SUMMARY.

Le Corbusier, more than a decade after the construction of the North station in Valencia, made in Buenos Aires (5-10-1929) that famous conference whose title contained the suggestive phrase: "The techniques are the very basis of lyricism ( ..) open a new cycle of architecture.”. This phrase comes to noting their importance to the avant-garde techniques. Ribes also for a few years earlier, but also - as I discuss in detail over and above his built work station Valencia - not in an essentially theoretical (technique, materials, construction details in the work of Le Corbusier was not up to their theoretical expressions) but a very practical way. The first objective of this thesis is endorsed through a detailed and thorough and constructive value materials that have the station building in Valencia.

For some time the architecture of the railway stations raised my interest in the sense that there is little architectural value in general, many of the statements made about them are blatant despite being protected buildings in many cases (I can not remove from my memory the right wing of the station of Valencia) and others, tend to mummification of the building. 

How different the course of action undertaken for the rehabilitation of the Vienna subway stations where virtually unnoticed action!. In this sense, the words of Mr Juan Calduch in his paper entitled "The modern architectural heritage. The notions of formal fatigue and ruin. " (Seminar on heritage. January 2011. ETSA.UPV) were revealed to me in the sense of giving a real dimension to the serious problem ultimately is similar, which is happening with the heritage of modernist architecture. (CAH 20th. Madrid, June 2011): Do you value the railway stations?. Thus, conservation of the architecture of the stations is the fundamental problem and indicating the event of the station building in Valencia but is a future line of research in which I will participate.
Therefore, by the unprecedented constructive analysis, materials and interventions carried out occurred for the station building in Valencia, I intend to categorize and objectify the technical value of the work and constructive work in this way, to indicate possible future modes of intervention and ultimately to protect the integrity of the work. 
With the main objective to achieve described understand that I must proceed with an approach to building from the analysis of different variables that undoubtedly influenced definitively in the building as we know it. This thesis structured in three levels of approximation, from outside to inside. The first level is what I calll "genesis" and treats those variables external to the architecture but inherent and necessary for the creation of the work; the second level, and dedicated themselves to issues of architecture but not the work itself under review, calls it " from idea to project "and, finally, approaching the analysis of building a comprehensive and detailed focused mainly towards the materials and workmanship, I have the third level called" from materials to construction." 
In the first level described, the first variable analyzed was the political, economic, social and cultural surrounding the implementation of the railway in the city of Valencia. Ribes station provided an innovation in the development and realization of a public building architectural landmark for the city and stands as a symbol of the new ruling class. Despite the political instability during the years of design and construction of the station in Valencia, there was also a great economic boom of unprecedented boom in the construction sector. Undoubtedly, the variety and richness of materials, various craftsmen and artists who participated in the work is a result of this factor. I do not want to mention that, despite the existence of a significant degree of concentration of ownership and wealth in the hands of a small sector of society, there were a large number of Valencia shopkeepers and "botiguers" owners of their shops, artisans workshop itself, employees, professionals, etc who managed to maintain their space and that, therefore, great works of architecture of the city demonstrate the variety and richness on their works. Note that in those years the city had experienced dramatic population growth thus disposing of large labor force. 
What a position so diametrically opposed to the current implementation of the new station!. The analysis of the final building is another future line of study. 
Moving the center of town for the seizure of power by the emerging bourgeoisie and the operation led to the early disentailment location of the railway station in the old Plaza de San Francisco (in the vicinity of the current square council) without there being any kind of previous study or urban analysis (The Convent of San Francisco where the old station was located was the largest area that had - condition "Sinequanon" still insufficient for the forecasts of the railway company). The implementation of Ribes station inherits this situation. The problems of this action in the whole city are felt to this day without being able to resolve this issue despite numerous alternatives and various studies conducted by experts in the field. The burial of the tracks will be a drastic measure that will end the breakdown of the urban fabric caused by the road layout. 
Another reason that makes the morphology of the city is the lack of planning regulations. Alineatoria technique by itself does nothing but strengthen the urban fabric. So it will take up his Valencia and population increases without questioning their close order and its roads, just growing in height. The reforms are not designed to channel growth, but to convert the land to more lucrative uses. That is, from the beginning prevailed interests of the owners of any other motivation. With this background, it would be unthinkable, if not for the seizure, the introduction of a railway station in the center of the city. 
The figure of Mr. Campo is crucial to the development of railways and the construction of the first station of the city. All these factors, by implication, were aids to the realization of Ribes station as I explain in detail in the chapter of the thesis. 
The second of the variables studied in this first level is the contextualization of the urban station, where the analysis focuses exclusively on direct look into the immediate surroundings of the station after a brief tour of the various reform proposals for the widening and carried place in the city. How it was transformed from the implementation of the old station to the construction of the Ribes´s one. I can not mention - because it is a very topical issue, speculating that the intentions have always been behind urban operations conducted in the city. Seldom have been the result of urban studies. In particular, the possibilities that led to the major liberalization of land which involved the operation were completely missed disentailment. The same fortune befell the land occupied by the old wall. It is important to note that the implementation of Ribes station (not yet built) conditions the proposed widening of Mora and Pichó, was the planning that had to adapt to the station despite not being built and due to the primacy of private interests and not the reverse, as would have been desirable for the whole city. (It is true that no dispute between the municipality and the company's North finally won the company. I must also emphasize the total lack of regulation governing the introduction of railways in the city. Even the three great performances finally approved the proposed Aymamí (the layout of the Avenida del Real, the opening of the Western Avenue and the expansion of the Plaza de la Reina) have been completed thus unsolved, problems of accessibility to the center and without power as an alternative, public transportation and rail. The only right decision in this regard in the vicinity of the station was the establishment of the Alicante Street (1907) for municipal intervention, as it favored the final configuration of the station building and allowed to locate in the background of the current perspective Avenue Marqués de Sotelo. 
The debate about the central or peripheral stations was also present for the construction of the station in Valencia although as highlighted, economic and political interests prevailed over the other. Clearly the role of the railway stations as a catalyst for the development of cities. The original station was built San Francisco faceless urban genesis constrained from making clear in advance that in a city like Valencia, where the walls were understood as its border and end of the city, it was unthinkable that would entail a peripheral station through the walls. Perhaps also the central location was desired to ensure the success of the change proposed hub is the ruling bourgeoisie in the city. The acquisition of land outside the walls to locate the rest of the facilities and buildings that allowed station carries a few years later, when the walls had been demolished and had internalized the need for expansion of the city, they could build on that Ribes´s station instead. I note that despite the need for space and because it was private construction, the new station was made possible by the economic boom that the North company experiment between 1900 and 1918. 
Proved unsuccessful because the proposed location of the new station Vicente Sala raised in 1898 at the intersection of Gran Via Ramón y Cajal and Gran Via Germania allowing the continuity of the plot proposed expansion plan, also having a solar generous dimensions that solved the usual problem of the straits. Given the trajectory of urban projects in the city, I ask whether he had really changed both the morphology of the city to accept this site. Indicate that the main reason for not accepting this proposal was the distance from the center thus showing, once again, a short-sightedness did face major expansion and configuration of urban space. 
This analysis of the station site performed also considering the proposed action in the face of the new station. I note that, despite progress, the siting of this station has not been questioned despite the existence of important studies that propose alternative location (eg near the airport) being exceeded and also the debate between station central or peripheral. Seems to prevail as the primary motivation proximity to downtown and a number of factors of non-urban. 
Another relevant issue discussed in this chapter of contextualization is the urban cityscape of buildings. Significantly, the construction of the station Ribes and reform council (Mora and Carbonell. 1906-1952. Current City Council) are coeval. However, compared to modernity, freshness, new languages, color, creative freedom emanating from the station building and the concern of creating a space outside the building but it indissoluble, we find the French style, classicist and Baroque features that represent the style "fashion" in those years in the city. The way to de Ribes, however, light years distant to this trend, known to satisfy the tastes of the ruling class because it was a new building typology and on which there was great stylistic tradition. Underlying the bottom of this issue, the railway station in Valencia prior to construction almost all buildings that shaped the current center of the city and the first extension area shows some stylistic features of great interest in European architecture and large changes to the architecture of the city. In fact, most buildings are outlined architectural works of their own time to live, corseted in eclectic historicism and outcome "pastichero" in a number of cases. 
The third variable that I considered essential to contextualize the work of Ribes at this first level of approximation is the North railroads company's history. This is a small historical compilation work aims to show the avatars and complexity involved in implementation of the railway in Spain since the North company's particular look. Is the establishment of the rail without a doubt, one of the largest companies in the nineteenth century and possibly the history of Spain and the stations are silent witnesses of this great feat. Had major detractors and supporters but also significant, particularly in our country, little support was the dominant party. Remembering Azorín a fragment of "Castilla" indeed poetry has the railroad and its stations, and the added value this has for the station building, which is why I make this brief tour of the company's North. 
Indicate that Demetrio Ribes was the only Spanish architect in North company (1902-1921), french origin and technicians of the same nationality importing the prevailing taste and teaching in Paris in matters of style. 
The North company spent three significant stages in our country: the first (1859-1874) devoted primarily to the construction of lines, the second (1874-1900) to the expansion of the network, the third (1900-1913) - of greater prosperity, dedicated to operating improvements, including the construction of new resorts like Valencia and the fourth (1913-1936) characterized by serious decline and fall suffered by the company. They were not exempt from specific stages described above and acute crisis, to imagine the dimensions of this quest. I must also emphasize the presidency of Felix Boix Spanish engineer (1908-1918 and 1920-1932) at the stage of design and construction of the station of Valencia.That is, the genesis of the new Valencia station coincided with the only period of prosperity and economic boom that took the company. This, together with change of direction into Spanish hands, led to a good supply of financial resources and greater creative freedom to Ribes. 
About the railway in the community is essential to create the line AVT (Almansa-Valencia-Tarragona) by the Marquis of Campo was the most profitable of Spain. It is a history of welcomed along the Mediterranean coast, a matter of current interest. That performance prompted the company's interest to acquire the North line after the death of the Marquis. This factor was also crucial to consider the station of Valencia as first-class station and this conditioned budget, image and materiality of the station building. 
After analyzing the influence on the construction of the station factors external to the architecture itself but equally relevant, the second level of approach that I set - a strategy of gradual approach to the main subject of the thesis - is first to analysis of Ribes built work and the pursuit of thread and the most significant features to identify changes in its trajectory that involves the construction of the station. There is a fairly consistent path where the criteria of classical composition is the link between all his works but also form the tapestry for new creations. His works from the Secession language, with clear influence of Otto Wagner will detail below, up to certain features of constructive rationalism. Great variety of holes, stepped parapets, decorative overlay thematic geometric and plant mainly through structural lines manifestation of cornices, moldings and pilasters, are common features of his work. That if the Valencia railway station is clearly his star job since his work contains a variety of features but also introduces statements conclusively color (it can reside as a pedagogical reason for ornament book it basically. That is, in this case would be another feature of modernity meant to indicate that the ornament is simply a colorful layered clothing). 
Highlight feature also common care and design of all elements of the work. Concern technical, stylistic understanding the project as a single unit and harmonica. "A total work of art." Will affect this aspect refer to the materialization of the season because I found many details in this regard. The active participation in life Ribes architecture with frequent trips, conference attendance, participation, reading books and magazines that provide topical him creative freedom and thought, without addressing or corsets, manifested in his works and claiming in his writings. I must say, however, can not speak of a group of architects and intellectuals Valencia attached to this line, let alone, support this trend by the local bourgeoisie. This leads to poetic achievements of the company's North Station to be in Valencia, where he best expresses your personal style, making a complete turnaround with respect to the usual style of the stations of the company's prototype of the French Second Empire style, after the death of Ribes, again takes the company to build the station of Canfranc. Thus, the Valencia station is an architectural landmark in the history of the North company. It seems interesting to post a comment Mies Van de Rohe, 1922, Carmen Jordá picked up in one of his articles, and especially the explanation that makes the author himself as I understand it has much to do with the way of thinking Ribes. The text reads: 
"Only the skyscrapers that are still under construction reflect their bold structural ideas (...).By placing the perimeter fence is completely destroyed this impression and annihilates the idea is the structural basis for artistic settings, usually hidden behind a trivial formal meaningless jumble. Once these buildings only impressive finishes in the best cases, their actual size, but could have been more than the mere reflection of our technical know-how " 
And as I said before, I love the explanation of the ideas of Mies exposing Carmen Jordá because I find it very similar to the ideology, relatively speaking, that after you study Ribes station, could have it. She thus stated: 
“Mies is offering interpretive keys on your core interests, or their ideas - if you will-because it is the structure (resistant) itself or the technical prowess that he admires, but is considering the virtual-aesthetic of course, of a carrier system, as is the metal frame that, according, to prefigure the image of the building. Ultimately, it is sensitive and poetic look for an architect for whom the technique will become a means, never an end, although the accuracy and thoroughness have governed the flawless execution of their works, after finding the essence of sublimated architecture in 1938 will make you say: "Nothing better defines the purpose and meaning of our work that the profound words of Saint Augustine: Beauty is the splendor of truth!" 
On the other hand, the analysis of his works manifest independence between style and function or relevance of the work. Identified in his works ideas of equality, simplicity, repetition, lack of hierarchy and serialization, among others. Special features are characteristic of all later times, also present at the station of Valencia. The expertise of the architect to combine new language, regionalism, classical composition and technological progress in balanced proportions is another common feature of his work, especially in Valencia station. 
In short, it shows Ribes a way to make distinctions between action set to another. The reading is continuous along the various works by observing the evolution and magnitude of this creative architect. 
And at the end of the analysis and an important conclusion, I note that the largest and most important work of his career – the Valencia station- is no different compositional and stylistically from the rest of his works. There is a greater amount of ornament, a variety of materials and colors are applied for a special appeal but shows the same character and sense of unity and harmony of social housing in the street Manuel Arnau or warehouses and workshops of the station complex. 
In this second level of approximation the following chapter is devoted to the comparison between the way of making poetry of Ribes and Otto Wagner. In particular, I focus on the stations for the Vienna underground for works on the same theme. Travel to Vienna to study these works has allowed me to observe the high degree of ideological fellowship between Ribes and Wagner. The existence of several points in common objects reaching virtually identical embodiments of surprising considering the monumental ideological gap between central Europe and Spain in those years trying to architecture. It is therefore another of the unpublished contributions of this thesis aims to revalue the architect and his work, especially the building of the station in Valencia is where the greatest common features and details appear. 
Thus, the similarities detected are: clarity and classic criteria of composition and functional distribution; great variety of holes and their similar bill, dyestuffs rationalist variables on the use of serialization, repetition, modulation, and simplification, and planned overlay decoration in advance without distorting the composition of the building reading, thematic and geometric plant for ornament; use of sculpture as architectural resource, using similar resources to emphasize the singular points of the building (eg access); search for unity and harmony formal aesthetics whole work, the employment of new technologies and materials in a clear and unequivocal but without prejudice to the whole (this feature is observed more strongly in the work of Wagner, where, to cite one example, metal frames great preside access or lobby of many metro stations); sincerity clear structural and constructive reading, introduction of works by other artists and more without sacrificing whole, balance of parts to the whole and overall coordination of the work, design and care of all and each of the details that make the work, the concrete manifestations of a similar bill (signs, lampposts, railings, ironwork elements, canopies) masterful use of materials and their combinations and encounters, applying criteria of durability and functionality, employment Secession type of decorative motifs in combination with others of different nature, proper use of color, combining classic elements with innovative elements towards the improvement of the whole, the eventual creation of unique works with features of timelessness. 
It is not possible definitely to modify any parts of these works (both those of Wagner as the de Ribes and in particular Valencia station) without ruining the whole, this is an issue that must be kept in mind for actions rehabilitation. 
That is, after the analysis came to one of the main conclusions of the thesis: Valencia station is not Secessionist for the use of certain decorative feature. It is much more than that. This is the realization of values, resources, and ideology detail previously exposed light-years distant in the way of doing and the current architectural debate in Spain and in Valencia in this period. This is one of the few works, the only one in Valencia in those years, which states that the architecture can keep up with changing times, technology advances and emerging new types of needs that modernity imposes a further response to criteria do not give up classical composition, proportionality, beauty and harmony. Lit this work definitely the way forward into a new age but few followed his trail and followed outdated architectural debates of their time and stuck in past issues. 
Finally then, Ribes with the construction of the station shows the same consistency of thought displayed in his writings (Guidelines for the resurgence of a national architecture. 1915, eg) where among other things Ribes defends the existence of a contemporary Spanish architecture, the unnecessary return to past styles, freedom of the architect and architectural coherence is determined by relating the mechanical system, material and purpose. 
Writing phrases such as: 
"The past styles are like withered flowers among the leaves saved from the book of history preserved for those who can smell the delicious perfume of the time he flourished. Touch is destroyed. How do we enjoy these perfumes if we spread its petals to the wind?. Preserve the cult of the beauties of the past as preserved the cult of a dead loved one, do not defile it by putting our sinful hands and hanging his remains for further mockery of the walls of our homes. " 
D. Ribes. Guidelines for the resurgence of a national architecture.
Continuing the approach to the subject, the third variable studied in this second level of approximation has been the analysis of the major stations in Northern Spain. I understand that it was essential to compare the Valencia station with the other class or major provincial capital managed by the North company in Spain. The result has been revealing to understand and appreciate the power station in Valencia. 
After making numerous trips to visit and study stations and after the analysis I can conclude the following: few stations of North company were built with avant-garde. Not manifest the buildings analyzed the architecture of its time. In particular, the company's North had a very specific corporate image - based on the French Second Empire style importing technicians, and it was who got Ribes change this image while he was an architect of the North. (After his death, was revived the traditional image of the company). The architectural and stylistic evolution from the beginning of P. Pio in 1879 to Burgos in 1902 even unrealized projects in P. Pio in 1902-1907 was zero. 
That is, the attitude and the change of Ribes about the architectural image of the company is also a lesson in progress and shows that new types should show new languages. Of course, there are issues fixed and timeless project such as the quality of the foundation: these are the issues that pertain classical composition. In matters of style, nothing is left in any of the interventions operated by Ribes (Valencia, Barcelona-Nord expansion mainly) French Second Empire style. What is the legacy of modernity we have not left this architect of early death?. 
A great philosopher and art critic, Oswald Spengler, who has nothing avant-garde, wrote: 
"The great ornament of the past has become a dead language like Sanskrit and Latin church. Instead of serving its symbolism, the artists use the body, the mummy of art, the flow of the forms and used to compose, mix, match and so totally inorganic. Instead of real development, we have revivals and mixtures of old styles ... It's the swaggering style and insistent of our streets and monumental squares, our universal exhibitions. " 
Oswald Spengler.
The realization of the metal cover that protects the space of paths and tracks of the season in Valencia deserves separate mention for the great evolutionary leap that provides compared with those in other seasons studied. Incorporating the same is due to the engineer's lucky Grasset.
The final result shows a perfect harmony with the whole building stating that the architect-engineer tandem provides great works. Regarding the use of metallic material is a significant advance in the season in Valencia. It is the only example of the study along with the cover of the enlargement of the Barcelona-Vilanova - Ribes also work - which presents the material in its natural state, their unions and features seen without contrast to decorate as happens in the stands with capitals decorated metal present in the station Canfranc or Medina del Campo. 
Also cover Valencia is the only station that shows desire for integration with respect to passenger building: it is the only one that solves the headwall with the creation of the third dimension with the intent to properly solve the urban image of the building. The remaining studies are covered barrel vaults, without simply interrupt his encounter with the passenger building and they just are behind or beside the building but without any interest in their integration into the image of same. Structurally, I must say also presents important new data about their ancestors to be a structural landmark comparable to other European stations covered a higher level. 
In short, Ribes arises in Valencia a clear station dignity of the new material, in this case steel, without renouncing to show its nature. It is therefore the only station north of the company and possibly also of the few Spanish where it occurs. 
Regarding materiality, noted that the station Valencia also is an exception. Most stations have studied little progress and little material wealth. The Valencian station also introducing novel materials such as concrete facade, combining a variety of materials. Valencian station is also the only study showing the use of color on the front. 
After the analysis, I find so disturbing the mode of intervention occurred in many of the stations made in order to adapt the building to the new requirements, changes of use, etc.. Most interventions are heartbreaking, brutal amputations, prosthetic added way incompatible, mummification, abusive intrusions as dissonant malls. I am reminded of the intervention on Príncipe Pío. I keep to assess the structural and engineering show that the work done but the travellers building provides, empty inside and stripped of its foundation, has been dead, like a grotesque mask or a creepy doll. Recalling the words of Fulvio Irace (CAH 20th) when to intervene in equity, we can not limit what is already frozen. The stations were created spaces to be lived and rehabilitate the act of embalming can not assume. 
This brings me to another of the conclusions of the thesis on which I intend to get involved once finished it. Not valued railway stations, even - as will detail below - Valencia station despite being a building which has historic-artistic monument. 
At the third level and in structuring the thesis material and constructive analysis of the passenger building the station in Valencia, the central object of the same deduce the following issues: analysis of the project and written documentation exists concerning the same , I note that the built work follows the guidelines laid down by it. Without being extensive, without detailing any carpentry, baseboards, windows and so on execution is masterful showing a rigorous execution of work. 
Regarding the unusual materials analysis and execution of what is original, or trace of originality in the Valencian station, I find the use of diverse materials and careful execution of all the work (meetings, meetings between materials, forms, color scheme, etc.).. Numerous small details executed with skill and care, which enlarged detail in the chapter of the thesis. I also note that most parts (baseboards, paneling, banisters, etc.) were Ribes designed specially for the place and harmonious and proportionate to the size of the room to fill. Each of the rooms studied shows various pieces, specially designed and in harmony with the rest of constitutors of space, is therefore, unique pieces. This leads to revalue the work not only with issues of wealth stylistic or ornamental, but its design features. The careful implementation shows the professionalism of the workforce that constructed the building. Also it shows the poetic communion described Otto Wagner. 
So, I consider crucial to perform this type of analysis, construction material prior to any intervention in heritage because, apart from bringing up the author's way of doing, ways of action and possible solutions that respect the original work. Examples follow how to intervene in the heritage of Mies Van der Rohe in Chicago by architect Gunny Harboe. (CAH 20th). 
In this sense, the major and minor interventions in the Valencian station (even after being considered the historic monument building locally relevant and well) show a lack of rigor and sensitivity in general, with access to the left tower and stairwell best preserved space (also the least involved) of the passenger building. Of the operated areas, there are significant changes in the material that distort the perception of space. (It is relevant to the change in layout and size reduction of the gaps in the metal). As a counterpoint to this perception, highlighting the careful attitude but Magdalena Monraval clear criterion when to intervene in the old cafeteria. 
Thus, having noted in the station Valencia, worthless and damaging to the work, leaving the personal stamp on the rehabilitation of an object from another author. Just as ominous is also to ignore the original intentions and act accordingly. 
Therefore, after thorough analysis, I can confirm that it is a "total art work" as defined by some authors to the modernist works in the sense that not only present the various art forms (mosaics, paintings) are works art but also the smallest construction details for their careful design and its exemplary performance (anchors fence and lampposts, auctions socket, details of locks, lintels, etc.) always created in line with the artistic wealth of space. Another issue relevant in the wake of Wagner's sincerity is evident in the construction execution of the work there are also several nods to modernity, as I detail in the corresponding chapter. 
Another issue highlighted in the chapter which necessarily leads us to think about it, are the heavy irreparable losses suffered in the Valencia station. Throughout the chapter and the conclusions of the thesis I balance them (awnings, doors, roof, exterior lighting of lamps, etc.).. That is, there is little original in the station building. Do not waste it and understand that, for the following interventions should be a clear vision for the new use of the refurbished rooms and for the future use of the station into service once the new central station. Fulvio Irace (CAH 20th), posed this thought about it: 
"Missing shared approach to recognize the value of the work. (..).Our heritage is a project that changes with us. It is not a fixed thing. We view restoration as an opportunity to rethink the architecture. " 
Fluvio Irace. Fulvio Irace. 
Necessary therefore, preliminary discussions with sociologists and historians and architects to keep the sign of identity that unites the building society. In no case should be understood that the nostalgia of the past is negative, we need knowledge of memory and need a thorough knowledge of the literature on a particular building to intervene in it. This is one of the issues made in this work may serve to present a clear protocol for when to act on our stations. 
Finally, since it is a very topical issue in the city, a small chapter dedicated to describing the new station proposed by architect Cesar Portela and performed a discrete analysis of the project in relation to the Ribes´s station. Note that after studying the economic factors necessary for the implementation of the new station are almost diametrically opposed to the genesis of North station. On the contrary, technological progress, advances in urban analysis and experience must play for rail to get a true intermodal station that finally resolving the fracture and the tremendous historical center accessibility issues still exist within the city. 
This chapter also contains a little reflection about the future Central Park and the uses and operations listed in interesting buildings that form the complex side of the current station and is not intended demolition. 
In the heart of the matter as I am concerned about what the role relegated to the Ribes station building confident that, after the various factors studied and after concluding that it is a "total work of architecture" emblem of exemplary performance, progress and modernity, knows how to keep it full, living, expressing the spirit of its author. 
Thus, the purpose of this thesis was to perform a new look, different, original, from the analysis of materials and carefully observing the construction of a building so widely discussed by several authors. I would so put my two cents into the social value of architecture in general and railway station of Valencia in particular. 
As a graphic summary of the thesis, the simulation carried out on the cover removing all the ornament seemed overwhelming at the time to reflect the modern architect and his understanding of the decor. 

Aurora Martínez, december 2011.
SUMMARY.


SUMMARY.

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