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The construction of a large and complex monastery such as the Charterhouse of Jerez required a precise geometric plan, the layout, which once deployed on the ground becomes the shape control system of the construction process. The basic geometric figure that supports the layout is the square and the variations derived from the ratio between its side and its diagonal. This paper presents the graphic definition of this geometric layout and analyses its persistence over more than three centuries of architectural evolution (fifteenth through eighteenth centuries). During this lengthy process, it has been possible to characterise how the rigour of geometric abstraction, the natural conditions of the ground on which the monastery was founded, and the functional and symbolic demands of the Carthusian order have been balanced. Likewise, there has been an analysis of the situations in which disproportion is imposed: the alteration or abandonment of the geometric plan. These undesirable situations reveal the imposition of existing conditions and the evolution of artistic concepts.

El grabado en la lámina 313 del segundo volumen de Remarks on Several Parts of Europe de John Breval, titulado «Ruins of an antient Temple at Old Sevil», muestra un promontorio con diferentes ruinas rodeadas de vegetación. En las últimas décadas, ha sido asociado a los restos de la ciudad romana de Itálica ubicados en la colina de San Antonio en Santiponce, Sevilla. El incremento de las campañas arqueológicas en esta área, donde se encuentran el teatro romano y otras edificaciones de la Vetus Urbs, así como los esfuerzos para incluir el conjunto arqueológico en la Lista del Patrimonio Mundial de la UNESCO, han aumentado el uso de este grabado. Sin embargo, hasta ahora no se han realizado estudios profundos sobre este documento gráfico. Este artículo lo analiza desde tres enfoques: el contexto de la obra completa, el estudio de fuentes coetáneas y los hallazgos recientes de la ciudad romana. El objetivo principal del estudio es reflexionar sobre el papel que la ilusión de una identidad y el relato tienen en la construcción de la imagen colectiva y en la percepción del patrimonio. Palabras clave Itálica, Vetus Urbs, patrimonio documental gráfico, John Breval, siglo XVIII.

Often, research on the enhancement of heritage is limited to exhaustive geometric documentation of its elements. This is even more the case with Underground Built Heritage (UBH), where heritage information differs greatly from other types of heritage and is often so complex that many efforts focus on geometrically describing its three-dimensional volume and compiling heritage data. However, precisely because of its uniqueness, these actions are not always sufficient to understand underground heritage assets. This research proposes an itinerary of specific actions, an experimental methodology that not only focuses on the above, but also addresses the issue of UBH through sensory interpretation, using a taxonomy together with a graphic and plastic proposal of physical objects that can be handled and touched, allowing vision and touch to explore the tectonic qualities of these spaces, which are usually hidden or difficult to perceive due to inadequate lighting. The proposed workflow aims to be replicable in other research and applicable, either partially or fully, to other case studies of UBH.

Abstract The engraving on plate 313 in the second volume of Remarks on Several Parts of Europe by John Breval, titled Ruins of an ancient Temple at Old Sevil , depicts a promontory with various ruins surrounded by vegetation. In recent decades, it has been associated with the ruins of the Roman city of Italica located on the hill of San Antonio in Santiponce, Seville. The increase in archaeological campaigns in this area, where the Roman theater and other buildings of the Vetus Urbs are found, as well as efforts to include the archaeological complex in the UNESCO World Heritage List, have bolstered the use of this engraving. INTRODUCCIÓN En el marco de una investigación más extensa sobre la documentación y análisis del Patrimonio Documental Gráfico de los bienes inmuebles del Conjunto Arqueológico de Itálica, se analizó en profundidad, entre otros documentos, el grabado titulado «Ruins of an antient Temple at Old Sevil» (fig. 1), que el académico, militar y viajero inglés John Breval incluyó en 1726 en el capitulo dedicado a Sevilla dentro del segundo volumen de sus diarios de viaje, Remarks on Several Parts of Europe (Breval, 1726b), en concreto, en una lamina numerada «vol. 2, pag. 313».

Central to the entire discipline of heritage restoration and conservation is the concept of information management. Nevertheless, traditionally, conservation and restoration has been a poorly documented discipline, which has led not only to a lack of standardization and awareness about the processes carried out in the past, but also poses problems both when new restoration works are necessary and for the preventive conservation of the elements of heritage. This study sets out to propose a conceptual framework to explore the relationship between conservation of heritage and information management on the basis of case studies; in particular: a spatial data infrastructure (SDI) of a regional government concerning an endangered plant (wild grapevine) with an important potential for cultural and touristic uses in a wine-making region; an open data guide—the Digital Guide of Andalusian Cultural Heritage; a university repository connected to Europeana, which contains reports and outcomes of projects of geometric documentation of elements of heritage; a repository of an organization in charge of the protection and care of the heritage; and finally, two examples of the use of heritage building information models (HBIM) in complex monuments. After discussing the characteristics of each case, this paper concludes that, although the availability of information and tools is growing, further progress is still necessary concerning the interoperability, outreach and reuse of the different solutions.

Some of the pavements in Seville Cathedral still display full-scale geometric working drawings (known as monteas in Spanish) of architectural elements, such as flying buttresses, arches and windows. We have recently discovered a new one, which was completed in the final stage of the Gothic work between 1490 and 1506. The documentation, coupled with the mapping and geometric analysis of the drawing found and its comparison with the examples reproduced in architectural manuscripts and printed books, confirms that it corresponds to the construction of a vault with diagonal ribs and tiercerons. Our aim here is to present, document and decipher the keys to a rare example of a geometric drawing for this type of vault, which may in turn furnish interesting data about geometric systems for controlling form and how they were used in stone construction processes at a fascinating time in the transition from Gothic to Renaissance architecture. This article forms part of the research currently being conducted under the auspices of projects HAR2012-34571 sponsored by Institute of Architecture and Building Science and Spain's Ministry of Economy and Competitiveness, in which the authors are involved, and within the framework of the Late Gothic Network.