1.
THE MUSEUM OF VALENCIAN HISTORY ( MUSEO DE HISTORIA DE LA
CIUDAD. SALA HIPÓSTILA) www.ayto-valencia.es
The museum is to be housed in a water storage tank, built on solid brick pillars. There are a total of 250 separate columns inside the building which has a perfect geometrical design.
Another noteworthy feature of this structure is its brick vaults which cover a total of 2,600 square metres.
This building will soon house the Museum of Valencian History. The
Museum will be equipped with all the latest technology while still including all the original pieces from all historical periods.
2. THE 9 D’OCTUBRE BRIDGE (PUENTE 9 D’OCTUBRE)
The bridge is situated at the beginning of the River Turia gardens and was designed by the architect Santiago Calatrava. The bridge is a beam structure made of reinforced concrete and steel. It is 144 metres long and was completed in 1989. The steel structures at the ends of the bridge are its most striking feature, in addition to the unusual sight the bridge offers when viewed from the riverbed.
3. THE JESUITS SCHOOL (COLEGIO DE JESUITAS)
Gran Vía Fernando el Católico, 94
Originally, the ground plan of the building was “U-shaped” and symmetrical, with two side wings and the chapel in the middle. The structure of the side buildings was based on supporting walls with two bays and a gabled roof. The most interesting feature is the chapel, designed by the architect Joaquín Mª Belda Ibáñez in the Neo-Byzantine style with three naves. The façade has an entranceway with a Neo-
Romanic semicircular arch, and the interior is decorated with stuccowork and gilt. It was restored between 1940 and 1943 after the civil war. The

walls are made of varied facing masonry with banded brick construction enclosed in recesses. The gateway, made of brickwork with cast-iron railings and pilasters topped with spheres, was built in 1901.
4. THE ST. JOHN THE BAPTIST’S REFUGE (ASILO DE SAN JUAN BAUTISTA)
C/ Guillem de Castro, 175
This building was a welfare institution founded by Juan Bautista Romero
Almenar, a wealthy banker and Valencian silk trader. It is currently run as a religious, private school. The architectural style of the building is distinctly classical. It was designed by the architect Sebastián Monleón using two axes with a chapel in the centre and courtyards at both sides with gardens and porticos with cast-iron pillars. The symmetrical façade, which has recently been restored, is made up of three large sections. The entranceway is situated in the centre, topped with a pediment with allegorical reliefs.
5. THE BRIDGE OF THE ARTS (PUENTE DE LAS ARTES)
This is one of the city’s most modern bridges, in keeping with the area where it is situated and from which it takes its name. It is situated next to the Museo Valenciano de Arte Moderno (Valencian Modern Art
Museum) and the Centro Cultural de La Beneficencia (The Beneficencia
Cultural Centre).
6. THE VALENCIAN MUSEUM OF MODERN ART (INSTITUTO VALENCIANO DE
ARTE MODERNO (IVAM) www.ivam.es
The Centre Julio González is a newly-erected 18,000 m2 building , most of which is open to the public. 60% of the total floor space is occupied by eight galleries which house both permanent and temporary exhibitions.
One of these galleries, with its own separate entranceway, shows the remains of the mediaeval city walls which once surrounded the city of
Valencia. The galleries have been constructed in accordance with classical museum characteristics. Each of the three main galleries consists of five rooms, arranged in a straight line. There is also a gallery specially designed for exhibiting sculptures.
The exhibition programme is centred mainly on the evolutionary process of art, from the crisis of the classical avant-garde period through to the
1970s.

7. THE “LA BENEFICENCIA” CULTURAL CENTRE (CENTRO CULTURAL “LA
BENEFICENCIA”)
C/ Corona, 36 www.xarxamuseus.com
This is a large building dating from 1841, which was originally used to centralise the welfare and charity services of the Provincial Council of
Valencia. It is a three-storey building designed by the architect Joaquín
Mª Belda Ibáñez, with a series of courtyards, some of which have porticos with iron columns. These are all arranged around an extraordinary church whose walls and ceilings were painted by Antonio
Cortina. The courtyards are surrounded by vast bays used in the past to house all the rooms of this charitable institution. The architectural design is solid, regular and symmetrical and corresponds to the so-called Neo-
Gothic and Neo-Byzantine styles.
The Centre has been completely restored and since 1995, it has been an important cultural complex housing the Domingo Fletcher Museum of
Valencian Culture and Prehistory, the Museum of Ethnology, the Sala
Parpalló and the Valencian Institute of Studies and Research.
8. THE MARQUES DE CAMPO REFUGE (ASILO DEL MARQUES DE CAMPO)
C/ Corona, 34
The refuge was designed by the architect José Camaña Laymón and was opened in 1884 with the help of its founder, the Marquis de Campo, a true pioneer in Valencia’s urban development. It is a three-storey building with two external façades and one inner façade overlooking a courtyard which is linked to the Párvulos Refuge. There is a church situated in the centre, a small chapel designed in the style of a cathedral housing three naves with ambulatories, galleries on two floors and a dome above the crossing.
Designed in the Neo-Gothic style out of necessity, the dome’s metallic structure was later hidden by applying pictorial decoration.
9. THE CONVENT OF SAN JOSÉ (CONVENTO DE SAN JOSÉ)
Plaza Portal Nuevo, 6 – C/ Blanquerías s/n.

The community of “Carmelitas Descalzas de San José” (the Barefoot
Carmelites of San José) moved here at the beginning of the 17 th century.
The complex comprises the convent, a small church and a leafy rear garden. In spite of its size and the abundance of roofs, canopies and eaves, it is an example of the sober, humble Castilian style of religious architecture. Its church has a Latin-cross ground plan, a single nave with side chapels, a half barrel vault and a dome without a tambour in the crossing. It was damaged by the floods in 1957, but was restored and extended during the 1970s by the architect Luis Gay Ramos. Although the church is currently open for worship, the convent is partially hidden behind high walls.
10. THE SAN JOSÉ BRIDGE (PUENTE DE SAN JOSÉ)
C/ Guillém de Castro – C/ Blanquerías – C/ Llano de Zaidía
The first records of the existence of this bridge date back to 1383, when it was little more than a small wooden bridge. Its reconstruction in stone began in 1604 under the orders of Jerónimo Negret and Sebastián
Gurrea, the so-called “city workers” (obrers de vila). It was widened by the “Fabrica de Murs i Valls” in 1906 and is made up of three arches which are narrower than the spans of the other old bridges across the
River Turia. In the 17 th century, two sculptures by the Genovese artist
Jacobo A. Ponzanelli were placed above the cutwaters, as were sculptures by the Valencian artists Santo Tomás de Villanueva and San
Luis Bertrán. These were later moved to the Trinidad Bridge. Nowadays, the sculpture of San José with the Baby Jesus (1951) by Octavio Vicent can be seen on the bridge.
11. THE BENLLIURE MUSEUM (CASA MUSEO BENLLIURE)
C/ Blanquerías, 23 www.ayto-valencia.es
The building was designed by the master builder Vicente Miguel
Viñuelas, but was restored and extended in 1912, when it was acquired by the painter Jose Benlliure on his return from Rome. This eclectic, fivestorey building has a symmetrical façade, broken up into horizontal sections whose recesses are framed by mouldings and decorative elements of Greco-Roman origin. In the rear garden, of Romantic design, there is a small two-storey building which the painter and his son
Pepino used as a study. Since the end of the 1980s, it has housed the
Benlliure museum and the inner rooms have now been completely redesigned.

12. THE CHURCH AND CONVENT OF THE CARMEN (IGLESIA Y CONVENTO
DEL CARMEN)
Plaza del Carmen, 7 – C/ Museo
NATIONAL MONUMENT www.ivam.es
These buildings are medieval national monuments, consisting of the old convent and church of the Carmen. The most noteworthy architectural features are the refectory, chapter house, dormitory and Gothic cloister
(14 th , 15 th centuries); the Renaissance cloister (16 th century); the belfry, the front altarpiece and the alterations to the inside of the church, designed by the architect and sculptor Brother Gaspar de Sant Martí
(17 th century); the oval chapel of Our Lady of the Carmen, designed by the academic architect Vicente Gascó (18 th century); and the museum halls designed by Luis Ferreres (20 th century). At the end of the 1980s, parts of the convent were restored (the refectory, chapter house and
Ferrer halls) to house one of the sections of the Valencian Institute of
Modern Art (IVAM, Carmen Centre) and work is currently underway to completely restore the building so that it can be used as a cultural centre.
13. THE PINEDA PALACE (PALACIO DE PINEDA)
Plaza del Carmen, 4
This palace is a rectangular building with a garden at the rear, adjacent to the square and three narrow streets, Pineda, Fenollosa and Palma. It was designed using elements of the Valencian Baroque-Classical style and built using exposed ceramic brickwork and has a lower-ground floor, ground floor, mezzanine and three upper floors. It has an austere main façade, strengthened by a linteled door, recesses in the upper floors and the structure of the upper towers. It has been used for various purposes during its long life and after thorough restoration, it is currently the head office of the Menéndez Pelayo International University.
14. THE RATIONING HALL (SALÓN DE RACIONISTAS)
C/ Blanquerías, 15
This building was the work of the architect Joaquín Mª Arnau Miramón and was constructed in 1887. It owes its name to its former use as a hall

where “food rations” were given out. Nowadays it houses the gymnasium of a school run by a charitable association. Behind the brick façade topped with semicircular arches is the rectangular hall covered with roof tiles supported by trusses made of metal and stone. It is one of the first examples of the use of wrought iron in Valencian construction and its eclectic, historicist architecture corresponds to the criteria of 19 th century constructive rationalism.
15. THE REFUGE AND CHURCH OF SANTA MONICA (ASILO E IGLESIA DE
SANTA MONICA)
Pza. Santa Mónica, 1
The refuge is the work of the architect José Camaña Pañella and is situated on the land the Augustinian convent of Santa Monica was founded on in 1603. This is where the two cloisters come from. It is based on a traditional model with numerous rectangular openings decorated with medieval type elements. The most elaborately decorated part is the
Neo-Gothic style chapel, which was built in 1915. The church was part of the aforementioned Augustinian convent. Building work began in 1630 and the Communion Chapel was added in 1662. It was restored in 1902 and in 1955. The belfry, the work of Javier Goerlich, was added in 1915, following the example of the many belfries of this style to be found in the city.
16. THE “CASA DE LAS ROCAS”
C/ de las Rocas, 3 – C/ Roteros, 10 www.ayto-valencia.es
This building dates back to 1435, when work began on the construction of a warehouse for the “rocks”, ten enormous carriages which have been used in the Corpus Christi processions since the 15 th century. It is situated on an irregular shaped piece of land overlooking two streets. It has a main building which surrounds a large courtyard. This building has a perimeter gallery on the upper floor which is covered with a gabled roof supported by wooden beams. The most noteworthy feature of its two basic façades (the one overlooking Calle Roteros has recently been restored), is the size of the huge doors through which the “Rocks” and the rest of the objects used in the Valencian festivals had to go in and out of. It was completely rebuilt in 1812 by the architect Cristóbal Sales.
The original core of the building has recently been completely restored.
17. THE SERRANOS BRIDGE (PUENTE DE LOS SERRANOS)
C/ Blanquerías-Pza. Santa Mónica

King Jaime I’s companions, who came to conquer Valencia from the mountains of Teruel, settled around this part of the city, and this is where the bridge, the gate in the city walls and the street, get their name from.
It is the oldest of the remaining bridges across the River Turia and its current appearance dates back to 1518, when the “Fábrica Vella de
Murs y Valls” set out to rebuild the existing bridge which had been swept away by the River Turia the previous year. This bridge had previously replaced the “al’Qantara” Moorish bridge. The new bridge was built of stone, under the leadership of the stonemason Juan Bta. Corbera. It has a stepped ramp which allows access to the river bed, which now houses the River Turia gardens, and nine arches with cutwaters and parapets.
18. THE SERRANOS TOWERS (TORRES DE LOS SERRANOS)
Plaza de los Fueros s/n
NATIONAL MONUMENT SINCE 1931
The gateway is a magnificent example of 14th century civic-military architecture.
Construction began in April 1392 under the leadership of the stonemason
Pere Balaguer. The Serranos Gateway was built to defend one of the most important entranceways to old Valencia. From 1586 to 1887 it was used as a prison for noblemen and knights and that is the reason why it was not demolished in 1865 when the medieval city walls began to be knocked down. During the 1910s, restoration work was completed which had started in 1893. Of symmetrical design with an “open cyma”, it is made up of two polygonal towers, each with three vaulted floors and a large stone staircase. The main body joining the two towers is rectangular and houses the entrance gates and a machicolation which joins these three parts.
The stonework has recently been thoroughly cleaned, allowing the
Towers to be appreciated in all their splendour.
19. THE BENICARLÓ PALACE (PALACIO DE BENICARLÓ)
Plaza de San Lorenzo, 4 www.corts.gva.es
The Benicarló Palace (former house of the Borja family) is situated in an old urban area and the palace, together with the church of San
Lorenzo, is a fundamental part of this area. The rectangular building has a large rear garden and most of the block is structured around it. It was originally designed in the late Gothic style, but it was redesigned in the

Gothic style in the 19 th century, which somewhat disfigured its design. The recently restored building can be accessed from San Lorenzo Square, which was previously called The Inquisition Square due to the fact that this institution used to be situated in the palace. Nowadays, it houses the
Valencian Parliament.
20. THE TRINIDAD BRIDGE (PUENTE DE LA TRINIDAD)
C/ Conde Trenor – C/ de la Trinidad
The bridge was built around the 14 th century on the remains of another stone bridge which was swept away in a flood. It is the oldest of the
Gothic bridges. The structure, which is built on a base of ten pointed arches, had to be rebuilt after the floods in 1517. The original bridge had two statues housed in small buildings which were destroyed when the
Carlists laid siege to the city in 1823. The statues on the bridge today are those of San Luis Beltrán and Santo Tomás de Villanueva, works of the
Italian artist Ponzanelli. They were originally located on the San José
Bridge.
21. THE OLD STATION (ANTIGUA ESTACIÓN “DEL TRENET”)
C/ Cronista Ribelles
The building was designed by the architect Joaquín Mª Belda Ibáñez and his academic training can clearly be seen in the clean, perfectly symmetrical design which incorporates classical elements with a keen attention to detail. The building was designed as a large bay, the two largest sides of which overlook the square and the latter the disused platforms. The wall of the main façade has five sections which jut out in a series of steps, the central one protruding the most. The arrangement of the topped pediments brings to mind the structure of Paladin churches.
The surrounding area has recently undergone redevelopment and nowadays the building is used as the barracks for the Regional
Valencian Police Force.
22. THE ROYAL TRINIDAD MONASTERY (REAL MONASTERIO DE LA TRINIDAD)
C/ Trinidad – C/ Alboraya
NATIONAL MONUMENT
The monastery was founded by María de Castilla on the land of a
Trinitarian convent built in 1256. One of its abbesses was the humanist
Isabel de Villena, who turned it into an important cultural centre with links

to the University and the Corpus Christi School. The door of the church is a magnificent example of the blazing Gothic style and its decoration is reminiscent of the Lonja (Guildhall).
The building’s tympanum used to house a medallion attributed to
Benedetto da Maiano which is currently exhibited in the National
Ceramics Museum. The inside is decorated in the Baroque style of the
17 th century. The sculpted, multicoloured keystones of the original church can be seen through a gap between the ribbed vault and the Baroque plaster calotte. The cloister is in the pure Gothic style of the late 15 th century.
23. THE SAN PÍO V MUSEUM OF FINE ARTS & THE SAN CARLOS ROYAL
ACADEMY OF FINE ARTS (MUSEO DE BELLAS ARTES SAN PÍO V. REAL
ACADEMIA DE BELLAS ARTES DE SAN CARLOS)
C/ San Pío V
NATIONAL MONUMENT www.cult.gva.es/mbav/ www.realacademiasancarlos.com
The San Pío V school was founded by the Archbishop of Valencia,
Brother Juan Thomás de Rocaberti, to train priests. The building was designed by Juan Bautista Pérez, who was the master builder of the cathedral. The building housed the “Beneficencia” between 1820 and
1826 and it became state property in 1835. It was then used as a storehouse for army provisions and as a military hospital during the civil war. When the war finished, it was used to house the Museum of Fine Arts and the building was restored and redesigned by the architects Mora and Goerlich. The church has recently been restored and the dome, which was destroyed in 1925, has been rebuilt.
There are two parts; the building housing the school and the temple. The former is a rectangular structure, built around a cloister with five arcades on each floor. The church, built by José Mingues between 1714 and
1728, is octagonal and has a deambulatory and galleries. It is a building of enormous size: the circumference of the deambulatory measures
26.70m and that of the dome approximately half that figure (14.20m).
The first figure is exactly the same as the circumference of the school playground. The façade of the building has a formal consistency, unusual in that it clearly shows the dilemma between the Baroque style and Neo-Classicism.

THE SAN PIO V MUSEUM OF FINE ARTS
The Valencian Museum of Fine Arts, which was previously called the
Painting Museum of the Carmen, Provincial Museum of Fine Arts or more recently the San Pío V Museum after the building it is housed in, is the most important cultural reference point in the Valencian Region in terms of historical paintings. It comprises a large art gallery and a splendid collection of drawings and engravings, in addition to sculptures, archaeological pieces, architectonic fragments, photographs and decorative artwork.
THE SAN CARLOS ROYAL ACADEMY OF FINE ARTS
Since it was founded by Carlos III in February 1768, the academy has never closed. It is under the High Patronage of His Majesty the King, according to article 62 of the 1978 Spanish Constitution.
At present, there are four sections: Architecture, Sculpture, Paintings and
Engravings and Music.
By the decree of 12th June 1989, it was recognised as the first
Consultative Institution of the Valencian Region.
24. THE TEMPLAR PALACE MONASTERY (PALACIO MONASTERIO DEL
TEMPLE)
Pl. del Temple
NATIONAL MONUMENT
Charles III ordered the building of this monastery after an earthquake destroyed the monastery of Montesa in 1748. It was originally the Church,
School and Convent of the Templar Military Order, and was used for various purposes after its confiscation. It has undergone numerous alterations and nowadays the buildings of the original Convent , which were converted into Civil Government buildings in 1861, and the Church can still be seen. The stonework of the first building has been conserved, as has the austere cloister. There are some interesting features inside the church, with a shrine at the high altar and perspective paintings by
Felipe Fontana.
25. THE ROYAL BRIDGE (PUENTE DEL REAL)
Paseo Ciudadela - Pl. Llano del Real.

The bridge is situated where, at the beginning of the Reconquest, there used to be a wooden bridge which allowed access to the Convent of
Santo Domingo. After the River Turia flooded several times, the old bridge became more and more dilapidated and it could no longer be used after the floods of 1517. In 1518, plans were made to build a stone bridge although work didn’t start until 1595 thanks to donations from the cemetery of the Convent of Santo Domingo. Three years later, the bridge was completed in time for the marriage of Philip III to Queen
Margaret. It was widened in 1967.
26. THE CERVELLÓ PALACE (PALACIO DE CERVELLÓ)
Plaza de Tetuán, 3 www.ayto-valencia.es
Documentation is currently being processed to declare the building a
NATIONAL MONUMENT
The building is highly representative of the history of the city, since it was where the royal family stayed once the Royal Palace no longer existed.
Ferdinand VII signed the passing of the 1812 Constitution here ; Maria
Cristina signed her abdication here; Isabel II stayed here, and it was an important centre of social events. The main façade is Neo-Classical, as a result of alterations which were undertaken in the 19 th century. Inside, there is a central courtyard which is partially covered by an arcade.
The building has been restored to house the Municipal Archives. The
Cervelló Palace has two clearly distinct constructions: the area occupied by the original palace and an adjacent, newly erected building which is going to be used to house the city’s Municipal Archives
The renovated palace will mainly be used as a museum and for public use. The museum will have four different sections:
1.
The history of the Palace and the Cervelló family
2.
The 19th century and the political history of the city.
3.
Important figures of the 19 th century. Biographies and their relationship with Valencia.
4.
Permanent exhibition of the contents of the Municipal Archives.
The first floor, or “noble floor”, will be an exact replica of the palace in all its splendour. It will be used to hold official receptions and the building will be open to the public.
The second floor will be given over to public use of the archives. There will be a research room, classroom and an archive department.

27 THE CHURCH AND CONVENT OF SANTO DOMINGO (IGLESIA Y
CONVENTO DE SANTO DOMINGO)
Plaza de Tetuán
NATIONAL MONUMENT
The first stone of the Convent of Santo Domingo was laid by Jaime I and it became one of the most influential institutions in Valencia. Both San
Vicente Ferrer and San Luis Beltrán lived in the convent. It currently houses the Headquarters of the Task Force. It is one of the most important monuments of the city. The following features can be found in the Santo
Domingo complex:
Gothic style:
 The Kings’ Chapel – an impressive Gothic structure dating back to the mid 15 th century, built using dark stone and covered by one of
the most magnificent vaults ever constructed. It is hardly surprising that it has been a National Monument since 1931.
 The Main Cloister – This was built in the Gothic style between the
14 th and 15 th centuries. It has five arches with fretwork of various designs and a ribbed vault.
 The Chapter House – This is a Gothic hall which was built in the 14 th century. Its columns are reminiscent of the Guildhall (La Lonja), but there are differences. One such example is that there are no spirals like those in the Guildhall. Instead, the ribs of the vault run along the length of the shaft in a style belonging more to the medieval period.
Neo-Classical style:
 The Chapel of San Vicente Ferrer – The building, which dates back to 1772, has a single nave with a crossing and a dome with a tambour and lantern. It is worth paying particular attention to the way the space is used.
Renaissance style:
 These elements include the entranceway, which is attributed to
Philip II, and the gardened courtyard behind the entranceway and the refectory.
28. THE EXHIBITION BRIDGE (PUENTE DE LA EXPOSICIÓN).

The bridge is commonly known as “la peineta” (“the ornamental comb”) and is the work of the Valencian architect Santiago
Calatrava. It has become a symbol of the modern nature of the city.
29. THE ARCHIVES OF THE KINGDOM OF VALENCIA (ARCHIVO DEL REINO
DE VALENCIA)
The building was constructed between 1962 and 1965. Its dignified design and functionality is worth mentioning from an architectural point of view. The building contains archives which depict practically all the history of the city and the kingdom. These archives were declared to be items of cultural interest in 1997.
30. THE MUNICIPAL EXHIBITION PALACE (PALACIO MUNICIPAL DE LA
EXPOSICIÓN)
Pza. de Galicia, 4 – C/ Arquitecto Mora, 3
The building was constructed in record time in only 70 days and was used as the City Council’s pavilion in the Regional Exhibition in 1909 and the National Exhibition in 1910. It later became the headquarters of the
School of Architecture. It was designed by the architect Francisco de
Mora y Berenguer. The façades show a mixture of different references to
Valencian Gothic architecture and although they do not go so far as to copy any particular monument of the city, they are reminiscent of the most important ones, depicting Gothic-religious, civil and military styles.
The reliefs on the door which looks onto the Plaza de Galicia are the work of Ricardo Tárrega. During the building work, every attention to detail was given to the building’s interior design and the work was well received by critics.
Restoration work is currently being finished on the building and, in addition to other public uses, it will soon house a municipal library.
31. THE OLD NURSERY SCHOOL (ASILO DE LA LACTANCIA)
C/ Amadeo de Saboya, 14 – C/ Muñoz Seca
The building dates back to the period of the 1909 Regional Exhibition. It was designed by the architect Ramón Lucini Callejo and used as a nursery school for the children of the Tobacco Factory workers. Its construction follows the building tradition of the 19 th century, conserving a certain academicism and historicist modernism. In front of the concave façade there is a small portico and it is closed by a wrought iron gate. It is made of brick stonework with banded blue and white tiles.

32. THE WOOL FACTORY (LA LANERA)
The building is the work of the architect Alfonso Garín Ortolá and construction was started in 1917. The building is a spacious industrial warehouse, the walls of which were elaborately decorated.
33. THE TOBACCO FACTORY (FABRICA DE TABACOS)
C/ Amadeo de Saboya, 13 – C/ Micer Mascó
This building was the “Industry Palace” in the 1909 Regional Exhibition and was therefore able to be converted into the Tobacco Factory, which was about to be opened, in exchange for constructing the a nursery school for the workers’ children. It was designed by the architect
Celestino Aranguren and the engineers Federico Garcia and Mauro
Serret. Ramón Lucini Callejo was in charge of the building work.
It was built to last and its earnest, severe design contrasted with the ephemeral and pompous designs of the rest of the pavilions. It is a functional, neo-classical structure built with smooth brick and a series of arched openings with scarcely any decoration. Its rectangular shape was inspired by the Escorial Monastery.
34. THE ‘PUENTE DE LAS FLORES’ BRIDGE
Work began on the construction of the Puente de las Flores in March
2002. It is situated between the Paseo de la Ciudadela and the Avenida de la Alameda. The most prominent features of its design are the simplicity of its shape and total aesthetic compatibility with the River Turia gardens . It is 153 metres long and 24 metres wide. Half the width of the bridge is to be used for gardens and pedestrian areas.
35. THE ‘PUENTE DEL MAR`BRIDGE
Plaza de América – Paseo de la Alameda
It was agreed that the bridge would be constructed in 1591, after the previous bridge was destroyed by flooding, and for centuries the bridge was the natural route from the city to the port. It became a pedestrian bridge in 1933 when Javier Goerlich Lleó built the steps which allow access to it. It has ten archways each spanning 15.5m and is 160m long and 8.35m wide. It is decorated with two triangular structures on a large pedestal with a stone plaque, columns and a tiled roof topped by a pinnacle and spheres. These structures house sculptures of the Virgin and

San Pascual. The bridge has a ramp which faces downstream so that the current could not rise on this side of the city.
36. THE ‘PUENTE DE ARAGÓN’ BRIDGE
G.V. Marqués del Turia – Pl. de Zaragoza
The bridge was designed by the engineers Arturo Monfort, José Burguera and Gabriel Leyda. It takes its name from the old Aragón railway station, which no longer exists. The bridge is a continuation of the Gran Vía
Marqués del Turia avenue towards the port and after it was built, the Sea
Bridge was pedestrianised. The bridge was designed in the Rationalist style and has six 25m arches. It is 167m long and 30m wide. It has a central dividing section and pavements on both sides. The large iron columns were used to support the cables for the tramway and the street lighting. At the points where the bridge joins the parapets of the river, there are allegorical sculptures by the sculptor Jesús Castelló which are reminiscent of those by José Terencio Farré which used to be there.
37. THE ‘PALAU DE LA MÚSICA’ CONCERT HALL www.palauvalencia.com
The Palau de la Música is an avant-garde building in terms of Valencian architecture and in terms of its structure. Its glazed panels overlooking the River Turia gardens give it a special charm.
The building was designed by José María de Paredes, winner of the
National Architecture Prize and the man behind the Madrid and
Granada auditoriums. The Palau was inaugurated on 25 th April 1987 and since then, it has become one of the city’s most emblematic buildings. A clear sign of the auditorium’s popularity is the fact that 300,000 spectators a year attend concerts there. It has become one of the most important venues in Europe.
Transparency was the medium adopted by the architect in this unusual project. A large glass vault running parallel to the river bed serves as the main entranceway yet does not spoil the visual effect.
The atmosphere from outside the building is allowed to flood inside. The
Palau is part of the landscape of the River Turia and the building itself allows water, which is a vital part of the river itself, to also be present.
Inside the building, there are plants and trees in the foyer, while the glass cascade appears to flow straight into the pond which Ricardo Bofill designed for this part of the old riverbed in front of the Palau.

38. THE ‘PUENTE DEL ÁNGEL CUSTODIO’ BRIDGE
Avda. Peris y Valero – Avda. Eduardo Boscá.
The bridge was designed by the Municipal Engineer Arturo Piera. It connects the old inner ring road between Eduardo Boscá and Peris y
Valero, crossing the river with a span of 150m. Before it was widened, it was 15m wide. In 1967, it was widened to 31.60m and divided into a central section with pavements on both sides. It is made of reinforced concrete and has six straight central sections and two end sections on banked semicircular vaults. At the points where the bridge joins the parapets of the river there are small rectangular pavilions. Recently, the bridge has been equipped with cast iron street lamps reminiscent of 19 th century Paris.
39. THE ‘PUENTE DEL REINO’ BRIDGE
The bridge was designed by the engineer Salvador Monleón and inaugurated at the end of 1999. It combines traditional art with art deco.
The architectural features of the Guardian Angel Bridge and the Aragón
Bridge were taken into consideration when the bridge was designed.
The bridge’s four guardians (four winged figures representing a fallen angel with a cat-like head) give the bridge a Gothic feel and this is accentuated on the under section where forged arches have been set in place next to the walls which demarcate the riverbed. It has 126 gargoyles, each with an eagle’s head.
40. THE FALLAS MUSEUM (MUSEO FALLERO)
The museum is housed in an old lazaretto next to the Creueta de la Mare de Déu de Monteolivet. In 1834, it became a barracks and then a military jail. Nowadays it houses a collection of Ninots (small papiermâché statues). Every year since 1934, one Ninot has been saved from burning by popular vote. There is also a collection of Fallas posters and photographs related to the festival.
THE CITY OF ARTS AND SCIENCE (CIUDAD DE LAS ARTES Y DE LAS
CIENCIAS) www.cac.es
41. THE ‘PALAU DE LES ARTS’ COMPLEX FOR THE PERFORMING ARTS

The Arts Palace is an enormous building (over 75m tall) with a highly original design and shape. It was designed by the Valencian architect and engineer Santiago Calatrava. When finished it will have a floor space of over 40,000m2, making it one of the most important artistic and cultural venues in the world.
The Palace has been designed to be a forum for the creation and promotion of all the performing arts and it will be equipped with the most advanced technology required to host all kinds of theatre, opera and musical performances.
42. THE MONTEOLIVETE BRIDGE (PUENTE DE MONTEOLIVETE)
This bridge, which was designed by the engineer Fernández Ordóñez, spans the riverbed to connect the Avenida Tomás de Montañana with the City of Arts and Science. It is 41m wide and has four lanes. One of the characteristic features of the bridge is the steel corner pieces which frame the beams and pillars.
43. L’HEMISFÈRIC
The building is the work of Santiago Calatrava and is originally designed in the shape of a human eye. It is the only place in Spain where, in the same building and on the same enormous 900m2 concave screen, you can see three audiovisual shows: a planetarium, an IMAX Cinema Dome and an Omniscan Laser. The six channel stereo sound system can be heard in four different languages.
The beauty of the building is rounded off by a 24,000m2 rectangular pond in which you can see the reflection of a complete sphere in the water.
44. THE PRINCE FELIPE SCIENCE MUSEUM (MUSEU DE LES CIÈNCIES
“PRINCIPE FELIPE”)
This is the museum of the 21st century. It is a unique building, designed by
Santiago Calatrava, in which to learn about the evolution of life and the latest scientific and technological breakthroughs.
The building has a personality all of its own and is the impressive result of constructive innovation. It is principally an interactive museum which allows the visitor freedom to change and decide where he or she wants to go in an active, fun and entertaining atmosphere.

Due to the extraordinary size and rigidity of the concrete parts of the building, all the museum’s foundations are 30m deep. It is 220m long,
80m wide and 55m tall and represents a new milestone in the history of world architecture.
45. L’UMBRACLE
Situated on the south face of the City of Arts and Science, it is 320m long and 60m wide.
It was built using the same characteristic construction materials as the rest of the buildings, mainly white concrete. The upper section is a large walkway with a tree-lined garden in the centre. From here, the whole complex can be seen, in addition to the landscaped area which surrounds it.
46. THE OCEANOGRAPHIC PARK (L’OCEANOGRÀFIC)
This is the largest oceanographic park in Europe; a real underwater city.
The extraordinary roofs covering the main buildings were designed by
Félix Candela.
It occupies an area of 80,000m2 and was conceived as a natural park and as an educational and recreational scientific centre. One of its main aims is to depict the world’s most important marine ecosystems so as to understand, share our knowledge of and research the marine environment. Here we will soon be able to enjoy a submarine trip round the world. In addition, the park aims to recover and restore protected fauna and flora.
47. CENTRE OF SCIENTIFIC HIGH TECHNOLOGY FOR RESEARCH INTO
BIOMEDICINE AND TISSUE AND ORGAN TRANSPLANTS IN THE VALENCIAN
REGION.
(CENTRO SUPERIOR DE ALTA TECNOLOGÍA CIENTÍFICA PARA LA
INVESTIGACIÓN EN BIOMEDICINA Y EN TRANSPLANTES DE TEJIDOS Y
ÓRGANOS DE LA COMUNIDAD VALENCIANA)
The centre, which is situated in the riverbed close to the City of Arts and
Science, will take up approximately 30,000m2. The structure will have three rectangular towers, two of which will be used for scientific and research purposes. The other tower will be for public use and will house the centre’s administrative department.

Over 300 first-rate scientists divided into 24 research groups will work in the centre. The Centre intends to become a point of reference for international science and will centre its work on the following areas: genetics and preventative medicine; stem cells and an umbilical cord bank; cell, tissue and organ transplants, artificial hearts and immunology in transplants.
48. THE SHIPYARD BRIDGE OR THE NAZARET BRIDGE (PUENTE DE ASTILLEROS
O DE NAZARET)
C/ Ejercito español-Camino de las Moreras
The bridge was built in 1929 using reinforced concrete and artificial stone. The rails are made of ornamental cast iron set between concrete pilasters on which the street lamps stand. It originally had a central section with gravel and rails which were later removed and changed into a road.