Study of The Bygone Movement, "Huerto de Las Bolas"

TRANSMUTATION
Study of the bygone movement, “Huerto de las Bolas”
Faculty of Architecture Escuela Técnica Superior de

Arquitectura y Edificación
Sarvajanik College Of Universidad Politécnica
Engineerinag and Technology, de Cartagena,
Athwalines, Surat, Cartagena, Murcia,
India Spain
Content
Certificate ……………………………………………………………………………………….….. 3
Acknowledgement ………………………………………………………………………………… 4
Abstract ……………………………………………………………………………………………….. 5
Table of Content
Chapter 1: Genesis
1.1 Introduction ……………………………………………………………………………... 6
1.2 Aim ……………………………………………………………….………………………. 7
1.3 Objective ………………………………………………………………………………… 7
1.4 Scope of Work ………………………………………………………………………… 7
1.5 Research Methodology ……………………………………………………………… 8
1.6 Working Definitions …………………………………………..………………………… 9
Chapter 2: Appreciation: Ar. Victor Beltri

2.1 Introduction …………………………………………………………………………….. 12
2.2 Philosophy of Ar. Victor Beltri …………………………………………………………
13
2.3 Projects of Ar. Victor Beltri ………………………………………………………….. 14
Chapter 3: Project by Ar. Victor Beltri: Huerto De Las Bolas

3.1 Introduction ……………………………..…………………………………..…………. 15
3.2 Analysis …………………………………………………………….…………………… 16
Chapter 4: Design Proposal Ideas ……………………………………………………………….. 31
Chapter : Conclusion ……………………………………………………………………………….. 32
Table of Illustrations ………………………………………………………………………………….. 33
Bibliography …………………………………………………………………………………………….. 35
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Study of the bygone movement, "Huerto de las Bolas"
Certificate
This is to certify that this minor research entitled ‘TRANSMUTATION’ submitted by the
student as under, currently in their Ninth Semester of B.Arch, is prepared by Dixita
Pariaker and Dipali Rana as a curriculum requirement for the mobility program
Erasmus KA-107
Faculty In charge
Prof. Macarena Salcedo
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Acknowledgement
We consider it an opportunity to be associated with the Sarvajanik College of

Engineering and Technology, Surat and Universidad Politécnica de Cartagena in our
academic endeavor. We express our heartfelt thanks to our guide Prof. Macarena
Salcedo in Architecture Department(UPCT), for their precious guidance, continued
interest throughout the course of this work and encouragement towards the
completion of this study. Their critical inputs and sound guidance have enriched the
value of the study.
All individuals who have directly or indirectly contributed towards the completion of
this report are hereby thanked for their invaluable inputs and cooperation.
Dixita Pariaker
Dipali Rana
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Abstract
The metropolitan developing since Roman times has seen various typologies, and
those were mostly inclined to decorating a place. The typology developing in
countryside has given excellent architectural marvels.
Cartagena has been no exception to this trend of building villas. Strong bourgeoisie
in the early twentieth century offered a great range of suburban residential
architecture with some significant features.
The lack of the original or contemporary documentation of these villas is evident. So
the importance of these buildings is not known.
This project has been born with the intention of documenting cultural heritage
graphically as well as promoting its value and exceptional architectural quality.
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Chapter 1: Genesis
1.1 Introduction
Cartagena has been home to diversified civilisations. The strategic geographical topography
imparting naturally protected coast, and abundance of natural resources has been pulling
human settlement since ages.
Various different civilizations have taken advantage of its sheltered harbour, surrounded by a
natural defensive structure of hills, giving watch-points over a wide area. It is also rich in
natural resources, including the Sierra Minera, yielding a wide range of minerals.
The city had been centre for trade for many centuries.
In 19th century the mines gave rise to a new commercial social class, who built their palaces
in Cartagena. The residence of senator Justo Aznar in Calle Jabonerías, as well as those of
Aguirre in the Plaza de la Merced, Pascual Riquelme opposite the Ayuntamiento, the palace
of the Pedreños between Calle del Carmen and Jabonerías, the Huerto de las Bolas de
Llagostera in Los Dolores, and a long list of sumptuous palaces and houses which gave the
city its characteristic Modernist atmosphere.
In this era architect Victor Beltrí designed many of these emblematic Modernist buildings of
Cartagena.
By 1914, the mining crisis worsens resulting in a decrease in the construction index. Thereafter
the number and importance of the projects dropped significantly.
Beltrí then changed his style to the simplest secession modernism which does not require
many expenses. The building erected at the time when city was at its zenith is
unprecedented. But few of them have lost the importance.
Many efforts are being undertaken to get back the building, rich glory it deserved.
* 1.1 Abstraction of Evolution of style of architect * Drawn after analysis.
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12 Aim
This research aims to document architecture of Huerto de los Bolas, a residence, designed by
Ar.Victor Beltri, converted into a restaurant. The residence built in 1903 is located in district of
Los Dolores.
1.3 Objective
− To study the philosophy of the architect who designed the building
− To analyse architecture and landscape of Huerto de los Bolas
− To propose a scheme which can help impose strong image of the building amongst public
1.4 Scope of Work and Limitations

This study provides general data on modernist style practised in the area of Cartagena. The
study can also create awareness among people about the rich heritage it posses in the form
of the building-Huerto de los Bolas.
The documentation of building as per earlier use of residence isn‟t available hence the
modification in the building cannot be identified. Not all areas of the existing hotel were
available for visit.
This study is undertaken from architectural point of view and hence, botanical classification
isn‟t detailed.
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1.5 Research Methodology
The building, Huerto de las Bolas, was selected for study as it was designed at the time when
area was at its peak of progress and these type of residence were not designed later due to
many forces. Also the irrigation system used in the complex is distinctive and rare. Hence it
becomes one of the unique example of glory.
The selected site was documented from architectural perspective. The documentation also
included onsite analysis of spaces and elements.
The study about Architect was undertaken in order to know his style of practise and how that
practise is being implemented in the selected site. Later the site was critically analysed from
different aspects, like:
− Context of site
− Built v/s Open
− Zoning
− Hierarchy
− Building elements
− Ornamentation of the building
− Landscape of the site
From the study conducted, the inference will be carried out and suggestions for the revival
of the site were suggested.
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1.4 Working Definition
Modernist Style- It is an architecture style involving

multiple arts like painting, sculpture, etc. and
especially the design and the decorative arts like
cabinetmaking, carpentry, forged iron, ceramic
tiles, ceramics, glass-making, silver and goldsmith
work, etc.
Sierra Minera- It is place in eastern part of
Cartagena, Spain in which a long jagged mountain
chain of mineral is observed.
Secession Modernism- The architecture style,
predominately involving the geometrical
decorative elements.
Viennese Secession- The Vienna Secession was
formed in 1897 by a group of Austrian artists who
had resigned from the Association of Austrian
Artists, housed in the Vienna Künstlerhaus. They
hoped to create a new style that owed nothing to
historical influence, thus keeping with the
iconoclastic spirit.
Eclectic- It is a nineteenth and twentieth-century
architectural style in which a single piece of work
incorporates a mixture of elements from previous
historical styles to create something that is new
and original.
# 1.2 Modernist style observed in Grand Hotel,
Cartagena
# 1.3 Secession Modernism style practised in Casa

del Nino, Cartagena
# Book: Adelante
siempre.
Arquitecto Víctor
Beltrí y Roqueta
# 1.4 Viennese Secession influence observed in # 1.5 Eclectic observed in Palace Aguirrie, by Guillermo
Fundición Frigard Cartagena Cegarra Beltrí
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Gothic Style- Gothic architecture is the architecture
of the late medieval period, characterised by use
of the pointed arch. Other features common to
Gothic architecture are the rib vault, buttresses,
including flying buttresses; large windows which are
often grouped, or have tracery; rose windows,
towers, spires and pinnacles; and ornate façades.
Rococo- Elements belonging to the architectural
style of Rococo include numerous curves and
decorations, as well as the usage of pale colours.
Neomudéjar- It is a type of Moorish Revival
architecture. In Spain, this architectural
movement emerged as a revival of
the Mudéjar style. It appeared in the late 19th
century in Madrid, and soon spread to other
regions of the country.
# 1.6 Neomudejar influence in Casa Dorda,

Cartagena
# 1.7 Influence of Rococo Style in Casa Maestre, # 1.8 Gothic style observed in Casa Zapata
Cartagena
# Book: Adelante siempre. Arquitecto

Víctor Beltrí y Roqueta by Guillermo
Cegarra Beltrí
TRANSMUTATION 10
BIC- Bien de Interés Cultural abbreviated as BIC
is category of the heritage register in Spain. It
protects not only material heritage, like monuments
or movable works of art, but also intangible cultural
heritage.
Trencadís- A technique that involves coating the
walls with pieces of tile.
Casuarina cunninghamiana:- It is a she-oak species
of the genus Casuarina.
Phoenix canariensis:- It is a species of flowering
plant in the palm family Arecaceae, native to
the Canary Islands.
Pittosporum tobira:- It is a species of flowering
plant, native to Japan, China, and Korea, but it is
used throughout the world as an ornamental
plant in landscaping and as cut foliage.
# 1.9 Trencadis on roof of Casa Batlo, Barcelona

Cegarra Beltrí
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Chapter 2: Appreciation- Ar. Victor Beltri
2.1 Introduction
Victor Beltri was born in Tortosa (Tarragona), on April 15,

1862, to a sculptor father, José María Beltrí Belilla and
mother, teacher, Carmen Roqueta.
Victor spent many hours drawing and go to the workshop
where his father worked. Forging his artistic temperament
and development of his love for sculpture, carving,
modelling and drawing.
Victor was part of a group of young enthusiasts artists who
regularly met to share their experiences and concerns.
He left from Tortosa for studying architecture in Barcelona.
He was trained under some of the most prominent
professors like Augusto Font, Antonio Gaudi, Lluis
Domenech and Joseph Vilaseca.
He occupied the place of Municipal Architect of Tortosa,
proposing multiple projects for the modernisation of the city
but due to political turbulence policies Post of Municipal
Architect was erased and those projects were not
implemented.
The atmosphere of the city was not the most propitious for
# 2.1 Photograph of Ar. Victor Beltri the development of his artistic concerns, perhaps too
advanced for the time. Therefore he leaves Tortosa and settles in Gandia, Valencia.
After a short time in Gandía Municipal Architect, and the city of Murcia as Architect of
Finance, and sets definitively in Cartagena, where the resurgence of mining in the nearby
mountains of La Union had led to the emergence of a new and wealthy bourgeoisie. His
Catalan origin, youth and enormous desire to work, representing a magnificent endorsement
for these new rich.
With escalation of mining crisis the quantum of projects decreases. Beltrí then changed his
style to minimise expenses. He continued to work without interruption until his death in the city
of Cartagena in 1935.

Cegarra Beltrí
TRANSMUTATION 12
2.2 Philosophy of the Ar. Victor Beltri
Victor Beltri, because of his father realized that the art of building was not born of the great
theoretical concepts he had learned at the School of Architecture, but it was the carvers,
sculptors, woodworkers, blacksmiths and other artisans who rose the architecture to the art
category. He integrated architecture with the other arts, until an undeniable beauty sets
plastic.
His teachers has great influence on shaping his future practise. He joined the practise of
modernism, an eclectic formation. Beltri has worked with Antonio Gaudi in his youth and that
might have helped him master in the oriental designs, then popular style neomudéjar.
He absorbed many influences, selected what he liked and rejected what he did not.
He created one of the most important examples of architectural modernism in Cartagena,
and combine it with Baroque sculptural nature and express the desire to evoke the
importance of the site and adoption of a new language of iconographic decorative
elements.
Beltri then changed his style to the simplest secession modernism in which predominates the
geometrical decorative elements, and does not require many expenses.
He is the first person opting for the Viennese Secession style.
His works were moving between regionalism to Art Deco, even through rationalism, and in
most of the times eclectic works hard to label.
* 2.2 Abstraction of Evolution of style of architect * Drawn after analysis
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TRANSMUTATION
Chapter 3: Project by Ar. Victor Beltri: Huerto De Las Bolas
3.1 Introduction
The Torre Llagostera is built inside a
large garden known as “Huerto de
las Bolas”, constructed in 1903 under
a project by the architect Victor
Beltrí. The "Huerto de las Bolas",
named for the tops of the pillars of
the gates of farm, is located
between the district of Los Dolores,
the Bohío and the industrial area
of Santa Ana. The main facade of Huerto de las Bolas
the beautiful farm is along old
national road N-301, linking the cities
of Cartagena and Murcia.
The farm which hold an artistic value
including the building and a large
garden, is declared BIC with
category of monument, on April 29,
2005, and that management find Cartagena
ways to prevent spoilage. This Spain
building was in the hands of
Llagostera family and then it was
later sold to chef Miguel Hernandez
and his Japanese partner Michio
Minakami who transformed it into a
^ 3.1 Location of “Huerto de las Bolas”
restaurant called „Casa Beltri‟.
It is built in a large Mediterranean garden of 37,140 square meters, of great historical value for
its variety of vegetation, which has all the characteristics of a colonial mansion. It contains a
blend of classicism and exoticism that makes it very attractive.
+ Photograph from website

+ 3.2 View of “Huerto de las Bolas”
^ Drawing reconstructed from photograph
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3.2 Analysis
A. Orientation and site context
The housing arrangement on the farm is defined by the intersection of two major axes
intersecting orthogonally. The longitudinal virtually divided into two equal parts, starting from
the Northeast side and follow direction Southwest. The main road follows the trace of this axis
and marks the main facade of the building.
* 3.3 Orientation of the building in reference to main road
This is common in many of the villas that are built at this time, preparing the main road side
way and looking for the main facade facing the south. The transverse axis does not intersect
the longitudinal axis equidistantly but is shifted toward the northeast side, when the farm gets
its greatest width. This line marks the center of the facade of the building and its layout
follows a path on the southeast side leading to a gazebo and another road that starts from
the rear facade of the building and heads toward the northwest.
* Drawn after analysis
TRANSMUTATION 16
B. Building Analysis B
Legend
1. Exhibition area
2. Dry storage
3. Cold storage
4. Service area
5. Storage A A‟
6. Courtyard
7. Lift
8. Patio
9. Storage
10. Porch
11. Reception
12. Dining hall1
13. Dining hall2
14. Dining hall3
15. Kitchen1
B‟ *3.4 Basement Floor Plan
16. Kitchen2
17. Support kitchen1 B
18. Support kitchen2
19. Passage
20. Bath
21. Toilet
A A‟
*3.5 Ground Floor Plan
B‟
A A‟
*3.6 Roof Plan
0 1 3 5
B‟
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6 19 4
5
1
*3.7 Section AA‟
Legend
1. Exhibition area
2. Dry storage
3. Cold storage
4. Service area 11 19 16
5. Storage
6. Courtyard
7. Lift 4 4
8. Patio
9. Storage
10. Porch 1 3
11. Reception
12. Dining hall1
13. Dining hall2
14. Dining hall3
15. Kitchen1 *3.8 Section BB‟
16. Kitchen2
19. Passage
20. Bath
21. Toilet
*3.9 South Side Elevation
0 1 3 5
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*3.10 North Side Elevation
*3.11 East Side Elevation *3.12 West Side Elevation
>3.13 South Side Facade >3.14 East Side Facade
0 1 3 5

> Self Taken Photograph
TRANSMUTATION 19
Zoning and circulation
*3.15 Basement Floor Plan
*3.16 Ground Floor Plan
0 1 3 5
TRANSMUTATION 20
C. Building Elements and Ornamentation
Roof
The red and green coloured
tiles are used for roofing. The
colour used, mixes with the
surrounding landscape and
also the overall scheme of
the house. Also the sloping
roof help withstand Hot-Arid
climate of the region.
>3.17 Details of roof

Walls
The loadbearing brick walls
were decorated with the
mosaics related to
agriculture and landscape.
The wide availability of bricks
made the construction
easier.
>3.18 Details of walls
Openings
The intricately detailed
timber doors and windows
with wrought iron and glass
panels. Openings were
positioned such that they
don‟t require additional
weather-shed. And also
designed such that it gives
enough privacy at the same
time respond to the site.
>3.19 Details of various doors and windows
Floors
The timber frame acts as
supporting element for floor
covering. In exterior, tiles are
arranged while in interior tiles
and timber covering, both,
are used. The technology
subdues the material used.
>3.20 Details of floor
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The house has a rectangular central body
of two floors, which is the type of
elementary field house. The ceramic was
used extensively throughout the exterior of
the house. On the porch, the walls were
tiled with tiles brought from Pujol i Bausis,
famous factory in Barcelona. The walls were
lined with boxes of different topics that are
forming geometric compositions with
squares and circles in blue, white and
orange, very modernist style of the time.
In some ELL letters, initials Esteban
Llagostera, and JM, his wife Julia Molina,
> 3.22 View of the house from one of the principle axes of the
original owners of the house are
garden
intertwined.
> 3.23 Panel of the geometric composition with ceramic tiles > 3.24 Panel of the owner's initials, JM and geometric
on the porch composition with ceramic tiles
At the left end of the main facade a square tower rises four floors, with a small terrace
surrounded by a balustrade, slightly protruding like a balcony on the same tower. Ceramic
vase emphasizes the four corners and lantern tower covered with trencadís, and the
architect also employed pieces of crockery or bottles of multiple colors, besides pieces of
tiles on the tower, which give it a certain Islamic air.
> 3.25 Detail of the porch railing peripherally closing the + 3.26 Lantern tower covered with trencadís
house, support columns and curved plates scrolls

TRANSMUTATION 22
Inside the house, a hall in which there is, on the doorframes, various woodcarvings with motifs
allusive to agriculture, trade and the fine arts. In the dining hall, ceiling frescoes depicting a
naive scene with butterflies and Cupids.
> 3.27 Ceiling frescoes depicting a naive scene with butterflies and Cupids > 3.28 View of the dinning hall
> 3.29 View of the dinning hall > 3.30 Detail of the doorframe of wooden carvings in dinning hall
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D. Landscape
In the garden, the use of tiles of all kinds, shape and color reaches its zenith, in a comparable
set to Gaudi's Park Guell. The Park Güell is a public park system composed of gardens and
architectonic elements located on Carmel Hill, in Barcelona, Spain. Gorgeous designs based
trencadís are used in banks, fountains, flower pots, balconies and stairs configuring a single
set that makes the great jewel of Cartagena Modernism.
^ 3.31 Depicting location of photographs taken from
Two Casuarina cunninghamiana,

framing the main entrance and
as a first important element of
the vegetable garden. The rest
of the way is taping by the
Aleppo pine. On the main road
from the entrance to the house,
and in the south transverse
cylindrical bases were arranged
to place large pots glazed
cobalt blue. These were
anchored by some baskets
locksmith treated similarly to the
railings of the house.
> 3.32 View of the main axis of the > 3.33 View of the main axis of the > Self taken photograph
garden from the entrance garden from the roundabout ^ Drawing reconstructed from photograph
TRANSMUTATION 24
The whole estate is a Mediterranean botanical garden, of great historical value for its variety
of vegetation. Among the species that contains this magnificent garden include pines and
palmettos, plus a wide variety of native vegetation.
The rear facade of the house, oriented north, extends to the garden on a path that follows
the transverse axis. The layout of the flowerbeds on the back of the house is a combination of
semicircles and central squares arranged below the irrigation canal. The road is framed by
rows of trees Phoenix canariensis and Pittosporum tobira on both the sides.
> 3.34 Ceramic benches in front of the façade of the house > 3.35 Ceramic benches that make the gazebo, end copped
that make the gazebo by cubic planters covered with ceramic tiles
> 3.36 View of the gazebo from the main façade of the house
> Self taken photograph
TRANSMUTATION 25
The road from the roundabout in the direction perpendicular to the housing leads to the
south boundary of the farm where there is a gazebo. The position of the gazebo can not only
appreciate the relationship of the garden and housing but also a good vision of the
landscaped property.
> 3.37 View of the gazebo > 3.38 Mosaic in the flooring of
gazebo
The position of the gazebo facing the main facade of the housing and the bottom, treated in
great detail makes the gazebo a very important element in the garden. According to it, it is
the profusion of details in the tile work and locksmiths. Singularity shows the bench located on
the ground floor and treatment of the pilasters and windows.
> 3.39 Bench located on the ground floor of the gazebo with > 3.40 Detail of pilasters and windows on the ground floor
ceramic floor of the gazebo
TRANSMUTATION 26
On the left side of the crossroad, two facing ceramic benches are placed, one found in
green for the gentlemen and other in pink for the ladies.
This road leads to a roundabout where four curved benches treated with different chromatic
composition tiles and a central fountain appear in its perimeter. The base of fountain is built
entirely of artificial stone and is crowned by glazed pieces. The initials of owner(ELL) are
highlighted in the panel.
> 3.41 A path leading to the benches and fountain > 3.42 View of the fountain
> 3.43 Bench „You and I‟ > 3.44 View of the gazebo
From the roundabout and entering the next area, an element that acts as a focus of
attention and call features, it is a bench "You and I“.
There is a gazebo on the right side of the crossroad, added later on.
TRANSMUTATION 27
The treatment of this area is to
get out of the house by roads
that are leading to a central
space and by utilizing the
curve becomes longer at the
same time approaching the
side contacting the perimeter
road and the main road.
In this area of the garden and
its south end there is a covered
perimeter road on a bower of
Jasminum sambac plant. An
aromatic shade very necessary
to withstand the summer heat
of this land. + 3.45 Curved roads in the garden area
> 3.46 Perimeter road covered by bower > 3.47 View of perimeter road covered > 3.48 View of the with benches covered
by bower from bench by bower
The farm is irregular and at the

end of this road, there are
various models of benches
distributed, indicating the
importance given to this road.
At the first bend, there is a
concave bench coating with
> 3.50 Convex bench coated with ceramic tiles making the corner.
ceramic tiles There are another selection of
benches, on the moving ahead
to the same path.

> 3.49 Concave bench and sitting > 3.51 Bench coated with ceramic tiles Víctor Beltrí y Roqueta by Guillermo
from which you can admire the view Cegarra Beltrí
of the garden > Self taken photograph
TRANSMUTATION 28
At the end of the road, another
gazebo appears as a focusing
element. In this its function is to
lookout on the road. His
character attraction is the vision
on the road transits,
characteristic that at the time of
construction of the garden
meant an interesting quality in
rural areas.
On the platform of the gazebo,
a circular bench was in the
center and two benches
provided in the corners. The
railings of the staircase, sittings
and flooring are treated with
ceramic tiles. + 3.52 Circular bench in the center and two benches in the corner
+ 3.53 View of the gazebo along with the staircase > 3.54 Railing of the staircase treated with trencadís
In the garden, there are Aleppo

pine, Araucaria heterophylla,
Casuarina cunninghamiana,
Phoenix canariensis, Pittosporum
tobira, Rhamnus alaternus,
Podranea ricasoliana, Pittosporum
tobira, etc can be found.
All vegetation gives the elevated
garden areas of shade and
coolness, plus an excellent acoustic
barrier that isolates the visitor noise
that causes urban activity, but its
location also contributes to lower
noise level.
> 3.55 View of the road to the > 3.56 View of the shaded garden
house

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E. Irrigation system
The farm had a water catchment
system through well. Water was
pumped, initially through a turbine,
where it is stored. From here emerged
two distribution channels.
Water distribution is done by cylindrical
openings kept open or closed
depending on which sector wanted to
direct water. For some parterres, the
water came by an interesting system of
underground pipes and precise
arrangement of ceramic plugs.
# 3.57 Water distribution points
# 3.58 Irrigation canal # 3.59 Distribution channels for water
# 3.60 Detail of the ceramic plugs
The channels were built in solid brick clad layer of mortar. The irrigation canal and palm trees
lead the way make this area one of great scenic and environmental value.
# Book: Adelante siempre. Arquitecto Víctor

Beltrí y Roqueta by Guillermo Cegarra Beltrí
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Chapter 4: Design Proposal Ideas
The Gulbenkian Park, located in Lisbon, Portugal, is a part of cultural center where the
headquarters of the Calouste Gulbenkian Foundation, Gulbenkian Museum and the José de
Azeredo Perdigão Modern Art Centre are situated.
> 4.1 View of the foot paths along with + 4.2 View of the lawn besides lake used by public
benches
The Gulbenkian Park built in the 1960s, this is one of the most iconic gardens of the modern
movement in Portugal and a reference to the Portuguese landscape architecture. Covering
roughly 17 acres, this beautifully landscaped garden contains a wide variety of well
established tropical as well as indigenous plants and trees that shelter subtly appointed
benches and seats.
The park is independent of the buildings
located in the complex.
Portion of park is open to the citizens. It is an
ideal location to escape from the city‟s
hustle-bustle, enjoy nature‟s magnificence.
This leafy garden emerges like a green oasis
in the middle of the city.
The lakes located in the park are the habitat
to many water birds.
The garden also has an open-air
amphitheater to seat 1,000 people which
has the lake as its backdrop. The
amphitheater is the venue for holding many
programmes on dance, drama, and music.
> 4.3 View of the waterbody in the park

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Casa Beltri is one of the jewels of rural modernism in Cartagena, another legacy of Victor
Beltrí. 'Huerto de Las Bolas' listed as a historic garden, must be put on the rise for the
community to enjoy this natural environment.
+ 4.4 The relation of garden and house + 4.5 The existing habitat for flora and + 4.6 The basement floor used as
fauna storage and temporary exhibition
place
As per the study conducted and taking inference from studying Gulbenkian Park, following
changes and improvement can help escalate people getting aware and use the place:
−The recovery of the garden can be done as a botanical garden, where children and
young people from schools of this area can also participate in the development of this
project and all can enjoy this treasure that history has given. This recovery plan allowing
cultural and informative exploitation of this splendid space.
−People can visit the garden without depending on the restaurant. Thus to be opened
as a public park which can be used as an educational, environmental and cultural
resource for the citizens.
−The basement floor which is currently used for storage and temporary exhibition cab
be modified to be used as permanent exhibition area, briefing about Ar. Victor Beltri,
who worked widely across the city.
−Certain cultural gatherings can be arranged to get the place exposed to more
citizens.
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Chapter 5: Conclusion
Today, the balance of culture and nature has reached the villages, of being serious
disruption. Agricultural environment is destructed to withstand demands of society ignoring
the damage to memory loss of architectural tradition, industrial or residential areas.
There is risk in the hand of the adaptation of uses of new villas. As time goes together, the
social developments has not made it possible to maintain its purpose as a home for rest and
recreation. This transformation of residential use is dominated by the hotel and restaurant
destination.
The protection and conservation of the heritage provides techniques and materials aspects
that appeal not only to architects and agronomists, but also a part of the population.
If in society, especially Cartagena, abound respect and interest in their own past, there is still
time to safeguard a territory and its buildings, a reality so close and yet so little known.
Refered builiding is an example of the objects, which through their uniqueness are culturally
important. Created on the edge of the ages in the architectural style, conditioned by the
unique architectural characteristics. Projected with pietism until the smallest details, such as
particular benches, developed with flourishy freethinking as with nurturing unique plants and
trees, builiding represents a pearl of dead end in cultural flow.
Stormy history of city development pushed the building away of it‟s function.
Relating to architectural quality carried with building, the sad fact is that with blur of the
builiding function, blurred it‟s public importance also. Nowdays, builiding is not representative
or even unknown, not only for wider publicity, but even for the citizens of it‟s neighborhoods.
This state of affairs comes straightly from the difficult acces to the builiding, because of
current usage of the building as restuarant.
The usage of the property under BIC should be thought again while considering the
mentioned proposal. So that, the marvel is known to people and doesn‟t sink.
TRANSMUTATION 33
Table of Illustrations
1.1 Abstraction of Site selection 3.22 View of the house from one of the
1.2 Modernist style observed in Grand principle axes of the garden
Hotel, Cartagena 3.23 Panel of the geometric composition
1.3 Secession Modernism style practised in with ceramic tiles on the porch
Casa del Nino, Cartagena 3.24 Panel of the owner's initials, JM and
1.4 In the façade of Fundición Frigard, an geometric composition with ceramic
industrial building of 1918, strong tiles
display of Viennese Secession 3.25 Detail of the porch railing peripherally
Influence closing the house, support columns
1.5 1.5 Eclectic observed in Palace and curved plates scrolls
Aguirrie, Cartagena 3.26 Lantern tower covered with trencadís
1.6 Neomudejar influence in Casa Dorda, 3.27 Ceiling frescoes depicting a naïve
Cartagena scene with butterflies and Cupids
1.7 Influence of Rococo Style in Casa 3.28 View of the dinning hall
Maestre, Cartagena 3.29 View of the dinning hall
1.8 Gothic style observed in Casa Zapata 3.30 Detail of the doorframe of wooden
1.9 Trencadis on roof of Casa Batlo, carvings in dinning hall
Barcelona 3.31 Depicting location of photographs
2.1 Photograph of Ar. Victor Beltri taken from
2.2 Abstraction of Evolution of style of 3.32 View of the main axis of the garden
architect from the entrance
3.1 Location of “Huerto de las Bolas” 3.33 View of the main axis of the garden
3.2 View of “Huerto de las Bolas” from the roundabout
3.3 Orientation of the building in reference 3.34 In front of the façade of the house,
to main road ceramic benches that make the
3.4 Basement Floor Plan Gazebo
3.5 Ground Floor Plan 3.35 Ceramic benches that make the
3.6 Roof Plan gazebo, end copped by cubic planters
3.7 Section AA‟ covered with ceramic tiles
3.8 Section BB‟ 3.36 View of the gazebo from the main
3.9 South Side Elevation façade of the house
3.10 North Side Elevation 3.37 View of the gazebo
3.11 East Side Elevation 3.38 Mosaic in the flooring of gazebo
3.12 West Side Elevation 3.39 Bench located on the ground floor of
3.13 South Side Facade the gazebo with ceramic floor
3.14 East Side Façade 3.40 Detail of pilasters and windows on the
3.15 Basement Floor Plan ground floor of the gazebo
3.16 Ground Floor Plan 3.41 A path leading to the benches and
3.17 Details of roof fountain
3.18 Details of wall 3.42 View of the fountain
3.19 Details of various doors and windows 3.43 Bench „You and I‟
3.20 Details of floor 3.44 View of the gazebo
3.21 Typical wall section 3.45 Curved roads in the garden area
TRANSMUTATION 34
3.46 Perimeter road covered by bower
3.47 View of perimeter road covered by
bower from bench
3.48 View of the with benches covered by
Bower
3.49 Concave bench and sitting from which
you can admire the view of the garden
3.50 Convex bench coated with ceramic
Tiles
3.51 Bench coated with ceramic tiles
3.52 Circular bench in the center and two
benches in the corner
3.53 View of the gazebo along with the
staircase
3.54 Railing of the staircase treated with
trencadís
3.55 View of the road to the house
3.56 View of the shaded garden
3.57 Water distribution points
3.58 Irrigation canal
3.59 Distribution channels for water
3.60 Detail of the ceramic plugs
4.1 View of the foot paths along with
benches
4.2 View of the lawn besides lake used by
public
4.3 View of the waterbody in the park
4.4 The relation of garden and house
4.5 The existing habitat for flora and fauna
4.6 The basement floor used as storage
and temporary exhibition place
TRANSMUTATION 35
Bibliography
− Beltrí Guillermo Cegarra Victor Beltrí and Roqueta: (Tortosa 1862-Cartagena 1935) [Book]. -
Murcia : Official College of Architects of Murcia: Official College of Technical Architects
Technical Murcia, 2005.
− Cartagena, Spain [Online] // Wikipedia. - June 27, 2002. - July 19, 2016. -
https://en.wikipedia.org/wiki/Cartagena,_Spain.
− History of Cartagena Part 2 Iberians to Romans [Online] // Murcia Today. - May 27, 2011. -
July 19, 2016. - http://murciatoday.com/history-of-cartagena-part-2-iberians-to-
romans_6236-a.html#leftcol.
− History of Cartagena Part 3, 5th century to 15th century [Online] // Murcia Today. - May 27,
2011. - July 10, 2016. - http://murciatoday.com/history-of-cartagena-part-3-5th-century-to-
15th-century_6331-a.html#leftcol.
− History of Cartagena Part 4, From the Austrias to today [Online] // Murcia Today. - May 27,
2011. - July 19, 2016. - http://murciatoday.com/history-of-cartagena-part-4-from-the-
austrias-to-today_6333-a.html.
− History of Cartagena, Part 1 Prehistory to the Argaric culture [Online] // Murcia Today. -
May 27, 2011. - July 19, 2016. - http://murciatoday.com/history-of-cartagena-part-1-
prehistory-to-the-argaric-culture_5849-a.html.
− Jeff Antoni Gaudí‟s Casa Batlló in Barcelona – Pictures [Online] // GO TRAVELZING. -
October 07, 2012. - July 27, 2016. - http://gotravelzing.com/antoni-gaudis-casa-batllo-in-
barcelona-pictures/.
− Ochoa Rego Jesus Technical guide conservation and restoration of ancient and historic
gardens of Murcia [Book]. - Cartagena : Polytechnic University of Cartagena, 2010.
− Park Güell [Online] // Wikipedia. - August 09, 2001. - July 27, 2016. -
https://en.wikipedia.org/wiki/Park_G%C3%BCell.
− Park Güell [Online] // Lonely Planet. - September 09, 1994. - July 28, 2016. -
http://www.lonelyplanet.com/spain/barcelona/sights/parks-gardens/park-guell.
− Pérez Rojas Francisco Javier Cartagena 1874-1936 (urban transformation and
architecture) [Book]. - Murcia : Editora Regional de Murcia, 1983.
− The Iberians 750 BC to 1st Century BC [Online] // Murcia Today. - May 27, 2011. - July 19,
2016. - http://murciatoday.com/the-iberians-750-bc-to-1st-century-bc_6621-a.html#leftcol.
− Victor Beltrí and Roqueta [Online] // Region de Murcia digital. - July 23, 2016. -
http://www.regmurcia.com/servlet/s.Sl?sit=c,373,m,1207&r=ReP-16517-
DETALLE_REPORTAJES.
− Victor Beltrí y Roqueta [Online] // Murcia Today. - May 27, 2011. - July 19, 2016. -
http://murciatoday.com/victor-beltr%C3%AD-y-roqueta_10998-a.html#leftcol.
TRANSMUTATION 36

Study of The Bygone Movement, "Huerto de Las Bolas"

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TRANSMUTATION

Study of the bygone movement, “Huerto de las Bolas”

Faculty of Architecture Escuela Técnica Superior de

Chapter 2: Appreciation: Ar. Victor Beltri

Chapter 3: Project by Ar. Victor Beltri: Huerto De Las Bolas

Chapter 4: Design Proposal Ideas ……………………………………………………………….. 31

Chapter : Conclusion ……………………………………………………………………………….. 32

Table of Illustrations ………………………………………………………………………………….. 33

We consider it an opportunity to be associated with the Sarvajanik College of

* 1.1 Abstraction of Evolution of style of architect * Drawn after analysis.

1.4 Scope of Work and Limitations

Modernist Style- It is an architecture style involving

# 1.3 Secession Modernism style practised in Casa

# 1.6 Neomudejar influence in Casa Dorda,

# Book: Adelante siempre. Arquitecto

# 1.9 Trencadis on roof of Casa Batlo, Barcelona

# Book: Adelante siempre. Arquitecto

Victor Beltri was born in Tortosa (Tarragona), on April 15,

# Book: Adelante siempre. Arquitecto

* 2.2 Abstraction of Evolution of style of architect * Drawn after analysis

+ Photograph from website

* 3.3 Orientation of the building in reference to main road

* Drawn after analysis

*3.5 Ground Floor Plan

*3.6 Roof Plan

*3.7 Section AA‟

*3.9 South Side Elevation

* Drawn after analysis

*3.11 East Side Elevation *3.12 West Side Elevation

>3.13 South Side Facade >3.14 East Side Facade

* Drawn after analysis

*3.15 Basement Floor Plan

*3.16 Ground Floor Plan

* Drawn after analysis

>3.17 Details of roof

>3.18 Details of walls

>3.20 Details of floor

+ Photograph from website

> Self Taken Photograph

^ 3.31 Depicting location of photographs taken from

Two Casuarina cunninghamiana,

> Self taken photograph

> Self taken photograph

> Self taken photograph

The farm is irregular and at the

# Book: Adelante siempre. Arquitecto

In the garden, there are Aleppo

+ Photograph from website

# 3.58 Irrigation canal # 3.59 Distribution channels for water

# 3.60 Detail of the ceramic plugs

# Book: Adelante siempre. Arquitecto Víctor

+ Photograph from website

> Self taken photograph

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3.11 East Side Elevation 3.12 West Side Elevation