With a typology typical of Gothic fortress palaces, the Old Palau d’En Bou has a square shape and reflects the incipient influences of the Renaissance.
The construction presents a scheme of a central courtyard to which fall the hierarchical floors: the mezzanine floor for the service, the main floor, which is accessed by a cantilevered staircase at a long angle, with large pieces, and a last one that serves as a finish to the building. The ceiling of the mezzanine floor is resolved with exposed beams, which is completed with a coffered ceiling on the main floor and has been fixed in the eighteenth century.
The recent intervention, carried out in 1990, allows the recognition of the heritage values of this current building headquarters of the Valencian Housing Institute.
The convent was founded in 1588 for Discalced Carmelite nuns, in 1609 it moved to its current location next to Portal Nou. The whole complex responds to the schemes established by the order as a result of the reform of Santa Teresa (1515-1582) and already defined in the monastery of the Incarnation of Ávila: Latin cross plan with non-protruding transept, flat headboard, barrel vault and dome without drum on shells, topped on the outside by a cubic lantern with a sloping roof. The façade, with a classical pediment finish and a window to illuminate the choir, responds to the models disseminated by the treaty of Fray Lorenzo de San Nicolás 0639). The interior was intervened in the s. XVIII with applications of rockery, on the occasion of the festivities celebrated in 1727 by the canonization of San Juan de la Cruz. The dimensions of the temple, according to the Marquis of Cruïlles, are 26.84 m. length and 6.80 m. of width and height to the cornice. The entire convent was restored and expanded by Luis Gay Ramos in 1970.
In addition to the courtyards of the building, the monastery has an important orchard (2,180 m2) that borders Blanqueries street.
The building was built in the eighteenth century, is a farmhouse with the traditional typology of the Valencian orchard. On its façade we find the ceramic panel of the Immaculate Conception with the image of the Immaculate Conception of great interest and declared BRL. The building was recently renovated in 2012 and converted into a Day Centre, which provides the Benimaclet neighbourhood with a socio-sanitary service for people over 60 years of age.
In the center of the city is the so-called Curtain I Building , also called “Casa de las Creus“, work of the architect José Manuel Cortina Pérez (1868-1950). It was built between 1896 and 1901, and its remarkable features include neo-Gothic elements on its façade such as the lobed arches located on cast iron columns, and others such as viewpoints and large windows, as well as the towers located at their ends. In this building there is a more pronounced differentiation between the main one and the rest of the floors, acquiring a more palatial configuration with interior patio and knights, underlined by the arrangement of towers at the ends of its façade.
In this work, the architect also combined medieval elements with the sinuous lines of Art Nouveau, especially evident in the grilles of the openings on the ground floor and in the carpentry of the viewpoints.
Its internal organization is of smaller courtyards, with two houses per floor, double staircase system, both at the entire height of the building, symmetrical with respect to an axis. It has a passing lobby with double height.
In the lower area of the building, the basamental area, are located the houses on the ground floor and those on the mezzanine, and the façade in this area acquires the appearance of the stone stalls, imitated by a rough revoque.
Also highlight the winged dragon that decorates the entrance to the building as a finish of the semicircular arch that configures it, as well as the configuration and layout of the interior staircase, designed to favor the comfort of users, something commendable given the absence of elevator in the property.
Building built in 1907-1914, historically attributed to the architect Demetrio Ribes (1877 – 1921), something not documented. It forms an architectural ensemble with the building located at number 29 Ruzafa street, although in reality they are two independent buildings. It follows the modernist style typical of some of his works, with eclectic reminiscences. The use of suspended decorative elements characteristic of Viennese modernism (glazed ceramics, laurel wreaths, horizontal reliefs…) and the arrangement of the façade in three bodies (basement, central body and finish) stand out, drawing attention to the finish of this.
Its main element is the façade, in which the large windows of the mezzanine stand out, as well as its crown, an elegant ornamental element that follows the line of the rest of the crown of the chamfer and serves as a parapet of the roof.
The ordinancist layout of the façades, with centred entrances and their organization in three clearly differentiated bodies (basement, central body and finish), speak of academic permanence. In the central body the voids are grouped forming larger compositional units. It has two houses per height and single hall.
The Molí de Sant Miquel together with the Alqueria d’Albors or Alqueria de Sant Llorenç, formed part of the group of buildings annexed to the properties of the Monastery of Sant Miquel dels Reis, housing the agricultural facilities of the exploitation of the lands of the Monastery. The mill operated with water from the arm of Sant Miquel of the Rascanya irrigation canal. It is of medieval origin, documented already in operation in the fourteenth century although its location could correspond to that of the mill of the Muslim farmhouse of Rascanya. Its current appearance corresponds to a construction of the seventeenth century on a medieval structure. For centuries and until the nineteenth century it was owned by the monastery of the same name.
The former Valencia Women’s Prison is a building located between Paseo de la Petxina and Calle Castan Tobeñas. Currently, it is the 9 d’Octubre School.
The project is by José María Belda, one of the most important architects of the last third of the s. XIX and that he built most of the public buildings of the period. The most important of them all is that of the Model Prison.
Its construction began in 1889, on a square plot of more than 200 m on the side, located beyond the alignments of the Eixample, and was declared completed in 1901. Built under the functional panopticon scheme, enclosed by a perimeter wall with a guardhouse on all four corners, which based its effectiveness on the isolation of the prisoner who, even in his walks in the courtyard, is deprived of communication with the rest of the inmates.
The building was created following the trend of the time of architecture and functionalism, in which Joaquín María Belda adopted a prison system developed in Philadelphia (Cherry Hill), in 1825, with a radial system. This non-modular building typology, in which the surveillance function prevails, has good examples throughout the nineteenth century, throughout the world.
The building built in 1902 by the architect Francisco Mora Berenguer.
It is located on the axis of La Pau street. It is one of the most representative spaces of the city, implanting the new aesthetic currents of the late nineteenth century: Modernism and Eclecticism.
Multi-family residential building, produced in the early twentieth century, associated with urban reform areas that allow the generalized increase in the size of all variables: height, size, plot, number of homes per building.
It consists of ground floor, mezzanine and four tread floors. The language used is modernist characterised by a tripartite composition differentiating base, body and finish and rich decoration with elements typical of modernism (organic shapes, floral elements…), formal freedom in the design of the voids (lintel, semicircular lintel, scarlets), incorporation of new and diverse materials and use of traditional and artisan techniques. The façade wall, according to its typology, is made of solid tile with different types of cladding: revoque, colored, matte, smooth or quilted, fake tile, exposed tile, stone, sgraffito.
The original use was residential in the tread floors and commercial premises, on the ground floor and/or mezzanine.
After a first Art Nouveau stage ascribed to Art-Nouveau , under the guidance of Demetrio Ribes and Vicente Ferrer, came the Glasgow School and the Austrian Sezesion. This building, with innovative language almost unique at national level, is the most complete example of secessionist architecture in Valencia. This trend reached Spain through the “International Congress of Architects” in Madrid (1904) with the assistance of Otto Wagner, and various publications on the Exhibition of the Sezesión (1900) in which Mackintosh intervened or on the International Exhibition of Modern Decorative Arts in Turin (1902) with works by Behrens and D’Aronco.
The influence of these authors is evident in the composition of Casa Ferrer. It was a family development of eight homes commissioned by his father, who presented as a typological novelty the grouping in only one of the courtyards and the location of the bathrooms in the corners of the corner. The language was not limited to the exterior as in most Valencian buildings of the time, incorporating itself into a lobby, staircase and houses. The façade is organized in three cloths with their own symmetrical compositional scheme, which are independent of each other and from the adjacent buildings with narrow sunken bodies.
In the center of the city, very close to the Literary University , is this Palace, which is currently the Bank of Urquijo. It was built in the mid-eighteenth century by Vicente Fernández de Córdoba and María Teresa Ferrer de Próxita y Pinós.
On an irregular plot stands this palace with three bays in plan leaving a patio in the background. It has a façade on Pintor Sorolla street through which you access a vestibule in which a low arch develops that leads to the imperial staircase, with a rectangular box, which leads to the different floors. This staircase is developed with counterprint of tiles, mahogany wood handrails on wrought iron balustrade, covered by a barrel vault with lunettes in which windows open. In the vault there is a painting inside an oval depicting Our Lady of the Pillar.
The representative rooms are located on the main floor and are connected to each other through high carved wooden doors, with frames on the walls with rockery decoration. The façade is divided into a semi-basement, ground floor, main floor and high floor on which there is a cornice that leads to the finish of the building with a central balustrade with pitchers and two towers of mixed profile on the sides. On a stone plinth open the mixed openings of the mezzanine. On the ground floor there are rectangular openings overlooking each other, as on the rest of the upper floors, with wrought iron balcony. On the main floor the openings follow the same scheme but the balconies present a greater development since they are curved and more excellent in the façade line. These balconies are also made of wrought iron and in their lower part they have turnstiles decorated with plant motifs that support the ground floor. The upper floor has curved balconies but smaller in size.
In an irregular plot of 16,000 m2 several buildings are implanted that leave a whole series of open spaces articulating the whole. In the corner formed by the streets Gaspar Aguilar and Beat Nicolás Factor, is located the primitive conventual nucleus, formed by the church and the rooms organized around a cloister. On the northwest side there is a linear block of two heights that houses a health center. In an orthogonal arrangement to this, in isolation and next to the southern end, there is another linear block that currently houses the archive of the provincial council.
Old Franciscan convent, founded by Alfonso III the Magnanimous around 1428.
The church has a Latin cross plan with a straight head and barrel vault with lunettes over the nave, while the side chapels are covered with blown vaults. In the transept, dome on shells. Inside, the frescoes decorating the exedra of the tabernacle, the work of Vicente López, stand out, representing passages from the life of Blessed Nicolás Factor, whose sepulchral chapel was in this church.
Following the confiscation, the convent was converted into a spinning factory and later acquired by the Provincial Council and used as a Provincial Asylum . Once the Asylum has been moved, the building is used for administrative purposes by the Provincial Council (Provincial Council Archive), the Department of Health (Health Centre), the City Council (Municipal Board) and the Generalitat (Primary Care Centre).
It was at the Regional Exhibition of 1909 “Palace of Industry”, thus obtaining the habilitation for this purpose of the building of the Tobacco Factory, which was about to be inaugurated, in exchange for the construction of the Lactation Asylum for the children of cigarettes. It was built according to the project of the architect Celestino Aranguren and the engineers Federico García and Mauro Serret, being the director of the works Ramón Lucini Callejo.
Built to endure over time, its serious and severe style contrasted with the ephemeral and pompous character of the rest of the scarlet openings with almost no decoration, whose rectangular floor plan is inspired by the Monastery of El Escorial.
