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The palace of the Urríes in Ayerbe (Huesca) is a modern manor house which, despite its historical and artistic value, has hardly been studied or even visited and is unknown both to researchers and to the public. The aim of this work is to compile, review and increase the knowledge generated about this building and to disseminate it, with the aim of generating a series of activities that will lead to the protection of a building that is currently in a precarious state of conservation. The consultation of documentary, graphic and bibliographic sources has been combined with the analysis of the building, for which techniques such as photography and the generation of 3D models from photogrammetry have been used. With all this, a new dating is proposed that starts from the only document preserved and takes into account the formal characteristics of the building, but also the local historical context, the position and character of its main promoter, its uses, functions and the audience to which it is addressed. On the other hand, based on the analysis of the graphic sources, the evolution suffered by the building in modern times has been verified, paying special attention to the alterations of the original building that have led to the current configuration of the building, to be able to understand the remains that we currently possess. The remains of the Renaissance house today form part of a building that is really a palimpsest, built at very different times, by different promoters and for different uses. However, it is also clear that it is a key building in the understanding of the development of 16th century art in the northern part of Aragon., El palacio de los Urríes en Ayerbe (Huesca) es una casa solariega de época moderna que, a pesar de su valor histórico y artístico, apenas ha sido estudiada o incluso visitada, y es por tanto desconocida para los investigadores e incluso para la población local. Con este trabajo se pretende compilar, revisar y aumentar el conocimiento generado sobre este edificio y difundirlo, como uno de los pasos dentro de una serie de actividades que conduzcan a la protección del edificio, que está en un precario estado de conservación. La consulta de fuentes documentales, gráficas y bibliográficas se ha unido al análisis del edificio, para lo que se ha contado con técnicas como la fotografía y la generación de modelos 3D a partir de fotogrametría. Con todo ello se propone una datación para el inicio de la construcción que parte del único documento conservado, que tiene en cuenta las características formales del edificio, pero también el contexto histórico local, la posición social y carácter de sus promotores, sus usos, funciones y la audiencia a la que se dirige. Por otro lado, se parte del análisis de las fuentes gráficas para comprobar la evolución sufrida por el edificio en época moderna y contemporánea, especialmente aa las alteraciones del edificio original que han llevado a la configuración actual del edificio. Se ha podido comprobar efectivamente que los restos de la casa renacentista hoy forman parte de un edificio que es realmente un palimpsesto, construido en muy distintas épocas, por distintos promotores y para distintos usos. Sin embargo, también queda claro que es un edificio clave en la comprensión del desarrollo del arte del siglo XVI en la zona norte de Aragón.

The palace of the Urríes in Ayerbe (Huesca) is a modern manor house which, despite its historical and artistic value, has hardly been studied or even visited and is unknown both to researchers and to the public. The aim of this work is to compile, review and increase the knowledge generated about this building and to disseminate it, with the aim of generating a series of activities that will lead to the protection of a building that is currently in a precarious state of conservation. The consultation of documentary, graphic and bibliographic sources has been combined with the analysis of the building, for which techniques such as photography and the generation of 3D models from photogrammetry have been used. With all this, a new dating is proposed that starts from the only document preserved and takes into account the formal characteristics of the building, but also the local historical context, the position and character of its main promoter, its uses, functions and the audience to which it is addressed. On the other hand, based on the analysis of the graphic sources, the evolution suffered by the building in modern times has been verified, paying special attention to the alterations of the original building that have led to the current configuration of the building, to be able to understand the remains that we currently possess. The remains of the Renaissance house today form part of a building that is really a palimpsest, built at very different times, by different promoters and for different uses. However, it is also clear that it is a key building in the understanding of the development of 16th century art in the northern part of Aragon., El palacio de los Urríes en Ayerbe (Huesca) es una casa solariega de época moderna que, a pesar de su valor histórico y artístico, apenas ha sido estudiada o incluso visitada, y es por tanto desconocida para los investigadores e incluso para la población local. Con este trabajo se pretende compilar, revisar y aumentar el conocimiento generado sobre este edificio y difundirlo, como uno de los pasos dentro de una serie de actividades que conduzcan a la protección del edificio, que está en un precario estado de conservación. La consulta de fuentes documentales, gráficas y bibliográficas se ha unido al análisis del edificio, para lo que se ha contado con técnicas como la fotografía y la generación de modelos 3D a partir de fotogrametría. Con todo ello se propone una datación para el inicio de la construcción que parte del único documento conservado, que tiene en cuenta las características formales del edificio, pero también el contexto histórico local, la posición social y carácter de sus promotores, sus usos, funciones y la audiencia a la que se dirige. Por otro lado, se parte del análisis de las fuentes gráficas para comprobar la evolución sufrida por el edificio en época moderna y contemporánea, especialmente aa las alteraciones del edificio original que han llevado a la configuración actual del edificio. Se ha podido comprobar efectivamente que los restos de la casa renacentista hoy forman parte de un edificio que es realmente un palimpsesto, construido en muy distintas épocas, por distintos promotores y para distintos usos. Sin embargo, también queda claro que es un edificio clave en la comprensión del desarrollo del arte del siglo XVI en la zona norte de Aragón.

Among the first drawings of the construction of the Palace of Charles V in the Alhambra, a remarkable anonymous trace is preserved at the Royal Library in Madrid illustrating the edifice and various arcaded squares. The drawing process of this document, together with technical aspects such as its scale and dimensions have been analyzed in the present work. To this aim, the trace has been researched, digitalized, and its incised lines transcribed for the first time. Its analysis unveils the original floor plan, revealing significant and primordial design intentions. The plan dimensions, proportions and consistency with the final construction provides new evidence on its purpose and dating. All this confirms this piece to be the first architectural drawing known of the building, dictating its definite shape and dimensions. A document with its own heritage value, essential to understand and preserve a palace part of UNESCO World Heritage List., Entre os primeiros desenhos para a construção do palácio de Carlos V na Alhambra, conserva-se um importante esboço anónimo na Real Biblioteca de Madrid, que representa o edifício mais algumas praças com arcadas. O processo de desenho e aspetos técnicos, como escala e dimensões, foram pouco estudados e são aqui analisados. Para isso, consultou-se e digitalizou-se o esboço, transcrevendo-se pela primeira vez os seus traçados incisos. A sua análise revela a génese da planta, evidenciando significativas intenções de desenho. Também foram estudadas as suas cotas, proporções e a concordância com o que foi construído, fornecendo novos indícios sobre a sua finalidade e datação. Tudo isso permite afirmar que estamos perante o primeiro plano de obra conhecido do edifício, que determinou a sua forma e dimensões definitivas. Trata-se de um documento com valor patrimonial próprio, imprescindível para entender e conservar um palácio incluído na Lista de Património Mundial da UNESCO., Entre los primeros dibujos para la construcción del palacio de Carlos V en la Alhambra se conserva una importante traza anónima en la Real Biblioteca de Madrid, que representa el edificio más unas plazas porticadas. Se ha estudiado poco su proceso de dibujo y aspectos técnicos como su escala y dimensiones, aquí analizados. Para ello se ha consultado y digitalizado la traza, transcribiéndose por primera vez sus trazados incisos. Su análisis revela la génesis de la planta, evidenciando significativas intenciones de diseño. También se estudian sus cotas, proporciones y la concordancia con lo construido, aportándose nuevos indicios sobre su finalidad y datación. Todo ello permite afirmar que estamos ante el primer plano de obra conocido del edificio, que determinó su forma y dimensiones definitivas. Se trata de un documento con valor patrimonial propio, imprescindible para entender y conservar un palacio incluido en la Lista de Patrimonio Mundial de la UNESCO.

Entre los primeros dibujos para la construcción del palacio de Carlos V en la Alhambra se conserva una importante traza anónima en la Real Biblioteca de Madrid, que representa el edificio más unas plazas porticadas. Se ha estudiado poco su proceso de dibujo y aspectos técnicos como su escala y dimensiones, aquí analizados. Para ello se ha consultado y digitalizado la traza, transcribiéndose por primera vez sus trazados incisos. Su análisis revela la génesis de la planta, evidenciando significativas intenciones de diseño. También se estudian sus cotas, proporciones y la concordancia con lo construido, aportándose nuevos indicios sobre su finalidad y datación. Todo ello permite afirmar que estamos ante el primer plano de obra conocido del edificio, que determinó su forma y dimensiones definitivas. Se trata de un documento con valor patrimonial propio, imprescindible para entender y conservar un palacio incluido en la Lista de Patrimonio Mundial de la UNESCO., Among the first drawings of the construction of the Palace of Charles V in the Alhambra, a remarkable anonymous trace is preserved at the Royal Library in Madrid illustrating the edifice and various arcaded squares. The drawing process of this document, together with technical aspects such as its scale and dimensions have been analyzed in the present work. To this aim, the trace has been researched, digitalized, and its incised lines transcribed for the first time. Its analysis unveils the original floor plan, revealing significant and primordial design intentions. The plan dimensions, proportions and consistency with the final construction provides new evidence on its purpose and dating. All this confirms this piece to be the first architectural drawing known of the building, dictating its definite shape and dimensions. A document with its own heritage value, essential to understand and preserve a palace part of UNESCO World Heritage List., Entre os primeiros desenhos para a construção do palácio de Carlos V na Alhambra, conserva-se um importante esboço anónimo na Real Biblioteca de Madrid, que representa o edifício mais algumas praças com arcadas. O processo de desenho e aspetos técnicos, como escala e dimensões, foram pouco estudados e são aqui analisados. Para isso, consultou-se e digitalizou-se o esboço, transcrevendo-se pela primeira vez os seus traçados incisos. A sua análise revela a génese da planta, evidenciando significativas intenções de desenho. Também foram estudadas as suas cotas, proporções e a concordância com o que foi construído, fornecendo novos indícios sobre a sua finalidade e datação. Tudo isso permite afirmar que estamos perante o primeiro plano de obra conhecido do edifício, que determinou a sua forma e dimensões definitivas. Trata-se de um documento com valor patrimonial próprio, imprescindível para entender e conservar um palácio incluído na Lista de Património Mundial da UNESCO.

Entre los primeros dibujos para la construcción del palacio de Carlos V en la Alhambra se conserva una importante traza anónima en la Real Biblioteca de Madrid, que representa el edificio más unas plazas porticadas. Se ha estudiado poco su proceso de dibujo y aspectos técnicos como su escala y dimensiones, aquí analizados. Para ello se ha consultado y digitalizado la traza, transcribiéndose por primera vez sus trazados incisos. Su análisis revela la génesis de la planta, evidenciando significativas intenciones de diseño. También se estudian sus cotas, proporciones y la concordancia con lo construido, aportándose nuevos indicios sobre su finalidad y datación. Todo ello permite afirmar que estamos ante el primer plano de obra conocido del edificio, que determinó su forma y dimensiones definitivas. Se trata de un documento con valor patrimonial propio, imprescindible para entender y conservar un palacio incluido en la Lista de Patrimonio Mundial de la UNESCO., Among the first drawings of the construction of the Palace of Charles V in the Alhambra, a remarkable anonymous trace is preserved at the Royal Library in Madrid illustrating the edifice and various arcaded squares. The drawing process of this document, together with technical aspects such as its scale and dimensions have been analyzed in the present work. To this aim, the trace has been researched, digitalized, and its incised lines transcribed for the first time. Its analysis unveils the original floor plan, revealing significant and primordial design intentions. The plan dimensions, proportions and consistency with the final construction provides new evidence on its purpose and dating. All this confirms this piece to be the first architectural drawing known of the building, dictating its definite shape and dimensions. A document with its own heritage value, essential to understand and preserve a palace part of UNESCO World Heritage List., Entre os primeiros desenhos para a construção do palácio de Carlos V na Alhambra, conserva-se um importante esboço anónimo na Real Biblioteca de Madrid, que representa o edifício mais algumas praças com arcadas. O processo de desenho e aspetos técnicos, como escala e dimensões, foram pouco estudados e são aqui analisados. Para isso, consultou-se e digitalizou-se o esboço, transcrevendo-se pela primeira vez os seus traçados incisos. A sua análise revela a génese da planta, evidenciando significativas intenções de desenho. Também foram estudadas as suas cotas, proporções e a concordância com o que foi construído, fornecendo novos indícios sobre a sua finalidade e datação. Tudo isso permite afirmar que estamos perante o primeiro plano de obra conhecido do edifício, que determinou a sua forma e dimensões definitivas. Trata-se de um documento com valor patrimonial próprio, imprescindível para entender e conservar um palácio incluído na Lista de Património Mundial da UNESCO.

In the documents that have survived to date, Coliseo del Buen Retiro stagings are registered either as courtly «fiestas» performed for kings or as performances directed to a larger audience called «pueblo». Searches on CATCOM indicate that there is a spike in the latter in the 1680s. Starting from here, this study has, on the one hand, investigated what may have motivated this type of performance and, on the other hand, gotten closer to text that was presented to the people when the palace opened its doors to share its best stage with them, En la documentación teatral que ha llegado a nuestros días, las puestas en escena en el Coliseo del Buen Retiro se registran o bien como fiestas cortesanas, llamadas «fiestas reales», representadas ante los reyes, o bien como montajes abiertos a un público más amplio, que es designado con el término «pueblo». En cuanto a este último tipo de representaciones, las búsquedas en CATCOM indican que se acumulan en la década de 1680. A partir de ahí, este trabajo ha pretendido, por un lado, indagar en las causas que motivaron este tipo de representaciones y, por el otro, aproximarse al material textual que se ofreció al pueblo cuando palacio abrió sus puertas para compartir con él su mejor escenario.

Este estudio se interesa por la estructura interna del Real Guardarropa a finales del siglo XVIII y principios del XIX. Así, el objetivo principal es conocer qué personal y organización tenía el guardarropa y los distintos cambios de jefes y mozos de dicha dependencia. Gracias a las fuentes primarias del Archivo General de Palacio conocemos que esta sección real era un espacio dinámico con multitud de transformaciones tanto en el número de armarios que podía tener y el personal que trabajaba en él, como en los numerosos vestidos de la familia real. Además, en nuestra investigación conoceremos que gastos anuales de vestidos y prendas tenía María Luisa durante sus años de reinado. La mayoría de los géneros encargados para la soberana fueron comprados por el jefe de dicha estancia, y este se lo hacía entregar a la camarera mayor de la reina, la cual tenía acceso a todas las ropas femeninas. El guardarropa alberga cada obra realizada por sastres, modistas, costureras, bordadores, zapateros, entre otros. Asimismo, resulta trascendental el papel de las redes familiares, ya que la herencia del oficio fue necesario para la subsistencia del trabajo, y seguir conservando sus privilegios dentro de la Casa Real. Los clanes familiares fueron fundamentales para complacer la apariencia de los soberanos, como fueron: Robredo (bordadores), Pandeavenas–Beotas (costureras), y Esquirol (zapateros), entre los más importantes. Por último, hemos analizado el ritmo de trabajo de esta serie de artífices, puesto que algunos obraban a deshoras solamente para tener a tiempo los vestidos de corte de la reina., This study is interested in the internal structure of the Royal Wardrobe at the end of the 18th century and the beginning of the 19th century. Thus, the main objective is to know what personnel and organization the wardrobe had and the different changes of bosses and waiters of said dependency. Thanks to the primary sources of the General Archive of the Palace, we know that this royal section was a dynamic space with a multitude of transformations both in the number of wardrobes it could have and the personnel who worked in it, as well as in the numerous dresses worn by the royal family. In addition, in our investigation we will know what annual expenses for dresses and garments María Luisa had during the years of her reign. Most of the items ordered for the sovereign were bought by the head of said estancia, and he had it delivered to the queen’s chief chambermaid, who had access to all women’s clothing. The wardrobe houses each work made by tailors, dressmakers, seamstresses, embroiderers, shoemakers, among others. Likewise, the role of family networks is transcendental, since the inheritance of the trade was necessary for the subsistence of the work, and to continue conserving its privileges within the Royal House. The family clans were essential to please the appearance of the sovereigns, such as: Robredo (embroiderers), Pandeavenas-Beotas (seamstresses), and Esquirol (shoemakers), among the most important. Finally, we have analyzed the work rate of this series of artisans, since some worked after hours just to have the queen’s court dresses on time.

In the documents that have survived to date, Coliseo del Buen Retiro stagings are registered either as courtly «fiestas» performed for kings or as performances directed to a larger audience called «pueblo». Searches on CATCOM indicate that there is a spike in the latter in the 1680s. Starting from here, this study has, on the one hand, investigated what may have motivated this type of performance and, on the other hand, gotten closer to text that was presented to the people when the palace opened its doors to share its best stage with them, En la documentación teatral que ha llegado a nuestros días, las puestas en escena en el Coliseo del Buen Retiro se registran o bien como fiestas cortesanas, llamadas «fiestas reales», representadas ante los reyes, o bien como montajes abiertos a un público más amplio, que es designado con el término «pueblo». En cuanto a este último tipo de representaciones, las búsquedas en CATCOM indican que se acumulan en la década de 1680. A partir de ahí, este trabajo ha pretendido, por un lado, indagar en las causas que motivaron este tipo de representaciones y, por el otro, aproximarse al material textual que se ofreció al pueblo cuando palacio abrió sus puertas para compartir con él su mejor escenario.

[EN] At the end of the Middle Ages, library collectios gained great importance within the court ceremonial, linked to the different reading modalities and the representative role of the collections. This led to the development of spaces for the custody and use of the book., [ES] A finales de la Edad Media las colecciones librarias cobraron gran importancia dentro del ceremonial cortesano, vinculadas a las distintas modalidades de lectura y al papel representativo de las colecciones, lo que propició el desarrollo de los espacios destinados a la custodia y uso del libro.

The Golubac Fortress was built at the very entrance of the Iron Gates gorge, at the point where the Danube is the widest in its course and transitions into the narrow passage of the Carpathian Mountains. The fortress represented an important medieval military border stronghold, strategically constructed due to the military significance of the location. Because of its position, during the 14th and 15th centuries, bordering countries, Hungary and Serbia, and later the Ottoman Empire, fought to conquer the Golubac Fortress in order to gain control and power over the state border. There are no exact records of who and when initially built the Golubac Fortress. The first mention in written sources is from the year 1335, in a Hungarian charter from 1337, which states that the nobleman Nikola Banfi resided in Golubac in 1335. Until the dissolution of the Dušan’s Empire, Golubac Fortress status remains unchanged according to historical sources, and it remains in Hungarian possession. At the beginning of the 21st century, the town of Golubac was in very poor condition, neglected and inaccessible. Reconstruction of the entire Golubac Fortress began in 2011. The reconstruction was officially completed in 2019. However, some minor reconstruction and revitalization work is still ongoing today. The foundation of the Golubac Fortress was adapted to the terrain's configuration and consists of 9 towers connected by the ramparts and the Palace. As part of the restoration efforts, all the towers, ramparts, and the Palace were reconstructed. The paper depicts the reconstruction of the entire Palace, including its foundations and a new roof structure made of glued laminated timber.

In the documents that have survived to date, Coliseo del Buen Retiro stagings are registered either as courtly «fiestas» performed for kings or as performances directed to a larger audience called «pueblo». Searches on CATCOM indicate that there is a spike in the latter in the 1680s. Starting from here, this study has, on the one hand, investigated what may have motivated this type of performance and, on the other hand, gotten closer to text that was presented to the people when the palace opened its doors to share its best stage with them, En la documentación teatral que ha llegado a nuestros días, las puestas en escena en el Coliseo del Buen Retiro se registran o bien como fiestas cortesanas, llamadas «fiestas reales», representadas ante los reyes, o bien como montajes abiertos a un público más amplio, que es designado con el término «pueblo». En cuanto a este último tipo de representaciones, las búsquedas en CATCOM indican que se acumulan en la década de 1680. A partir de ahí, este trabajo ha pretendido, por un lado, indagar en las causas que motivaron este tipo de representaciones y, por el otro, aproximarse al material textual que se ofreció al pueblo cuando palacio abrió sus puertas para compartir con él su mejor escenario.

[Resumen]: El presente trabajo contempla el proyecto técnico de rehabilitación de un edificio histórico datado del S.XIX., situado en Calle Valle Inclan, nº 37 perteneciente al municipio de Vilagarcía de Arousa, provincia de Pontevedra. La edificación construida entre 1881 y 1882 fue un palacio de verano del Rey Alfonso XIII. El edificio de trazas renacentistas es prácticamente cuadrado. Compuesto por cuatro plantas y bajo cubierta, será destinado a uso residencial público, como residencia de la tercera edad, el mismo cumplirá con las exigencias del Código Técnico de la Edificación (CTE) así como la normativa que sea de aplicación. Contará con la estructura según el Anexo I de la Parte I del CTE, tal y como se indicia a continuación: 1. Memoria -- 1.1. Memoria descriptiva -- 1.2. Memoria constructiva -- 1.3. Cumplimiento del CTE -- 1.4. Anejos -- 2. Planos -- 3.Pliego de condiciones -- 4.Mediciones -- 5.Presupuesto., [Abstract]: The present work contemplates the technical rehabilitation project of a historic building dating from the 19th century, located at Calle Valle Inclan, nº37 belonging to the municipality of Vilagarcía de Arousa, province of Pontevedra. The building built between 1881 and 1882 was a summer palace for King Alfonso XIII. The Renaissance- style building is practically square. Composed of four floors and under cover, it will be destinanted for public residencial use, as a residence for the elderly, it will comply with the requirements of the Technical Building Code (CTE) as well as the applicable regulations. It will have the structure according to Annex I of Part I of the CTE, as indicated below: 1. Memory -- 1.1. Descriptive memory -- 1.2. Constructive memory -- 1.3. Fulfillment of the CTE -- 1.4. Annexes -- 2. Planes -- 3. Specification -- 4. Measurements -- 5. Budget.

[ES] A finales del siglo XV, la familia más emblemática de Valencia, los Borja, adquiere dos de sus posesiones más preciadas: El Palacio Ducal de Gandía (mediante la compra del ducado por el entonces Cardenal Rodrigo de Borja) y el Palacio de los Duques de Gandía en Valencia (de obra nueva, realizado por encargo de Juan de Borja, hijo de Rodrigo). Ambas construcciones sufren severas transformaciones a lo largo de los siglos, al ser adquiridas por diferentes propietarios e instituciones y dárseles distintos usos. Este trabajo pretende abordar una hipótesis lo más fidedigna posible del estado y distribución originales de los edificios reseñados, en dicha época de máximo esplendor de los Borja, a partir del estudio del contexto histórico y de la reinterpretación de los diversos documentos gráficos existentes (planos, grabados, ¿)., [EN] At the end of the XV century, the most emblematic family of Valencia, the Borja family, acquires two of its most prized possessions: The Ducal Palace of Gandia (through the purchase of the dukedom by then Cardinal Rodrigo de Borja) and the Palace of the Dukes of Gandia in Valencia (a new build, made by order of Juan de Borja, Rodrigo¿s son). Both constructions suffered severe transformations over the centuries, as they were acquired by different owners and institutions, and were given diverse uses. The aim of this work is to create a hypothesis as reliable as possible of the original state and distribution of the reviewed buildings, in that era of maximum splendor of the Borjas, through the study of the historical context and the reinterpretation of the various existing graphic documents (blueprints, engravings,...).

[ES] A finales del siglo XV, la familia más emblemática de Valencia, los Borja, adquiere dos de sus posesiones más preciadas: El Palacio Ducal de Gandía (mediante la compra del ducado por el entonces Cardenal Rodrigo de Borja) y el Palacio de los Duques de Gandía en Valencia (de obra nueva, realizado por encargo de Juan de Borja, hijo de Rodrigo). Ambas construcciones sufren severas transformaciones a lo largo de los siglos, al ser adquiridas por diferentes propietarios e instituciones y dárseles distintos usos. Este trabajo pretende abordar una hipótesis lo más fidedigna posible del estado y distribución originales de los edificios reseñados, en dicha época de máximo esplendor de los Borja, a partir del estudio del contexto histórico y de la reinterpretación de los diversos documentos gráficos existentes (planos, grabados, ¿)., [EN] At the end of the XV century, the most emblematic family of Valencia, the Borja family, acquires two of its most prized possessions: The Ducal Palace of Gandia (through the purchase of the dukedom by then Cardinal Rodrigo de Borja) and the Palace of the Dukes of Gandia in Valencia (a new build, made by order of Juan de Borja, Rodrigo¿s son). Both constructions suffered severe transformations over the centuries, as they were acquired by different owners and institutions, and were given diverse uses. The aim of this work is to create a hypothesis as reliable as possible of the original state and distribution of the reviewed buildings, in that era of maximum splendor of the Borjas, through the study of the historical context and the reinterpretation of the various existing graphic documents (blueprints, engravings,...).

[ES] A finales del siglo XV, la familia más emblemática de Valencia, los Borja, adquiere dos de sus posesiones más preciadas: El Palacio Ducal de Gandía (mediante la compra del ducado por el entonces Cardenal Rodrigo de Borja) y el Palacio de los Duques de Gandía en Valencia (de obra nueva, realizado por encargo de Juan de Borja, hijo de Rodrigo). Ambas construcciones sufren severas transformaciones a lo largo de los siglos, al ser adquiridas por diferentes propietarios e instituciones y dárseles distintos usos. Este trabajo pretende abordar una hipótesis lo más fidedigna posible del estado y distribución originales de los edificios reseñados, en dicha época de máximo esplendor de los Borja, a partir del estudio del contexto histórico y de la reinterpretación de los diversos documentos gráficos existentes (planos, grabados, ¿)., [EN] At the end of the XV century, the most emblematic family of Valencia, the Borja family, acquires two of its most prized possessions: The Ducal Palace of Gandia (through the purchase of the dukedom by then Cardinal Rodrigo de Borja) and the Palace of the Dukes of Gandia in Valencia (a new build, made by order of Juan de Borja, Rodrigo¿s son). Both constructions suffered severe transformations over the centuries, as they were acquired by different owners and institutions, and were given diverse uses. The aim of this work is to create a hypothesis as reliable as possible of the original state and distribution of the reviewed buildings, in that era of maximum splendor of the Borjas, through the study of the historical context and the reinterpretation of the various existing graphic documents (blueprints, engravings,...).

[ES] A finales del siglo XV, la familia más emblemática de Valencia, los Borja, adquiere dos de sus posesiones más preciadas: El Palacio Ducal de Gandía (mediante la compra del ducado por el entonces Cardenal Rodrigo de Borja) y el Palacio de los Duques de Gandía en Valencia (de obra nueva, realizado por encargo de Juan de Borja, hijo de Rodrigo). Ambas construcciones sufren severas transformaciones a lo largo de los siglos, al ser adquiridas por diferentes propietarios e instituciones y dárseles distintos usos. Este trabajo pretende abordar una hipótesis lo más fidedigna posible del estado y distribución originales de los edificios reseñados, en dicha época de máximo esplendor de los Borja, a partir del estudio del contexto histórico y de la reinterpretación de los diversos documentos gráficos existentes (planos, grabados, ¿)., [EN] At the end of the XV century, the most emblematic family of Valencia, the Borja family, acquires two of its most prized possessions: The Ducal Palace of Gandia (through the purchase of the dukedom by then Cardinal Rodrigo de Borja) and the Palace of the Dukes of Gandia in Valencia (a new build, made by order of Juan de Borja, Rodrigo¿s son). Both constructions suffered severe transformations over the centuries, as they were acquired by different owners and institutions, and were given diverse uses. The aim of this work is to create a hypothesis as reliable as possible of the original state and distribution of the reviewed buildings, in that era of maximum splendor of the Borjas, through the study of the historical context and the reinterpretation of the various existing graphic documents (blueprints, engravings,...).

[ES] A finales del siglo XV, la familia más emblemática de Valencia, los Borja, adquiere dos de sus posesiones más preciadas: El Palacio Ducal de Gandía (mediante la compra del ducado por el entonces Cardenal Rodrigo de Borja) y el Palacio de los Duques de Gandía en Valencia (de obra nueva, realizado por encargo de Juan de Borja, hijo de Rodrigo). Ambas construcciones sufren severas transformaciones a lo largo de los siglos, al ser adquiridas por diferentes propietarios e instituciones y dárseles distintos usos. Este trabajo pretende abordar una hipótesis lo más fidedigna posible del estado y distribución originales de los edificios reseñados, en dicha época de máximo esplendor de los Borja, a partir del estudio del contexto histórico y de la reinterpretación de los diversos documentos gráficos existentes (planos, grabados, ¿)., [EN] At the end of the XV century, the most emblematic family of Valencia, the Borja family, acquires two of its most prized possessions: The Ducal Palace of Gandia (through the purchase of the dukedom by then Cardinal Rodrigo de Borja) and the Palace of the Dukes of Gandia in Valencia (a new build, made by order of Juan de Borja, Rodrigo¿s son). Both constructions suffered severe transformations over the centuries, as they were acquired by different owners and institutions, and were given diverse uses. The aim of this work is to create a hypothesis as reliable as possible of the original state and distribution of the reviewed buildings, in that era of maximum splendor of the Borjas, through the study of the historical context and the reinterpretation of the various existing graphic documents (blueprints, engravings,...).

A palatial building rests by Rue de Bois Sauvage of Brussels, an intimate street located at the exact point where the lower historic city ends and upper bureaucratic city starts. The Palace remains like a parasite of a larger introverted structure that fortifies an entire urban block to hide the offices of the National Bank of Belgium. The architectural brief for this graduation project requests the renovation of the headquarters concerning the vacancy of office space with the greater intention of opening up the National Bank as an institution. To the light of this brief, this architectural thesis departs from the premise that in order for the Bank to open up it must get engaged in the problems of its nearby reality, the problems of the city of Brussels. The in depth analysis of the history of urban transformation of the city of Brussels led by land speculation, revealed the problems of the Central European capital cities during the second half of the 19th century, which have been unavoidably inherited by the city of the 21st century. The process of urban gentrification of the historic town, firstly by pushing out the working classes to the periphery in favour of the wealthy bourgeois and secondly exploiting land value financially erasing any hint of residential life from the old city at the heart of Brussels’ Pentagon. The result of these consecutive processes of urban transformation can be read in space through the architectural typology of Brussels and have been explained in this research by means of the alley, the shopping arcade, the corner building and the blocks of Brusselization. Understanding them not only as architectural devices but also as urban figures has helped untangling the history of urban gentrification in Brussels which constructed through time a division between the rich bureaucratic upper eastern city and the working class neighbourhoods in lower western Brussels, articulated by a touristic uninhabited historic city where the National, Architecture, Urbanism and Building Sciences | Interiors Buildings Cities

El palacio es a la vez un tipo de edificio y una alegoría política. La definitiva importación al Mediterráneo Occidental de este tipo arquitectónico y de su lenguaje simbólico se consumó al tiempo que la República romana se transformaba en un Imperio. Pero antes de estos hechos hubo otras experimentaciones con elementos propios de la arquitectura palacial, tanto en ámbito público como privado, en Italia, Sicilia, en el Maghreb occidental y en la península ibérica. En este artículo se propone una definición razonada del término palacio que sirva para su uso analítico, se discute sobre el rol jugado por las grandes poleis mediterráneas, en especial Cartago, en la difusión de estos edificios y se aboga por considerar a las monarquías norteafricanas, aún no suficientemente atendidas por la investigación, como importantes vectores de transmisión de este tipo de arquitectura en el Mediterráneo occidental., The palace is both a building type and a political allegory. The definition of this architectural and symbolic language in the ancient Western Mediterranean was consummated during the transformation of the Roman Republic into an Empire. But both in Italic and Sicilian public and private architecture, as well as in the Maghreb and the Iberian Peninsula, other experiments with palatial features were carried on before the Augustan Era. In this article, an analytical definition of the term palace and the role played by the principal Mediterranean poleis, especially Carthage, in the diffusion of these buildings will be discussed. A reconsideration of the Numidian and Mauretanian monarchies as important vectors of transmission of this type of architecture in the Western Mediterranean will be suggested.

This article presents four engravings that bear witness to the most significant stages of the celebrations organised in Catania for the funeral of the Prince of Biscari, Ignazio Paternò Castello, on 2 September 1786. This graphic corpus constitutes the last opportunity to celebrate the prince’s memory and prominence based on the models established by European courts, but at the same time it reveals more recondite aspects of the research into phenomena of emulation in architecture and self-representation that have not emerged to date from studies on the aristocrat from Catania and that reflect above all the way of life of a cultured personality driven by great ambitions. The aim of the research is to show that, with the probable support of his architect Francesco Battaglia and the engravers Antonio Zacco and Luigi Mayer, the prince selected a number of international engravings as sources for the funeral arrangements that the present study reveals, some of these were likely to be found in his private library, while the same mechanism had been adopted earlier for the design of the orchestra hall and courtyards of the museum of antiquities at his famous residence at the Catania Marina.

El palacio es a la vez un tipo de edificio y una alegoría política. La definitiva importación al Mediterráneo Occidental de este tipo arquitectónico y de su lenguaje simbólico se consumó al tiempo que la República romana se transformaba en un Imperio. Pero antes de estos hechos hubo otras experimentaciones con elementos propios de la arquitectura palacial, tanto en ámbito público como privado, en Italia, Sicilia, en el Maghreb occidental y en la península ibérica. En este artículo se propone una definición razonada del término palacio que sirva para su uso analítico, se discute sobre el rol jugado por las grandes poleis mediterráneas, en especial Cartago, en la difusión de estos edificios y se aboga por considerar a las monarquías norteafricanas, aún no suficientemente atendidas por la investigación, como importantes vectores de transmisión de este tipo de arquitectura en el Mediterráneo occidental., The palace is both a building type and a political allegory. The definition of this architectural and symbolic language in the ancient Western Mediterranean was consummated during the transformation of the Roman Republic into an Empire. But both in Italic and Sicilian public and private architecture, as well as in the Maghreb and the Iberian Peninsula, other experiments with palatial features were carried on before the Augustan Era. In this article, an analytical definition of the term palace and the role played by the principal Mediterranean poleis, especially Carthage, in the diffusion of these buildings will be discussed. A reconsideration of the Numidian and Mauretanian monarchies as important vectors of transmission of this type of architecture in the Western Mediterranean will be suggested.

El palacio es a la vez un tipo de edificio y una alegoría política. La definitiva importación al Mediterráneo Occidental de este tipo arquitectónico y de su lenguaje simbólico se consumó al tiempo que la República romana se transformaba en un Imperio. Pero antes de estos hechos hubo otras experimentaciones con elementos propios de la arquitectura palacial, tanto en ámbito público como privado, en Italia, Sicilia, en el Maghreb occidental y en la península ibérica. En este artículo se propone una definición razonada del término palacio que sirva para su uso analítico, se discute sobre el rol jugado por las grandes poleis mediterráneas, en especial Cartago, en la difusión de estos edificios y se aboga por considerar a las monarquías norteafricanas, aún no suficientemente atendidas por la investigación, como importantes vectores de transmisión de este tipo de arquitectura en el Mediterráneo occidental., The palace is both a building type and a political allegory. The definition of this architectural and symbolic language in the ancient Western Mediterranean was consummated during the transformation of the Roman Republic into an Empire. But both in Italic and Sicilian public and private architecture, as well as in the Maghreb and the Iberian Peninsula, other experiments with palatial features were carried on before the Augustan Era. In this article, an analytical definition of the term palace and the role played by the principal Mediterranean poleis, especially Carthage, in the diffusion of these buildings will be discussed. A reconsideration of the Numidian and Mauretanian monarchies as important vectors of transmission of this type of architecture in the Western Mediterranean will be suggested.

Green Open Access added to TU Delft Institutional Repository 'You share, we take care!' - Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public., Situated Architecture

El present article analitza els espais del llibre en el context de la Castella dels segles XV i XVI, centrant la seva atenció en el cas del llinatge Mendoza, un dels de major rellevància política, cultural i artística de l'època. L'estudi utilitza com a principal font un inventari datat el 1575 del duc del Infantado, el qual, a més d'enumerar els volums de la biblioteca, aporta algunes dades que permeten realitzar una reconstrucció hipotètica d'un d'aquests espais libraris., This article analyses the spaces of the book in the palatial context of Castile in the 15th and 16th centuries, focusing its attention on the case of the Mendoza lineage. This was one of the most important political, cultural and artistic family of that age. The study uses as its main source an inventory of the duke del Infantado dated in 1575, in which, in addition to listing the volumes of the library, some data is provided that allows a hypothetical reconstruction of one of these book spaces., El presente artículo analiza los espacios del libro en el contexto palaciego en la Castilla de los siglos XV y XVI, centrando su atención en el caso del linaje Mendoza, uno de los de mayor relevancia política, cultural y artística de la época. El estudio utiliza como principal fuente un inventario del duque del Infantado fechado en 1575, en el que, además de enumerar los volúmenes de la biblioteca, se aportan algunos datos que permiten realizar una reconstrucción hipotética de uno de estos espacios librarios.

A palatial building rests by Rue de Bois Sauvage of Brussels, an intimate street located at the exact point where the lower historic city ends and upper bureaucratic city starts. The Palace remains like a parasite of a larger introverted structure that fortifies an entire urban block to hide the offices of the National Bank of Belgium. The architectural brief for this graduation project requests the renovation of the headquarters concerning the vacancy of office space with the greater intention of opening up the National Bank as an institution. To the light of this brief, this architectural thesis departs from the premise that in order for the Bank to open up it must get engaged in the problems of its nearby reality, the problems of the city of Brussels. The in depth analysis of the history of urban transformation of the city of Brussels led by land speculation, revealed the problems of the Central European capital cities during the second half of the 19th century, which have been unavoidably inherited by the city of the 21st century. The process of urban gentrification of the historic town, firstly by pushing out the working classes to the periphery in favour of the wealthy bourgeois and secondly exploiting land value financially erasing any hint of residential life from the old city at the heart of Brussels’ Pentagon. The result of these consecutive processes of urban transformation can be read in space through the architectural typology of Brussels and have been explained in this research by means of the alley, the shopping arcade, the corner building and the blocks of Brusselization. Understanding them not only as architectural devices but also as urban figures has helped untangling the history of urban gentrification in Brussels which constructed through time a division between the rich bureaucratic upper eastern city and the working class neighbourhoods in lower western Brussels, articulated by a touristic uninhabited historic city where the National, Architecture, Urbanism and Building Sciences | Interiors Buildings Cities

Aim. To study the transformation of space-planning solutions of modern youth space in the context of structuring the architectural form in the urban environment. Pay attention to the planned solution of youth centers, highlighting the basic conditions for comfort, sufficient space, the correct functional solution and the number of directions in the educational plan. The historical rethinking of the communication space of a modern youth center and the creation of a motivational environment are considered. Based on the analysis of world design experience, a philosophical and architectural concept is formulated, which is the basis for creating a modern space for young people.Methodology. The article uses traditional scientific methods of historical analysis, comparative analysis and the method of system-structural analysis.Results. The article examines the historical transformations of the components included in the architectural form of youth development centers, in the focus of the impact on them of the socio-cultural needs of society.Analyzed modern foreign and domestic projects that implement the idea of ​​creating a youth space. The central dominants of the volumetric-spatial and planning aspects of the formation of the youth environment are revealed, taking into account the importance of socio-cultural changes, including the life of the population, the preservation and development of regions. The indicated range of advantages of designing a youth environment as a formative element in the development of urban infrastructure.The results of the research can be used by the architect when designing space-planning solutions for youth spaces created in the context of structuring urban space, reorganizing obsolete buildings and adapting them to modern cultural trends, taking into account the interests of society, combining various activities into a single city program that functions as a full-fledged one. mechanism.Scientific novelty. The scientific novelty of the resear

[ES] La Revolución industrial proporcionó un gran cambio en la sociedad, introduciendo sistemas de producción más eficientes e industrializados. Todo esto derivó en la producción de nuevos materiales y la mejora de muchos otros como es el hierro fundido, lo que dio lugar a la Arquitectura del Hierro. A través de un análisis tanto de este movimiento como de sus obras arquitectónicas, se relacionará con los diferentes pabellones que se utilizaron para la celebración de la Exposición Universal de París de 1900. Se hará un recorrido por el recinto y se mostrarán las peculiaridades de sus edificios más importantes. Haciendo énfasis en la historia, forma y estructura del Grand Palais., [EN] La révolution industrielle a apporté un grand changement dans la société, en introduisant des systèmes de production plus efficaces et industrialisés. Tout cela a conduit à la production de nouveaux matériaux et à l¿amélioration de nombreux autres, comme la fonte, qui a donné naissance à l¿Architecture de fer. À travers l¿analyse de ce mouvement et de ses œuvres architecturales, nous nous intéresserons aux différents pavillons qui ont été utilisés pour la célébration de l¿Exposition universelle de 1900 à Paris. Une visite du site sera organisée et les particularités de ses bâtiments les plus importants seront présentées. L¿accent sera mis sur l¿histoire, la forme et la structure du Grand Palais.

This contribution to the volume explores a number of mirrors of princes, written during the second half of the fifteenth century in Italy, and the prescriptions their authors provided for the adornment of the prince’s body in relation to contemporary models on human understanding, emotions and their effect. My text argues that admiration in specific was understood to create powerful emotional effects as it related to both positive feelings of praise and reverence, and negative feelings of estrangement and fear. This double effect of admiration as something that simultaneously attracts and creates distance is especially discernible in contemporary discussions on the exterior ornamentation to be provided for the ruler’s palace. This ornamentation needed to evoke admiration in the beholder, as well as associations with wealth, power, virility and strength in order to create praise and reverence towards the prince, while also keeping his subjects at a distance from the ruler’s physical body. Because of its ornamentation, the palace could also function as a portrait of the prince and create a stable and continuous visual presence of the ruler, even in his absence. Architectural ornamentation could perpetuate the emotional effect of seeing the prince through time and space.

[EN] The now-demolished Palace of the Counts of Oliva, in the province of Valencia (Spain), was an outstanding example of late Gothic and early Renaissance architecture and art. Its great hall was particularly impressive, with rich, complex decoration that constituted a cultural milestone linked recently to the ‘Germanías’, or Brotherhoods. Through research conducted in image and document collections, a graphic reproduction of the room has been produced, with special emphasis on its frieze. The procedures and techniques used in this process are examined here, before a final contemplation of the possible uses for these results., [ES] El desaparecido palacio condal de Oliva, provincia de Valencia (España), fue una obra sobresaliente de la arquitectura y el arte del tardogótico y primer Renacimiento. En él, descolló su salón señorial, cuya rica y compleja decoración constituye un hito cultural, recientemente vinculado a las Germanías. A través de la investigación en fondos gráficos y documentales se presenta la restitución gráfica de la estancia, con dedicación especial a su friso. Asimismo, se describe el procedimiento de las técnicas empleadas y se plantean los posibles usos de estos resultados.

[EN] The now-demolished Palace of the Counts of Oliva, in the province of Valencia (Spain), was an outstanding example of late Gothic and early Renaissance architecture and art. Its great hall was particularly impressive, with rich, complex decoration that constituted a cultural milestone linked recently to the ‘Germanías’, or Brotherhoods. Through research conducted in image and document collections, a graphic reproduction of the room has been produced, with special emphasis on its frieze. The procedures and techniques used in this process are examined here, before a final contemplation of the possible uses for these results., [ES] El desaparecido palacio condal de Oliva, provincia de Valencia (España), fue una obra sobresaliente de la arquitectura y el arte del tardogótico y primer Renacimiento. En él, descolló su salón señorial, cuya rica y compleja decoración constituye un hito cultural, recientemente vinculado a las Germanías. A través de la investigación en fondos gráficos y documentales se presenta la restitución gráfica de la estancia, con dedicación especial a su friso. Asimismo, se describe el procedimiento de las técnicas empleadas y se plantean los posibles usos de estos resultados.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

[EN] The now-demolished Palace of the Counts of Oliva, in the province of Valencia (Spain), was an outstanding example of late Gothic and early Renaissance architecture and art. Its great hall was particularly impressive, with rich, complex decoration that constituted a cultural milestone linked recently to the ‘Germanías’, or Brotherhoods. Through research conducted in image and document collections, a graphic reproduction of the room has been produced, with special emphasis on its frieze. The procedures and techniques used in this process are examined here, before a final contemplation of the possible uses for these results., [ES] El desaparecido palacio condal de Oliva, provincia de Valencia (España), fue una obra sobresaliente de la arquitectura y el arte del tardogótico y primer Renacimiento. En él, descolló su salón señorial, cuya rica y compleja decoración constituye un hito cultural, recientemente vinculado a las Germanías. A través de la investigación en fondos gráficos y documentales se presenta la restitución gráfica de la estancia, con dedicación especial a su friso. Asimismo, se describe el procedimiento de las técnicas empleadas y se plantean los posibles usos de estos resultados.

[ES] La Revolución industrial proporcionó un gran cambio en la sociedad, introduciendo sistemas de producción más eficientes e industrializados. Todo esto derivó en la producción de nuevos materiales y la mejora de muchos otros como es el hierro fundido, lo que dio lugar a la Arquitectura del Hierro. A través de un análisis tanto de este movimiento como de sus obras arquitectónicas, se relacionará con los diferentes pabellones que se utilizaron para la celebración de la Exposición Universal de París de 1900. Se hará un recorrido por el recinto y se mostrarán las peculiaridades de sus edificios más importantes. Haciendo énfasis en la historia, forma y estructura del Grand Palais., [EN] La révolution industrielle a apporté un grand changement dans la société, en introduisant des systèmes de production plus efficaces et industrialisés. Tout cela a conduit à la production de nouveaux matériaux et à l¿amélioration de nombreux autres, comme la fonte, qui a donné naissance à l¿Architecture de fer. À travers l¿analyse de ce mouvement et de ses œuvres architecturales, nous nous intéresserons aux différents pavillons qui ont été utilisés pour la célébration de l¿Exposition universelle de 1900 à Paris. Une visite du site sera organisée et les particularités de ses bâtiments les plus importants seront présentées. L¿accent sera mis sur l¿histoire, la forme et la structure du Grand Palais.

[ES] La Revolución industrial proporcionó un gran cambio en la sociedad, introduciendo sistemas de producción más eficientes e industrializados. Todo esto derivó en la producción de nuevos materiales y la mejora de muchos otros como es el hierro fundido, lo que dio lugar a la Arquitectura del Hierro. A través de un análisis tanto de este movimiento como de sus obras arquitectónicas, se relacionará con los diferentes pabellones que se utilizaron para la celebración de la Exposición Universal de París de 1900. Se hará un recorrido por el recinto y se mostrarán las peculiaridades de sus edificios más importantes. Haciendo énfasis en la historia, forma y estructura del Grand Palais., [EN] La révolution industrielle a apporté un grand changement dans la société, en introduisant des systèmes de production plus efficaces et industrialisés. Tout cela a conduit à la production de nouveaux matériaux et à l¿amélioration de nombreux autres, comme la fonte, qui a donné naissance à l¿Architecture de fer. À travers l¿analyse de ce mouvement et de ses œuvres architecturales, nous nous intéresserons aux différents pavillons qui ont été utilisés pour la célébration de l¿Exposition universelle de 1900 à Paris. Une visite du site sera organisée et les particularités de ses bâtiments les plus importants seront présentées. L¿accent sera mis sur l¿histoire, la forme et la structure du Grand Palais.

[EN] The now-demolished Palace of the Counts of Oliva, in the province of Valencia (Spain), was an outstanding example of late Gothic and early Renaissance architecture and art. Its great hall was particularly impressive, with rich, complex decoration that constituted a cultural milestone linked recently to the ‘Germanías’, or Brotherhoods. Through research conducted in image and document collections, a graphic reproduction of the room has been produced, with special emphasis on its frieze. The procedures and techniques used in this process are examined here, before a final contemplation of the possible uses for these results., [ES] El desaparecido palacio condal de Oliva, provincia de Valencia (España), fue una obra sobresaliente de la arquitectura y el arte del tardogótico y primer Renacimiento. En él, descolló su salón señorial, cuya rica y compleja decoración constituye un hito cultural, recientemente vinculado a las Germanías. A través de la investigación en fondos gráficos y documentales se presenta la restitución gráfica de la estancia, con dedicación especial a su friso. Asimismo, se describe el procedimiento de las técnicas empleadas y se plantean los posibles usos de estos resultados.

Khudoyorkhan Orda, one of the great and magnificent monuments of the XIX century, is one of the three palace buildings on the territory of Turkestan. During the Kokand Khanate (1709–1876) the Horde (palace) was built six times by the khans. With the passage of time, they were destroyed, and only a small part of the last horde - Khudoyorkhan horde - survived

Khudoyorkhan Orda, one of the great and magnificent monuments of the XIX century, is one of the three palace buildings on the territory of Turkestan. During the Kokand Khanate (1709–1876) the Horde (palace) was built six times by the khans. With the passage of time, they were destroyed, and only a small part of the last horde - Khudoyorkhan horde - survived

Khudoyorkhan Orda, one of the great and magnificent monuments of the XIX century, is one of the three palace buildings on the territory of Turkestan. During the Kokand Khanate (1709–1876) the Horde (palace) was built six times by the khans. With the passage of time, they were destroyed, and only a small part of the last horde - Khudoyorkhan horde - survived

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Khudoyorkhan Orda, one of the great and magnificent monuments of the XIX century, is one of the three palace buildings on the territory of Turkestan. During the Kokand Khanate (1709–1876) the Horde (palace) was built six times by the khans. With the passage of time, they were destroyed, and only a small part of the last horde - Khudoyorkhan horde - survived

Painting architecture: the representation of tardogothic architecture in Valencian painting in the second half of the XV century During the period between 1370 and 1520, Valencia experimented a profound renovation of the architectural language echoed in the contemporaneous pictorial representations, through the description of the spaces and characteristic elements of an architectonic vocabulary. In that sense, the pictorial representation constitutes a source of documental information that provides an immediate image of the material environment at that time. It participates in the context and conception of the epoch it was painted, becoming an exceptional testimony of the past it illustrates. In the pictorial representations, the architecture and landscape are essential components in the scene composition, for they establish the story in a specific place and context. Taking as a reference several altarpieces made by painters who worked on Valencian lands in the second half of the 15th century, we will introduce several scenes which report on the characteristics of the vernacular architectonic language and the perception of that architecture by the contemporaneous society.

The Iacopo Caldora Palace in Vasto and the late Gothic architecture in the Kingdom of Naples The palace of Iacopo Caldora is located in Vasto, a city located on the coast of the Adriatic Sea, near the border between the Abruzzi and Molise regions. Better known as Palazzo d’Avalos - because in its present aspect it represents the result of the late sixteenth-century transformation promoted by the last feudal lords of the city- the fifteenth-century building of Caldora appears rather preserved, both for the important volumes and for the interesting series of doors, windows and construction details that betray its origin of the age of the Anjou-Durazzo dynasty. The examination of these elements allows the stylistic and constructive characteristics of the building to be placed in the context of the Neapolitan architecture of the first half of the fifteenth century. And both the size and the refinement of some decorative details lead us to ima- gine that it was a residence of great importance: a building with a rectangular plan, with a courtyard in the center and a garden, placed in a dominant position both with respect to the city and, above all, compared to the underlying sea coast.

Las áreas de almacenamiento son recurrentes en todos los palacios de Chan Chan, siendo los depósitos las estructuras de mayor importancia en el acúmulo de recursos. Mediante los resultados obtenidos en las investigaciones arqueológicas en los palacios Chayhuac, Uhle, Bandelier, Gran Chimú, Tschudi y Rivero, es posible conocer los diferentes tamaños y tipos de los depósitos. El tipo de almacenaje dependió de la naturaleza del objeto, usando o no recipientes para tal fin, pero posiblemente fue prioridad el almacenamiento de granos, como frejoles, maní y maíz, siendo este último parte fundamental de la dieta y la materia prima para la elaboración de la chicha. Los depósitos en la capital Chimú pudieron almacenar muchos objetos en su interior (el mayor tiene 27.09 m2 y 22.76 m3), es el palacio Uhle el que presente mayor capacidad como área de almacenamiento (1852.68 m2 y 1671.50 m3). Toda esta organización de recaudación estuvo organizada desde puntos de control denominados “audiencias” y su preponderancia dentro de los palacios estuvo asociada el acceso a los recursos durante la realización de las actividades políticas en la urbe, siendo posible reconocer las políticas administrativas que existió durante la construcción de los palacios Uhle y Bandelier., The storage areas are recurrent in all the Chan Chan palaces, being the deposits the most important structures in the protection of resources. Through the results obtained in the archaeological investigations in the Chayhuac, Uhle, Bandelier, Gran Chimú, Tschudi and Rivero palaces, it is possible to know the different sizes and types of the deposits. The type of storage depended on the nature of the object, whether or not containers were used for this purpose, but the storage of grains, such as beans, peanuts and corn, was possibly a priority, the latter being a fundamental part of the diet and the raw material for the elaboration of chicha. The warehouses in the capital Chimú were able to store many objects inside (the largest has 27,09 m2 and 22.76 m3), with the Uhle palace being the one with the highest storage capacity (1852.68 m2 and 1671.50 m3). This entire collection organization was organized from control points called “audiencias”and its preponderance within the palaces was associated with access to resources during the performance of political activities in the city, being possible to recognize the administrative policies that existed during the construction of the Uhle and Bandelier palaces.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

Las áreas de almacenamiento son recurrentes en todos los palacios de Chan Chan, siendo los depósitos las estructuras de mayor importancia en el acúmulo de recursos. Mediante los resultados obtenidos en las investigaciones arqueológicas en los palacios Chayhuac, Uhle, Bandelier, Gran Chimú, Tschudi y Rivero, es posible conocer los diferentes tamaños y tipos de los depósitos. El tipo de almacenaje dependió de la naturaleza del objeto, usando o no recipientes para tal fin, pero posiblemente fue prioridad el almacenamiento de granos, como frejoles, maní y maíz, siendo este último parte fundamental de la dieta y la materia prima para la elaboración de la chicha. Los depósitos en la capital Chimú pudieron almacenar muchos objetos en su interior (el mayor tiene 27.09 m2 y 22.76 m3), es el palacio Uhle el que presente mayor capacidad como área de almacenamiento (1852.68 m2 y 1671.50 m3). Toda esta organización de recaudación estuvo organizada desde puntos de control denominados “audiencias” y su preponderancia dentro de los palacios estuvo asociada el acceso a los recursos durante la realización de las actividades políticas en la urbe, siendo posible reconocer las políticas administrativas que existió durante la construcción de los palacios Uhle y Bandelier., The storage areas are recurrent in all the Chan Chan palaces, being the deposits the most important structures in the protection of resources. Through the results obtained in the archaeological investigations in the Chayhuac, Uhle, Bandelier, Gran Chimú, Tschudi and Rivero palaces, it is possible to know the different sizes and types of the deposits. The type of storage depended on the nature of the object, whether or not containers were used for this purpose, but the storage of grains, such as beans, peanuts and corn, was possibly a priority, the latter being a fundamental part of the diet and the raw material for the elaboration of chicha. The warehouses in the capital Chimú were able to store many objects inside (the largest has 27,09 m2 and 22.76 m3), with the Uhle palace being the one with the highest storage capacity (1852.68 m2 and 1671.50 m3). This entire collection organization was organized from control points called “audiencias”and its preponderance within the palaces was associated with access to resources during the performance of political activities in the city, being possible to recognize the administrative policies that existed during the construction of the Uhle and Bandelier palaces.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

En el siglo XXI los nuevos conceptos que marcan el debate sobre el futuro de nuestras ciudades, incluidas las ciudades históricas, giran en torno a la preocupación por garantizar la sostenibilidad de los procesos de diseño y gestión de las áreas urbanas. Especialmente, en las pequeñas y medianas poblaciones donde se sigue conservando las relaciones con su territorio. Nosotros no pretendemos profundizar en el conocimiento de la ciudad de Marchena, ni menos aún de su centro histórico, pero sí profundizar en el estudio de una extensa superficie que constituye una parte de su paisaje urbano histórico como es el área definida por el antiguo Palacio Ducal. Como arquitectos nos interesa poner nuestra atención, como sucede desde hace varias décadas, en el proyecto como herramienta que soluciona los problemas sobre nuestras áreas urbanas más que centrarnos en el urbanismo. Y en particular por nuestro tema de estudio en el TFG, nos interesan los proyectos sobre las áreas históricas donde fluyen las ideas entre la conservación de la ciudad y las nuevas propuestas. Pero el primer gran paso en el proceso de actuación es la preservación de la memoria. Es decir, en definitiva se trata de garantizar la puesta en valor de los lugares compartidos en el pasado, olvidados a veces en el presente por la sociedad que la habita y que necesita ser identificado para el futuro de la colectividad. Por ello, nuestra investigación pretende indagar tanto en el valor patrimonial dela gran parcela del Palacio Ducal, nuestro objeto de estudio, como en el proceso de transformación que han experimentado, a lo largo de más de cinco siglos, las relaciones que estableció con el núcleo urbano. Miraremos la gran parcela del palacio de manera exhaustiva especialmente como arquitectos más que como historiadores o sociólogos. Con la intención por una parte de sugerir la “cirugía conservadora”, término que acuñó Geddes (Geddes, 1960), aunque no tengamos restos emergentes, pero sí huellas de sus espacios. Y por, In the 21st century, the new concepts providing a framework for the debate on the future of our cities, including historical ones, revolve around the concern to ensure the sustainability of design processes and the management of urban areas, particularly in the small- and medium-sized towns, where relations with the land are still conserved to this date. It is not our purpose to deeply examinethe town of Marchena, even less so its historical centre, however we do intend to look in detail into the study of a large area that makes up a part of its historic urban landscape, which is the area defined by the old Ducal Palace. As architects, our interest in recent decades has been to focus on the project asa tool to resolve problems in our urban areas, rather than concentrate on urban planning. In our case, with the study topic of this work, we are concerned with projects in historical areas, where ideas for conserving the city intertwine with new proposals. However, the first major step in this process is the preservation of memory. In more concrete terms, we should ensure the promotion of places with a shared past, which are sometimes forgotten in the present day by society and its inhabitants and need to be recognized for our collective future. Our research study will attempt to examine the heritage value of the site of the Ducal Palace, our subject matter, as well as the transformation process that it has undergone over more than five centuries in developing ties to the urban centre. We will thoroughly examine the Palace site, more precisely as architects rat “conservative surgery”, a term coined by Geddes (Geddes, 1960), although we lack forthcoming remains, however we do have traces of the space it occupied. On the other hand, our goal is to maximize the value of the urban structures which determine both the buildings and the inherited areas or “urban heritage”,an idea defined by the architect Giovannoni, forming a basis for the theory of urban conservation (Choay