These houses present a very peculiar style, which could be defined as a free and original interpretation of modernism created by the working class. Since the late nineteenth century, the attraction of citizens for sea holidays, the increase in maritime trade and the greater demand for fish as the city grows, intensifies the links between the Maritime Villages and Valencia.
The simple huts (hence the name of the area), many with the typical forms of “huts”, are becoming single-family houses, with a narrow façade and a lot of depth, usually with a ground floor and a first floor and with a central patio to store fishing utensils.
The origin of the Botanical Garden of Valencia goes back to an orchard of the sixteenth century dedicated to the teaching of botany or vegetable garden of simples (orchard of medicinal plants), although its original location is not really known.
In the eighteenth century, under the influence of the Enlightenment and new scientific advances, a new garden was installed in the orchard of Tramoyeres, in the area outside the walls of Calle Quart, near the Turia river.
The garden boomed throughout the nineteenth century, under the direction of Professor of Botany Félix Pizcueta, who improved the collections and innovated with the acclimatization of exotic plants original to America, in addition to building a wooden greenhouse, a shade house and several stoves.
Gothic-inspired building built by José Camaña from 1882 at the request of the Marquis of Campo. The main façade – facing Carrer de la Corona and giving access to the church – features a pointed arch and a large balcony over the doorway, as well as the profusion of flamboyant details in arches and cornices. It is the transposition of the Gothic formal language to the iron architecture of the late nineteenth century, with a somewhat naïve result, but very much to the taste of the time.
In the second half of the nineteenth century, different welfare institutions promoted by prominent figures of the local bourgeoisie saw the light. This one of the Marqués de Campo was conceived as an asylum for children, and was located in what was an active industrial district with numerous workers’ housing. It is currently home to the Catholic University.
On January 12, 1937, the first bombing of the Civil War took place on Valencia. Between that date and April 1, 1939, when the war ended, our city suffered more than 400 bombings. Many of these attacks were carried out by Italian aviation and navy, an ally of the national side. A total of 800 people were killed during these raids, around 3,000 wounded and more than 900 buildings destroyed in just over two years.
The Molí del Tell is a flour mill of the seventeenth century located in the neighborhood of San Marcelino of Valencia, next to the Parque de la Rambleta, rehabilitated by the City Council of Valencia and currently dedicated to cultural and educational purposes.
The mill should not be considered as an isolated element within a physical space, but is another element within the culture of the orchard. The knowledge of the environment, the mill, the irrigation systems and the adjacent buildings provides a global knowledge of the Valencian orchards and the traditional ways of life associated with it.
The Monforte Garden is a neoclassical garden located in the Plaza de la Legión Española in Valencia. Without a doubt, one of the most attractive gardens in the city, of great aesthetic and naturalistic value, which is ideal for a relaxing walk or simply to rest under its trees.
It has an area of More than 12,000 square meters in which you can enjoy the beauty of its marble statues of Italian origin, its beautiful ponds, the largest of them shaped like a water lily flower; pitxers, large specimens of magnolios, laurels and ginkgos, ornamental fountains, centuries-old trees, trimmed hedges and flower areas.
One of the two gates in the late medieval wall that Valencia preserves, in addition to the Torres de Quart, is that of the Torres de los Serranos.
They were built in the fourteenth century by the master Pere Balaguer, between 1392 and 1398, as a symbol for a city that lived a time of splendor and commercial expansion.
The Pont de Sant Josep is located over the old bed of the Turia, today known as the Turia Garden, between the bridges of Arts and Serranos, in the westernmost area of this bed. This historic bridge was built to connect the neighborhoods of Saïdia and Marxalenes with the city center.
Its origins as a wooden walkway date back to 1383. After suffering the consequences of several floods, it was rebuilt in stone in the early years of the seventeenth century. It was then when it was given its baroque appearance and new materials, stalls and thirteen segmental arches were incorporated.
It takes its name from the Convent of Sant Josep and Santa Teresa, and from the old Portal de Sant Josep, which was demolished in 1868 when the accesses to the city were widened, both located opposite at the time of its construction.
On its two cutters were two sculptures, of San Luis Bertrán and San Tomás de Villanueva, made by the Italian Jacobo Antonio Ponzanelli in 1693. Centuries later, in 1942 these sculptures were taken to the Trinity Bridge after passing through the Museum of Fine Arts of the city.
Today you can see a sculpture of Saint Joseph, the work of the author Octavio Vicent.
It has undergone several reforms and rehabilitations throughout the twentieth and twenty-first centuries, the most outstanding in 1906. Today it has been pedestrianized, to comply with the conditions indicated in the Catalogue of Protected Assets and Spaces of the city. Declared Good of Local Relevance.
The Trinidad Monastery is located on the street of the same name in Valencia, next to the beginning of Calle Alboraia. It is located on the left bank of the old Turia riverbed, outside the walls of the old city.
It is a perfect example of Mediterranean Gothic architecture, with subsequent Baroque interventions. A building founded in the thirteenth century as a monastery and hospital, which was inhabited since 1444 by Poor Clare nuns. Maria of Castile, Queen of Aragon, wife of Alfonso V the Magnanimous, who had been educated by this order, wanted to have a place of retreat next to the city. For this reason he made numerous donations to this monastery and was granted different privileges.
Two important Valencian literary personalities linked to this convent were Sister Isabel de Villena, its first abbess, considered the first known writer in Valencian; and Jaume Roig, another great figure of letters in the Valencian Golden Age, who was a doctor in this community. The building houses manuscripts of both writers.
Attention is drawn to the façade of the church, an excellent example of flamboyant Gothic built with stalls and tapial. The main door, which has an arch flanked by pinnacles, is from the fifteenth century. Its decoration refers to the doors of the Lonja. In the tympanum of the cover we find a magnificent Renaissance tondo, a replica made in Italy of the original made in baked clay that is in the National Museum of Ceramics González Martí.
The Palace of the Marquis of Campo is located in the Plaza del Arqueobispo. Old Palace of the Duke and Duchess of Villahermosa; also known as Palace of the Counts of Berbedel, having been its last owners at the end of the nineteenth century. It was built in the seventeenth century, although few original elements have been preserved.
In Plaza Tetuán it is possible to find the Captaincy of Valencia, a building that has exercised over the years both religious and political functions, until becoming one of the most emblematic monuments of the city.
The streets of Valencia Jesús, Albacete, Marvá and Maluquer, share a block of houses that is historically known as Finca Roja. This designation is easy to understand in the first impression of the building, due to its generous use of red tiles on the exterior and interior facades.
This work was built by the architect Enrique Viedma Vidal. It was built in 1929 with the purpose of being a self-sufficient cell of economic houses, a space in which the owners of the houses could obtain practically everything they needed, thanks to the services present in the interior ground floors.
This model of housing aimed at the middle class was easily spreading at that time to several Central European cities. Although in Spain it represented in the social sphere a timid step towards rationalism.
The houses are distributed in relation to different staircases, with access to four units per floor. Of these four, two face the interior of the courtyard.
