the direction of “pedrapiquer” Juan Bautista Corbera, it has a stepped ramp to access the bed, now the Turia Garden, and is formed by nine segmental arches with breakwater, cutters and walls. From 2005 to 2009 it was restored under the direction of architect Ignacio Bosch.
It corresponds to the vaulted model, preserved in good condition as it is inside the convent. It retains part of the ventilation machinery with ventilation vents with chimneys outside. The benches attached to the walls are also intact. According to the latest news, the mud accumulated in the flood of 1957 is still there.
The building was built in 1887 as the main station on the line belonging to theValencian S ocietat de Tramvias , which connected Valencia with Llíria. It was replaced shortly afterwards in its most representative and traveling sense by Santa Monica, which became the term of the term and was much closer to the center of the city of Valencia. The Marxalenes station is perfectly preserved, but only in terms of the passenger building.
El Saler’s battery is a “chin” of a piece of coastal artillery with a top casemate and an authentic daedalus of underground galleries that occupied about 500 m2.
It was built in 1938 with reinforced concrete and two casemates with two anti-aircraft machine guns were also installed, one to the left and one to the right of the tower, to protect against gradient air attacks. About 200 meters to the north, a medium-large anti-aircraft battery was located with a fixed location for the protection of bombardments at higher altitudes.
Currently, only the base of this battery at sand level, very close to the coastline, is visible. It is a circular structure with an approximate diameter of 15 meters, a sloping closed volume, with an exterior finish in tile.
Baroque farmhouse isolated on a rectangular plot, composed of a main building with two L-shaped bodies of two heights, a one-storey annex and the corral. The north wing corresponds to an extension of the early twentieth century, leaving clear the architectural current of the time, being symmetrical, with balconies and finish of modernist character. The façade of the wing, corresponding to the original building, is asymmetrical with the hollows like latticed viewpoints, bulging in shape and of little flight, covered with cups of the same curved singularity. It is on this façade where the main entrance is located that leads to a double-height vestibule where the act of the Demanà was formerly held.
The act of the Demanà consisted of choosing the hunting ground of the lake of l’Albufera for each season. In the lobby of the building, the boatmen met to proceed with the act of drawing and assigning the places. The call was made by ringing a bell located in the small tower that finishes the building. From it you have a good view of the lake serving in turn as a watchtower.
