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City Hall of Arles-sur-Tech dans les Pyrénées-Orientales

Patrimoine classé
Patrimoine urbain
Hôtel de ville
Pyrénées-Orientales

City Hall of Arles-sur-Tech

    6-12 V C Valls Jean Baptiste Barjau
    66150 Arles-sur-Tech
Hôtel de ville dArles-sur-Tech
Hôtel de ville dArles-sur-Tech
Hôtel de ville dArles-sur-Tech
Hôtel de ville dArles-sur-Tech
Crédit photo : Gmbgreg2 - Sous licence Creative Commons

Timeline

XIXe siècle
Époque contemporaine
1900
2000
1900-1901
Construction of the villa Las Indis
1923
Installation of the monument to the dead
3 avril 1987
Registration for historical monuments
Aujourd'hui
Aujourd'hui

Heritage classified

The villa (Case D 310): inscription by order of 3 April 1987

Key figures

Joseph-Pierre Monin - Engineer and contractor Designer and original owner of the villa.
Manolo - Ceretan sculptor Author of the monument to the dead (1923).

Origin and history

The town hall of Arles-sur-Tech, originally named villa Las Indis (or villa Les Indis), was built between 1900 and 1901 by engineer Joseph-Pierre Monin, who also owned it. Built in stone, this house illustrates an eclectic architectural synthesis, mixing neo-Roman, neo-baroque, neo-Gothic and Art Nouveau influences. Its asymmetrical plan, distributed by a central vestibule illuminated by a glass ceiling, and its interior decoration (caving ceilings, neo-Renaissance chimneys, stained glass windows, panelling) make it a remarkable testimony to the civil architecture of the early twentieth century. The villa was listed as historical monuments on 3 April 1987.

In 1923, the monument to the dead of the commune, a statue in homage to the victims of the First World War carved by Manolo (Cerean artist), was installed in the park of the town hall. This work represents a Catalan seated and integrated into the public space surrounding the former private domain. Today, the villa houses the municipal services of Arles-sur-Tech, in the department of the Pyrénées-Orientales (Occitanie region).

The construction reflects the aesthetic and technical aspirations of his time, where Art Nouveau coexisted with historical reinterpretations. The decorative choices (floreal style paintings, tapestries, Art Nouveau doors) highlight this duality between modernity and reference to the past. Subsequent studies, such as Karen Candelier's thesis (2003), have analysed this building as emblematic of the architectural problems of its time.

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