The Banco Hispano Americano building, located in Plaza de Canalejas in Madrid, was the historical headquarters of the Banco Hispano Americano. It occupies a plot with an approximate area of 1800 square meters. The constructed area is about 12,000 square meters.[2] After several processes of bank mergers, it ended up in the hands of Banco Santander, which sold it in 2012. Declared an asset of cultural interest "Asset of cultural interest (Spain)") in 1999, its status (and with it the degree of protection) was limited to the façade "Façade (architecture)") and the first bay "Crujía (architecture)") in 2013. The building, as well as five other adjacent buildings (including the old La Equitativa building), also belonging to Banco Santander until 2012, are being renovated and modified to establish homes and a luxury hotel, as well as a shopping center, within the framework of the so-called Canalejas operation. The renovation includes demolitions, which began in September 2014.
History
The urban reform carried out by the Madrid City Council between 1867 and 1885 to loosely link Calle de Alcalá and Carrera de San Jerónimo, following the Haussmanian principles prevailing at the time, resulted in the widening to 22 meters of the street formerly called Panaderos and then Peligros Ancha, converted into the street of Seville "Calle de Sevilla (Madrid)") and the creation of the Plaza de las Cuatro Calles, later baptized as Plaza de Canalejas, resolving the meeting with the streets of Príncipe and de la Cruz.[3] This operation, a few years after the transformation of Puerta del Sol, constituted another step in the process of dignifying the historic center, whose greatest exponent was the opening of Gran Vía in 1910. In a few years this area became one of the most interesting and unique spaces in the city, as a consequence of the replacement of the old residential buildings by large monumental buildings.
One of the best plots created in the Plaza de Canalejas, with a significantly symmetrical shape, which occupied the entire front of the square between Carrera de San Jerónimo and Calle de Sevilla, was acquired in 1901 by the Banco Hispano Americano, an entity created the previous year with mixed Mexican and Spanish capital and headquarters at numbers 5 and 7 of the nearby Calle de Alcalá.[4] The plot had an area of 20,410 square feet acquired at 80 pesetas per square foot (1,093 pesetas/m²), with a total cost of 1,756,000 pesetas (€10,536).[4] In 1902 the bank commissioned the project for its headquarters to the architect Eduardo de Adaro y Magro, author of the buildings of the Bank of Spain in Madrid and in several provincial capitals. The possible collaboration of the young Joaquín Rojí López-Calvo in its development has been cited, attributing to him some details of modernist resonances "Modernism (architecture)"). The works were carried out between 1902 and 1906,[1] and for health reasons of the architect, who died at the beginning of 1906, they were completed by a colleague (there are discrepancies about who this architect was: the COAM and, following it, the decree declaring an asset of cultural interest, cites José López Sallaberry; contemporary testimonies of the work, however, establish that the completion of the works was carried out by José Urioste Evening).[1][5].
Evaluation of classic skylights
Introduction
The Banco Hispano Americano building, located in Plaza de Canalejas in Madrid, was the historical headquarters of the Banco Hispano Americano. It occupies a plot with an approximate area of 1800 square meters. The constructed area is about 12,000 square meters.[2] After several processes of bank mergers, it ended up in the hands of Banco Santander, which sold it in 2012. Declared an asset of cultural interest "Asset of cultural interest (Spain)") in 1999, its status (and with it the degree of protection) was limited to the façade "Façade (architecture)") and the first bay "Crujía (architecture)") in 2013. The building, as well as five other adjacent buildings (including the old La Equitativa building), also belonging to Banco Santander until 2012, are being renovated and modified to establish homes and a luxury hotel, as well as a shopping center, within the framework of the so-called Canalejas operation. The renovation includes demolitions, which began in September 2014.
History
The urban reform carried out by the Madrid City Council between 1867 and 1885 to loosely link Calle de Alcalá and Carrera de San Jerónimo, following the Haussmanian principles prevailing at the time, resulted in the widening to 22 meters of the street formerly called Panaderos and then Peligros Ancha, converted into the street of Seville "Calle de Sevilla (Madrid)") and the creation of the Plaza de las Cuatro Calles, later baptized as Plaza de Canalejas, resolving the meeting with the streets of Príncipe and de la Cruz.[3] This operation, a few years after the transformation of Puerta del Sol, constituted another step in the process of dignifying the historic center, whose greatest exponent was the opening of Gran Vía in 1910. In a few years this area became one of the most interesting and unique spaces in the city, as a consequence of the replacement of the old residential buildings by large monumental buildings.
One of the best plots created in the Plaza de Canalejas, with a significantly symmetrical shape, which occupied the entire front of the square between Carrera de San Jerónimo and Calle de Sevilla, was acquired in 1901 by the Banco Hispano Americano, an entity created the previous year with mixed Mexican and Spanish capital and headquarters at numbers 5 and 7 of the nearby Calle de Alcalá.[4] The plot had an area of 20,410 square feet acquired at 80 pesetas per square foot (1,093 pesetas/m²), with a total cost of 1,756,000 pesetas (€10,536).[4] In 1902 the bank commissioned the project for its headquarters to the architect Eduardo de Adaro y Magro, author of the buildings of the Bank of Spain in Madrid and in several provincial capitals. The possible collaboration of the young Joaquín Rojí López-Calvo in its development has been cited, attributing to him some details of modernist resonances "Modernism (architecture)"). The works were carried out between 1902 and 1906,[1] and for health reasons of the architect, who died at the beginning of 1906, they were completed by a colleague (there are discrepancies about who this architect was: the COAM and, following it, the decree declaring an asset of cultural interest, cites José López Sallaberry; contemporary testimonies of the work, however, establish that the completion of the works was carried out by José Urioste Evening).[1][5].
The needs program included a bank office and entity services on the two basement floors, ground floor and first floor, and rental housing on the three upper floors. Through a hallway or vestibule located on the axis of symmetry of the building, there was access to a rectangular double-height operations patio, with a portico on the ground floor and glass on the mezzanine, made with cast iron pillars, "Gate (gate)" gates and parapets of the same material decorated with plant motifs close to modernist aesthetics and covered by a glass skylight. The graphic documents of the period attest to the interest of this space, which perhaps did not reach the richness of that projected for the Bank of Spain but which had an unquestionable value. Under the translucent paved floor of the central patio, another unique double-height space with similar characteristics was reproduced in the basements, with a perimeter gallery supported by corbels and artistic wrought iron railings. In this patio located in the basements were the bank's cash desk and rental boxes.[6] Around the operations patio, several secondary patios also covered with skylights in the office area helped distribute the spaces, resulting in an orderly set of clear legibility. The first floor or mezzanine had a functional organization with offices on the façade and glass offices facing the operations patio. The space occupied by the axis of the plaza façade was located at a slightly higher level to give greater height to the vestibule or hallway. The three upper floors, intended for housing, were accessed by two independent stairs[6] located in the party walls of the site. The building therefore had three entrances arranged symmetrically, which were clearly reflected in the composition of the façade.
The most significant element of the building was precisely the façade, built for the most part with sandstone, with the collaboration of the sculptor José Alcoverro (responsible, among other works, for the seated statues of Alfonso Ferraz street in Madrid).[7] In his design, Adaro used an eclectic language "Eclecticism (architecture)") with classical roots, taking as a guideline some of the compositional lines of the neighboring La Equitativa building. It was organized horizontally in three bodies, a wide double-height plinth, a central body of the same height as the previous one and a small coronation body, which was surpassed by two pediments "Fronton (architecture)") and a central frontispiece "Fronton (architecture)"). This composition was completed with a tight vertical rhythm of pilasters of an architectural order that combined Corinthian, composite and Tuscan elements, crowned by pinnacles, all adorned with a profusion of decorative and sculptural elements, among which it was worth highlighting the two round figures that flanked the entrance, representing allegories of Calculus and Economics, both works by Alcoverro. The façade grilles were limited to the ground floor, and were executed by four Madrid firms. The cost of the building amounted to 2,500,000 pesetas (15,000 euros).[6].
After the Civil War, the Banco Hispano Americano acquired the property adjacent to Carrera de San Jerónimo, number 9 (7 bis), which had been destroyed in the war,[8] to expand its headquarters. The project was commissioned to the Bilbao architect Manuel Galíndez") in 1940. Galíndez was a specialist in banking architecture, and had executed the headquarters of the Banco de Vizcaya in Barcelona and on Madrid's Alcalá street - this one in Art Deco style -; the buildings of La Equitativa "Edificio de La Equitativa (Bilbao)") (1932), Seguros La Aurora (1934) in Bilbao. Later would house the Naviera Aznar" building (1943) in Bilbao[9] or the headquarters of the Banco Hispano Americano in many Spanish capitals such as Barcelona (1955), Bilbao (1952), La Coruña or Seville.[10] When requesting a construction license, the architect warned that the works would be carried out in four phases, the first of which would be the extension itself, while the following would be restructuring of the original building. The works were carried out between 1941 and 1944, and meant the typological alteration of the primitive building, breaking the symmetrical scheme of the floor plan, as well as the demolition of a good part of the interior bays. Externally, the façade was extended in a mimetic way by the San Jerónimo race, adding four alignments of openings to the existing ones and transforming the two doors that initially gave access to the stairs of the homes into windows. Internally, the functional program was modified, transforming the homes into offices and offices, just as had happened in La Equitativa.[8]. The two entrances and one of the exclusive residential stairs disappeared, leaving only the one attached to the northern party wall (on Sevilla Street). The two connecting stairs between the four floors for banking use disappeared, replaced by a wider and more visible one. In the two below-grade floors, the double-height central space was kept intact, simply adding the necessary pillars to support the expanded or reconfigured parts. A new operations yard was built, larger in size and also with two floors. This implied the disappearance of the original operations patio, a masterpiece of iron and glass architecture, replaced by a more open structure, "a magnificent early example of the classicist style that so many bank buildings would adopt in the 1940s and 1950s."[11] The new operations patio was designed larger, in the form of a symmetrical irregular polygon, displaced towards the San Jerónimo street. Marble pilasters with Corinthian capitals surrounded it, and a large glass roof covered it.[12] This lost its relationship with the main hallway and with the axis of symmetry of the façade. This alteration of the floor plan and transformation of the interior spaces deprived the building of its initial coherence. The modification of the structure affected, in addition to the demolished sector, large areas of the rest of the building, especially on the ground and first floors. The upper floors underwent fewer transformations in the northern sector, where the structure and spatial organization of patios and stairs were maintained. The roofs built with louvered steel trusses finished in zinc and "Slate (rock)" slate were kept intact on the façade and throughout that same sector.
In 1942, the bank acquired ownership of the property on Calle de Alcalá, number 12. It was the headquarters of Banca Sanz"), which had been absorbed by Hispano Americano.[13] Thus, the complex was able to have a façade, which had not existed until then, on said street. The property, built in 1895, was demolished to proceed with the second expansion of its headquarters. The project was drawn up by Manuel Galíndez himself and was It connected with the existing one at all levels. The following year, the former headquarters of Credit Lyonnais was acquired, a building built between 1904 and 1907 by José Urioste Velada,[14] also with a façade at number 8 Alcalá Street and 7 Calle de San Jerónimo. This formed an agglomeration of four buildings with numerous interior patios, whose plan organization grew in complexity, becoming confusing and labyrinthine.
In 1962, a new extension of the building at Plaza de Canalejas, 1 was carried out, with a project by the architect José María Chapa Galíndez")—nephew of Galíndez, heir to his studio and author of the Banco de Vizcaya tower in Bilbao—, to create employee canteens and new offices. It consisted of the elevation of a fifth floor above the interior bays of the building, leaving the façade body intact. Two floors were also raised in the same operation in other buildings of the building. complex. Despite the setback of the new constructions, the original silhouette of the building was lost from the urban area of the Plaza de Canalejas and the streets of Príncipe and Carrera de San Jerónimo. In 1971, Chapa Galíndez, with the collaboration of Luciano Díez Canedo"), carried out the transformation into a garage of the two basement floors that still partially preserved the original architectural configuration, fundamentally the large double-height central space described above. With this work, the last singular remains of Eduardo Adaro's original interior disappeared. In 1975 a new building was added to the complex: it was a residential building at No. 6 Alcalá Street, which was rebuilt by Chapa Galíndez and Díez Canedo.[15] In 1977, the Banco Hispano Americano building was one of more than a hundred monuments for which a file was filed for declaration of a historical-artistic complex within the town of Madrid.[16].
A year later, in 1978, the last major work was carried out in the original building, the purpose of which was the expansion of the bank branch located in the building, which was extended to the ground and first floors. The successive interior renovations carried out in those years substantially modified the interior decoration of the office areas. Only the offices in the exterior bay on the noble floors preserved part of the original decoration, specifically the carpentry, door and window fittings, as well as isolated elements such as chimneys and radiator covers. In the rest of the building, all the decoration was lost, with only some forgings and louvered steel pillars preserved on the upper floors as a testimony of the primitive building. The interest of this structure was considered by the Community of Madrid to be very limited, as it was generally simple cylindrical steel tubes with a haunched head, embedded in brick masonry studs.
The last building added to the complex was the old headquarters of Banco Zaragozano, at number 10 Calle de Alcalá, designed in 1936 by Roberto García Ochoa Platas"), but not completed until 1942. forming the Banco Central Hispano. At the same time, in 1999, the merger took place between the Banco Central Hispano and Banco de Santander, also owner of the Banco Español de Crédito. This circumstance led to the internal connection of the historic building on Plaza de Canalejas, 1 with the La Equitativa building on Calle Sevilla, numbers 3 and 5. The project was the work of architect Jaime López-Amor Herrero").[19] That year, the Community of Madrid declared the entire building the Central Bank. Hispanic as an asset of cultural interest "Asset of cultural interest (Spain)") in the monument category.[20].
In 2004, Banco Santander, owner of the property, moved the banking services of the Banco Central Hispano to its new Grupo Santander Financial City in Boadilla del Monte, maintaining the bank branch on the ground floor and leaving the rest of the building empty. Already that year, the sale of the complex was proposed, in which a shopping center and a luxury hotel would be installed.[21] In 2006, the investment group R&A Palace agreed to purchase the complex from Banco Santander for 325 million euros.[22] The Madrid City Council agreed, but as these were protected buildings, it commissioned architect Rafael de la Hoz to draft a Special Plan for Canalejas, approved in 2007.[23] This plan established, in a very exhaustive manner, which were the elements of cultural interest that should be protected.[24][25] The uses of the Banco Hispano Americano building would be mixed: luxury housing on the upper floors and commercial use on the lower floors.[26] However, the crisis meant that R&A Palace could not find financing, so Banco Santander terminated the contract in June 2008[27] and, therefore, the project was abandoned. project.[21] In December 2012, it announced the sale of the entire complex to the OHL group, belonging to the Villar Mir Group"), for 215 million euros.[24][28] The renovation plan for the OHL Group complex, projected by Estudio Lamela, was much less respectful than the previous one, and included the excavation of several underground parking floors and, above all, the elevation of the buildings with setback floors of the same height as that of the tallest building in the complex —Alcalá, 12—, which created a single building covered with various facades corresponding to the different buildings.[21] In this way, between three and four new setback floors would rise above the original building of the Banco Hispano Americano.[29] This modification was unviable unless the protection of the buildings in the complex was modified.
In 2013, following the response to a consultation made to the Local Commission of Historical Heritage of Madrid - an organization formed by the autonomous community, the Madrid City Council and the COAM - in September 2012 by the Santander Group,[30] the Community of Madrid announced the partial revocation of the protection of the building, limiting the declaration of property of cultural interest, in the category of monument, to the façade and the first bay.[31] The protection was withdrawn, for example, to the operations yard built by Manuel Galíndez, which was described as a "non-descript structure." The rest of the building was said to have no "elements of interest or cultural value."[11] Although heritage defense organizations requested that the initial 1999 declaration not be modified, protecting Galíndez's contributions. The General Directorate of Historical Heritage of the Community of Madrid rejected the request, although it extended the declaration of property of cultural interest to the roofs of Eduardo Adaro's project located beyond the first bay of the building. The latter stated the following: "The plenary session of this Royal Academy, unanimously, has agreed to continue maintaining the criterion contrary to fachadism, that is, the emptying of old buildings to maintain only facades as if they were theatrical decorations in the city theater."[24] Critics of the measure attribute the decrease in protection to purely economic criteria.[24].
In 2013, following the response to a consultation made to the Local Commission of Historical Heritage of Madrid - an organization formed by the autonomous community, the Madrid City Council and the COAM - in September 2012 by the Santander Group,[30] the Community of Madrid announced the partial revocation of the protection of the building, limiting the declaration of property of cultural interest, in the category of monument, to the façade and the first bay.[31] The protection was withdrawn, for example, to the operations yard built by Manuel Galíndez, which was described as a "non-descript structure." The rest of the building was said to have no "elements of interest or cultural value."[11] Although heritage defense organizations requested that the initial 1999 declaration not be modified, protecting Galíndez's contributions. The General Directorate of Historical Heritage of the Community of Madrid rejected the request, although it extended the declaration of property of cultural interest to the roofs of Eduardo Adaro's project located beyond the first bay of the building. The latter stated the following: "The plenary session of this Royal Academy, unanimously, has agreed to continue maintaining the criterion contrary to fachadism, that is, the emptying of old buildings to maintain only facades as if they were theatrical decorations in the city theater."[24] Critics of the measure attribute the decrease in protection to purely economic criteria.[24].
Description
The historic headquarters of the Banco Hispano Americano constitutes a complex of buildings between party walls located in the Plaza de Canalejas, which extends along Sevilla Street and San Jerónimo Street. It limits its entire perimeter with other properties also belonging, at the time, to banking entities.
Longitudinally, the façade has three differentiated sections, of which the central one is a highly developed curved chamfer, and the lateral ones are straight sections of unequal length towards the adjacent streets. Built mostly of sandstone, it is the most significant element of the building. In his design, Eduardo Adaro used an eclectic neo-Renaissance and neo-baroque language, taking as a guideline some of the horizontal compositional lines of the neighboring Palacio de la Equitativa, especially the large balustrade that runs along its entire perimeter. The organization or horizontal composition of the façade is the classic three-body structure, basement, central body and crown, combined vertically with a tight rhythm of pilasters of a personal architectural order that combines Corinthian, composite and Tuscan elements.
The basement covers two floors of the property with comfortable floor heights, abandoning the concept used during the previous century of linking a service mezzanine to the activity on the ground floor. In this case, the mezzanine is treated as a noble floor plan, although without balconies or projecting elements. This body starts with a short granite plinth "Plinth (construction)" in which the semi-basement windows are integrated. Throughout the base you can see a fine and careful design of the architectural and sculptural elements that escapes the usual rustic character of this part of the buildings. Only the recessed joints between ashlars in the pilasters, which vaguely recall traditional padding, differentiate the treatment from the rest of the façade.
The central body, separated from the basement by a continuous balustrade that marks the beginning of this body, also covers two floors of the building, and has a height similar to the basement. The balustrade or balcony maintains continuity with that of La Equitativa.[7] Initially, the balcony was illuminated by wrought iron lanterns, now missing, located between the windows.[7] This central body is run vertically by an order of pilasters with smooth shafts and capitals derived from the Corinthian order with collars and highly developed "Volute (architecture)") volutes. Between the pilasters are the balconies on the second and third floors. The treatment of overlapping pilasters and semi-columns stands out in the central axis of the chamfer, applying plastic resources explored in Roman baroque architecture. The separation of the central body from the crowning body is a classic entablature, with an architrave, a frieze heavily decorated with reliefs of plant shapes and a wide cornice supported by pairs of corbels that extend the pilasters.
The upper or crowning body is a lower floor plan, in which the pilasters of the lower body extend and end in pinnacles with a neo-Renaissance spirit. The balconies on the lower floors are transformed at this level into classical windows crowned by curved "Fronton (architecture)" pediments. The superimposed pilasters of the central axis of the Plaza de Canalejas have a suitable finish here in a large frontispiece formed by a combination of curved pediments, large and broken in three planes on the lower one and smooth on the upper one, all adorned by borders and a central shield. This frontispiece is repeated in a somewhat more simplified way at the ends of the facades to the side streets, marking the original position of the ground floor entrances.
The mimetic extension of the façade carried out towards the west on the lot of Carrera de San Jerónimo, number 7 bis, before 1944, is an element designed by Manuel Galíndez with success and discretion, since it is limited to replicating the composition made by Adaro, introducing a new vertical axis at the end where he places a new door with an identical layout but with simpler decoration than the existing one, crowned by another similar pediment. The primitive access doors to the residential stairs, converted into windows, are provided with artistic bars and are distinguishable by the decorative plaques on the lintels.
The sculptural decoration of the façade, of high quality and careful design, is at the service of the architecture and is located in corbels, lintels of openings, keystones of the arches, entablature friezes and balustrade finials. Among the decorative elements that are systematically repeated, we must mention intertwined snakes on the base or fleurs-de-lis on the plaques or cornucopias. Within the complex, the two aedicules that flank the main door stand out, with pedestals and canopies of variegated design and profuse plant decoration in the neo-Renaissance style, where the allegorical figures El Cálculo are located - represented as a man with a toga "Toga (clothing)") who thoughtfully brings his hand to his head - and The Economy - a maiden with a tunic and an ark in her hands -,[7] works by the sculptor José Alcoverro.
The ground floor grille, whose most notable element is the entrance gate, is the work of the Madrid workshops of Gabriel Asíns (successor of his father Bernardo), author of the Madrid Casino library, Jareño y Compañía, Miguel González and Sociedad de Construcciones Metálicas.[7].
The window bars on the ground floor of the Banco Hispano Americano building in Plaza de Canalejas were designed by Manuel Negrete González, according to a photo of the document, signed by its author.
The main door gate follows the same design as the window bars with several additions such as upper and lower skirts and a filigree band in the center to reach the height of the entrance. This gate was the work of M. Gonzalez Constructor, according to the bronze seal that appears riveted on the gate itself.
In the 1944 renovation, the gates on the side doors of the homes were lost.
The sloping roof of the building's outer body is resolved with metal trusses made of louvered steel, on which a slate board and slate covering "Slate (rock)") with finials and special zinc pieces are arranged. Noteworthy are the three different types of elements for cross ventilation and lighting of the space under roofs, small air inlet windows at the bottom of the skirt, the small "Attic (window)" attics for superheated air outlet at the top and the lighting attics in the central area, covered with a half-barrel vault.
The exterior bay "Crujía (architecture)") of the building preserves most of the original floors, although the partitioning or distribution of spaces has been greatly altered, which has caused the loss of most of the original decoration. It has been possible to specifically verify the total or partial alteration of some sections of floors, such as the ceiling of the hallway and areas of the third floor. The vertical pillar structure has been almost completely modified in the basements and lower floors. The perimeter structure of the hallway could be intact, although hidden. On the first floor, carpentry elements linked to the façade are mainly preserved. On the second or main floor, the configuration of some of the offices is maintained, preserving door and window carpentry with interesting zoomorphic hardware, as well as a stone fireplace with an aesthetic close to art deco. On the third and fourth floors, except for the carpentry linked to the façade, the decorative elements of interest are few, as the distributions have been altered.
Assessment
The exterior façade of the former Banco Hispano Americano, later Banco Central Hispano, by architect Eduardo Adaro, is a truly unique element of Spanish architecture from the beginning of the century, due to its successful and elaborate architectural design, the materials used and the quality of the sculptural work. It is almost unchanged and fully maintains the values that justified the declaration of an asset of cultural interest. The mimetic extension designed by Manuel Galíndez in the San Jerónimo street, carried out between 1941 and 1944, is an element perfectly integrated into the original façade, which respects its composition, using as a compositional resource the unfolding of the elements that articulate it vertically, which is why it deserves identical protection.
The exterior bay adjacent to the façade is a fundamental element for the contextualization, correct use and conservation of the exterior façade over time. Regarding its structure, it preserves most of the original floors, a large part of the inclined roofs, the perimeter and possibly the structure of the hallway, along with decorative elements from different periods, reasons why it remains included as part of the property declared of cultural interest. However, it is expressly noted that the 2013 decree protects the architectural configuration of the exterior bay, as a spatial and constructive organization linked to the façade. However, this is not the case with the materialization of the slabs and vertical structure of the second load line, which have suffered alterations over time. The main hallway of the building is protected in its configuration and materiality from possible original hidden elements.
The primitive roofs of the building that are preserved, with a structure of louvered steel trusses and slate skirts with dormers and zinc beaters, have also been protected as the object of the declaration, even in the parts located outside the projection of the façade and first bay.
In accordance with the declaration as an asset of cultural interest, the rest of the property, outside the façade and first bay, is considered to lack significant elements of cultural interest or value, which is why in 2013 they lost the degree of protection they had. The protected property was named the façade and exterior bay of the Banco Hispano Americano in Madrid.
Operation Canalejas
The OHL Group's proposal for the original Banco Hispano Americano building proposes giving commercial uses to the basement, ground and first floors and residential uses to the upper floors. An extension will also be carried out below ground level to provide it with parking spaces.[18] The partial revocation of the building's protection allows almost all of its emptying.[24].
The project includes the execution of screeds on the façade, introducing an extension in height of between three and four floors. In this way, the silhouette of the façade will be altered, since the pinnacles and pediments that crown it will no longer be silhouetted against the sky. It is also planned to tear the holes adjacent to the main door to triple the entrance. The bars on the ground floor will be moved to the mezzanine to enable the creation of shop windows on the street level.[33] The fate of the interior of the building and the operations patio is unknown, since nothing is specified other than a generic "recovery of its original surface, of the lost patios, and of the cores and accesses that disappeared with the change of use and the extension of this to the entire property."[18][34].
The demolition of interior buildings on the block began on September 16, 2014. The operation is expected to be completed in autumn 2016.[35].
• - Wikimedia Commons hosts a multimedia category on Banco Hispano Americano building,_Madrid "commons:Category:Banco Hispano Americano building (1905), Madrid").
• - This article includes content derived from a provision relating to the process of protection, initiation or declaration of a cultural or natural asset published in BOCM No. 88 on April 15, 2013 (), which is free of known restrictions under copyright in accordance with the provisions of article 13 of the Spanish Intellectual Property Law.
• - Banco Hispano Americano building in the Monumentamadrid catalogue.
References
[1] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 36.
[2] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 69.
[3] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 3.
[4] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 33.
[6] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 38.
[7] ↑ a b c d e Berlinches Acín y Tellería Bartolomé, 2014, p. 37.
[8] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 41.
[9] ↑ «Monumentos, Conjuntos Monumentales y Yacimientos de la CAPV: La Equitativa». Centro de Patrimonio Cultural del País Vasco. Archivado desde el original el 5 de marzo de 2016. Consultado el 31 de octubre de 2014. - [https://web.archive.org/web/20160305061534/http://www.kultura.ejgv.euskadi.net/r46-12962x/es/cgi-bin_monumentos/BRSCGI?CMD=VERLST&BASE=K46M&DOCS=1-10&CONF=n52c01.cnf&QUERY=(c).IDIO.y(MONUMENTO).CATE.y(Bizkaia).TERR.y(BILBAO).MUNI.y(equitativa)](https://web.archive.org/web/20160305061534/http://www.kultura.ejgv.euskadi.net/r46-12962x/es/cgi-bin_monumentos/BRSCGI?CMD=VERLST&BASE=K46M&DOCS=1-10&CONF=n52c01.cnf&QUERY=(c).IDIO.y(MONUMENTO).CATE.y(Bizkaia).TERR.y(BILBAO).MUNI.y(equitativa))
[10] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 42,135.
[11] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 45.
[12] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 42.
[13] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 49.
[14] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 50.
[15] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 54.
[20] ↑ «Decreto 14/1999, de 28 de enero, del Consejo de Gobierno de la Comunidad de Madrid, por el que se declara Bien de Interés Cultural, en la categoría de Monumento, el edificio del Banco Central Hispano, sito en la plaza de Canalejas, número 1, con vuelta a la Carrera de San Jerónimo, número 7 bis, y a la calle de Sevilla, número 1, del municipio de Madrid». Boletín Oficial de la Comunidad de Madrid (32). 8 de febrero de 1999.: http://www.bocm.es/boletin/CM_Boletin_BOCM/19990208_B/03200.pdf
[21] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 62.
[29] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 61,63,69.
[30] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 44.
[31] ↑ a b «Decreto 31/2013, de 11 de abril, del Consejo de Gobierno de la Comunidad de Madrid, por el que se modifica la declaración de Bien de Interés Cultural, en la categoría de Monumento, del edificio del Banco Central Hispano, en Madrid». Boletín Oficial de la Comunidad de Madrid (88). 15 de abril de 2013.: http://www.bocm.es/boletin/CM_Boletin_BOCM/2013/04/15/08800.PDF
[32] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 46.
[33] ↑ Berlinches Acín y Tellería Bartolomé, 2014, pp. 69-70.
[34] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 71.
The needs program included a bank office and entity services on the two basement floors, ground floor and first floor, and rental housing on the three upper floors. Through a hallway or vestibule located on the axis of symmetry of the building, there was access to a rectangular double-height operations patio, with a portico on the ground floor and glass on the mezzanine, made with cast iron pillars, "Gate (gate)" gates and parapets of the same material decorated with plant motifs close to modernist aesthetics and covered by a glass skylight. The graphic documents of the period attest to the interest of this space, which perhaps did not reach the richness of that projected for the Bank of Spain but which had an unquestionable value. Under the translucent paved floor of the central patio, another unique double-height space with similar characteristics was reproduced in the basements, with a perimeter gallery supported by corbels and artistic wrought iron railings. In this patio located in the basements were the bank's cash desk and rental boxes.[6] Around the operations patio, several secondary patios also covered with skylights in the office area helped distribute the spaces, resulting in an orderly set of clear legibility. The first floor or mezzanine had a functional organization with offices on the façade and glass offices facing the operations patio. The space occupied by the axis of the plaza façade was located at a slightly higher level to give greater height to the vestibule or hallway. The three upper floors, intended for housing, were accessed by two independent stairs[6] located in the party walls of the site. The building therefore had three entrances arranged symmetrically, which were clearly reflected in the composition of the façade.
The most significant element of the building was precisely the façade, built for the most part with sandstone, with the collaboration of the sculptor José Alcoverro (responsible, among other works, for the seated statues of Alfonso Ferraz street in Madrid).[7] In his design, Adaro used an eclectic language "Eclecticism (architecture)") with classical roots, taking as a guideline some of the compositional lines of the neighboring La Equitativa building. It was organized horizontally in three bodies, a wide double-height plinth, a central body of the same height as the previous one and a small coronation body, which was surpassed by two pediments "Fronton (architecture)") and a central frontispiece "Fronton (architecture)"). This composition was completed with a tight vertical rhythm of pilasters of an architectural order that combined Corinthian, composite and Tuscan elements, crowned by pinnacles, all adorned with a profusion of decorative and sculptural elements, among which it was worth highlighting the two round figures that flanked the entrance, representing allegories of Calculus and Economics, both works by Alcoverro. The façade grilles were limited to the ground floor, and were executed by four Madrid firms. The cost of the building amounted to 2,500,000 pesetas (15,000 euros).[6].
After the Civil War, the Banco Hispano Americano acquired the property adjacent to Carrera de San Jerónimo, number 9 (7 bis), which had been destroyed in the war,[8] to expand its headquarters. The project was commissioned to the Bilbao architect Manuel Galíndez") in 1940. Galíndez was a specialist in banking architecture, and had executed the headquarters of the Banco de Vizcaya in Barcelona and on Madrid's Alcalá street - this one in Art Deco style -; the buildings of La Equitativa "Edificio de La Equitativa (Bilbao)") (1932), Seguros La Aurora (1934) in Bilbao. Later would house the Naviera Aznar" building (1943) in Bilbao[9] or the headquarters of the Banco Hispano Americano in many Spanish capitals such as Barcelona (1955), Bilbao (1952), La Coruña or Seville.[10] When requesting a construction license, the architect warned that the works would be carried out in four phases, the first of which would be the extension itself, while the following would be restructuring of the original building. The works were carried out between 1941 and 1944, and meant the typological alteration of the primitive building, breaking the symmetrical scheme of the floor plan, as well as the demolition of a good part of the interior bays. Externally, the façade was extended in a mimetic way by the San Jerónimo race, adding four alignments of openings to the existing ones and transforming the two doors that initially gave access to the stairs of the homes into windows. Internally, the functional program was modified, transforming the homes into offices and offices, just as had happened in La Equitativa.[8]. The two entrances and one of the exclusive residential stairs disappeared, leaving only the one attached to the northern party wall (on Sevilla Street). The two connecting stairs between the four floors for banking use disappeared, replaced by a wider and more visible one. In the two below-grade floors, the double-height central space was kept intact, simply adding the necessary pillars to support the expanded or reconfigured parts. A new operations yard was built, larger in size and also with two floors. This implied the disappearance of the original operations patio, a masterpiece of iron and glass architecture, replaced by a more open structure, "a magnificent early example of the classicist style that so many bank buildings would adopt in the 1940s and 1950s."[11] The new operations patio was designed larger, in the form of a symmetrical irregular polygon, displaced towards the San Jerónimo street. Marble pilasters with Corinthian capitals surrounded it, and a large glass roof covered it.[12] This lost its relationship with the main hallway and with the axis of symmetry of the façade. This alteration of the floor plan and transformation of the interior spaces deprived the building of its initial coherence. The modification of the structure affected, in addition to the demolished sector, large areas of the rest of the building, especially on the ground and first floors. The upper floors underwent fewer transformations in the northern sector, where the structure and spatial organization of patios and stairs were maintained. The roofs built with louvered steel trusses finished in zinc and "Slate (rock)" slate were kept intact on the façade and throughout that same sector.
In 1942, the bank acquired ownership of the property on Calle de Alcalá, number 12. It was the headquarters of Banca Sanz"), which had been absorbed by Hispano Americano.[13] Thus, the complex was able to have a façade, which had not existed until then, on said street. The property, built in 1895, was demolished to proceed with the second expansion of its headquarters. The project was drawn up by Manuel Galíndez himself and was It connected with the existing one at all levels. The following year, the former headquarters of Credit Lyonnais was acquired, a building built between 1904 and 1907 by José Urioste Velada,[14] also with a façade at number 8 Alcalá Street and 7 Calle de San Jerónimo. This formed an agglomeration of four buildings with numerous interior patios, whose plan organization grew in complexity, becoming confusing and labyrinthine.
In 1962, a new extension of the building at Plaza de Canalejas, 1 was carried out, with a project by the architect José María Chapa Galíndez")—nephew of Galíndez, heir to his studio and author of the Banco de Vizcaya tower in Bilbao—, to create employee canteens and new offices. It consisted of the elevation of a fifth floor above the interior bays of the building, leaving the façade body intact. Two floors were also raised in the same operation in other buildings of the building. complex. Despite the setback of the new constructions, the original silhouette of the building was lost from the urban area of the Plaza de Canalejas and the streets of Príncipe and Carrera de San Jerónimo. In 1971, Chapa Galíndez, with the collaboration of Luciano Díez Canedo"), carried out the transformation into a garage of the two basement floors that still partially preserved the original architectural configuration, fundamentally the large double-height central space described above. With this work, the last singular remains of Eduardo Adaro's original interior disappeared. In 1975 a new building was added to the complex: it was a residential building at No. 6 Alcalá Street, which was rebuilt by Chapa Galíndez and Díez Canedo.[15] In 1977, the Banco Hispano Americano building was one of more than a hundred monuments for which a file was filed for declaration of a historical-artistic complex within the town of Madrid.[16].
A year later, in 1978, the last major work was carried out in the original building, the purpose of which was the expansion of the bank branch located in the building, which was extended to the ground and first floors. The successive interior renovations carried out in those years substantially modified the interior decoration of the office areas. Only the offices in the exterior bay on the noble floors preserved part of the original decoration, specifically the carpentry, door and window fittings, as well as isolated elements such as chimneys and radiator covers. In the rest of the building, all the decoration was lost, with only some forgings and louvered steel pillars preserved on the upper floors as a testimony of the primitive building. The interest of this structure was considered by the Community of Madrid to be very limited, as it was generally simple cylindrical steel tubes with a haunched head, embedded in brick masonry studs.
The last building added to the complex was the old headquarters of Banco Zaragozano, at number 10 Calle de Alcalá, designed in 1936 by Roberto García Ochoa Platas"), but not completed until 1942. forming the Banco Central Hispano. At the same time, in 1999, the merger took place between the Banco Central Hispano and Banco de Santander, also owner of the Banco Español de Crédito. This circumstance led to the internal connection of the historic building on Plaza de Canalejas, 1 with the La Equitativa building on Calle Sevilla, numbers 3 and 5. The project was the work of architect Jaime López-Amor Herrero").[19] That year, the Community of Madrid declared the entire building the Central Bank. Hispanic as an asset of cultural interest "Asset of cultural interest (Spain)") in the monument category.[20].
In 2004, Banco Santander, owner of the property, moved the banking services of the Banco Central Hispano to its new Grupo Santander Financial City in Boadilla del Monte, maintaining the bank branch on the ground floor and leaving the rest of the building empty. Already that year, the sale of the complex was proposed, in which a shopping center and a luxury hotel would be installed.[21] In 2006, the investment group R&A Palace agreed to purchase the complex from Banco Santander for 325 million euros.[22] The Madrid City Council agreed, but as these were protected buildings, it commissioned architect Rafael de la Hoz to draft a Special Plan for Canalejas, approved in 2007.[23] This plan established, in a very exhaustive manner, which were the elements of cultural interest that should be protected.[24][25] The uses of the Banco Hispano Americano building would be mixed: luxury housing on the upper floors and commercial use on the lower floors.[26] However, the crisis meant that R&A Palace could not find financing, so Banco Santander terminated the contract in June 2008[27] and, therefore, the project was abandoned. project.[21] In December 2012, it announced the sale of the entire complex to the OHL group, belonging to the Villar Mir Group"), for 215 million euros.[24][28] The renovation plan for the OHL Group complex, projected by Estudio Lamela, was much less respectful than the previous one, and included the excavation of several underground parking floors and, above all, the elevation of the buildings with setback floors of the same height as that of the tallest building in the complex —Alcalá, 12—, which created a single building covered with various facades corresponding to the different buildings.[21] In this way, between three and four new setback floors would rise above the original building of the Banco Hispano Americano.[29] This modification was unviable unless the protection of the buildings in the complex was modified.
In 2013, following the response to a consultation made to the Local Commission of Historical Heritage of Madrid - an organization formed by the autonomous community, the Madrid City Council and the COAM - in September 2012 by the Santander Group,[30] the Community of Madrid announced the partial revocation of the protection of the building, limiting the declaration of property of cultural interest, in the category of monument, to the façade and the first bay.[31] The protection was withdrawn, for example, to the operations yard built by Manuel Galíndez, which was described as a "non-descript structure." The rest of the building was said to have no "elements of interest or cultural value."[11] Although heritage defense organizations requested that the initial 1999 declaration not be modified, protecting Galíndez's contributions. The General Directorate of Historical Heritage of the Community of Madrid rejected the request, although it extended the declaration of property of cultural interest to the roofs of Eduardo Adaro's project located beyond the first bay of the building. The latter stated the following: "The plenary session of this Royal Academy, unanimously, has agreed to continue maintaining the criterion contrary to fachadism, that is, the emptying of old buildings to maintain only facades as if they were theatrical decorations in the city theater."[24] Critics of the measure attribute the decrease in protection to purely economic criteria.[24].
In 2013, following the response to a consultation made to the Local Commission of Historical Heritage of Madrid - an organization formed by the autonomous community, the Madrid City Council and the COAM - in September 2012 by the Santander Group,[30] the Community of Madrid announced the partial revocation of the protection of the building, limiting the declaration of property of cultural interest, in the category of monument, to the façade and the first bay.[31] The protection was withdrawn, for example, to the operations yard built by Manuel Galíndez, which was described as a "non-descript structure." The rest of the building was said to have no "elements of interest or cultural value."[11] Although heritage defense organizations requested that the initial 1999 declaration not be modified, protecting Galíndez's contributions. The General Directorate of Historical Heritage of the Community of Madrid rejected the request, although it extended the declaration of property of cultural interest to the roofs of Eduardo Adaro's project located beyond the first bay of the building. The latter stated the following: "The plenary session of this Royal Academy, unanimously, has agreed to continue maintaining the criterion contrary to fachadism, that is, the emptying of old buildings to maintain only facades as if they were theatrical decorations in the city theater."[24] Critics of the measure attribute the decrease in protection to purely economic criteria.[24].
Description
The historic headquarters of the Banco Hispano Americano constitutes a complex of buildings between party walls located in the Plaza de Canalejas, which extends along Sevilla Street and San Jerónimo Street. It limits its entire perimeter with other properties also belonging, at the time, to banking entities.
Longitudinally, the façade has three differentiated sections, of which the central one is a highly developed curved chamfer, and the lateral ones are straight sections of unequal length towards the adjacent streets. Built mostly of sandstone, it is the most significant element of the building. In his design, Eduardo Adaro used an eclectic neo-Renaissance and neo-baroque language, taking as a guideline some of the horizontal compositional lines of the neighboring Palacio de la Equitativa, especially the large balustrade that runs along its entire perimeter. The organization or horizontal composition of the façade is the classic three-body structure, basement, central body and crown, combined vertically with a tight rhythm of pilasters of a personal architectural order that combines Corinthian, composite and Tuscan elements.
The basement covers two floors of the property with comfortable floor heights, abandoning the concept used during the previous century of linking a service mezzanine to the activity on the ground floor. In this case, the mezzanine is treated as a noble floor plan, although without balconies or projecting elements. This body starts with a short granite plinth "Plinth (construction)" in which the semi-basement windows are integrated. Throughout the base you can see a fine and careful design of the architectural and sculptural elements that escapes the usual rustic character of this part of the buildings. Only the recessed joints between ashlars in the pilasters, which vaguely recall traditional padding, differentiate the treatment from the rest of the façade.
The central body, separated from the basement by a continuous balustrade that marks the beginning of this body, also covers two floors of the building, and has a height similar to the basement. The balustrade or balcony maintains continuity with that of La Equitativa.[7] Initially, the balcony was illuminated by wrought iron lanterns, now missing, located between the windows.[7] This central body is run vertically by an order of pilasters with smooth shafts and capitals derived from the Corinthian order with collars and highly developed "Volute (architecture)") volutes. Between the pilasters are the balconies on the second and third floors. The treatment of overlapping pilasters and semi-columns stands out in the central axis of the chamfer, applying plastic resources explored in Roman baroque architecture. The separation of the central body from the crowning body is a classic entablature, with an architrave, a frieze heavily decorated with reliefs of plant shapes and a wide cornice supported by pairs of corbels that extend the pilasters.
The upper or crowning body is a lower floor plan, in which the pilasters of the lower body extend and end in pinnacles with a neo-Renaissance spirit. The balconies on the lower floors are transformed at this level into classical windows crowned by curved "Fronton (architecture)" pediments. The superimposed pilasters of the central axis of the Plaza de Canalejas have a suitable finish here in a large frontispiece formed by a combination of curved pediments, large and broken in three planes on the lower one and smooth on the upper one, all adorned by borders and a central shield. This frontispiece is repeated in a somewhat more simplified way at the ends of the facades to the side streets, marking the original position of the ground floor entrances.
The mimetic extension of the façade carried out towards the west on the lot of Carrera de San Jerónimo, number 7 bis, before 1944, is an element designed by Manuel Galíndez with success and discretion, since it is limited to replicating the composition made by Adaro, introducing a new vertical axis at the end where he places a new door with an identical layout but with simpler decoration than the existing one, crowned by another similar pediment. The primitive access doors to the residential stairs, converted into windows, are provided with artistic bars and are distinguishable by the decorative plaques on the lintels.
The sculptural decoration of the façade, of high quality and careful design, is at the service of the architecture and is located in corbels, lintels of openings, keystones of the arches, entablature friezes and balustrade finials. Among the decorative elements that are systematically repeated, we must mention intertwined snakes on the base or fleurs-de-lis on the plaques or cornucopias. Within the complex, the two aedicules that flank the main door stand out, with pedestals and canopies of variegated design and profuse plant decoration in the neo-Renaissance style, where the allegorical figures El Cálculo are located - represented as a man with a toga "Toga (clothing)") who thoughtfully brings his hand to his head - and The Economy - a maiden with a tunic and an ark in her hands -,[7] works by the sculptor José Alcoverro.
The ground floor grille, whose most notable element is the entrance gate, is the work of the Madrid workshops of Gabriel Asíns (successor of his father Bernardo), author of the Madrid Casino library, Jareño y Compañía, Miguel González and Sociedad de Construcciones Metálicas.[7].
The window bars on the ground floor of the Banco Hispano Americano building in Plaza de Canalejas were designed by Manuel Negrete González, according to a photo of the document, signed by its author.
The main door gate follows the same design as the window bars with several additions such as upper and lower skirts and a filigree band in the center to reach the height of the entrance. This gate was the work of M. Gonzalez Constructor, according to the bronze seal that appears riveted on the gate itself.
In the 1944 renovation, the gates on the side doors of the homes were lost.
The sloping roof of the building's outer body is resolved with metal trusses made of louvered steel, on which a slate board and slate covering "Slate (rock)") with finials and special zinc pieces are arranged. Noteworthy are the three different types of elements for cross ventilation and lighting of the space under roofs, small air inlet windows at the bottom of the skirt, the small "Attic (window)" attics for superheated air outlet at the top and the lighting attics in the central area, covered with a half-barrel vault.
The exterior bay "Crujía (architecture)") of the building preserves most of the original floors, although the partitioning or distribution of spaces has been greatly altered, which has caused the loss of most of the original decoration. It has been possible to specifically verify the total or partial alteration of some sections of floors, such as the ceiling of the hallway and areas of the third floor. The vertical pillar structure has been almost completely modified in the basements and lower floors. The perimeter structure of the hallway could be intact, although hidden. On the first floor, carpentry elements linked to the façade are mainly preserved. On the second or main floor, the configuration of some of the offices is maintained, preserving door and window carpentry with interesting zoomorphic hardware, as well as a stone fireplace with an aesthetic close to art deco. On the third and fourth floors, except for the carpentry linked to the façade, the decorative elements of interest are few, as the distributions have been altered.
Assessment
The exterior façade of the former Banco Hispano Americano, later Banco Central Hispano, by architect Eduardo Adaro, is a truly unique element of Spanish architecture from the beginning of the century, due to its successful and elaborate architectural design, the materials used and the quality of the sculptural work. It is almost unchanged and fully maintains the values that justified the declaration of an asset of cultural interest. The mimetic extension designed by Manuel Galíndez in the San Jerónimo street, carried out between 1941 and 1944, is an element perfectly integrated into the original façade, which respects its composition, using as a compositional resource the unfolding of the elements that articulate it vertically, which is why it deserves identical protection.
The exterior bay adjacent to the façade is a fundamental element for the contextualization, correct use and conservation of the exterior façade over time. Regarding its structure, it preserves most of the original floors, a large part of the inclined roofs, the perimeter and possibly the structure of the hallway, along with decorative elements from different periods, reasons why it remains included as part of the property declared of cultural interest. However, it is expressly noted that the 2013 decree protects the architectural configuration of the exterior bay, as a spatial and constructive organization linked to the façade. However, this is not the case with the materialization of the slabs and vertical structure of the second load line, which have suffered alterations over time. The main hallway of the building is protected in its configuration and materiality from possible original hidden elements.
The primitive roofs of the building that are preserved, with a structure of louvered steel trusses and slate skirts with dormers and zinc beaters, have also been protected as the object of the declaration, even in the parts located outside the projection of the façade and first bay.
In accordance with the declaration as an asset of cultural interest, the rest of the property, outside the façade and first bay, is considered to lack significant elements of cultural interest or value, which is why in 2013 they lost the degree of protection they had. The protected property was named the façade and exterior bay of the Banco Hispano Americano in Madrid.
Operation Canalejas
The OHL Group's proposal for the original Banco Hispano Americano building proposes giving commercial uses to the basement, ground and first floors and residential uses to the upper floors. An extension will also be carried out below ground level to provide it with parking spaces.[18] The partial revocation of the building's protection allows almost all of its emptying.[24].
The project includes the execution of screeds on the façade, introducing an extension in height of between three and four floors. In this way, the silhouette of the façade will be altered, since the pinnacles and pediments that crown it will no longer be silhouetted against the sky. It is also planned to tear the holes adjacent to the main door to triple the entrance. The bars on the ground floor will be moved to the mezzanine to enable the creation of shop windows on the street level.[33] The fate of the interior of the building and the operations patio is unknown, since nothing is specified other than a generic "recovery of its original surface, of the lost patios, and of the cores and accesses that disappeared with the change of use and the extension of this to the entire property."[18][34].
The demolition of interior buildings on the block began on September 16, 2014. The operation is expected to be completed in autumn 2016.[35].
• - Wikimedia Commons hosts a multimedia category on Banco Hispano Americano building,_Madrid "commons:Category:Banco Hispano Americano building (1905), Madrid").
• - This article includes content derived from a provision relating to the process of protection, initiation or declaration of a cultural or natural asset published in BOCM No. 88 on April 15, 2013 (), which is free of known restrictions under copyright in accordance with the provisions of article 13 of the Spanish Intellectual Property Law.
• - Banco Hispano Americano building in the Monumentamadrid catalogue.
References
[1] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 36.
[2] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 69.
[3] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 3.
[4] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 33.
[6] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 38.
[7] ↑ a b c d e Berlinches Acín y Tellería Bartolomé, 2014, p. 37.
[8] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 41.
[9] ↑ «Monumentos, Conjuntos Monumentales y Yacimientos de la CAPV: La Equitativa». Centro de Patrimonio Cultural del País Vasco. Archivado desde el original el 5 de marzo de 2016. Consultado el 31 de octubre de 2014. - [https://web.archive.org/web/20160305061534/http://www.kultura.ejgv.euskadi.net/r46-12962x/es/cgi-bin_monumentos/BRSCGI?CMD=VERLST&BASE=K46M&DOCS=1-10&CONF=n52c01.cnf&QUERY=(c).IDIO.y(MONUMENTO).CATE.y(Bizkaia).TERR.y(BILBAO).MUNI.y(equitativa)](https://web.archive.org/web/20160305061534/http://www.kultura.ejgv.euskadi.net/r46-12962x/es/cgi-bin_monumentos/BRSCGI?CMD=VERLST&BASE=K46M&DOCS=1-10&CONF=n52c01.cnf&QUERY=(c).IDIO.y(MONUMENTO).CATE.y(Bizkaia).TERR.y(BILBAO).MUNI.y(equitativa))
[10] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 42,135.
[11] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 45.
[12] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 42.
[13] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 49.
[14] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 50.
[15] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 54.
[20] ↑ «Decreto 14/1999, de 28 de enero, del Consejo de Gobierno de la Comunidad de Madrid, por el que se declara Bien de Interés Cultural, en la categoría de Monumento, el edificio del Banco Central Hispano, sito en la plaza de Canalejas, número 1, con vuelta a la Carrera de San Jerónimo, número 7 bis, y a la calle de Sevilla, número 1, del municipio de Madrid». Boletín Oficial de la Comunidad de Madrid (32). 8 de febrero de 1999.: http://www.bocm.es/boletin/CM_Boletin_BOCM/19990208_B/03200.pdf
[21] ↑ a b c Berlinches Acín y Tellería Bartolomé, 2014, p. 62.
[29] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 61,63,69.
[30] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 44.
[31] ↑ a b «Decreto 31/2013, de 11 de abril, del Consejo de Gobierno de la Comunidad de Madrid, por el que se modifica la declaración de Bien de Interés Cultural, en la categoría de Monumento, del edificio del Banco Central Hispano, en Madrid». Boletín Oficial de la Comunidad de Madrid (88). 15 de abril de 2013.: http://www.bocm.es/boletin/CM_Boletin_BOCM/2013/04/15/08800.PDF
[32] ↑ a b Berlinches Acín y Tellería Bartolomé, 2014, p. 46.
[33] ↑ Berlinches Acín y Tellería Bartolomé, 2014, pp. 69-70.
[34] ↑ Berlinches Acín y Tellería Bartolomé, 2014, p. 71.