Barcelona

En ningún documento de la Edad Media encontramos referencia alguna sobre una supuesta confederación Catalano Aragonesa, ni a “Reyes de Cataluña-Aragón”, ni a “Condes-Reyes”.
Se trata de una construcción historiográfica de finales del siglo XIX que debe su origen a Antonio Bofarull (1821/1892). Historiador y poeta catalán que publicó en 1872 un libro de aire romántico con el título “Confederación Catalano Aragonesa”, en el que confería al Condado de Barcelona el mismo estatuto que al Reino de Aragón.

Resum: L’article revisa els ensenyaments que, a parer de l’autor, poden derivar-se del procés d’elaboració i aprovació del Pla Territorial Metropolità de Barcelona, aprovat pel Govern de la Generalitat de Catalunya l’any 2010. El treball es divideix en tres apartat: en el primer, s’ofereix una panoràmica dels reiterats intents fallits de dotar d’un sistema de govern el territori de la regió metropolitana de Barcelona d’ençà de mitjans del segle XX; el segon apartat s’indica com, en aquest context, l’aprovació del PTMB, acordada entre els ens locals de l’àmbit i el Govern de la Generalitat constitueix una notable excepció; finalment, en el tercer apartat es desgranen deu ensenyaments que, pel govern del territori es deriven del procés d’elaboració, tramitació, aprovació i vigència del Pla.

Ochocientas casitas unifamiliares de planta baja en la orilla del río Besós, cada una de un color diferente, comprimidas entre una zona industrial semiabandonada y la nueva Barcelona del AVE y del Fòrum. En este lugar de márgen, desconocido y estigmatizado, grupos de migrantes y autóctonos lucharon juntos para crear un paisaje humano excepcionalmente denso y rebelde: un barrio anticlerical y anarcosindicalista, en el cual la resistencia duró ochenta años, donde buscaron amparo Buenaventura Durruti, Quico Sabater y un sinfin de excluidos e indeseados de todos los sitios y de todas las épocas.

Mientras las excavadoras del Ayuntamiento de Barcelona avanzan en el derribo de esta ciudad horizontal, un grupo de habitantes retoma la histórica tradición de lucha del barrio para oponerse al nuevo urbanismo de bloques de pisos, reivindicando la importancia de sus calles, de sus estilos de vida, y de la convivencialidad que permitía la forma urbana de qué se habían apropiado.

Este trabajo es el resultado de una implicación a la vez etnográfica, política y humana con el barrio de Bon Pastor durante los años del derribo (2002-2012), para desvelar la profundidad del trauma que representa la desaparición progresiva de un barrio, con sus memorias de autogestión y autonomía, con su vida cotidiana basada en la proximidad, con sus fiestas que servían para resolver conflictos, y de sus conflictos que creaban comunidad.

In ‘¿Género ínfimo?: el cuplé y la cupletista como desafío’, Pepa Anastasio focuses on the relation of women to the production of both popular and mass culture by looking to the female singers of the cuple´, in order to understand the role of this increasingly commercialized musical form as one means for women to enter the public sphere. Studying the lives of the cuple´ performers, their location in the music halls of Spain’s main urban areas, and normative practices in music and literature, Anastasio argues for a complex reading of popular song as a subversive practice that because, not in spite, of its supposedly frivolous character and apparent compliance with a male entertainment system, offered women a vehicle for economic and artistic self-empowerment. Paying special attention to the performance of cuple´ in Barcelona in the early twentieth century, Anastasio addresses the way in which this gendered form of communication not only countered normative sexual expectations, but also established notions of what type of cultural manifestations should be representative of the nation (in this case Catalonia).

Les Modificacions puntuals (mPGM) han sigut al llarg de més de trenta cinc anys el canal d’expressió i encaix de totes les noves polítiques urbanes que s’han fet en funció de les agendes polítiques que anaven apareixent a l’escena metropolitana. Les mPGM han sigut l’instrument que les ha fet possibles malgrat fossin no previstes o de vegades fins i tot contradictòries amb l’establert el 1976. El document s’organitza en dues parts principals. En la primera s’agrupen les anàlisi de les mPGM en relació a la classificació del sòl en el conjunt de l’àmbit metropolità per tal de reconèixer l’abast espacial de les transformacions, tan pel que fa a la producció de sòl urbà com a la transformació interna del sòl que ja ho era; es tracta de mesurar les dimensions del fenomen. En la segona part es formula una hipòtesi territorial sobre la base d’observar contextualitzades les mPGM com fenòmens en una doble vessant, topològica i seqüencial; es tracta de dibuixar escenaris d’interpretació detallada i sintètica de l’espai metropolità. En la introducció/ encaix es proposa una aproximació agregada a les mPGM la qual podria ser també la primera de les conclusions del treball: de l’ordre radial al mosaic saturat.

2η Εργασία για τη Θεματική Ενότητα ΔΤΕ 51 το 2015-16.
Στόχος της εργασίας είναι η αναφέρει τις επιπτώσεις της Τουριστικής Ανάπτυξης σε ένα τόπο, όπως διαμορφώνονται με τα στάδια Τουριστικής Ανάπτυξης και τους φορείς που συντελούν σε αυτό.
Ετσι στο πρώτο κεφάλαιο αναφέρονται οι επιπτώσεις της τουριστικής ανάπτυξης και πως διαμορφώνονται τα στάδια αυτής έχοντας για παράδειγμα την περίπτωση της Κρήτης. Στο δεύτερο κεφάλαιο αναφέρονται αναλυτικά οι φορείς που συντελούν στην ανάπτυξη αυτής και στο τρίτο κεφάλαιο αναφέρεται η περίπτωση της Βαρκελώνης, σε ποιο στάδιο βρίσκεται και τι σημαίνει αυτό.

« Une idée, une cité et l’humanité » telle est la devise du B.I.E. (Bureau International des Expositions). Pour cette année 2002, Master villes : territoires et territorialités, j’ai décidé de consacrer mon travail sur les Expositions Universelles et Internationales – grands projets d’aménagement de l’espace. Une année de master recherche se veut un exercice d’approfondissement pour l’étudiant dans le domaine de la recherche. Le diplôme d’étude approfondie doit permettre à l’étudiant d’appréhender un sujet d’ordre général à partir d’une problématique générale, pour enfin ouvrir sur une question plus précise (une hypothèse de recherche, des hypothèses, une typologie, des solutions ou éclaircissements nouveaux). Pour ma part, j’ai décidé de commencer mes recherches sur les Expositions en tant qu’objet d’étude géographique et leurs impacts sur l’urbanisme, à partir d’une question basée sur le développement durable de la ville : « Les Expositions Universelles ou Internationales ont-elles un effet durable ou éphémère sur l’aménagement et la planification d’un territoire ou d’une cité ? ». Nous verrons tout au long du développement que rien n’est moins sûr concernant la ou les répercussions des effets négatifs ou positifs de ces manifestations géantes ; mais qu’au contraire leurs dimensions culturelles, sociétales et géographiques sont prépondérantes dans le choix de leurs organisations. On s’apercevra au fil du mémoire que la cette question et cette pratique sont en plein renouvellement du fait de la mondialisation et ses effets, mais aussi du processus de métropolisation et ses conséquences sur la dotation en infrastructures majeures pour les villes mondiales.
Pour ouvrir mes propos, dans ma troisième partie, j’élabore une hypothèse de recherche sur la ville de Barcelone par rapport à la problématique de départ. Je préciserai ma recherche sur la capitale catalane à travers ses nombreux méga-événements. À ce titre, pour rentrer directement dans le sujet, j’ai associé à cette introduction, deux articles et deux commentaires permettant de mieux cerner et de comprendre la teneur de mon mémoire. Le premier article est un reportage de Nelly Wenger qui propose une lecture originale des effets durables de l’éphémère de l’Exposition Nationale suisse de 2002, le second est un article de Christophe Dechenay qui propose un commentaire sur la tenue possible de l’Exposition internationale en 2004 dans la banlieue parisienne1. L’analyse des ces deux propos nous montrent deux stratégies différentes, deux points de vue à prendre en compte pour ces projets reflétant une société et une grande métropole généralement. …

Universal and international Exhibitions (World’s fair), an
object of geographical and town planning study (Preliminary Case Study Barcelona)

Introduction "An idea, a city and humanity" is the motto of B.I.E. (International Office of Exhibitions). For this year, 2002, Master cities: territories and territoriality, I decided to dedicate my work on the World and International Exhibitions (world’s fair) - major development projects in space. A year of research master wants an up Exercises for the student in the field of research. The comprehensive study degree must enable students to grasp a general nature about from a general problem, to finally open on a more specific question (a research hypothesis, assumptions, and a typology of new solutions or explanations). For my part, I decided to start my research on shows as an object of geographical study and their impact on urban planning, from a question based on the sustainable development of the city: world’s fairs do they have sustainable or ephemeral impact on the development and planning of a city? We will see throughout the development as nothing is less sure about the impact or the negative or positive effects of these giant events; but to make their cultural, societal and geographical dimensions are paramount in the choice of their organizations. It will be seen over memory than this and this practice is in full renewal due to globalization and its effects, but also the metropolisation process and its impact on major infrastructure endowment for the world's cities.
To open my remarks, in my third part, I develop a research hypothesis on Barcelona city compared to the initial problem. I will describe my research on the Catalan capital through its many mega-events. As such, to enter directly into the subject, I have associated with this introduction, two articles and two reviews to better identify and understand the content of my memory. The first item is a report by Nelly Wenger, which offers an original reading of the lasting effects of ephemeral of the Swiss National Exhibition in 2002; the second is an article by Christophe Dechenay offering a comment about the possible holding of the exhibition international in 2004 in the Paris suburbs (1). The analysis of these two comments shows us two views to be considered for these projects reflect a society and generally a great metropolis.

BALLESTER Patrice, (2002), Les Expositions universelles et internationales comme objet d’étude géographique et urbanistique (étude préliminaire sur Barcelone), mémoire de master 2 recherche (titre de), Université de Toulouse Le –Mirail, 174 p.

La huella de un probable anfiteatro romano se ha localizado fosilizada en la trama urbana de la Ciutat Vella de Barcelona. Se exponen su posición, metrología, antecedentes, entorno físico e histórico y se reinterpretan las últimas intervenciones arqueológicas que apoyarían esta hipótesis. La posible existencia de unas «arenas» en Barcelona permite también una nueva lectura de topónimos, documentos y tradiciones relacionadas con la iglesia martirial de Santa Eulàlia y con la domus Sanctae Mariae Virginis, donde está documentada la tumba de esta santa en el siglo ix.

Resumen: La aprobación, en abril de 2010, del Plan Territorial Metropolitano de Barcelona (PTMB) constituye una destacada novedad en el panorama de la planificación y gestión del territorio en España. En efecto, pese a la profundización de las dinámicas metropolitanas, las grandes ciudades españolas no han conocido en los últimos años un avance significativo del planeamiento supramunicipal. En este contexto, el PTMB, que viene a cerrar más de 50 años de polémicas e intentos fallidos, presenta algunos aspectos de especial interés disciplinar y ciudadano. El artículo analiza el documento, haciendo especial hincapié en las cuestiones de carácter metodológico, técnico y de procedimiento administrativo. Así, el trabajo se divide en tres apartados: en el primero se analiza la naturaleza jurídica del plan; en el segundo se expone su proceso de elaboración, tramitación y aprobación; finalmente, el tercer apartado entra a presentar los contenidos del plan en referencia a los espacios abiertos, los asentamientos urbanos y las infraestructuras. Unas breves conclusiones cierran el artículo. Palabras clave: Barcelona, dinámicas metropolitanas, planificación territorial. Coping with Metropolitan Dynamics. The Metropolitan Plan of Barcelona (Abstract) The adoption in April 2010 of the Barcelona Metropolitan Plan (PTMB) is a remarkable novelty in the panorama of spatial planning and urban policies in Spain. Indeed, despite the deepening of the metropolitan dynamics, the large Spanish cities have not known in recent years a significant advance in metropolitan planning. In this context, the PTMB, that comes to close more than 50 years of controversy and failed attempts, presents some aspects of remarkable interest from both academic and policy perspectives. The article analyzes the document, with special emphasis on methodological issues, technical aspects

The paper explores the economics and politics of megaproject failure in Spain. Taking Barcelona's high-speed station as a case study, it demonstrates that, rather than a victim of austerity policies, this project was much more the hostage of a struggle between national, regional and city scales, representations and policy narratives. After introducing the debate on the promise and disillusionment around high-speed stations, the discussion highlights three stages in the project timeline. It shows the station's unstable position in high-speed network planning from the early 90s to the 2000s. It describes the competing geostrategic perspectives between Madrid and Catalonia that halted the project during the 2008-2014 crisis. And it recounts how, since 2015, local stakeholders have reaffirmed their commitment to the completion of the station, but have failed to integrate it with new trends and processes of urban renovation.

Léon JAUSSELY, « La Barcelona d'en Jaussely", Il·lustració Catalana, número extraordinari de l'1.er de gener de 1911, revista setmanal ilustrada, Any IX, n°395.

Proposition aux Barcelonais par un encart de presse du prochain projet d'extension de la capitale catalane et de mise en réseau de tous les éléments urbanistiques de l'ensanche, afin de donner plus de légitimité aux acteurs du moment.

Ceci à la suite du rapport de présentation du projet de mise en réseau de la zone de l'ensanche de Barcelone, concours gagné par Léon Jaussely en 1905. Le projet ne sera pas complètement réalisé et surtout servira de base pour le plan de réorganisation de la ville en 1914, un nouveau plan dit "de liaisons" ou "de mise en réseau" reposant largement sur celui de Jaussely. Par la suite, le concours, le plan de Jaussely et son ancrage dans les mémoires des planificateurs suivants deviennent un élément très important de la culture urbanistique mondiale. Jaussely conçoit un plan général pour une ville en extension avec des aménités importantes. Ce document rentre dans l'histoire mondiale de l'urbanisme, du City Beautiful Movement et de l’embellissement des villes.

Presentation report of the project to network the ensanche area of Barcelona, competition won by Léon Jaussely in 1905. The project will not be completely realized and above all will serve as the basis for the plan of reorganization of the city in 1914, a new plan known as links or networking based largely on that of Jaussely. Subsequently, the competition, Jaussely's plan and its anchoring in the memories of the following planners became a very important element of the world urban planning culture. Jaussely is devising a general plan for an expanding city with significant amenities. This document goes into the world history of town planning, the City Beautiful Movement and the beautification of cities.

Pour aller plus loin:
Francesc Roca Rosell, Polıtica urbana i pensament economic, Barcelona, 1901-1939, Thèse de doctorat, Universitat de Barcelona, 1977

Inicis de la Urbanistica, Mostra del fons municipals e plans I projectes d’urbanisme, 1750-1930, Barcelona, Ajuntament de Barcelona, 1985

García Espuche, A. y Guàrdia Bassols, M.: Espai i societat a la Barcelona pre-industrial. Editorial La Magrana, Barcelona, 1986.

Manuel de Torres Capell, El Planejament urba i la crisi de 1917 a Barcelona. Barcelona, Editions de la Universitat Politecnica de Catalunya, 1987

Manuel de Torres Capell, « Barcelona : planning problems and practices in the Jaussely era, 1900-30», Planning Perspectives, 7, 1992, p. 211-233.

Guàrdia-Bassols, M.G., Monclús, F.J. y Oyón, J.L. (dir.): Atlas histórico de ciudades europeas, vol. II, Francia CCCB - Salvat - Hachette, Barcelona, 1996.

Melancholic, suffering, lost in a state far from reason and commanded by the inconsistent emotions of love, the composer of the courtly love lyric offers the listener an image of love’s capacity to overpower through intense sensation.  The courtly milieu of the twelfth century revered its access to this world of emotions through the  musical performance of its jongleurs and troubadours.  In the fourteenth century the song enters the city streets.  It is first six bourgeois and one damoiseau of Toulouse and then two poets and a King in Barcelona that seek to encourage singing emotions in the city with a contest.  The call to compose is announced in 1323 by the Consistori de la subregaya companhia del Gai Saber of Toulouse and in 1393 by the Consistori de la Gaya Ciència in Barcelona.

            When in Toulouse seven lovers of lyric send out a letter to all the poets who might compete in the jocs florals, the realm of love lyric shifts space from the court to the city.  The literature of fin’ amor had already waned throughout the courts of southern France.  Why were men from the city seeking to revive an art that had flourished and waned in a courtly setting?  The culture of the city cannot allow a simple transplantation into its soil of this courtly product.  The implications of such a desire are great; the maneuvering of such a feat telling.  Our work examines the transformations that were necessary in the move from twelfth-century courtly society to the urban environment of the fourteenth century.  In particular, we concentrate on the role of emotions and composition in the production of a text as they were understood first by the troubadours and then the Consistori.

The notions of power and powerlessness will serve to illustrate in what way shifts occur in the conceptualization of literary production as this production moves from one milieu to another.  The intense emotional content of the poetry produced in troubadour lyric was the literature’s defining feature from early on.  Bernart de Ventadorn claims himself to be the best of the poets for his songs come from his heart-- that is they are the product of the varied and powerful emotions Love and his domna impose on him.  Jeanroy allowed the implications of the poet’s claim to stand when he stated that Bernard’s work was great because it was “sincere.”  It is Love’s power that determines the quality of a work.  The reward the poet seeks is a display of emotion from his domna.  The notions at work here could not be more different from those proposed by the Consistori.

The Consistori of Toulouse and that of Barcelona are born of concerns foreign to those that produced the love lyric of the first troubadours.  Guilhem Molinier in the Leys d’amors says the “gay science” not only instructs one to write well, but also teaches the ignorant and restrains the mad or foolish lover.  It also allows one to live in joy and happiness and to escape ennui and sadness.  The focus is on the effects of the finished product; the emotions are found in a work’s impact, not in its conception.  In composition it is not emotion that is rewarded, but technique, and this not by the affection of a woman, but with the gold or silver trinket of an institution.  In situating the Consistori of the city within the ideological currents circulating in the early fourteenth century, I will disclose why the emotions of love were banished from the literature of the city’s floral games.

Full article in Emotions in the Heart of the City (14th-16th century). Ed. Elodie Lecuppre-Desjarding and Anne-Laure Van Bruaene.  Studies in European Urbana History 5.  Turnout, Belgium: Brepols, 203-223.

Doctoral Thesis on Vegetal Ornamentation and Leisure Architecture of the Art Nouveau in Barcelona

The doctoral thesis, “Vegetal ornamentation and leisure architecture in the Barcelona of 1900”, deals specifically with the decorative programmes containing vegetal motifs used in typologies of public architecture destined to leisure in the city of Barcelona. Leisure architecture in Modernism corresponds to six architectural typologies: establishments for eating and drinking; boarding houses and hotels; theatres; entertainment spaces; cinemas, and sports facilities. The decorative programmes containing vegetal ornamentation used in leisure architecture reflect two tendencies: firstly, historicism-eclecticism, and secondly, naturalism-symbolism versus Art Nouveau. This paper lays down a comparative framework with Paris, the European capital of culture and artistic excellence, which Barcelona intended to reflect. The research takes a multidisciplinary approach that interrelates ornamental art with botany.

Barcelona es un referente mundial en cuando a smart city se refiere. En este trabajo se determina la reputación on line que tiene Barcelona como smart city a partir de un análisis de contenido de Barcelona en diferentes espacios on line. El objetivo de este trabajo es establecer la reputación on line de una smart city bajo la óptica de la lógica difusa, en este caso el de Barcelona considerado ya un referente mundial. Esta investigación parte de la revisión de la literatura en relación al concepto smart city para establecer las categorías que configuran una smart city, y después se realiza un análisis de contenido de las principales referencias on line basado en un índice de verosimilitud. Posteriormente, bajo la óptica de la lógica difusa se analiza el contenido, lo que permite conocer los principales aspectos, positivos y negativos, relacionados con Barcelona como smart city. Se confirma que Barcelona cuenta con una reputación on line favorable como smart city y, en consecuencia, representa una oportunidad para inversionistas de negocios, turismo, políticas públicas y marketing.

The artistic Anatomy in the School of Fine Arts in Barcelona. The cases of Jeroni Faraudo (1823-1886) and Tiberio Ávila (1843-1932)
This article focuses on the subject of Artistic Anatomy at the Barcelona School of Fine Arts during the second half of the 19th and early 20th centuries, discussing its signification. The connecting thread of this article are Jeroni Faraudo i Condeminas (1823-1886) and Tiberio Ávila Rodríguez (1843-1932), its first two teachers, who remain nowadays practically unknown. The knowledge of their ideas completes the history of contemporary Catalan aesthetics and also contributes to the comprehension of the erosion in the primacy of the use of ancient models in the official artistic teaching in Catalonia.
Key words: Jeroni Faraudo i Condeminas, Tiberio Ávila Rodríguez, Barcelona School of Fine Arts, Academy of Fine Arts of Barcelona, artistic anatomy, artistic pedagogy
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Aquest article se centra en la significació i transcendència de l’assignatura d’Anatomia artística a l’Escola de Belles Arts de Barcelona durant la segona meitat del segle XIX i principis de segle XX. S’empren, com a fil conductor, les figures de
Jeroni Faraudo i Condeminas (1823-1886) i de Tiberio Ávila Rodríguez (1843-1932), els dos primers professors que impartiren la matèria i que romanen, en l’actualitat, pràcticament inèdits. El coneixement de l’ideari de Faraudo i d’Ávila
permet completar el panorama de l’evolució de les idees estètiques a la Catalunya del moment i, alhora, contribueix a la comprensió de l’erosió de la primacia de l’antic en l’aprenentatge oficial de les arts a Catalunya.

150 italiana (1979) . Castelnuovo i Ginzburg revisen críticament la història ja que s'ha escrit des del punt de vista dels centres artístics i oblida tota la resta de zones, a la Itàlia que va des de l'Edat Mitjana al Segle XIX. Els dos autors han descrit brillantment el paper de les perifèries i les estratègies dels artistes que s'hi trobaven per tal de construir-se un estil, una carrera i defensar-se de la dominació simbòlica.

Em 2013, a Prefeitura de Barcelona inicia um processo de transformação da mobilidade urbana com a proposta das superquadras. Mediante um projeto-piloto, ensaia a reunião de nove quadras do Plano Cerdá em uma unidade de 400 x 400 metros, cujo interior restringe o tráfego veicular ao uso dos vizinhos. Podemos interpretar a intervenção como uma ação de Urbanismo Tático, liderada pelo poder público e com limitada gama de atores envolvidos, caracterizada pela implantação em fases de teste. Este artigo parte do questionamento de sua relativa novidade; conceitua brevemente o Urbanismo Tático; e discute sua abordagem “fase zero” e seu potencial de combinar ações públicas e comunitárias. A análise do caso enfoca as etapas iniciais do projeto-piloto e as controvérsias geradas ao longo do processo. Reconhecendo que a proposta se baseia na requalificação do espaço público, a crítica principal está centrada na escolha do recorte e nos insuficientes processos participativos adotados.

Es lo de siempre. En las situaciones de crisis, lo más fácil, tanto para los poderes como para las mayorías sociales, es dirigir el foco acusador a los sectores más frágiles de la sociedad, que han de ver cómo a los abusos que sufren se le añade el de aparecer como responsables del mismo desorden social del que son al tiempo víctimas y producto. En una ciudad como Barcelona, maltratada por la masificación turística, por el encarecimiento de todo, por el ruido y la contaminación, por la inaccesibilidad de la vivienda…, parece ser que uno de nuestros grandes problemas es el de los vendedores ambulantes y su escandalosa manera de ganarse la vida. Evocando el primer largometraje de François Truffaut —Tirez sur le pianiste!—, bien podríamos decir que la consigna urgente en estos momentos es “¡Tirad sobre el mantero!”. El mantero es, en efecto, el blanco perfecto.

L'articolo analizza la relazione tra pratiche sociali e politiche pubbliche a Barcellona. L'articolo  concentra l'analisi nell'ambito socio-spaziale della gestione di spazi pubblici, come Centri Civici e vuoti urbani sostenendo che le pratiche sociali hanno avuto sempre influenza sulle politiche pubbliche del Comune. L'articolo conclude mostrando gli ultimi sviluppi di questa relazione con il governo di Barcelona en Comú che sta lavorando per approvare un nuovo strumento istituzionale: Il Patrimonio Cittadino di Uso e Gestione Comunitaria.

The Archeological Site of El Born in Barcellona: Urban Site?
Museum of Daily Life? Memory Space? A Reflection on Identity
and Archeology.
The discovery of a part of the city of Barcelona, that had been
buried at the beginning of the 18th century, during the construction
of a library in the building of the old Born market, gave rise an
intense debate on the conservation of the archaeological remains.
This subject extended the limits of what is considered cultural heritage,
becoming a public debate in Catalan and Barcellona society in
2002. These archaeological remains, unlike those which are usually
found in the city of Barcellona (sometimes involved in controversies
as well), are the remains of a significant part of the Ribera neighbourhood, which was destroyed because of the construction of a
citadel and its safety zone, after the fall of the city on September
11th 1714. To many Catalans, the archaeological site of Born is a
place of memory, a space to commemorate the freedom lost 300
years ago. For others, it is a space used by Catalan nationalism to
create a history that justifies its ideology and therefore, they deny
its historical value and would like to destroy it. In this paper we will
contextualize the archaeological remains and conduct an analysis of
the debate on conservation through different examples. We will see
the how different administrations have ruled on the equipment and
its relationship with archaeology.
Keywords: Barcellona, urban archaeology, succession warfare, identity,
post-medieval archaeology.

Mies van der Rohe entwarf mit dem temporären Ausstellungspavillon des Deutschen Reichs auf der Weltausstellung 1929 in Barcelona eine Ikone der Architektur, aber auch ein umstrittenes Monument der Selbstdarstellung der Weimarer Republik.

Das Gebäude gehört zu den ungewöhnlichsten Erfolgsgeschichten in der Architektur: Trotz seiner kurzen Existenz wuchs sein Ansehen in den folgenden Jahrzehnten stetig, auch dank großartiger Fotografien. Bald galt es als gebautes Manifest der Moderne, ihrer räumlichen und „ideellen" Ambitionen, als „ein Meilenstein der modernen Architektur".

Ausführlich und weitreichend recherchiert, stellt das vorliegende Buch seine komplexe Geschichte und seine politische Verwicklung dar – bis hin zu seiner Rekonstruktion zwischen 1983 und 1986 nach den Originalplänen am ursprünglichen Ort.

Die wohl wichtigste und einflussreichste Architekturikone des 20. Jahrhunderts, einzigartig dokumentiert und dargestellt
Zahlreiche unveröffentlichte Fotografien aus Archiven in USA, Deutschland und Spanien

Paper accepted for #aagDC American Association of Geographers Annual Meeting 2019 in Washington DC.

To cite this paper:
Calzada, I. (2018), Accepted paper ‘Is Barcelona establishing a sustainable paradigm in Europe by grassroots-led smart urban experimentation through the ‘data commons’ policy?’ in the session ‘Smart urban experimentation: Re-shaping urban knowledge politics & decision-making?’ in the American Association of Geographers Annual Meeting 2019. Retrieved from https://aag.secure-abstracts.com/AAG%20Annual%20Meeting%202019/abstracts-gallery/18071 (Accessed on October 19, 2018).

ALBUM PHOTOGRAPHIQUE DE L’EXPOSITION INTERNATIONALE DE BARCELONE EN 1929
Suivi de cartes postales des années 1920/1936
On notera qu’à la page 104, on retrouve une carte postale de la Place des Armes du Parc de la Citadelle où le paysagiste français Jean-Claude Nicolas Forestier propose un aménagement paysager de l’espace public dans le cadre de l’embellissement de tous les espaces publics et parcs de Barcelone qui s’apprête à recevoir de nombreux visiteurs.
Année 1920/1926, à déterminer.

PHOTOGRAPHIC ALBUM OF THE INTERNATIONAL EXHIBITION OF BARCELONA IN 1929
With Postcard from the 1920s / 1936s
Note that on the page 104, there is a postcard from the Place des Armes in the Parc de la Citadelle where the French landscaper Jean-Claude Nicolas Forestier offers landscaping of public space as part of the beautification of all the public spaces and parks of Barcelona which is preparing to receive many visitors.
Year 1920/1926, to be determined.

EXTRAITS / EXTRACT’S
ALBUM FOTOGRAFICO, EXPOSICION INTERNACIONAL DE BARCELONA, 1929, CONCESIONES GRAFICAS, CORTES 596, BARCELONA.
1929 CONCESIONES GRÁFICAS, BCA 57 HUECOGRABADOS. ALBUM FOTOGRAFICO. 42X34 CM.
DALMAU OLIVERES S.A.
EL PRIMER TOMO, EXPOSICIÓN UNIVERSAL INTERNACIONAL BARCELONA MCMXXIX, CONSTA DE 56 FOTOGRAFÍAS Y 1 DOBLE.
PLACE D'ARMES, AVEC LA SCULPTURE DESCONSOL DE JOSEP LLIMONA  ET AU FOND, LE PARLEMENT DE CATALOGNE

The music publisher and owner of a flourishing music store in Barcelona, Rafael Guardia, created a type of business specialized in the sale of sheet music and musical instruments that enjoyed great success for more than a century. Located in “the Ramblas”, not far from the Gran Teatro del Liceo and the homonymous conservatory, it shared the stage ―from the late 19th to the early 20th centuries― with many other competing shops (Juan Ayné, Musical Emporium, Vidal y Roger, Juan Bautista Pujol, Dessy, Astort y Miralles, etc.), who had to devise new market techniques to gain a place among a growing clientele, struggling between the acquisition of new means of mechanical musical reproduction (phonographs, gramophones, piano players...), the rental or direct purchase of musical instruments “to make” live music, and the circulation of printed scores that, between dance orchestra, bands and chamber groups, and a domestic consumption of “saloon music”, gradually formed a repertoire claimed by a civil society that ranged from the wealthy bourgeoisie to new and growing middle classes, which struggled to prosper. A business, that of Rafael Guardia, which ―although barely, due in large part to the challenge of the Internet and the new modes of musical consumption― still exists today as “Casa Beethoven”.

Un elemento acompaña al viaje de forma ineludible: el mapa. Cuando la popularidad de la bicicleta creció durante los últimos años del siglo XIX, la visión del espacio urbano y rural de los ciclistas se plasmó también en una particular cartografía. Mapas para ciclistas, hechos por ciclistas como Joaquim Bordons .

This paper analyzes the international exhibition world's fair planning strategies despite their ephemeral characters are symbolic projects and structuring developments within the various stages of the Industrial Revolution. By landscapes and urban symbols, these shows leave a significant landmark on the urban grid of the host cities, but also in the mentality, urban representations and the techniques of construction. The symbolic aspect and the gigantic facilities will serve as guidelines for planners-architects in charge of their organization. The main political actors and the development of cities have recognized early the power and possibilities of these events to structure social life and urban landscape of cities. From the moment we decided to organize an exhibition, developers start with a dual objective, namely to build and manage the ephemeral and sustainable. Unlike the development of a large development project as the regeneration of a neighborhood, the Exhibition must be designed and constructed in three phases. There is one more step, one before (the strategy) a while (the course of the festival, usually six months) and after (the end of the exhibition, its balance sheet and reuse infrastructure or not). We are facing a much more complex Planner Action to be taken into account by decision makers or not the time and very often elected officials inheriting these fairs infrastructure. The touristic and urban history of Paris and Barcelona justified by example and comparing the uniqueness of these events. The example of Paris is exemplary through its heritage of world exhibitions of the nineteenth century and its international exhibitions of 1925, 1931 and 1937. As for Barcelona and his first experience of World Expo 1888 it turn implies a long political and urban processes leading to the Montjuic international Exhibition in 1929. The choice of these two cities is not neutral. In the early twentieth century, Paris is a model for the Catalan intelligentsia. Barcelona wants to be the "Paris of the South of Europe." How not to see the realization of the Park of the Citadel in 1888 in Barcelona a replica of Park Monceau in Paris, the same view for the development of the Montjuic hill in 1929 and designed by architect Cadafalch policy on man the model of the Parisian perspective Champ de Mars / Chaillot Hill: the rule and model are at work. As such, the hill and the redemptive religious center of Montmartre and the hill of Tibidabo with its redemptive church also are parallel to consider. Organizing an exhibition is accompanied by mobilization and justification of financial and human resources, this through political actors and private public works companies. The symbolic, the political message, cultural or economic become legitimacy of public action elements. In addition, the urban grid of the restructuring deal with the issue of transience must be addressed. This is the question of choosing between the provisional (destruction) and sustainable (urban heritage) against the vision of the planners in charge of exhibition parks projects. We will close our reflection on the contribution and usefulness of these ephemeral events from the perspective of technology and innovations in the construction and the landscaping.

La carassa és una representació esculpida d’un cap humà, sovint grotesc, que apareixia en les llindes de portes, portals, cantonades, fonts, trulls i altres elements arquitectònics. Antigament, aquestes efígies tenien el seu lloc a l’espai religiós, a l’interior del temple. Eren figures col·locades sota l’orgue de les esglésies i l’organista mateix les feia bellugar i treia llaminadures per les seves boques. Amb el pas del temps van acabar envaint l’àmbit urbà, es van incorporar a l’espai públic adoptant una significació més profana. La representació de carasses ha estat una tradició molt arrelada a Catalunya fins ben entrat el segle XX. Tot i que les reformes urbanístiques n’han fet desaparèixer arreu, a Palamós encara n’han perdurat uns quants exemples de diversa tipologia. En aquest breu estudi em proposo referenciar-les i tractar d’aportar algunes interpretacions sobre la seva possible funció i significació.

El Raval es hoy un gran espacio de cambio social, un territorio de creación, un laboratorio de mezcla social y cultural en la ciudad de Barcelona. El presente estudio, resultado de un encargo del Centro de Cultura Contemporánea de Barcelona (CCCB), tiene como objetivo analizar el proceso de transformación social, económica y simbólica del barrio del Raval, proceso que hemos querido simbolizar titulando la investigación Del Chino al Raval. O, en otras palabras, cómo en un periodo de veinte años se ha pasado del Chino, es decir, de un barrio estigmatizado, con una imagen de marginalidad y degradación, al Raval, un barrio en pleno proceso de reforma, mezclado social y culturalmente, objeto de visitas de barceloneses y extranjeros. O, para mencionar algunas producciones culturales de referencia, cómo se ha pasado del Chino de La Marge, de Mandiargues, o el Anarcoma, de Nazario, al Raval de la película Una casa de locos o al del cluster cultural de la Plaça dels Àngels.