Industrial building, adapted and place at the service of Public Works, necessary for communities, after the Industrial Revolution.
Warehouse that is arranged around a central courtyard, covered and paved in cobblestones, patio that is accessed directly from the entrance door, and which is closed by a tapial. The covered areas of the enclosure are distributed around this, so that it allows to have in its central part, a large patio, which facilitates the entry and exit of a traffic road, for unloading and loading the material.
The main area, of a crossing, is located on the left side of the enclosure, and is dedicated to the office. The workshops and warehouses, also covered on a hillside, are located in front and occupying a small space on the right side, since this courtyard overlooked the windows of the Lost and Found Offices and a General Police warehouse.
The roofs of the enclosure are newly placed, and are inclined towards the patio, to allow the drainage of rainwater through a channel
The aspects derived from the growing industrialized society, and the progressive municipal absorption of everything related to urban improvements, has made it necessary to enable dependencies for these tasks, this warehouse being a sample of these needs. It is currently occupied by the Hostel of La Roqueta.
It is a special case in the morphology of the city’s shelters since almost everything is built outside and barely sinks a meter below ground level, perhaps because the water table in the Grao area, much higher than in the city, made excavation difficult. It presents as a singularity that the roof is of curved tile, being the only one with this characteristic, and only numerous ventilation chimneys remember its function.
Located on Calle Quart, it is the old Trinitari Ruiz Dye Factory.
Parts of a Chimney
The chimneys consist of three distinct parts: Base or Pedestal, Reed, Shaft or Tube and Crown, Coronation, Capital or Finish.
Description of the Chimney
It is an isolated chimney house, remains of an old industrial building, built – because it detaches from the typology of the chimney, rectangular base and octagonal shaft of fired tiles – in the decade 1890-1900. Fired tile is used as the basic material, which is a good thermal insulator. The height and section decrease from the base to the top, consisting of its function in causing a depression or shot between the inlet and exit to establish a current of air, contributing this shot to combustion. The inner section decreases as well, in order to retain an updraft to overcome the currents of cold air masses. Its construction is due to the use of steam in the factory.
The protected element (BRL) consists of the most representative buildings of the old General Almirall Barracks, that is, the building that faces Carrer Sapadors and the module with an “H” shape that is located on the other side of the manoeuvring yard.
The current Convent of Purity is actually the headquarters of the old Brotherhood of Sant Jaume, founded by the Conqueror with the donation of the old Palace of the Wolf King in 1246. The current construction probably dates back to the s. XIV or XV, within a typology typical of medieval civil architecture. From this period the semicircular doorway, cut out in later times and, above it, the mutilated coat of arms of the brotherhood is preserved. In 1853 the building would be occupied by the nuns of Purity after the demolition of their convent, adapting the old structures to the needs of the cloister. The only visitable element of the complex is the church, which the Brotherhood of Sant Jaume built in 1702, although it is currently very renovated. It consists of a vaulted living room floor, 34.83 m. length by 7.12 m wide and 6.68 m high. up to the cornice, with pilasters and blind arches that simulate chapels. He is currently entitled to the Conception of the Nuns of Purity.
The Temple of San Juan del Hospital, in Valencia, built between the years one thousand two hundred and thirty-eight and one thousand two hundred and sixty-one, as extreme dates, was the first Christian Hospital-Church in the city, recently won by King Don Jaime and headquarters of the Order of San Juan.
The Church, of Cistercian type, has the characteristic Valencian seal; and it is not sumptuousness or artistic exquisiteness that gives extraordinary importance to the Monument, but its very sobriety, circumstantial with its venerable archaism. Of the rest of the Convent (completed before one thousand three hundred and sixteen), it is very unostensible, but it has as much interest and the same merits as the Church, to take care of its conservation.
The Hospital complex of San Juan del Hospital is located in a block bordered by Trinquet de Cavallers, Miracle and Carrer del Mar. It is a milestone in the city of Valencia, not only because it was the first consecrated church (after the Cathedral) after the conquest of Valencia in 1238, which makes it the oldest church in the city, but because it is part of the citizen’s history and belongs, therefore, to the historical memory.
We can assure you that different cultures converge within its walls:
The thorn of the Roman circus crosses the South Courtyard and the esplanade that surrounds it served as a base for the construction of Visigothic and later Muslim dwellings, has Romanesque, Gothic and Baroque vestiges
The hospital complex consisted of a church, a hospital and a cemetery. The church and remains of the cemetery are preserved.
It is accessed through Trinquet Cavallers street through a vestibule in which are painted the crosses of the crusaders of the thirteenth century. Also in this first space is the chapel of the Virgin of the Miracle.
Convent and Church of Les Caputxines de Santa Clara, built at the time on the outskirts of the city next to the Camí de Trànsits (1911). It belongs to the modernist historicism of a medievalist character. Medieval, Gothic or Romanesque historicisms, in their most orthodox or modernist-inspired aspects, as in this case, would be used for the construction of religious buildings (churches, convents, asylums, etc.) in the idea preconceived from the Romanticism that associated the Middle Ages as a time of religious spirituality.
With three floors, the building is arranged around a square central courtyard that serves as a cloister. It is built with mixed fairing masonry walls with band tile factory and hollow trim. This contrast of materials and some profiled tile elements are the only decorative motifs. The church is neoclassical and has a single nave, has a dome on an orthogonal drum with shells, and is accessed through a small courtyard that as an atrium separates it from the avenue, being the only part of the building visitable.
It was the old parish church of the town of Ruzafa, independent until 1877 (nineteenth century) when it was annexed to the city of Valencia. It is a baroque temple built in brick in the seventeenth century, which stands on top of a previous one ordered built by James I the Conqueror in the thirteenth century. This temple was destroyed by a fire in 1415 (fifteenth century). The construction of the new Baroque temple is attributed to Tomás Leonardo Esteve, while the Baroque decoration of the interior that no longer exists was by Juan Bautista Pérez Castiel and his son Juan Pérez Castilla
Popularly known as Ruzafa Cathedral, it is a temple with a Latin cross floor plan, with a single nave and six side chapels between the buttresses. Half-barrel vault with lunettes, and dome over the transept. This is covered with blue and white glazed ceramic tile.
It is the main and oldest temple in the Cabanyal neighborhood. Dated in the s. XVIII, stylistically belongs to the late Baroque and early neoclassical. It was built in masonry, with a single nave and chapels on both sides, arranged between buttresses that manifest themselves on the outside above them. The roof is resolved with a barrel vault and lunettes on pilasters joined by side arches longitudinally. The Communion Chapel is as wide as the main nave, but shorter, and is also covered with a barrel vault and lunettes with stained glass windows to the outside.
Of the old Augustinian convent founded in 1605, only the old church survives. The rest of the rooms were rebuilt in 1960 by the architect Luis Gay Ramos. The current church was finished, according to Weaver, in 1645, although in 1691 Francisco Martí would rebuild all the vaults and execute the decoration of the Main Chapel, dominated by a large apsidal vault in the form of a shell, which could be related to Santa Caterina de Alzira. This element, polychromed in gold and blue, is the most notable feature of the temple and was restored in 1883, although the main altarpiece is modern. The other altarpieces and decoration, except for a few large canvases in the chancel, have been completely renovated. The space behind the high altar still preserves a sgraffito decoration from 1665-70. On the main façade a stone doorway is framed, highlighting for its uniqueness the sloping tile roof with a steep slope.
It is currently home to the Catholic University.
The Nuestra Señora de los Ángeles Convent is one of the religious monuments with historical nuances of the city of Valencia. On April 22, 1238, James I of Aragon set up camp in Ruzafa, to besiege the city of Valencia; on September 14 he began talks with Zayán, Moorish king of Valencia, culminating in the surrender of Valencia on the 29th of the same month, signing this surrender in the place occupied today by this convent. King James I and his army made their entry into Valencia on October 9. A plaque commemorating this historic event can be seen on its main façade.
Located today in one of the most central neighborhoods of the city of Valencia, it was founded in 1661, by the then Archbishop of Valencia, Don Martín López Ontiveros, on what was originally the recreation and recreation estate of Abal Allah al Balansi (-823), outside the city walls. Thus, on January 11, 1661, work began on the convent’s factory, and the six nuns who left the Convent of Jerusalem outside the walls of Valencia were provisionally installed on August 2, the feast day of the Virgin of the Angels. In 1699 the church was completed, and in it is buried, by personal desire, the founder of the convent, on whose slab he reads: “Hic jacet Martinus de Ontiveros indignus Archiepiscopus Valentinus Filii Orate pro em“.
The origin of the church dates back to the first moments of the reconquest by King James I the Conqueror. Therefore, it is the first temple of creation close to this historical landmark and was probably Romanesque of the type of reconquest. This temple is mentioned in historical documents from 1333 and 1392, already with the name of Church of Santa María del Mar of the city of Valencia “The Church of Santa María del Mar of the city of Valencia”. From the description of this ancient temple, we have evidence by a graphic document from 1563, in which the Flemish painter Anthoine Van den Wijngaerde shows the aspect of the Grao de Valencia and among the houses you can see the church. From the few data we have, it can be inferred that it was a single-nave temple 25 meters long by 18 meters wide and that it had a flat belfry located at the foot of the church.
In 1411 the miraculous event occurred of the arrival by sea of the image called after Christ of the Grao, so devotion to this image increased, which would force over time to expand the original temple and build a chapel dedicated to Christ.
