Monday, December 12, 2011

Citizens Cleaning Certify that Barcelona can be Improved (News Story)


La Vanguardia ask the people of Barcelona in a poll if they thought the city was dirty.  The people responded unanimously "yes."  They think the municipal cleaning system in Barcelona is not working well.  The article stated that the mayor is committed to, without spending a single penny more, improving the system that is currently being used to keep the city clean.  He plans on revealing a set of proposed improvements to the sanitation companies that the city of Barcelona has a contract with until 2017.[1]
Barcelona is one of the densest European cities, which makes it more complicated to clean.  In order for the city to look its cleanest, civilians must play their part as well.  The first step in this would be not littering.  But they must go further than that and clean the areas they are responsible for.  Cleaning of sidewalks is not only a recommendation, it is an obligation in Barcelona.  There are laws currently in place that say owners of buildings, lots, shops, courtyards etc. are responsible for cleaning the sidewalk and withdrawal of garbage.  This law largely goes unenforced.  Some people choose to play their part, though it is not usual.1
Personally, coming from New York City, I think Barcelona is a clean city.  Walking around the city during the daytime you will see sanitation trucks full of water used to clean the sidewalk. Where I am from, the layers of grime on the street and sidewalk is too thick that hosing it down would not make a difference.  I must say though, the one thing that is present in Barcelona, and thankfully not back home, is dog owner’s complete lack of care for wherever their dog goes to the bathroom.  Everyday, my walk to and from school involved stepping over piles of puddles of dog waste.  If the mayor took care of that, the city would smell a lot nicer, that is for sure.


[1] Citizens cleaning certify that Barcelona can be improved. La Vanguardia, 11 October 2011.

Spain banks downgraded by S&P and Fitch (News Story)

Back in October, two of the leading credit rating agencies, S&P and Fitch, downgraded the rating of ten financial institutions. those ten institutions include Santander and BBVA, two of countries largest banks.  Ratings agencies were downgrading banks all over the European Union during the debt crisis.  Spanish banks were targeted in particular this week in October, as the financial environment in Spain is tougher than most companies anticipated.[1]  One of the ratings agencies said Spain’s economy faces dimming growth in the near future.  Meanwhile, the real estate market remains depressed and turbulence in the capital markets is peaking. 
Banks are expected to continue to feel the effects of the imbalances in the Spanish economy for the next 15-18 months.  Rating agency Fitch said, “Spain's high underlying budget deficit and its fragile economic recovery made the country especially vulnerable to external shocks.”1  The greatest external shock being the situation in Greece.  The entire EU was effected by Greece, but apparently Spain in particular.  The economic situation in Spain does not look hopeful.  All over the country, families are feeling the effects, including Barcelona.  The unemployment rate in Spain is a frightening number and actually on the rise.  With the results of the November’s election, hopefully a new government can turn things around in 2012.



[1] Spain banks downgraded by S&P and Fitch. BBC, 11 October 2011.

Palau del Bisbe (Place)

           Palau del Bisbe is located at Carrer del Bisbe, 5.  It is in the Gothic neighborhood within the Ciutat Vella district of Barcelona, Spain.  This residential fortress was built in the late twelfth century to house bishops.  Like most buildings built during that time, it has a typical Romanesque structure.  The walls are thick and built with large cinderblock-like bricks.  In the 16th century, the building went under reformation and now has a slightly Baroque appearance.  Baroque is a style of architecture that looks to dramatically represent the Catholic religion.  A rather baroque statue is located right next door to Palau del Bisbe, which depicts some biblical scene with heavenly angels above them.  The only thing separating Palau del Bisbe and the Cathedral of Santa Eulalia is the thin alleyway-like street that is Carrer del Bisbe. 
The entrance is a wide arch with a very basic design.  Inside the entrance is a large courtyard that receives a large amount of sunlight. In the center of the courtyard is a statue of the Virgin Mary sitting down with baby Jesus on her lap.   Shrubs and four lampposts surround the statue.  On the right hand side of the courtyard are steps leading to the second of what appears to only be three or four levels.  The first and second floors of the three buildings that make the courtyard have wide arches built into them.  The first floor arches are entrances to the buildings.  The second floor arches are stained glass windows. The top level has skinny Romanesque windows.  The building is currently used for church offices.  In the courtyard there are a few parked cars that belong to the people who work there.  It is not open to the public and protected by a security guard.  

Parc Guell (Place)

After considering everything that influenced Antoni Gaudí’s style, its boils down to three main themes that can be found in his best works: nature, Catalan modernism, and religious faith in God.  Antoni Gaudí’s love for nature began in his early childhood and developed into deep appreciation for his native land of the Mediterranean.  Time spent outdoors, particularly during the summer stays in the Gaudí family home, Mas de la Calderera, gave him the opportunity to study nature.[1]  Gaudí developed his nature inspired systems and tools for architecture during the Art Nouveau.  Art Nouveau set the international context for Catalan modernism.  Through new architecture, Catalan modernism attempted to give Catalonia its own individual unique style.  Spearheaded by Antoni Gaudí, Catalan modernism architecture developed into its own nature inspired style.1
Parc Guell, perhaps, displays the three major themes of Antoni Gaudí the best out of all of his works.  Firstly, the way his construction blends in and coexists in harmony with natural is amazing.  Lively palm trees and plants coat every walkway to make one feel like they are in a natural forest.  Underpasses constructed out of stone gives the impression that you are in the pocket of a breaking wave.  Religious themes are clearly present at the two best viewing points from the park.  At the top of the park, a giant stone cross looks out to the Mediterranean.  And from the worlds longest bench, in the foreground of a stunning view of the Barcelona, is a four-armed cross, a common Catholic symbol of Gaudí.  And of course, in Antoni Gaudí’s only town planning project, symbols of Catalan nationalism are present.  At the entrance to the park is Gaudí’s multicolored mosaic dragon fountain.  The dragon, representing the one slayed by St. George of course, has become an iconic symbol for Barcelona, Catalonia, and Gaudí himself.  Nearby is the mosaic serpent fountain, which the Catalan flag is displayed behind, also in mosaic form.


[1] Estevez, A. Geniuses of Art: Gaudí. Madrid: Susaeta, 2006.

Casa Batllo & Casa Mila (Cultural Site)


            It has been suggested that Antoni Gaudi’s early exposure to nature helped to form two of his greatest skills: observation and analysis of nature.  Gaudí studied nature’s angles and curves and incorporated them into his designs.  “Antoni Gaudí pioneered an architecture based on nature’s geometric forms.  Structural and ornamental, they reflect his native region, and ingenuity.”[1]  Gaudí observed the many functionally perfect structures present in nature and applied them to his designs.  For instance, instead of relying on the typical geometric shapes, he mimicked the way trees and humans grow and stand upright.  Perhaps, the most important nature inspired design Antoni Gaudí created is the Catenary system.  He found a rope hanging from two points formed a hyperbolic paraboloid, or parabolic arch.  Gaudí’s clear understanding of the gravity and tensions involved with the parabolic arch, led him to develop this method perfect for building stone architecture however he pleased.  This form is very common in the natural world and ultimately helped Antoni Gaudí stray away from historicism and develop a new relationship with the natural world as a source of inspiration.[2] 
At Casa Battlo, Gaudí showcases his comprehension of the human body and its natural function.  The entire façade looks as if it is covered with bones, skulls, shoulder blades, hipbones, shinbones and fibulas.  The bones also suggest the common Catalan theme, St. George slaying the dragon.  Casa Mila, is fantastic in incorporating nature.  The entire façade flows like water; wavy but not once breaking continuity.  Casa Mila’s attic is a stunning example of Antoni Gaudí’s use of parabolic arches.  And the roof, which is emblazoned with intricate statues that remind one of nature, takes the shape of the attic it rests on.  Walking up and down the steps that follow the parabolic arches makes one feel like they are on top of a hilly mountain.



[1] Design by nature. National Geographic, 2010, 218, 6.

[2] Enrich, Llorach. Gaudi summary notes. Barcelona: Architecture & Painting in Barcelona, 2011.

La Sagrada Familia (Place)

If Antoni Gaudí had not been commissioned for his life’s work, Basilica y Templo Expiatorio de la Sagrada Familia, his fame would only be a fraction of what it is.  It is his masterpiece vision and partial completion of a Catholic church that brings millions, instead of thousands, of tourists and sightseers to Barcelona every year to admire his works.  Gaudí took over work on la Sagrada Familia in 1883, revising the original architect’s plans from scratch But it was the last 20 years of his life, beginning in 1906, characterized by daily confession and mass, when his spiritual life and masterpiece began to merge.  From then on, “he devoted himself single-mindedly to the ‘expiatory temple,’ knowing it would take generations after his death to make good his epic vision.”[1]  Antoni Gaudí respected creation as the manifestation of God’s will.  Gaudí found God in the very technique he used to create la Sagrada Familia, the Catenary system.  The two points and curved line that create the parabolic arch are symbolic to Gaudí.  In those two points, “Gaudí saw the Father and the Son, each unique and infinite, with the cord of the Holy Spirit binding them together.”[1]   Antoni Gaudí, apart from his faith is incomprehensible.
The complete design of the eighteen towers, representing the Twelve Apostles, the Four Evangalists, The Virgin Mary and Jesus Christ, and the facades do an astonishing job of putting the Catholic religion on display to the outside world. It is important, however, to also focus on the nature theme hugely present at la Sagrada Familia.  The inside of the Basilica makes one feel like they are in a forest.  Gaudí has created this feeling using the shapes he found in nature.  Such as the columns, which at their crown break off into what look like branches.  Gaudí incorporates passion fruit tendrils along the walls of his Nativity façade.  And the tops of the towers, they are modeled after blades of grass that grew in and around Barcelona, and crystals.[2]  “When you pray in the Sagrada Familia, you will be enveloped by structural forms that are closer to God’s design than are those of any other church.”1  And that was exactly how Gaudí intended it to be.  Pope John Paul II endorsed Antoni Gaudi’s nomination for sainthood in 2000. And in 2010, Pope Benedict XVI consecrated la Sagrada Familia.[1]  The Basilica is scheduled to finish construction by 2026.

Port de Barcelona


The English physicist Sir Isaac Newton stated in his third law of motion that for every action there is an opposite and equal reaction.  This has proved to be true not only in the physics realm, but true to the choices encountered throughout life.  Consequences are inevitable when making decisions, whether they are beneficial or detrimental.  When applying this “law” to Barcelona’s harbor you can view how society’s decisions have shaped the way the city has interacted with the sea as well as initiated urban changes within itself in order to improve the aesthetics of the city.  Looking back throughout Barcelona’s history the harbor has played a significant role in connecting the coastal city to the rest of the world.  During the Late Middle Ages Barcelona was the vessel between two medieval worlds: Islam in the south and Christianity in the north.  Because of its location between the two worlds Barcelona rapidly grew as the trading point between the them, and soon became the greatest maritime power of the Mediterranean.  But Barcelona gained this worthy title despite not having a port to house sea vessels.  Because of this lack of a port the ships that anchored in the city were greatly exposed to storms that destroyed ships right off the city’s coast.  These storms not only sunk ships but also inhibited the city’s ability to build a harbor to provide shelter and facilitate the loading and unloading of cargo supplies because of the large amounts of sand and sediment that were deposited damaged any work that was in progress and/or completed (Port de Barcelona).
The first successful work on the harbor began in 1477 and the plan was to extend a dock reaching the Maians Islands 100 meters off the coast.  In order to create this dock, large amounts of sand were deposited on the beach to the southeast of the Ciutadella.  This helped create Barceloneta, a seafront neighborhood for the refugees of the Ribera neighborhood.  Another problem the harbor encountered was the shallow depth it held which ultimately caused ships to become stuck.  In order to fix this problem, work commenced in 1816 to extend the breakwater so ships could remain afloat.  One of the most important consequences of the harbor project was the creation of the Port of Barcelona Board of Public Works in 1869.  A year previous Barcelona authorities requested permission from the Development Ministry to create this board in order to decentralize the power.  The board remained active until 1978, almost a century after it was created.  Under the Board of Public Works the problems with sand and storms was finally settled due to the construction of the first “transversal dock” in 1882.  This dock later housed the Jaume I cable car, which was built for the 1929 Universal Exhibition (Port de Barcelona).
After years of repression under Franco, Barcelona was ready to reinvent itself in the post-Franco era.  In the midst of a deep economic crisis in 1980, the movement to transform Barcelona into a modern city was in motion.  When Barcelona won the bid to host the 1992 Summer Olympics, it put this movement into full swing.  Barcelona is now seen as an international success story for transforming itself from a “grey” industrial city to a sprawling metropolis sought out by tourists from all over the world (Marshall).  It is important to note how quickly Barcelona was able to complete its metamorphosis and market itself as a reinvented city, all in just over one decade.  A main priority of the city planners and developers was to open the city to the sea.  This required a full-scale operation on the sea front.  For this, Barcelona had a huge amount of industrial space with great potential for urban renewal (Marshall).
Capitalizing on the 1992 Olympic Games, Barcelona drastically transformed its harbor.  One of the main ideas for change in this area was to open up the seafront and make it accessible (Nel-lo).  In order to open the Port up to the city, the area’s infrastructure had to be altered.  The restructuring of the railway system, some place underground, and the sewage system removed barriers to coastal access (Essex).  Also, a new highway system was built underground (Nel-lo).  This highway system allows for high traffic flows without hindering access to the coastline.  A pedestrian bridge, Rambla de Mar, now spans across a section of the sea to an area filled with several new coastal activities.  The restructuring of the transportation systems removed the physical barriers that previously prevented the coastline to be developed for public use.
The opening of the coastline to public access allowed for additional development along the harbor.  The Olympic Harbor was constructed in the freed space.  It has a capacity for 700 boats in the water and 300 on the shore (Nel-lo).  A large portion of the Olympic Harbor was built for public spaces, such as: bars, restaurants, and shops.  A 30 meter wide seafront promenade was built (Nel-lo).  The promenade houses restaurants and commercial spaces.  The rundown beaches were rehabilitated, adding 18 Ha of beaches with piers protecting the sand from being washed away by the currents (Nel-lo).  Across the Rambla de Mar, coastal activities were located to draw tourists and locals.  A shopping mall, aquarium, and I-Max theater are the main attractions placed across the bridge.  New hotels, office, and commercial spaces were also opened up with the construction of two 100 meter high towers (Nel-lo).
The 1992 Olympic Games were the catalyst that sparked the greatest change to the city’s harbor.  Since the 1960s, Olympic Games have been used to trigger large-scale urban improvement (Essex).  The city needed to be cleaned up and rejuvenated prior to the games.  The main objectives of the rejuvenation were: to open the port to the city, to introduce the recreation and leisure activities, and reutilizing the port area, which could house more activities in accordance with its present needs without compromising the harbor character (Wang).  Prior to the Games the beaches of Barcelona were littered with empty warehouses, industrial sites, old fish markets, army barracks, a women’s jail, and in general the beaches were dumping grounds for household rubbish and industrial waste (Oriol Nel-lo).  Consequently the redevelopment of Port Vell has changed many people’s perceptions of the waterfront.  Facilitated public access has allowed people to enjoy the new urban frontier and reshaped the harbor.  Not only did Barcelona consider the technical issues coupled with the renovation, but the aesthetic ones as well when it designed the Rambla de Mar; a pedestrian walkway sprouting from the shore and extends into the water (Wang).  It is necessary to recognize that neither the old beaches nor the local district of Barceloneta had the minimum urban infrastructure required to classify them as safe public areas.  Rather, they were marginal urban spaces, deprived of social and economic investment, despite their lively, popular image.  Today, walking through the public areas of the new seafront and Port Vell one can see proof of the popularity of these newly created urban environments in the increasing numbers of children, and of young and retired people using them.  These places are symbolically justified as collective spaces where individuals co-exist despite their social, sexual, ethical, and political differences (Sanchez).

Essex, Stephen: Olympic Games: catalyst of urban change. Devon, UK: University of Plymoth, 1998. 12-14.

Marshall, Tim: Transforming Barcelona. London, UK: Routledge, 2004.

Nel·lo, Oriol: The Olympic Games as a tool for urban renewal: the experience of Barcelona’92 Olympic Village. Barcelona: Centre d’Estudis Olímpics UAB, 1997.

Sanchez, Antonio: Postmodern Spain: A Cultural Analysis of 1980s-1990s Spanish Culture. Switzerland: Peter Lang, 2007.

Wang, Chunsong: Waterfront Regeneration. Cardiff, UK: Cardiff University, 2008.