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Laboral City of Culture
Gijón (Central Asturias)
Contact Address
Luis Moya Blanco, 261. 33203. Cabueñes. Gijón/Xixón
902 306 600 / 985 185 858
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Próximos Eventos

Accesible y movilidad interior practicable.

Laboral Ciudad de la Cultura
Laboral Ciudad de la Cultura
Laboral Ciudad de la Cultura
  • 01/01 to 30/06 and 09/09 to 31/12
    Guided Tour
    Wednesday to Friday: 5:00pm
    Saturday, Sunday and holidays: 12:30pm and 5:00pm
    Visit to the scenic balcony on the Tower
    Wednesday to Friday: 6:00pm
    Saturday, Sunday and holidays: 11:30am, 1:30pm, 4:00pm, 6:00pm
    There are no guided tours or visits to the tower's scenic balcony on Mondays and Tuesdays, except for 8th and 9th February, 2nd May, 5th and 6th September, 31st October, 1st November, 5th. and 6th. December.
    There will be no guided tours on 24th, 25th and 31st December, 1st, 5th (afternoon) and 6th January.

    At Easter (from 24th to 5th March) and national long holiday weekends, please check on additional times.

    01/07 to 08/09
    Guided tour of the Laboral
    Monday to Friday: 12:30pm and 5:30pm
    Saturday, Sunday and holidays: 12:30pm, 5:30pm and 7:00pm
    Visit to the scenic balcony on the Tower
    Monday to Friday: 11:30am, 12:00pm, 1:30pm, 5:00pm and 6:30pm
    Saturday, Sunday and holidays: 12:00pm, 1:30pm, 2:00pm, 5:00pm, 6:30pm and 8:00pm

    Guided Tours:
    Individual: €5.00
    Reduced: €3.50
    Visit to the scenic balcony on the Tower:
    Individual: €2.00
    Children (under 12): Free

Laboral City of Culture is one of the largest civil buildings in Spain

Laboral City of Culture stands on a small promontory in the Cabueñes Valley. Bearing in mind the natural layout of the terrain and the direction of the winds, the architect chose to orient the building so it is entered from the opposite direction of what would seem logical, if coming from Gijón. The gate tower of the main façade, with its arched entrance topped with a tower, brings to mind Roman triumphal arches. The semi-circular arch bears a shield with an eagle, yoke and arrows held by two angels, in allusion to the crests and shields found on the façades of Renaissance houses and mansions. The entrance arch stands higher than the lower arch that connects the atrium with the square. This is done to highlight the entrance, while also achieving a unique visual effect. The difference in height between the arches alters the perception of space, so that the length of the atrium seems greater than it actually is.

Just inside the tower gate is the Corinthian Atrium. This is a rectangular courtyard surrounded by granite columns standing ten and a half metres high. The layout of the courtyard creates a vivid contrast between the imposing mass of the columns and the small opening left in the centre, open to the sky. It should be noted that the entrance courtyard is laid out in the manner of a Corinthian atrium, as described by the Roman architect Vitruvius in the 1st century BC and designed by the Renaissance architect Palladio in the 16th century for the Convento della Caritá, in Venice. Also worth noting is the fact that the ten columns in the Corinthian atrium, as well as the almost one hundred columns that are distributed throughout the building, hardly support any load. They serve a primarily decorative function.

Framed by Herrerian-style architecture, the central square of Laboral City of Culture occupies a large open area measuring ​​150 metres long by 50 metres wide, capable of accommodating large masses of people. It is used as an overflow area for the personnel occupying the various buildings and also as a suitable venue for large gatherings. Like in old Spanish squares, the central square houses the most representative buildings: the tower, church, theatre, offices and classrooms. It is therefore an area used by one and all, the true heart of the building complex, which is organized like of a small self-supporting city, in which each of its parts contributes to form a harmonious whole.

For its size and visibility, the tower has emerged as the most prominent symbol of Laboral City of Culture. In the initial projects, it basically took the form of a belfry for the church, though detached from it. Subsequently, the upper bodies were stylized, thus gaining height and independence with respect to the church. The tower consists of five superimposed square bodies topped by two circular bodies. It is crowned with a 17-metre spike, the total height of the tower above the central square being 117.60 metres.

The church is without doubt the most spectacular building in this architectural complex. Different styles and elements and the boldest of solutions come together in this building to give rise to a compact, harmonious whole. The façade has seven large niches and an amphitheatre-style gallery that rests on the vaults and runs around the entire perimeter of the church. The entrance is situated in the central niche. On the lintel of the doorway, there is an image of Our Lady of Covadonga. The interiors of the niches are decorated with double floating columns on each side, topped by a Baroque arched architrave that encloses the latticework.

The ground plan of the church is elliptical, with axes of 40.8 metres by 25.2 metres occupying a surface area of ​​807 square metres. The large dimensions are consistent with its intended use: to allow around a thousand students and their teachers to attend mass. Like the models it is based on (the first Latin Christian basilicas built in Rome), the church has a canopied altar, presbytery, triumphal arch, pulpits, choir for singers, large nave and upper galleries. The transformation of the rectangular naves of the original model into an ellipse arose due to the need for a large space with good acoustic and visual conditions, as well as to maintain a unified and symbolic layout of the different areas.

Along with the church, the theatre is the most interesting and original architectural element in the complex as a whole. The design of its façade follows Hellenistic models, being composed of two bodies, the upper consisting of a Corinthian colonnade and the lower, of Tuscan columns. It is more or less the same height and width as the Parthenon in Athens. It was modelled on the Market Gate of Miletus and the Ephesus Library, although there are elements that deviate from these patterns, such as the latticework of the upper body and the access doors to the presidential balcony.

Crowning the central pediment of the theatre is a large coat of arms of Spain, the work of Manuel Laviada, measuring 7.80 metres wide and 5 metres high, composed like central acroteria in temples, the images of which have come down to us only through some numismatic and pictorial pieces. It comprises an imperial eagle which holds a shield in its talons that configures its entire chest. At the bottom, there are two stylized trunks supporting the yoke on the right and five arrows on the left. The entire escutcheon rests on a large shell, flanked by two vases on pedestals that support the palm-shaped branches.

Isolated areas can be found dotted around the Laboral which, for their stylistic peculiarities, deviate more or less from the overall style of the complex as a whole. These differences occur in some cases due to contributions by other architects, while in others it is the result of formal experimentation. A clear example can be found in the Baroque Courtyard. The oval ground plan of this small architectural whim, as well as the distribution of the bodies and the elliptical crown that tops the eaves, are reminiscent of Italian Baroque and especially Borromini.

Laboral City of Culture