As history, this building that today houses the mayor of the City of Santa Cruz in the old Santa Rita Street today known as Viera and Clavijo, is not only late or in time but also accidental in its use. Initially, its construction was directed to host the City Courthouse.
In 1894, the city council consigned a commission to solve the problem of location of the headquarters of Justice, where it was proposed to purchase a plot in the neighborhood of Los Hoteles at the price of 3 pesetas per square meter, still undeveloped, property of the Building Society. This project will be entrusted to the municipal architect Antonio Pintor and Ocete but, due to incessant paralyzes due to budgetary and design reasons, the work will be started in an impasse until it starts up again between 1898-99, about a new project and under the work of the contractor Gaspar Fern ndez. The previous project will most likely be abandoned because it did not meet the design needs of the corporation, because it is intended: u2018a capable and decent building for the administration of justice u2019. Thus, the works of the Palace of Justice end in part in 1903, then being councilor Pedro Schwartz. With some speed, and because the town hall also does not have a headquarters to place its workers having been their comings and goings between convents and rented premises, Schwartz proposes in plenary session to reverse its end and that the new building is arranged as a Municipal Palace, promising ...
The House of the Dragos, as this building is also known, undoubtedly reflects its eccratic character of marked line of romantic classicism of the early twentieth century.
On the main facade, which borders Viera and Clavijo Street, there is an artificial stone front, according to the sketches of Eduardo Tarquis and Teodomiro Robayna, with the collaboration of the drawing artist Arturo L pez de Vergara, with a Design or iconographic of good governance.
The general structure of the building maintains a very classic typology: a double-height rectangle, with four crumbs in whose center there is an inner courtyard, which is to be covered with a closed balcony with floor and ceiling. lunettes Subsequently, this space will be used for events for different activities, from oral trials to plenary sessions. To him, it is arrived directly from the outside crossing a vestibule and some stairs. This room is about 23 meters long and 10 meters wide and double height, in addition to its main entrance, it has two side doors in the middle of its longitudinal axis. From the second floor of the building, the access is opened by balconies with large vertical doors and sill rails a.
In the interior, for the adornment of the noble halls, funds were invested for the commission of works to great artists of the time. Notably, the painting of the prolific 19th-century Canarian painter, Manuel Gonz lez M ndez, covers the mirror or skiffed veda of the plenary hall: u2018The Truth beating the Error u2019. Early ...
Due to the economic precariousness that the city was going through at that time, the materials used for the different interior and exterior works, vary considerably.
The supply of the materials was made through the company of Ruiz Arteaga. Since the use of artificial stone as marble, the formal elements alternate in the noble areas. For the most part, the materials are of peninsular origin: glasses of Catalu a, artificial stone of Cdiz; or even from outside our borders like the marble of G nova or the oak of Hungr a.
The walls surrounding the entrance staircase are decorated by Francisco Granados, being painted with the marbled technique, and Benjam n Sosa being in charge of gilding and painting the walls inside the plenary hall.
The courtyard, which later became the plenary room, was originally designed with the idea of using wood on pillars and beams but, during the course of the work, Painter understood the need to strengthen the building using iron as a structural element. The use of this novel material, whose design or allowed to assemble the pieces produced in the factory, was not a novelty for Painter, since he had already made his design or in the supply market, the u2018Recova Vieja u2019 , of the iron and glass shed that covered the wooden island square in 1898. In addition, to avoid the industrialized view of the space by the use of these metal beams, a plaster layer that concealed the framework was arranged of the structure.
In se ...
Declaration: Decree 30/1986, of February 7, 1986. |
Degree of protection: Integral.
BIC Monument, BIC 06 Monument Environment and BIC Ensemble Historic neighborhood of the Hotels-Pino de Oro. PGO Santa Cruz de Tenerife. Declaration: Decree 30/1986, of February 7, 1986
- General Plan of Management of Santa Cruz de Tenerife, Vol. 3 Volume 3.2.1-3, file n. 569.
- CIORANESCU, A. (1979). The City Council, in u2018History of Santa Cruz de Tenerife u2019, vol. III (1803-1977). Ed. CE Savings Banks; pp. 68-78.
- DARIAS PR NCIPE, A. (2004). u2018Santa Cruz de Tenerife. City, Architecture and Historical Memory 1500-1981 u2019, volume I. Edits City Council of Santa Cruz de Tenerife; pp. 206-209.
- GALLARDO PE A, M. (1992). u2018 Romantic classicism in Santa Cruz de Tenerife u2019. Culture Hall of the Cabildo de Tenerife; pp. 110-113.
- GALLARDO PE A, M. (1991). u2018Organization of the Session Hall of the City of Santa Cruz de Tenerife u2019, VIII Colloquium of Canary-American History (1988). Island Council of Gran Canaria, Las Palmas; pp. 535-538.
- HERN NDEZ GUTI RREZ, AS; GONZ LEZ CH VES, CM (2008). u2018 Architecture for the bourgeois city. Canary Islands 19th century u2019, volume IV. Vice-Minister of Culture and Sports, Santa Cruz de Tenerife - Las Palmas de Gran Canaria, pp. 150-154.
- Excmo. Santa Cruz de Tenerife Town Hall. u2018 Plenary Meeting u2019. Without date. [In line] [Date of consultation: November 09, 2016] Available at: http://www.santacruzdetenerife.es/santa-cruz/historia/el-ay Ayuntamiento/salon-plenario/
Editorial and research team: Architecture Unit of the CICOP Foundation.
Miguel ngel Fern ndez Matr n.
Jos Luis D will read Mart nez.
Armiche lvarez P rez.
Sendy Hern ndez lvarez.
Photograph: Jos M. Bossini Ruiz.
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|BOC-1986-028-006 Ayuntamiento de Sant Cruz|
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