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This research presents a dimensional analysis of the arcades of one of the most emblematic spaces of the Mosque-Cathedral of Cordoba: its central nave, located besides the mihrab in the ambitious extension carried out by Al-Hakam II. In order to accomplish this survey, a digital model was created from the point cloud obtained with a 3D laser scanner. Subsequently, earlier theories of architectural proportions related to this monument have been reviewed. The comparison of these earlier drawings with the corresponding digital models allows the precision of their different hypotheses to be assessed. Architectonic deformations not considered by the scientific literature are also quantified here. Finally, this research indicates certain partial order relations close to the proportion 1.3, though it should be noted that not all the arcades share the same dimensions and thus no general theory applies to their proportions., CRUE-CSIC agreement, Springer Nature

This research analyzes the earliest located floor plan of the Mosque-Cathedral of Córdoba, an anonymous oil painting in 1741, which has not been studied so far. The objective is to know the dimensional accuracy of the most relevant architectural forms drawn, considering the elements referenced in their legend and the graphic symbols used, to assess their documentary interest. It has also been compared with two important plans of the Mosque-Cathedral drawn in 1767 and 1868. The first task was a photogrammetric survey of the oil painting has been carried out. Subsequently, some data has been measured in the monument using a 3D scanner. The orthophoto of the oil painting has been overlapped to the digital model to verify its metric accuracy in a selection of points. For the first time, the legend and labels included in the oil painting have been transcribed. This precise graphic document contains reliable abundant data for future research about the transformations and restorations of a monument that is part of the UNESCO World Heritage List. The oil painting dating from 1741 can be considered as the first scientific plan of the Mosque-Cathedral of Co´rdoba, and as an outstanding architectural survey of eighteenth-century Europe.

Durante sus viajes por España en 1830–1833, Richard Ford realizó cientos de dibujos de los lugares visitados, cuyo conjunto no se ha conocido hasta una exposición en 2014. En esta investigación se analizan por primera vez sus dibujos sobre el entorno geográfico de Gibraltar, en gran parte inéditos. Primero se presentan sus apuntes del relieve costero tomados en barco desde el mar, después visiones lejanas del Estrecho desde Gaucín, panorámicas de la bahía de Algeciras, vistas del Peñón y sus fortificaciones, más bocetos de vegetación y personajes. Los dibujos no tenían pretensiones artísticas ni comerciales, pero aportan una rigurosa descripción que se complementa con los textos que el propio autor publicó en su famoso libro A Handbook for Travellers in Spain (1845). Como referencia comparativa también se han considerado imágenes y textos sobre Gibraltar de otros autores diversos. Las precisas observaciones de Ford, previas a la aparición de la fotografía, tienen un excepcional valor documental como testimonio gráfico y literario que facilita la comprensión de este singular territorio y su paisaje en el siglo XIX.

Esta investigación analiza por primera vez las singulares y poco conocidas techumbres del palacio renacentista Casa de los Pinelo en Sevilla. Tras sufrir importantes transformaciones al convertirse en Pensión Don Marcos (1885-1964), fue declarado monumento histórico (1954) y expropiado por el Ayuntamiento de Sevilla (1964). Entonces se acometieron profundas intervenciones y restauraciones por los arquitectos Jesús Gómez-Millán (1967-1971) y Rafael Manzano Martos (1969-1981) para alojar las sedes de las Reales Academias Sevillanas de Buenas Letras y de Bellas Artes, uso que aún mantiene. Siguiendo un excepcional texto de 1542, transcrito para este trabajo, se ofrece un recorrido inédito por las distintas techumbres, hoy conservadas, transformadas o desaparecidas, ratificando su datación. Se aportan plantas generales y fotografías del estado actual, junto a datos inéditos sobre intervenciones documentadas que facilitan la valoración de su rico y diverso conjunto. This study analyzes for the first time the unique, unexplored roofs and ceilings of the Renaissance palace Casa de los Pinelo in Seville. After deep transformations to become the Pension Don Marcos (1885-1964), the building was classified as heritage site (1954) and hence expropriated by the City Council (1964). Thenceforth, deep interventions and modifications were executed by architects Jesús Gómez-Millán (1967-1971) and Rafael Manzano Martos (1969-1981) so the building may host the headquarters of the Royal Academies of Belles Lettres and Fine Arts of Seville. Starting from an exceptional text dated in 1542 and transcribed for this purpose, this article offers a singular journey across the different types of roofs -nowadays preserved, transformed, or lost- documenting their dates. Modern floor plans and photographs together with unpublished data upon various alterations are also provided in order to facilitate the appreciation of this rich architectural complex. Esta investigação analisa pela primeira vez as coberturas únicas e pouco conhecidas do palácio renascentista Casa de los Pinelo em Sevilha. Após sofrer importantes transformações ao se converter na Pensión Don Marcos (1885-1964), foi declarado monumento histórico (1954) e expropriado pela Câmara Municipal de Sevilha (1964). Em seguida, profundas intervenções e restauros foram realizados pelos arquitetos Jesús Gómez-Millán (1967-1971) e Rafael Manzano Martos (1969-1981) para abrigar a sede das Real Academias Sevilhanas de Boas Letras e Belas-Artes, uso que ainda se mantém. Na sequência de um texto excecional de 1542, transcrito para este trabalho, oferece-se um passeio inédito pelas diferentes coberturas, hoje conservadas, transformadas ou desaparecidas, confirmando a sua datação. Planos gerais e fotografias do estado atual são fornecidos, juntamente com dados não publicados sobre intervenções documentadas que facilitam a avaliação de seu rico e diversificado conjunto.

The vast graphic legacy illustrating the Mosque-Cathedral of Córdoba prior to the rise of paper photography around 1850, constitutes an important documentary source for research. After an extensive work of tracing and identification of those images, the present work provides accurate references upon their authors, contexts and techniques, assessing their trustability or graphic precision. The earliest images known correspond to Christian times, where two urban panoramic views should be highlighted, one of them widely plagiarized and disseminated in Europe. The first scale drawings of the building still preserved date back to the 18th century, while the first interior views are from the end of the same century. In the first half of the 19th century there was a large production of images made by travelers and artists, some of them of great beauty, and published with great editorial success. The graphic documents highlighted here are compiled according to authorship and chronological order: first symbolic images (from 1360), Wyngaerde (1567), Civitatis (h. 1585-1617), copies of Civitatis (17th-18th c.), Baldi (1668), anonymous oil painting (1741), schematic images (18th c.), drawing from Vázquez Venegas’ collection (1752), Academic plans (1767-1804), Swinburne (1775-1779), Karwinsky and Rillo (1811), Laborde (c. 1800-1812), Murphy (1802-1813), Bacler d’Able (c. 1820), Taylor (c. 1826-1832), Ford (1831), Lewis (1832-1836), Prangey (1832-1839), Gail (c. 1832-37), Roberts (1833-1837), Dauzats (c. 1836-1838), Chapuy (c. 1838-1842), Villaamil (c. 1838-1844), Bossuet (c. 1841-1855), Gerhardt (c. 1849-1851), Guesdon (1853), Parcerisa (1855), and Los Monumentos Arquitectónicos (c. 1852-1881)., La Mezquita-Catedral de Córdoba cuenta con un rico legado de imágenes hasta la llegada de la fotografía a mediados del XIX que constituyen una destacada fuente documental para la investigación. Tras una amplia labor de rastreo y localización de dichas imágenes, se aportan referencias sobre sus autores, contexto y técnicas, valorando su fiabilidad o precisión gráfica. Las primeras conocidas corresponden a tiempos cristianos, destacando dos panorámicas urbanas de la segunda mitad del XVI, una de ellas objeto de plagios con una notable difusión en Europa. Los primeros planos a escala del monumento conservados son del XVIII y las primeras vistas interiores de finales de ese siglo. En la primera mitad del XIX se produjeron abundantes imágenes de viajeros y artistas, algunas muy bellas y publicadas con gran éxito editorial. Los documentos gráficos reseñados se presentan agrupados según su autoría y orden cronológico: primeras imágenes simbólicas (desde 1360), Wyngaerde (1567), Civitatis (h. 1585-1617), copias del Civitatis (s. XVII-XVIII), Baldi (1668), óleo anónimo (1741), imágenes esquemáticas (s. XVIII), dibujo colección Vázquez Venegas (1752), planos Académicos (1767-1804), Swinburne (1775-1779), Karwinsky y Rillo (1811), Laborde (h. 1800-1812), Murphy (1802-1813), Bacler d’Able (h. 1820), Taylor (h. 1826-1832), Ford (1831), Lewis (1832-1836), Prangey (1832-1837), Gail (h. 1832-37), Roberts (1833-1839), Dauzats (h. 1836-1838), Chapuy (h. 1838-1842), Villaamil (h. 1838-1844), Bossuet (h. 1841-1855), Gerhardt (h. 1849-1851), Guesdon (1853), Parcerisa (1855) y Los Monumentos Arquitectónicos (h. 1852-1881).

This research has been funded by internationalisation grants awarded to the Instituto Universitario de Arquitectura y Ciencias de la Construcción (IUACC) of the VI Plan Propio de Investigación y Transferencia of the University of Seville., This research has been made possible thanks to the collaboration of the Cabildo de la Catedral de Córdoba. The authors are also grateful for the support from the research group Expregrafica, Lugar Arquitectura y Dibujo (PAIDI-HUM-976); Programa de Doctorado en Arquitectura, Instituto Universitario de Arquitectura y Ciencias de la Construcción from the University of Seville; the research group Ingeniería Cartográfica (PAIDI-TEP-164) from the University of Jaén; and the Survey and Modelling Laboratory (SMlab) from the University of Granada., The work of Philibert Girault de Prangey, who was a draughtsman, pioneering photographer and an Islamic architecture scholar, has been the subject of recent exhibitions in his hometown (Langres, 2019), at the Metropolitan Museum (New York, 2019) and at the Musée d’Orsay (Paris, 2020). After visiting Andalusia between 1832 and 1833, Prangey completed the publication “Monuments arabes et moresques de Cordoue, Seville et Grenada” in 1839, based on his own drawings and measurements. For the first time, this research analyses his interior perspectives of the Mosque-Cathedral of Cordoba (Spain). The novel methodology is based on its comparison with a digital model derived from the point cloud captured by a 3D laser scanner. After locating the different viewpoints, the geometric precision and the elaboration process are analysed, taking into account historic images by various authors, other details published by Prangey and the architectural transformations of the building. In this way, the veracity and documentary interest of some beautiful perspectives of a monument inscribed on the World Heritage List by UNESCO is valued., Programa de Doctorado en Arquitectura, Instituto Universitario de Arquitectura y Ciencias de la Construccion from the University of Seville, research group Ingenieria Cartografica from the University of Jaen PAIDI-TEP-164, Survey and Modelling Laboratory (SMlab) from the University of Granada, Research group Expregrafica, Lugar Arquitectura y Dibujo PAIDI-HUM-976

Las plazas de toros, un importante legado patrimonial y arquitectónico en España e Iberoamérica, adoptaron con frecuencia un estilo neomudéjar entre los siglos XIX y XX. Tras revisar su contexto historicista, diversos datos tipológicos y propuestas en Jerez de la Frontera (Cádiz), se analizan los planos inéditos del arquitecto Francisco Hernández Rubio en 1893 para una nueva plaza de toros neomudéjar que no llegó a construirse y se aporta una recreación gráfica digital de su volumetría. Bullrings, emblematic buildings found in many Spanish and Ibero-American cities, frequently adopted a Neo-Mudejar style between the 19th and 20th centuries. After reviewing their historical context, various typological data, and proposals in Jerez de la Frontera (Cádiz), the study analyzes the unpublished plans by architect Francisco Hernández Rubio in 1893 for a new Neo-Mudejar bullring —finally never built— and provides its digital graphic rendering.

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., Instituto Universitario de Arquitectura y Ciencias de la Construcción (IUACC) of the VII Plan Propio de Investigación y Transferencia in the University of Seville

La Geographia de Ptolomeo es un importante y conocido tratado del siglo II que ha sido objeto de numerosos estudios. Sin embargo, los mapas basados en ella, conservados en muchos códices datados entre los siglos XIII y XV, apenas han sido analizados atendiendo al conjunto de sus criterios de representación. Tras una amplia tarea de localización y revisión de dichos documentos gráficos, se han considerado cuatro grupos de códices, según los mapas incluidos. Se han seleccionado algunos de ellos con el objetivo de analizar las convenciones gráficas usadas en estas primeras representaciones de la península Ibérica: referencias espaciales –meridianos, paralelos y climas–, configuración territorial –relieve, hidrografía y divisiones del territorio–, elementos singulares –hitos y espacio marítimo– y rotulación. Después, el análisis se completa centrándose en el territorio de la actual Extremadura, atendiendo a la toponimia de sus núcleos de población y a su posición relativa. Conjugando ambas escalas se aporta una inédita aproximación a los elocuentes criterios de representación seguidos. Éstos constituyeron un primitivo lenguaje cartográfico, con signos que se usaron de forma flexible en cada códice y que tuvieron una gran influencia en incontables mapas de siglos posteriores.

La mezquita-catedral de Córdoba fue dibujada en la primera mitad del siglo xix por destacados artistas y viajeros que produjeron un conjunto de imágenes muy diversas antes del auge de la fotografía como registro documental. Algunas son muy bellas y gozaron de una notable difusión en el contexto cultural europeo, aunque en general han sido poco estudiadas considerando las transformaciones del monumento y su percepción visual. Tras mencionar algunos antecedentes gráficos hasta el siglo xix, se aportan referencias de una docena de autores de vistas, valorando brevemente su precisión o fiabilidad documental, según orden cronológico: Laborde (1812), Murphy (1813), Bacler d’Able (c. 1820), Taylor (1826-1832), Ford (1831), Lewis (1832-1836), Prangey (1832-1837), Roberts (1833-1837), Chapuy (c. 1842), Villaamil (1842-1850), Gerhardt (1850-1851) y Guesdon (1853).

The Casa de los Pinelo is a Renaissance palace that forms part of a prominent evolutionary sequence of palatial architecture in Seville. In 1523 the Pinelo family sold the building to the Cathedral Chapter that in 1542 had a survey or text written (transcribed for this research) which described it in minute detail. After its confiscation and sale in 1870, it became the Don Marcos guest house (1885–1964). In 1954 it was declared a historical-artistic monument and since then there have been significant consolidation works managed by the architects Jesus Gomez-Millan (1967–1971) and restoration works by Rafael Manzano (1969–1981). Today it houses the Real Academia Sevillana de Buenas Letras (Seville Royal Academy of Literature) and the Real Academia de Bellas Artes de Santa Isabel de Hungria (Royal Academy of Fine Arts of Saint Isabel of Hungary). After locating and analysing various graphical documents produced over the centuries and carrying out comprehensive modern surveys, an unprecedented interpretive route is provided by the 1542 text through the building’s various rooms and floors: its entrance courtyard, main courtyard, sitting rooms, tower and garden. The reliability of the text can therefore be assessed, and we can corroborate the existence in the 16th century of significant architectural elements that have been preserved to this day, along with others that have been altered or have disappeared.

Esta conversación se centra en la relación que el arquitecto portugués Manuel Aires Mateus mantiene entre arquitectura y dibujo, e indaga en su dibujar por y para la arquitectura. Tuvo sus inicios en el XI Congreso Internacional EGA (Sevilla - Sanlúcar de Barrameda, 2006) a cuyo Comité Organizador pertenecieron los autores de este artículo, y donde Manuel Aires impartió la conferencia: “Hablar de proyectos es hablar de dibujos”. Manuel usa la palabra dibujo igual que lo hace en portugués, donde el término desenho engloba dos significados: dibujo y proyecto. En lengua castellana la palabra dibujo también los posee, aunque hoy la segunda acepción se encuentra casi en desuso. Aquel título inspiró otras conversaciones posteriores sobre el proceso gráfico de creación arquitectónica, la última, gracias a las nuevas tecnologías, con Manuel en el aeropuerto de Roma, en una de esas esperas interminables, en octubre de 2019 This conversation focuses on the relationship that the Portuguese architect Manuel Aires Mateus sees between architecture and drawing and explores his drawing for architecture. The conversation began at the XI EGA International Congress (Seville - Sanlúcar de Barrameda, 2006), in which the authors of this article were part of the Organising Committee, and where Manuel Aires gave the lecture titled “To talk about projects is to talk about drawings” [Hablar de proyectos es hablar de dibujos]. Manuel uses the word drawings just as he does in Portuguese, where the term desenhos encompasses two meanings: drawing and planning. In Spanish, the word drawing (“dibujo”) also has these two meanings, although today the second one has almost fallen into disuse. That title inspired other later conversations with Manuel about the graphic process of architectural creation–the last one, thanks to new technologies, took place at Rome airport, in one of those endless waiting periods, in October 2019.

El palacio de los Pinelo en Sevilla, construido y habitado por una familia genovesa ligada al comercio con América hacia 1500, se convirtió en Pensión Don Marcos hacia 1885. Para conocer sus importantes transformaciones se revisan padrones municipales, expedientes de obras y otros datos del edificio hasta su declaración como monumento en 1954. Se aportan planos inéditos de 1964 elaborados para su expropiación, junto a fotos y planos propios actuales de este singular patrimonio arquitectónico // The palace of the Pinelo family in Seville, established by a Genovese clan related to trading with America around 1500, became Pension Don Marcos circa 1885. In order to explore its major transformations, this study reviews municipal registers, building licences, and other documents until its declaration as historic monument in 1954. Besides, unpublished drawing plans for its expropriation in 1964, together with photos and plans of this singular architectural heritage are also provided. The palace of the Pinelo family in Seville, established by a Genovese clan related to trading with America around 1500, became Pension Don Marcos circa 1885. In order to explore its major transformations, this study reviews municipal registers, building licences, and other documents until its declaration as historic monument in 1954. Besides, unpublished drawing plans for its expropriation in 1964, together with photos and plans of this singular architectural heritage are also provided.

[EN] This graphic research aims to document, analyze, and reconstruct the disappeared Gate of Triana in Seville. In order to do so, data from the gate historical context and authorship and images from the 16th to 19th centuries (city views, plans, and photographs), reflecting its architectonic characteristics and privileged setting, are compiled and inspected. For the virtual reconstruction some metric data from archaeological remains were used, analyzing the architectural composition, examining architecture treaties from that period, and 19th photographs that contribute with reliable details. The aim is to highlight the importance of these images in order to reveal an urban architectural work of great heritage value that unfortunately disappeared in the 19th century, and now is recovered through the graphic arts., [ES] En esta investigación gráfica se trata de documentar, analizar y reconstruir la desaparecida Puerta de Triana en Sevilla. Para ello se revisan datos sobre su contexto histórico y su autoría, y se analizan imágenes de los siglos XVI al XIX (vistas urbanas, planos y fotos) que reflejan su privilegiado entorno y rasgos arquitectónicos. Para la reconstrucción virtual se utilizan datos métricos de vestigios arqueológicos localizados, analizando la composición arquitectónica, considerando tratados de arquitectura de la época y fotografías del siglo XIX que aportan fiables detalles. De este modo se pretende subrayar la importancia de las imágenes para conocer y dar a conocer una pieza arquitectónica y urbana de gran valor patrimonial que desapareció en el siglo XIX, ahora recreada gracias a la disciplina gráfica.

The unpublished map of Seville made by Manuel Spínola de Quintana (1827) is one of the first cartographic documents that includes the environs of the walled city. The map constitutes an important source of knowledge of the city’s agrarian surroundings, which remained unchanged for centuries, until their radical transformation taken place since the middle of the 19th century. After reviewing historical and graphic documentary sources and urban developments happened at this time, the analysis focuses on the 1827 map, comparing it with other Spínola’s map (1828-30) and one of Galiano Parra (1839). Finally, we have identified the main structuring elements of the studied area one by one, such as the urban fortification, roads, hydrographic network, bridges, orchards and meadows, as well as landmarks and other unique architectural evidences, such as suburbs and religious, hospitals, agrarian, military and industrial constructions, cemeteries, country inns, other public buildings as well as urban interventions in the public space, that are represented in the 1827 map., El plano inédito de Sevilla de Manuel Spínola de Quintana (1827) es uno de los primeros documentos cartográficos que incluye la periferia de la ciudad amurallada. Por ello constituye una importante fuente para conocer dicho entorno extramuros, antes de su radical transformación a partir de mediados del siglo XIX. Después de revisar diversas fuentes documentales históricas y gráficas, e intervenciones urbanas de la época, el análisis se centra en el plano de 1827 y sus leyendas, que se compara con otros planos del propio Spínola (h. 1828-30) y Galiano Parra (1839). Finalmente se identifican los principales elementos estructurantes, como la muralla y puertas de la ciudad, caminos, red hidrográfica, puentes y alcantarillas, huertas y prados, así como hitos y elementos singulares tales como los arrabales y la arquitectura religiosa, agraria, militar, fabril, hospitalaria, funeraria, ventas, lavaderos, otros edificios públicos e intervenciones urbanas en espacios públicos, que por entonces conformaban el lugar estudiado y que aparecen representados en el plano.

Las vistas aéreas de ciudades andaluzas de Alfred Guesdon hacia 1853 resultan de especial interés por su belleza, su valor documental y los interrogantes que ha planteado su proceso de elaboración. Guesdon revolucionó las formas de ver la ciudad vigentes en su tiempo. Para obtener sus novedosos puntos de observación a vista de pájaro debió de integrar el dibujo tradicional con avances técnicos como los vuelos en globo aerostático y la fotografía. Sus litografías son un fiel reflejo de ciudades después transformadas con la llegada del progreso o la modernidad.

As a documentary source, this research uses an important and little-known legacy of views of the city of Malaga and its surroundings, from the 16th century until the arrival of photography in the mid-19th century. Its intention is to promote knowledge of the urban landscape, considering its transformations through its images. Therefore, several drawings by fifteen authors have been selected and analysed: Wyngaerde (1564-67), Civitates Orbis Terrarum (1572), Beckman (1661) Carter (1772-1777), Swinburne (1775-1806), Laborde (1812), Roberts (1833-38), Vivian (1834-39), Dauzats (1835), Chapuy (1842-44), Tenison (1850-53), Vallejo (c. 1850), Schöpel & Poyatos (1850), Guesdon (1853), Deroy (1850-1862). To interpret this graphic set for the first time, their points of view have been located at ten viewpoints, assessing their current status and visual interest. It has been found that the city of Malaga has been drawn from all directions and different distances to the urban centre. This is due to the fact that this territory forms a closed visual basin, delimited by a mountain barrier open to the sea from the South, with several hills of lower altitude and Mount Gibralfaro as a visual reference. In this way, a graphic approach is offered to a city with a complex topography and a rich network of crossed visual relationships reflected in historical images. Some viewpoints of Malaga have disappeared or have been transformed, but the whole constitutes valuable heritage that will allow future generations to continue enjoying unique views of the city and its landscape.DOI: https://doi.org/10.20365/disegnarecon.22.2019.21

The historical views of the urban outskirts of Seville constitute a relevant documentary source upon a territory marked by its agricultural past, still rather unknown nowadays, until its urban transformation starting in the eve of the 19th century. This article analyzes the most significant panoramic views of the area, dating from mid 16th century to 1800, taking into consideration some data about their authors and assessing their documentary trustability: Medina, Wyngaerde, Hoefnagel, Bambrilla, Janssonius, Merian, Meunier, Baldi, Tortolero y Swinburne. For the first time, major areal elements and landmarks represented are methodically identified. Finally, the approximate points of views are projected on a city map, highlighting the spots in which the drawings where elaborated, emphasizing the cultural importance of these images—with such a peculiar graphic impression—that had, for many centuries, such a remarkable dissemination across Europe.

Las tres vistas panorámicas de la ciudad de Málaga que Francis Carter dibujó en 1772-1773 y publicó en 1777 constituyen una valiosa fuente documental que permite conocer su entorno paisajístico, hoy transformado por crecimientos urbanos posteriores. Tras considerar su contexto general se aporta un análisis inédito, localizando sus puntos de vista y ángulos visuales comprendidos, para poner en valor la configuración de la ciudad representada, sus murallas, perfiles e hitos arquitectónicos en el paisaje malagueño de finales del XVIII. Aunque su valor artístico no es destacable, se corrobora su gran interés como testimonio de su época, considerando algunas vistas históricas de otros autores como referente comparativo, cotejando su fiabilidad y la precisión de los abundantes pormenores dibujados. The three panoramic views of the city of Malaga that Francis Carter drew in 1772-1773 and published in 1777 are a valuable documentary source that shows its surrounding landscape, today transformed by later urban growths. After considering its general context, an unpublished analysis is provided, pinpointing its vantage points and visual angles, in order to assess the layout of the city represented in the drawings, its walls, skyline and architectural landmarks in the landscape of Malaga in the late 18th century. Although their value as artistic pieces is unremarkable, they are a great testimonial value of the period, to use with views from other artists as a comparative reference, thus checking the reliability and accuracy of the abundant details drawn.

Las vistas aéreas de Alfred Guesdon constituyen un motivo de recurrente interés por su gran belleza y fiel reflejo de importantes ciudades de la época, así como por los interrogantes que plantea su elaboración. Tras reseñar algunas vistas aéreas dibujadas a mediados del XIX, se revisan las hipótesis sin documentar sobre la relación de Clifford con las vistas españolas de Guesdon y sobre la problemática de su construcción gráfica con la ayuda de planos, fotografías o globos aerostáticos. Sobre ello arroja luz el análisis del inédito dibujo de Córdoba (1853), cuya precisión se constata al compararlo con el coetáneo plano de Montis (1851). En un recorrido por la ciudad dibujada y sus principales hitos se corrobora el valor documental de esta imagen de Guesdon, que supo integrar el dibujo tradicional con los avances técnicos del momento. The aerial views by Alfred Guesdon are considered works of special interest due to their quality and beauty. These drawings are a faithful portrait of the great cities of the period, and a mystery in terms of their creation. After reviewing some of the aerial drawings of the mid-19th century, the author considers undocumented hypotheses regarding the relationship of Charles Clifford to the drawings by Guesdon of Spanish cities, and the issues related to their elaboration by means of plans, photographs and hot-air balloons. Some light is shed on this matter thanks to the unpublished drawing of the city of Cordoba (1853), whose accuracy is evident when compared to a city plan drawn by Montis (1851). A journey through the city of Cordoba and its landmarks proves the documentary value of the drawing by Guesdon, who knew how to combine traditional drawing skills with the latest technical advances of his time.

Architecture and urban planning should contribute to urban progress by preserving the fragile values of inherited landscapes, integrating the old and the new. It is thus essential to investigate the transformations of each site has undergone, using graphic sources and checking their reliability. The case of the first views of Malaga in the 16th century is discussed here. Apart from reviewing symbolic representations of little documentary value, the views drawn by Anton van den Wyngaerde in 1564 and the one published in Civitates Orbis Terrarum in 1572 are analyzed; all of which provide exceptional testimonies of a landscape transformed through the centuries.

Professor Rafael Manzano Martos, architect, was the director of the Madinat al-Zahra archeological site 1975- 1985. The interview, ilustrated with unpublished photos from his private archives, starts by recalling his beginnings in archeology and his masters Torres Balbás, Chueca Goitia, Gómez Moreno and Íñiguez Almech, with whom he trained as restorer of monuments and historian. The criteria and language of his important intervention in the “Salón Rico” are discussed after talking about his predecessor Félix Hernández and his professional context. His interventions in the “palacio de Yaafar”, in “Dar al-Mulk”, and in “Dar al-Yund” are also mentioned. His concerns about urban planning, gardening, water and electricity, and the scarcity of economic resources and understaffing are recalled. Finally, some singularities of Madinat al-Zahra are discussed, where his vision as an architect converges with history and archeology. Rafael Manzano Martos, arquitecto y catedrático, dirigió Medina Azahara entre 1975 y 1985. La entrevista, ilustrada con fotos inéditas de su archivo privado, empieza recordando sus inicios en la arqueología y sus maestros Torres Balbás, Chueca Goitia, Gómez Moreno e Íñiguez Almech, con quienes se formó como restaurador de monumentos e historiador. Se comentan los criterios y el lenguaje de su importante intervención en el Salón Rico, tras hablar de su antecesor Félix Hernández y su contexto profesional. Se citan también sus intervenciones en el palacio de Yaafar, en la Dar al-Mulk, y en la Dar al-Yund. Se recuerdan sus inquietudes sobre la urbanística del conjunto, su jardinería, la traída de agua y electricidad, y la escasez de medios económicos o personales. Finalmente se comentan algunas singularidades de Medina Azahara, donde confluye su visión como arquitecto con la historia y la arqueología.

Architectural heritage preservation and sustainability need advanced graphic techniques in order to document and understand the disposition/composition of plaster muqarnas, a fragile construction element. The muqarnas are key elements in the Nasrid architecture developed during the 14th century in the Alhambra complex, nowadays part of World Heritage. As a case study, this analysis focuses on the muqarnas pendentives of the Sala de la Barca in the Comares Palace. After examining both explanations and drawings published by architects Jones and Goury from 1842 to 1845, our research provides new drawings (plans and elevations) derived from laser scanner technology. Theoretically, though muqarnas are composed of simple geometrical shapes, these new drawings unveil important deformations hitherto unknown, and which have not been studied yet by other bibliographic references. Finally, we provide some considerations about the causes of these deformations and the monument sustainability across the time and the images’ capacity to show the muqarnas complex shapes in a reliable way.

La Alhambra nazarí simboliza el apogeo artístico del Reino de Granada, último bastión de al‐Ándalus que nos legó una refinada muestra arquitectónica enriquecida con recursos de la naturaleza y del arte. De forma sorprendente ha sobrevivido, amenazada, modificada o restaurada y su conjunto monumental es hoy considerado Patrimonio de la Humanidad. A partir de una actualizada bibliografía, se aporta una síntesis de ideas en distintas escalas ‐entre paisaje y formas arquitectónicas‐ ilustradas con una selección de imágenes históricas. Primero se ofrece un encuadre territorial y urbano de la ciudadela palatina, situada sobre Granada, entre la Vega y Sierra Nevada, destacando aspectos de su sistema defensivo y elementos paisajísticos clave como el agua o los jardines. Y después se tratan episodios singulares de la arquitectura nazarí: fórmulas compositivas y lenguaje arquitectónico, espacios y luces, funciones y vida cotidiana, más construcción y ornamentación poética. The Nasrid Alhambra symbolizes the artistic flourishing of the Emirate of Granada, the last bastion of Al‐Andalus, which left a rich legacy of architectural forms embellished with nature and artistic resources. Threatened, modified or restored, this construction has surprisingly proved to survive, and its monumental complex is considered nowadays as World Heritage. Starting from an updated bibliography, this paper aims to provide a synthesis of ideas in different scales –amidst landscape and architectural forms‐ illustrated with a variety of historical images. The first part introduces a territorial and urban portrait of the palatine citadel, situated among the Vega and Sierra Nevada, highlighting some aspects of its defense system, and key landscape elements such as the use of water and gardening. A second part tackles with peculiar elements in the Nasrid architecture: compositional formulas and architectural language, light and space, function and daily usage, or building art and poetic ornamentation.

The present study deals with the first collection of views of the Mosque-Cathedral of Cordoba, included in Alexandre de Laborde’s huge work, Voyage pittoresque et historique de l’Espagne (volume II, 1812). Despite the fine quality of these original drawings and engravings of Cordoba, the collection has never been examined. Our analysis evaluates its reliability and its documentary contribution to knowledge of this singular edifice in Cordoba and all its architectural transformations. Following an overview of the biographical and historical context of both Laborde and his Voyage, the images are studied in groups according to their points of view: panoramas of the city, the first-known images of the patio, novel interior views, followed by a brief review of plans and details, in part copied from earlier ones.

The aerial views by Alfred Guesdon are considered works of special interest due to their quality and beauty. These drawings are a faithful portrait of the great cities of the period, and a mystery in terms of their creation. After reviewing some of the aerial drawings of the mid-19th century, the author considers undocumented hypotheses regarding the relationship of Charles Clifford to the drawings by Guesdon of Spanish cities, and the issues related to their elaboration by means of plans, photographs and hot-air balloons. Some light is shed on this matter thanks to the unpublished drawing of the city of Cordoba (1853), whose accuracy is evident when compared to a city plan drawn by Montis (1851). A journey through the city of Cordoba and its landmarks proves the documentary value of the drawing by Guesdon, who knew how to combine traditional drawing skills with the latest technical advances of his time.

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Las vistas realizadas en Córdoba por David Roberts en 1833, reelaboradas como litografías, grabados y óleos, han gozado de gran éxito comercial y difusión internacional por su temática e indudable interés artístico. Esta investigación profundiza en su valor documental como registros gráficos previos a la aparición de la fotografía, del paisaje y la arquitectura de una ciudad hoy considerada Patrimonio de la Humanidad. Las imágenes presentadas se analizan por primera vez como conjunto, pues algunas son de difícil localización o están dispersas en museos de todo el mundo, y se contextualizan con datos sobre el pintor y su viaje por España, considerando una carta que éste escribió desde Córdoba. También se valora la fiabilidad documental de cada vista, a la vez que se detectan significativas transformaciones de los lugares representados David Roberts' views of Córdoba were carried out in 1833 and later redrafted as lithographs, engravings, and oils. These artworks enjoyed great commercial success and international diffusion due to their thematic and undoubted artistic value. The authors analyze their documentary value as a graphic record -prior to the advent of photography- of the urban landscape and architecture of Cordoba, a city now denominated a World Heritage Site. These images are studied here for the first time as a group, since they are either virtually untraceable or dispersed in museums throughout the world. In addition, these views have been contextualized with information concerning the artist and his Spanish journey, including a letter that he wrote from Córdoba. The documentary reliability of every image is also assessed, while the significant transformations of the places represented are indicated.

Antonio Cruz and Antonio Ortiz got their degrees from the School of Architecture in Madrid in the early 70’s. From that moment on they have worked together in Seville, and since 2000 they also have a studio in Amsterdam.Their prolific work, awarded with almost 25 honors, has been the object of many exhibitions and publications. They have gained more than 20 prizes in architectural competitions, both national and international. They possess academic experience as professors in Schools in Seville, Zurich, Harvard, Cornell, Lausanne, Pamplona, and Columbia, and they both have given countless lectures all over the world.This interview was taken on a Wednesday evening in September 14th 2011. It focuses on the process of architectural graphic ideation, with questions formulated by the architect Antonio Gamiz Gordo, who also transcribed the answers. He is a former student-collaborator in their office in 1986, and nowadays is a Senior Lecturer at the Seville School of Architecture.