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EGE
R E V I S T A D E E X P R E S I Ó N
GRÁFICA EN LA EDIFICACIÓN
11
DECEMBER 2019
N. 11 / 2019
EDITORIAL TEAM
REVISTA DE EXPRESIÓN GRÁFICA EN LA EDIFICACIÓN
Editora Jefe / Editor-in-Chief

CONCEPCIÓN LÓPEZ GONZÁLEZ LINDY OSBORNE JOSEFA ROS TORRES
Queensland University of Technology, Universidad Politécnica de Cartagena,
Australia España
Editores Adjuntos / Associate Editor
DANIELE G. PAPI JUAN SAUMELL LLADÓ
TERESA GIL PIQUERAS Universidad de Milán, Italia Universidad de Extremadura, España
GABRIEL GRANADO CASTRO DIEGO ROS MCDONNELL DAVID SIMÓN GRÁBALOS
Universidad de Cartagena, España Universitat Ramón Llull, España
Comité Editorial / Editorial Committee JORGE TORRES CUECO ANTONIO M. TRALLERO SANZ
Universidad Politécnica de Valencia, Universidad de Alcalá de Henares,
AMPARO BERNAL LÓPEZ- España España
SANVICENTE. España
MERCEDES VALIENTE LÓPEZ MERCEDES VALIENTE LÓPEZ
NORENA MARTÍN DORTA. España Universidad Politécnica de Madrid, Universidad Politécnica de Madrid,
España España
PABLO RODRÍGUEZ NAVARRO. España
DAVID VALVERDE CANTERO
ROBERTA SPALLONE. Italia Universidad de Castilla-La Mancha,
ANTONIO M. TRALLERO SANZ. España Consejo de Redacción / Editorial Board España
FELIPE ASENJO ÁLVAREZ
GIORGIO VERDIANI. Italia Universidad Europea de Madrid, España
JOSÉ ANTONIO BARRERA VERA
Universidad de Sevilla, España Departamento Coordinador/ Coordinator
Comité Científico / Scientific Commitee
Department
TOMÁS ABAD BALBOA SANTIAGO BELLIDO BLANCO
Universidad de Alcalá, España Universidad Europea Miguel de Dpto. Expresión Gráfica Arquitectónica,
Cervantes, España Universitat Politècnica de València
ANTONIO ALMAGRO GORBEA
Real Academia de Bellas Artes de San AMPARO BERNAL LÓPEZ-SANVICENTE
Fernando, España Universidad de Burgos, España
Revista oficial de / Official journal of
JOSÉ ANTONIO BARRERA VERA JOSEP CARRETÉ BORRAS
Universidad de Sevilla, España Universidad de Girona, España Asociación de Profesores de Expresión
Gráfica Aplicada a la Edificación
SIMON BELL ÁNGEL JOSÉ FERNÁNDEZ ÁLVAREZ (APEGA) / Association of Professors
Coventry University, Reino Unido Universidade da Coruña, España of Graphic Expression Applied to the
Building (APEGA)
STEFANO BERTOCCI ANTONIO FERNÁNDEZ-COCA
Università degli Studi di Firenze, Italia Universitat de les Illes Balears, España
JUAN CALDUCH CERVERA IÑAKI GARCÍA CARRERAS Edita / Published by
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Universidad Politécnica de Cartagena, Univerisdad de Granada, España ISSN: 2605-082X
España
JESÚS Mª GARCÍA GAGO
PILAR CHÍAS NAVARRO Universidad de Salamanca, España
Contacto / Contact
Universidad de Alcalá, España
FRANCISCO J. GARCÍA RODRÍGUEZ
Universitat Politècnica de Catalunya, https://polipapers.upv.es/index.php/
ELOI COLOMA PICÓ ege/index
Universitat Politècnica de Cataluña, España
E-mail: mlopezg@ega.upv.es
España
RICARDO IRLES PARREÑO
JORGE LUIS GARCÍA VALLDECABRES Universidad de Alicante, España
Universitat Politècnica de València,
España SANTIAGO LLORÉNS CORRALIZA
Universidad de Sevilla, España
JORGE LLOPIS VERDÚ
Universitat Politècnica de València, CONCEPCIÓN LÓPEZ GONZÁLEZ
España Universitat Politècnica de València,
España EGE Revista de Expresión Gráfica en la
Edificación no se hace responsable de
SANTIAGO LLORÉNS CORRALIZA las opiniones manifestadas en los dis-
Universidad de Sevilla, España MARIA JESUS MAÑEZ PITARCH
Universitat Jaume I, España tintos artículos que aparecen en esta
ANDRÉS MARTÍNEZ MEDINA edición.
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Universidad de Sevilla, España pietarios de las fotografías son los auto-
CAMILLA MILETO res de los textos.
Universitat Politècnica de València, GABRIEL PÉREZ LUQUE
España Universitat de Lleida, España EGE Journal of Graphic Expression in
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Universidad de Valladolid, España Universidad de La Laguna, España nions expressed in the different articles
that appear in this edition.
PABLO JOSÉ NAVARRO ESTEVE PABLO RODRÍGUEZ NAVARRO The owners of the photographs are the
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Índice / Index
HALF A CENTURY DOCUMENTING THE ARCHITECTURAL

HERITAGE WITH PHOTOGRAMMETRY 4 – 30
Antonio Almagro Gorbea
CULTURAL HERITAGE DESIGN: THEORIES AND METHODS FOR 31 – 43

THE PROJECT COMPLEXITY MANAGEMENT
Daniela Besana
MAPS AND DRAWINGS OF THE ROYAL SITES AROUND THE GUA-

DARRAMA MOUNTAIN RANGE 44 – 63
Pilar Chías Navarro, Tomás Abad Balboa
THE MIES VAN DER ROHE EXHIBITION AT THE MOMA IN 1947: A

3D RECONSTRUCTION MODEL 64 – 73
Carlos Montes Serrano, David Durántez Stolle
GEOMETRY OF VAULTED SYSTEMS IN THE TREATISES BY GUA-

RINO GUARINI 74 – 88
Roberta Spallone
DIGITAL SURVEY: FROM NEW TECHNOLOGY TO EVERYDAY USE,

A KNOWLEDGE PATH AND CHALLENGE FOR SCHOLARS
Giorgio Verdiani 89 – 100
RESEÑAS DE LIBROS Y TESIS DOCTORALES 101- 113
EGE - Revista de Expresión Gráfica en la Edificación, Nº 11, 2019. ISSN: 2605-082X APEGA, UPV
Editorial
La revista EGE Revista de Expresión Gráfica en la Edificación se creó en 1999 como foro de
intercambio de experiencias docentes e investigadoras de los miembros de la Asociación
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Concepción López González

Editora Jefe EGE
EGE - Revista de Expresión Gráfica en la Edificación, Nº 11, 2019. ISSN: 2605-082X APEGA, UPV
EGE - Revista de Expresión Gráfica en la Edificación, Nº 11, 2019. ISSN: 2605-082X
https://doi.org/10.4995/ege.2019.12863
APEGA, UPV
HALF A CENTURY DOCUMENTING THE ARCHITECTURAL HERITAGE

WITH PHOTOGRAMETRY
MEDIO SIGLO DOCUMENTANDO EL PATRIMONIO ARQUITECTÓNICO

CON FOTOGRAMETRÍA
Antonio Almagro Gorbea

Real Academia de Bellas Artes de San Fernando. Madrid, España,
aalmagro@cica.es
Abstract
This article intends to review the evolution of photogrammetric techniques during the last fifty years
from the author's experience in activities developed both in the field of monumental restoration and
architectural research. The technological progress achieved in these years allows us to be optimistic
about the future, estimating what has been accomplished, but being aware of the enormous work
remaining to be done, which is endless since, as a consequence of the technological development itself
and the need to advance knowledge of our heritage, imposes a continuous revision and improvement
of the documentation process.
Keywords: Analog Photogrammetry, Analytical Photogrammetry, Digital Photogrammetry,
Technological Evolution.
Resumen
En este artículo se hace un repaso de la evolución de las técnicas fotogramétricas durante los pasados
cincuenta años desde la experiencia del autor en actividades desarrolladas tanto en el campo de la
restauración monumental como de la investigación arquitectónica. El progreso tecnológico producido
en estos años nos permite mirar con optimismo hacia el futuro, sin dejar de valorar lo realizado, pero
siendo conscientes de la tarea ingente aún por realizar, que nunca tendrá fin pues el propio desarrollo
tecnológico y la necesidad de mejorar el conocimiento de nuestro patrimonio nos impone una continua
revisión y perfeccionamiento de la documentación.
Palabras clave: Fotogrametría Analógica, Fotogrametría Analítica, Fotogrametría Digital, Evolución
Tecnológica.
*Correspondence author: Antonio Almagro, aalmagro@cica.es

ALMAGRO GORBEA, A.
1. INTRODUCTION provides us with information on the shape and

dimensions of an architectural object to which we
Heritage conservation must always be
can then add graphic techniques to illustrate
substantiated upon its knowledge. Planimetric
about textures and colors. Although the new
surveying is undoubtedly the most effective and
three-dimensional representation technologies
valuable instrument of knowledge and analysis of
can enrich that knowledge, the floor plans and
the architectural heritage that we have so far.
sections remain irreplaceable means towards
Architectural representation through the
understanding and synthetically analyzing the
descriptive geometry methods established
formal and spatial reality of a building.
Fig. 1. Topographic map and elevations of the historical complex of Albarracín using aerial photogrammetry and
manual redrawing.
I should say that I have come to this conviction made it difficult to achieve adequate knowledge
through a process largely conditioned by negative of a building and, thus, how it brought about
experiences, that is, seeing how the absence of additional difficulties when carrying out study and
good planimetric documentation prevented me or conservation tasks. One of my first experiences,

EGE - Revista de Expresión Gráfica en la Edificación, Nº 11, 2019. ISSN: 2605-082X 5
HALF A CENTURY DOCUMENTING THE ARCHITECTURAL HERITAGE WITH PHOTOGRAMETRY
which undoubtedly made an impression on my etc). I believe that Albarracín was the first
subsequent activity, was the reassembly of the historical site in Spain that provided information
Debod Temple in Madrid (Almagro 1994). The of this kind (Fig. 1). I must admit that I invested
scarce and sometimes contradictory planimetric nearly the entire available budget to generate that
information provided, together with the plan, so I had to complete the rest of the study at
dismantled temple’s blocks, made the my own expense. From this experience on, and
reconstruction quite challenging, having to resort almost simultaneously, I undertook the
to uprisings published in old works and that led documentation of the different archaeological
me to address a complete planimetry of the sites in which I had consolidation works
temple once traced, where I could experience the entrusted, such as Numancia, Azaila, Clunia or
difficulties that it involves this type of work done Segóbriga, commissioning the appropriate
based solely on manual means, that is, with photogrammetric flights and the corresponding
measuring tape and, at most, a plumb bob or a plottings.
level. I also found these same difficulties in my
Almost at the same time, I had a full contact with
first restoration works’ surveys, where I managed
photogrammetry, its principles and its
to draw the floor plans, not free from errors, but
possibilities: the manner in which the geometric
the measurement of heights and unattainable
properties of the perspective inherent in the
elements in the elevations and sections was
photographic image allow us to reconstruct the
generally difficult and sometimes impossible.
projection beams and how, from the beams of two
photographs obtained from different positions it
is possible, by intersecting them, to determine the
2. THE TIMES OF ANALOG
spatial position of all the points recorded in both
STEREOPHOTOGRAMMETRY
images; furthermore, stereoscopy helps to easily
Through these first two initial experiences, I had identify homologous points. In 1973, thanks to the
my first contact with photogrammetry. A family specialization restoration course that I attended
friend, a geologist, who discovered archeological in Rome, organized by the International Centre for
sites using the aerial photographs he employed in the Study of the Preservation and Restoration of
his work, explained to me for the first time how Cultural Property (ICCROM) and the Faculty of
topographic plans were made from these Architecture of the University of La Sapienza, I
photographs. In 1972, the Dirección General de had the fortune to meet and study with two of the
Bellas Artes (General Directorate of Fine Arts) maximum drivers of the technique applied to
commissioned me to carry out a study of the heritage: Maurice Carbonnell, engineer from the
Albarracín Historical Site, or what it was known as French Institut Géografique National (IGN) and
an “Urgent Protection Plan” that was intended to Hans Foramitti, from the Bundesdenkmalamt
be a “special management plan” when that figure (Federal Office of Monuments) of Austria, who
did not yet exist in the urban planning legislation. introduced me to the theory and practice of this
The importance of the topography of the location technique applied to architectural
of this site, which made the protection of the documentation. There I learned, among other
external visuals and the conservation of things, the rudiments of photographic shots using
volumetry essential in that study, led me to think metric cameras and the possibility offered by the
about using that technique to generate a good three-dimensional measurement system as well
topographic plan with contour lines and reliable as obtaining projections on different planes. I was
altimetric information. With the support of especially acquainted with the works of the
technicians from the Centro de Estudios y French IGN and its urban elevations drawn from
Experimentación de Obras Públicas, CEDEX aerial photos and also with the systematic
(Center for Studies and Experimentation of Public documentation work carried out by the
Works), I commissioned aerial photos on the Bundesdenkmalamt (Carbonnell 1989) that
largest scale that could possibly be obtained immediately made me think about its enormous
(1/3,500), and using a Wild A8 analog stereo- utility and its application in Albarracín. In the
plotter they provided me with a 1/500 scale floor summer of that same year, I organized a
plan of the whole set with contour lines every 0.50 photographic shooting mission where, employing
m, and a drawing of all roof tops with altimetric a Zeiss Ikon SMK120 metric double camera
dimensions of all singular elements (eaves, ridge,

ALMAGRO GORBEA, A.
owned by the ICCROM, we obtained more than general elevations of the town of Albarracín, as
one hundred stereoscopic photographs of well as different constructions of the same site
Albarracín, the ruins of Segóbriga and the Mora (Almagro 1987) and the Segóbriga theater and
de Rubielos castle (Almagro, 1973). With the amphitheater, used subsequently for restoration
experience gained and the photographic material work purposes.
gathered, we were able to subsequently plot the
Fig. 2. Topographic map and elevations of the Sagunto castle using aerial photogrammetry.
From that moment, I turned to the use of this possible to obtain projections of the
technique in all the projects in which I had the photogrammetric model on the different
opportunity to participate, resorting to the reference planes of the coordinate system,
collaboration of organizations or companies that allowing to draw floor plans, elevations and
had adequate equipment. I will highlight the profiles. Fruit of this collaboration were the
collaboration with the Photogrammetry and surveying works carried out in the Mora de
Photointerpretation Service of the Universidad Rubielos castle, as well as those of Sagunto’s
Politécnica de Madrid located at the School of castle and Roman theater (Figg. 2 and 3)
Agricultural Engineers. This srvice owned a Zeiss (Almagro 1978), which were later used, much to
Jena Topocart B stereo-plotter with which it was my regret, in the unfortunate intervention carried

out at the site, leaving these drawings as a well, carrying out a complete survey that
testimony of the previous state. The combined aerial and terrestrial photographs
documentation project of the Amman Citadel (Almagro 1988). During that expedition,
(Jordan) deserves special mention, having numerous archaeological sites in that country
counted on the collaboration of the Spanish Air were documented. In all cases, we took
Force that sent a plane with two cameras for advantage of the possibilities of obtaining
aerial photogrammetric shots to Jordan. Taking different projections despite the strong
advantage of the trip, we transported the ground limitations that the analog stereo-plotters
photogrammetry and topography equipment as entailed.
Fig. 3. Plan and elevation of the Roman theater of Sagunto using terrestrial photogrammetry.

ALMAGRO GORBEA, A.
One of the lessons I learned from these Culturales, ICRBC (Institute for the Conservation
experiences was that photogrammetry was a very and Restoration of Cultural Property), today the
efficient instrument for measurement, but it did Instituto del Patrimonio Cultural de España, IPCE
not solve on its own the representation and (Institute of the Cultural Heritage of Spain).
graphic problems of the final drawings. Being Although in those years the first analytical stereo-
used to resort to companies and technicians plotters became available, given the financial
normally dedicated to topographic works and constraints and my previous experience with the
used to map the land, but not to represent instrument, I decided to acquire a Zeiss Jena
historical architectural works, I found that the UMK10 metric camera and a Zeiss Jena Topocart
drawings coming out of the stereo-plotter were D analog plotter with which I started a new
very poor. Therefore, I confirmed that, in order to journey, since I no longer depended on third
draw architecture, it is essential to understand parties. Being able to constitute my own team of
the nature and characteristics of what is being operators, I decided to train experienced
drawn. The mere contemplation of a photo does draftsmen of the Monuments Service itself who
not allow the observer to correctly draw what had the advantage of knowing how to draw and
appears there if one does not have enough interpret photographs and represent historical
understanding of the subject. At that time, all I architecture, thus allowing to obtain good
could do was to redraw the plotting properly, drawings directly from the plotter.
interpreting what we intended to represent. This
With this equipment and the subsequent
experience would help me later in the selection of
acquisition of other cameras, we began a process
collaborators when I had the chance to have the
of experimentation and consolidation in the use
plotting instruments exclusively dedicated to
of the photogrammetric technique performing
architectural surveying. I soon understood that it
“impact” surveys, while attending to the
was easier and faster to learn how to handle a
requirements of more urgent issues. One of the
photogrammetry plotter than to draw and properly
first works done with the newly acquired metric
represent architectural works.
camera was that of the Giralda in Seville, which
plotting was mostly undertaken by the
Polytechnic University Service while the new
stereo-plotter was received and installed. Later
works, such as the San Esteban’s gate (Fig. 4)
and the Renaissance transept of Cordoba’s
cathedral-mosque, the Salón de Comares and the
Palacio de Carlos V of the Alhambra, the
cathedral of Astorga, the churches of Monserrat
and San Francisco El Grande of Madrid, etc, soon
highlighted our ability to master the technique
and instruments as well as the great possibilities
and advantages that photogrammetry could
provide. In the Salón de Comares all the walls’
stucco carved works were photographed to allow
to plot them to a 1/1 scale. All these photographs
were the embryo of the vast metric documentary
archive held by the IPCE. At that time, guided by
Maurice Carbonnell, I joined CIPA (Comité
Fig. 4. Bab al-Wuzara (San Esteban's door) of the
International de Photogrammetrie Architecturale,
mosque of Córdoba today the International Committee for
Documentation of Cultural Heritage, scientific
After almost fifteen years of work in collaboration committee of ICOMOS) where in subsequent
with third parties, and much persuading on my years I was able to expand my knowledge and
side, in 1984 the Ministry of Culture finally enrich myself with the experiences and teachings
decided to establish a Photogrammetry Cabinet of multiple colleagues from other countries.
that would become part of the Instituto de
Conservación y Restauración de Bienes

3. THE ANALYTICAL be taken in a "normal" disposition (axes of the

STEREOPHOTOGRAMMETRY cameras parallel and perpendicular to the base)
with the image plane almost parallel to the
Analog systems based on mechanically operated
projection plane of the plotting with less than 5º
ploting instruments had enormous limitations in
deviation, etc. The use of complex mechanical
the sense of not allowing any correction of image
calculators would allow the shots with vertical
deformations with respect to the theoretical
inclination of fixed angles, but at the expense of
perspectives. Therefore, it was compulsory to use
losing precision and complex orientation
metric photographs and, consequently, heavy and
operations of the stereoscopic pairs.
cumbersome cameras. The photos should always
Fig. 5. Topographic plan and photogrammetric elevation of the historical complex of the Alhambra.
At that time, personal computers came onto the computer would transform by means of
market allowing, due to their calculation speed, mathematical calculation into three-dimensional
the development of analytical photogrammetry. coordinates of the object. The orientation of the
Stereo-plotters ceased to be complex mechanical photos was also done shortly by calculation,
instruments that physically reproduced the reducing errors and enabling any orientation of
projective rays using bars. Instead, they became the photographs. The photographic shooting
simple instruments for measuring flat coordinates ceased to have restrictions on the rotation of the
of homologous points in the photographs that the

ALMAGRO GORBEA, A.
cameras with respect to the drawing’s projection two projects that I coordinated for the Junta de
plane. Andalucía. One was a photogrammetric
documentation program within the Andalusian
Shortly after constituting the Photogrammetry
Cathedrals Plan consisting in a systematic taking
Cabinet, the Ministry acquired a Wild Aviolyt BC2
of terrestrial and aerial photographs of the
analytical stereo-plotter. Initially, although the
Andalusian cathedrals that was carried out with
system would save a digital file of the drawing,
the cameras of the ICRBC Photogrammetry
this could only be visualized on paper by means
Cabinet, obtaining hundreds of metric
of a plotter. With the new instrument, we were
photographs.
able to expand our activity, both quantitatively
and qualitatively. One of the first works we carried The contacts I made with the Air Force while
out with it was a cartography of the Alhambra for working in Jordan, allowed me to involve the
setting up the first Special Plan of the Cartographic and Photographic squad in the
monumental site. Similarly, to what it was done realization of low-level flights in order to obtain
fourteen years before in Albarracín, not only the photographs at 1/1000 scale with which it was
topographic plan was drawn but also the possible to reach plotting scales of up to 1/200
elevations and sections of the site and even some and, even with the support of field checks and
axonometric views (Fig. 5). measurements, reach 1/100 scales. By this mean,
you could obtain plans and profiles of the
Shortly after, my professional activity experienced
cathedrals’ rooftops completely in line with the
a substantial change when in 1987 I became
plotting of the photos taken from the ground.
involved in research activities in Islamic
These photographs were later plotted in several
architecture at the Escuela de Estudios Árabes de
phases by different teams as required for the
Granada, belonging to the Consejo Superior de
drafting of master plans or restoration projects
Investigaciones Científicas, CSIC (Spanish
(Almagro and Salmerón 1993). The other project
Council for Scientific Research). Given the
developed entirely by me was the plotting of a
experience of previous years, and my conviction
topographic map at 1/100 scale of the
about the need to continue using photogrammetry
archaeological site of Madinat al-Zahra which I
as an architectural documentation system
later complemented with a thorough field review
essential to develop an effective investigation and
and the survey of the ruins using terrestrial
to address any restoration, I was forced to rethink
photogrammetry (Fig 6) (Almagro 1992).
the surveying methodology. In my new workplace
there was no equipment and the economic
possibilities were manifestly lower to those I had
enjoyed at the Ministry of Culture. However,
technology had undergone enough changes to
allow for a new philosophical approach. Not only
did I need less costly instruments, but these had
to be lighter and easier to handle. From that
moment on, my obsession was to be able to use
photogrammetry in any place and circumstance
without having to resort to a “safari” of heavy
equipment porters that forced a complicated
logistics, as it happened up until then.
Fortunately, technological evolution allowed us to
move along that path (Almagro 1993, 1999, 2002).
Initially, I acquired an electronic theodolite and
Fig. 6. Elevation of the façade of the so-called house of
developed a computer program for topographic
Yafar in Madinat al-Zahra.
calculations specially adapted to architectural
surveys, combining these measurements with After purchasing the electronic theodolite, the
rudimentary photographic rectifications obtained next acquisition, financed through a research
with a darkroom photo enlarger. project, was that of a small format Adam MPS2
analytical stereo-plotter (6 x 6 cm frames). The
For the first works in my new destination, I could
software incorporated in the analytical
still count on the Ministry’s instruments for the

photogrammetry systems would allow to correct projections of the representations could be freely
systematic deformations of the images, thus chosen using the CAD system. Similarly, I
enabling to incorporate the use of the so-called developed software for the Aviolyt BC2 stereo-
semi-metric cameras. These were standard plotter of the Ministry, in order to convert some of
cameras, usually 6 x 6 cm format, which with the works I made there into AutoCAD drawings
simple modifications (insertion of a reseau plate starting, from that moment on, to make all my
engraved with a grid and a focus locking system) drawings in digital format.
and a calibration process (determination of the
A few years later, the CSIC provided me with
principal distance, of the principal point referred
funding to acquire a large-format analytical
to the reseau and the polynomial coefficients to
stereo-plotter, a Leica SD2000 with similar
correct optical lens distortion) allowed to obtain
performances to that of the ICRBC. With it I would
similar performance to that of metric cameras. At
once again have the appropriate instruments to
the beginning, I acquired a Rollei 6006 metric,
perform any type of survey, although with more
although later on I was able to transform and
versatile and lightweight cameras that allowed
calibrate other cameras, especially using the
data to be taken faster and from places not
Hasselblad SWC of 38 mm focal length and 6 x 6
reachable with heavy metric equipment. This
cm format, thanks to the collaboration with CIPA
enabled us to undertake large planimetric
colleagues.
documentation projects, such as those of
At the end of the eighties, the first CAD programs Seville’s Alcázar (Figg. 7 and 8) and cathedral
came out and although initially I had to develop (Fig. 9 and 10) and the Salvador de Sevilla
specific software to transform the drawing files collegiate church (Fig. 11) that gave rise to the
generated by the stereo-plotter into .dxf files, the extensive collection of 120 drawings presented in
interconnection between both systems was soon three large-format publications (Almagro 2000a,
a reality. Consequently, plotting instruments 2007, 2008), to which was later added that of the
became 3D digitizers of a three-dimensional Cartuja de Granada (Fig. 12) (Almagro 2010).
virtual model connected to the CAD, which would
register it and represent it on the monitor or by
means of a plotter. In this way, the final
Fig. 7. Section of the Palacio de Pedro I in the Alcázar of Seville.

ALMAGRO GORBEA, A.
Fig. 8. Section of the Patio del Yeso and the Justice Hall of the Alcázar of Seville.
Fig. 9. Eastern elevation of the cathedral of Seville.
At the same time, the daily research work was made available to other users through the
generating a very large number of plans and Digital.CSIC repository (Figg. 13-15).
drawings, always in digital format, which along
The calculation possibilities offered by computers
with the photographs it constitutes nowadays a
allowed the development of analytical
database, especially of al-Andalus architecture,
photogrammetry outside the mere restitution by
of great relevance and that I have begun to be
stereoscopic vision.

Fig. 10. Exterior elevation of the choir and organ of the cathedral of Seville.
Fig. 11. Cross section of the collegiate church of El Salvador in Seville.

ALMAGRO GORBEA, A.
Fig. 12. Section for the sacristy, church and chapter rooms of the Cartuja de Granada.
Fig. 13. Section of the Baño Real del Palacio de Comares at the Palacio de la Alhambra.

Fig. 14. Northern elevation of the church of El Cristo de la Luz of Toledo (mosque of Bib al-Mardun).
The first aerotriangulation systems for the the calibration parameters’ (principal distance,
adjustment and orientation of bands of aerial principal point position and distortion
frames, that permitted to calculate the coefficients) precise value. Following this
coordinates of control points for the orientation of procedure, I calibrated several semi-metric
multiple pairs of photos from a few control points, converted cameras, as above mentioned. To
followed with more complex software of block acquire the necessary data, we would use the
bundle adjustment of convergent axes ADAM restorer as a mono-comparator to measure
photographs. Through CIPA I had knowledge of the image coordinates that were then introduced
these systems and was able to acquire and use into the calculation process, which was a bit
two of those programs. One was ORIENT, burdensome. Subsequently we purchased the
developed at the Technical University of Vienna MAAS-CR program adapted to the Leica stereo-
(TUW) by Dr. Kager. With it, I carried out different plotter, which made the process much more fluid
experiences of obtaining control points from and interactive by being able to simultaneously
series of photographs for the subsequent introduce many 6 x 6 cm format photographs into
orientation of stereoscopic pairs and I performed photo frame holders prepared for 23 x 23 cm
semi-metric camera calibrations. Having aerial photos. With these procedures, we were
available a large number of photographs able to perform, among other works, the
displaying the same points of the object, allows simultaneous orientation of 48 stereoscopic pairs
for a greater number of data than those necessary of the vaults of the cathedral of Seville from only
for the calculation and adjustment of the 28 control points measured with a total station
orientation of the images. This redundancy makes and obtaining 150 pass-point coordinates (Fig.
it possible that what in the systems of equations 16) (Almagro 1997).
are data, they can become unknowns to be
calculated looking for better results in processes
based on least squares. In this way, on the bases
of approximate values, it is possible to determine

ALMAGRO GORBEA, A.
Fig. 15. Elevation of the Mihrab of the mosque of

Córdoba (ortho-image and drawing overlaid).
Fig. 16. Isometric vaults of the cathedral of Seville.

4. A NEW ERA: DIGITAL PHOTOGRAMMETRY It can be said that what I looked for since my first
experiences, today is perfectly achievable: to
Coinciding with the end of the 20th century, the
have totally portable systems allowing carrying
use of digital photographs from two different
out a graphic survey in any place and usable
sources was also extended in photogrammetry.
almost under any circumstance.
On the one hand, those generated from traditional
photographs digitized by scanner and, on the Although digital photogrammetry systems were
other, those produced by cameras equipped with soon available on the market, in the early days
CCD sensors and later on with CMOS. Soon, their price was also high. However, I had access
these types of commercial cameras were through CIPA to systems developed in
available at increasingly affordable prices. Digital universities and research centers that I had the
images present great advantages for opportunity to use, at first in order to evaluate
photogrammetric use. In the first place, we can them and then as a collaborator, both making
say that they have incorporated the metric of all suggestions as a user and translating their
their points. In consequence, by pointing to a pixel instructions and user interface messages for use
we are able to know its image coordinates defined in Spanish. First it was the VSD developed by
by the row and the column that it occupies in the Prof. Jachimski of the AGH University in Warsaw
matrix, which can be referred to the center of the (Almagro 2000b) and then the Poivilliers F of the
image or to any of the apex. In addition, being a engineer Ives Egels of the IGN of France. The first
numerical matrix, they are not altered or suffer shows the stereoscopic pair on the screen, an
deformations with time or by external actions. image in each half of it, which must be observed
This makes it unnecessary to have costly systems using a mirror stereoscope. The system
to accurately measure images, which has resulted superimposes a pointer on each image that is
in a remarkable price reduction of seen as a floating mark that moves in the virtual
photogrammetric systems. space and is used for drawing. For large desktop
monitors, we used a mirror stereoscope, intended
It is true that the image quality metrics depends
for aerial photo-interpretation, held in a suitable
on how it was generated. A regular scanner does
support. For use in laptops, I built small ad hoc
not guarantee the conservation of the geometry
stereoscopes that allowed the system to be used
of the metric or semi-metric photograph it scans,
anywhere the laptop could be taken. The problem
so if we want to make use of metric images, we
with this system was that it was written for MS-
shall scan those using quite costly precision
DOS and, although it worked under Windows, the
instruments. However, this is a procedure put in
latest versions of this operating system no longer
place in order to continue using photographs from
support old system applications. Although it can
photogrammetric archives created in the past.
still be used with a simulator, it is extremely
But in digital cameras, it is considered that the
burdensome. Poivilliers F is more modern and is
sensor is an element not suffering from
written for Windows. This system superimposes
dimensional alterations, so the image produced in
both images on the monitor, either filtered to be
it remains unchanged. Therefore, any digital
observed with anaglyph glasses or alternated for
camera can be assimilated to a semi-metric
viewing on a monitor with stereoscopic vision
camera as long as we keep the optics fixed and
properties and wearing occlusion glasses. In this
calibrated.
case, in addition to the monitor and glasses, an
These principles and properties enabled a true NVidia Quadro type graphics card is required. In
revolution in photogrammetry from the beginning both systems, the 3D plotted drawing is
of this century by making it possible to dispense superimposed on the stereoscopic model and can
with expensive instruments for photographic be subsequently exported to AutoCAD.
capture and measurement. Everything has been Additionally, I also participated in the
reduced to the use of cameras that can be improvement and dissemination of the ASRix
purchased in any store and which resolution has program, developed by Steve Nickerson to make
been constantly increasing with hardly any price photographic rectifications, which I have
alteration and with increasingly sophisticated and assiduously used as well.
powerful software that only requires of medium
Progressively and inasmuch as digital cameras
performance computers: almost any computer of
were gaining higher resolution, we started to use
those used for games is valid for these purposes.

ALMAGRO GORBEA, A.
digital systems more frequently, so that since Digital photography also caused innovations in
2018 the analytical stereoplotters of the Escuela the bundle adjustment systems immediately
de Estudios Árabes are no longer in use. During since, as the photo measurement is integrated
these years we have completed countless works into the computer program, the entire process
by these means, using scanned metric and semi- becomes interactive, facilitating the re-
metric photographs as well as digital photos. observation and errors correction. On the other
Thus, much of the surveying of the collegiate hand, progress made as far as the calculation
church of El Salvador of Seville was carried out systems and the computing power, has allowed
with VSD while others, such as the elevations of the application of procedures such as the
Córboba’s mosque (Figg. 17 and 18), were done correlation for homologous point detection and
with Poivilliers F. processes automation.
Fig. 17. Ortho-image and vector drawing of the western elevation of the cathedral, old mosque, of Córdoba.
For our experience, we initially used the improvements in the procedure by almost
Orthoware software developed by the company completely automating the entire process, since
Metria, advised by the Universidad Politécnica de the initial detection of homologous points and
Valencia. This software allows for block photographs orientation is calculated without the
orientation of digital photographs to automatically operator’s intervention.
generate point clouds using automatic
These programs, often called photogrammetric
correlation. From these, meshes of surfaces are
scanning applications, allow three-dimensional
generated, which can be texturized and from
models to be generated from point clouds, similar
which ortho-images are obtained by projecting
to what is achieved with laser scanners. I must
the 3D model thus formed. Initially, our interest in
emphasize that so far, I have not mentioned these
this software focused on the possibility of using it
measurement procedures, this being due to the
like the old beam adjustment software to
fact that the use I have made of them has been
calibrate the digital cameras that we were still
very scarce and that I have never had an
using in stereoscopic plotting, and to obtain
instrument of this kind. When I have carried out
control points throughout the building or object to
some work or test, it has been in collaboration
be plotted, starting with some few control points
with other colleagues. The fundamental reason
measured by topographic procedures, or even
for having renounced to use it is that until now
with mere linear measurements and on-site
laser scanners failed to comply with the premises
observations. That is, improving and wide
I had set for my graphic survey work: simple
spreading simplified photogrammetric surveying
procedures with low-cost instruments, easy to
methods, which has remained one of our main
carry anywhere and in any situation. Until quite
objectives during all these years.
recently, laser scanners were considered heavy
The emergence of the company Agisoft’s equipment, requiring several people to transport
Photoscan software, recently renamed them; they posed parking and handling
Metashape, came to introduce remarkable difficulties, for example, on scaffolding or from

places with difficult access, and have been very pixels resolution. I accompany it with a Leica
costly equipment. Additionally, their Disto X4 distance meter, with digital display to be
transportation to certain countries may have able to aim it at a target in bright environments
faced customs complications, etc. Instead, a where the laser beam cannot be seen. This
compact digital camera and a Disto-type laser distance meter incorporates an inclinometer
distance meter can be carried in a pocket or allowing it to be used as a level (with 0.1º
attached to the belt and even allow you to make precision), that placed over a photographic tripod
a survey discreetly, being able to pass unnoticed, provides additional field data, not too precise, but
as if it were a simple tourist. This is not a trivial sufficient in most cases of research work and
matter in certain countries and circumstances even of restoration. Everything can be transported
where getting a permit to perform the as hand luggage and its use is discreet. With the
measurements is sometimes burdensome or even data obtained in the field and the software,
impossible and, in general, requires a significant whether of stereoscopic plotting or
waste of time in bureaucratic efforts. photogrammetric scanning, it is possible to
perform graphic surveys of almost any size. What
fifty years ago required sophisticated and
expensive instruments of very complex
management, today it is achieved with domestic
means affordable to professionals and, sure
enough, to any academic department or
administrative center.
Fig. 19. Elevation of the Puerta de la Justicia of the

Alhambra (overlaying ortho-image and drawing).
In any case, it must be remembered that the 3D
models generated by these procedures or by
Fig. 18. Detail of the previous figure.
means of a laser scanner, and even the ortho-
images, are raw material that requires
Today’s available systems allow many works to be interpretive processes and graphic elaboration
done using very simple means. For years I have (Almagro and Almagro 2007). The value of the
been using a Ricoh GR compact camera with fixed drawing as a means of expression has not lost its
wide-angle lens equivalent to 28-mm with a 16 M validity nor can it be radically substituted by

ALMAGRO GORBEA, A.
computer-generated imagery. The drawing use of drones for aerial photographic shots. This
developed in accordance with the norms of allows us to dispense with the use of metric aerial
descriptive geometry requires a prior analysis of photographs, also achieving larger scales in
reality, its understanding and interpretation and surveys and being able to photograph previously
its synthetic expression through lines, unattainable areas. Among the recent works I
fundamentally. Although it is true that an ortho- have completed using a drone I can mention the
image contains much more information than the survey of the Volúbilis archaeological site in
drawing, it can however be more confusing and Morocco. For this project, I managed to generate
less expressive. a 3D model, and with it an ortho-image with a 3
cm /pixel resolution for an area of more than 50
What I most frequently use is a combination of the
Ha from 3,100 photographs. The final image has
orthographic image with photographic texture and
30,000 x 30,000 pixels (Fig 20).
vector drawing, either superimposed (Figg. 15 and
19) or displayed in parallel (Fig. 17 and 18). This
allows the drawing to express the synthesized
analysis while the image provides the details of
color, texture and second or third level elements
whose vector representation requires an
enormous work effort without contributing a
proportional added value to the drawing.
Typically, in paper presentations I print both
drawings separately, and in digital documents
(dwg or pdf) I use different overlapping layers that
can be activated or deactivated at will. In any
case, the vector line superimposed on the image
always brings clarity and precision to the graphic
document.
Among the recent innovations available for the Figure 20. Ortho-image in zenith view of the Casa del
accomplishment of architectural surveys, is the Cortejo de Venus of Volúbilis.
Fig. 21. Longitudinal section of the al-Qarawiyyin mosque in Fez).

Fig. 22. Section of the quibla nave of the Kutubiyya mosque in Marrakech.
My activity in recent years is mainly focused in Kutubiyya of Marrakech (Fig. 22), as well as the
North African countries, especially Morocco Almoravid mosque of Tlemcen in Algeria.
(Almagro 2013). Apart from activities developed in
Regardless of the fact that many of these
the frame of specific research projects, I have
drawings have been published in articles and
tried to fill the existing documentary gap since,
scientific monographs, I am proceeding to place
from the time of the Protectorate, very little
all this graphic material generated throughout my
progress has been made in documenting its rich
professional activity in the CSIC repository
heritage and to make the available documentation
(https://digital.csic.es/handle/10261/176807), in
accessible to the scientific community. Thus, I
order to make it available to other researchers or
have documented almost all the important
those responsible for heritage conservation.
monuments that I have had the opportunity to
Undoubtedly, this work should have continuity by
visit taking stereoscopic pair images or more
improving our information and knowledge
extensive shots of photograph blocks to generate
systems as the best way to guarantee the
3D models. Especially relevant have been the
conservation of our heritage.
works done in the great historical mosques of
Morocco, the Qarawiyyin of Fez (Fig. 21) and the
REFERENCES
Almagro, Antonio, 1973, “Documentación Fotogramétrica en ruinas y monumentos”, Bellas Artes 73, nº
127. Madrid. p. 45 46. http://hdl.handle.net/10261/20479.
Almagro, Antonio, 1978, “Estudio fotogramétrico del Teatro Romano de Sagunto”, Saguntum 14.
Valencia. p.165 179. http://hdl.handle.net/10261/20461
Almagro, A., 1987, Plano Guía de la Ciudad de Albarracín. Madrid. http://hdl.handle.net/10261/21519
Almagro, Antonio, 1988, “Le Rélevé Photogrammétrique de la Citadel d'Amman”, Relevés
Photogrammétriques d'Architecture Islamique. (Actas del Symposium Internacional sobre
fotogrametría aplicada a la arquitectura islámica, Túnez 1984), Túnez. p. 177-198.
http://hdl.handle.net/10261/22138.
Almagro, Antonio, 1992, “Photogrammetrie numerique pour la Documentation du site archéologique de
Madinat al-Zahra”, CIPA XIII International Symposium, Cracow 1990, Cracovia. p. 11-20.
Almagro, Antonio, 1993, “Simple methods in architectural photogrammetry”, XIV International
Symposium of Architectural Photogrammetry, Delphi 1991 , Atenas. p. 209-225.
Almagro, Antonio, 1994, “Levantamiento planimétrico del Templo de Debod”, Estudios de Prehistoria y
Arqueología Madrileñas, 9, p.111-116. http://hdl.handle.net/10261/20490.
Almagro, Antonio, 1997, “Bundle adjustment in the daily work of recording cultural heritage”,

ALMAGRO GORBEA, A.
International Archives of Photogrammetry and Remote Sensing, v. XXXI, 5C1B, CIPA International
Symposium 1997, Goteborg. p. 186-190. http://hdl.handle.net/10261/22124.
Almagro, Antonio, 1999, “Photogrammetry for everybody”, XVII CIPA International Symposium on
Architectural Photogrammetry, Recife (Brasil). http://hdl.handle.net/10261/19824.
Almagro, Antonio, 2000a, Planimetría del Alcázar de Sevilla, Granada.
Almagro, Antonio, 2000b, “VSD in Spain. Cooperation between Poland and Spain in Terrestrial
Photogrammetry. Fotogrametria, Teledetekcja i GIS u Progu Trzeciego Tysiaclecia, Archiwum
Fotogrametrii, Kartografii i Teledetekcji , Vol. 10, Krakow, p. 6.1-6.9. http://hdl.handle.net/10261/19820
Almagro, Antonio, 2002, “Simple Photogrammetry. Easy and Fast”, XVIII International Symposium of
CIPA, Potsdam, September 18-21, 2001. Berlín, p. 32-38. http://hdl.handle.net/10261/19819.
Almagro, Antonio y Almagro-Vidal, Ana, 2007, “Traditional drawings versus new representation
techniques”, Proceedings of the 21st CIPA International Syposium: Anticipating the Future of the
Cultural Past, Athens, p. 52-57. http://hdl.handle.net/10261/19818.
Almagro, Antonio, ZÚÑIGA, J.I. 2007, Atlas arquitectónico de la Catedral de Sevilla, Sevilla-Granada.
Almagro, Antonio, 2008, Planimetría de la Iglesia Colegial del Divino Salvador de Sevilla , Sevilla.
Almagro, Antonio, 2010, Planimetría de la Cartuja de la Asunción de Nuestra Señora de Granada ,
Granada. http://hdl.handle.net/10261/29526.
Almagro, Antonio, 2013, “Surveying World Heritage Islamic Monuments in North Africa”, ISPRS Annals
Photogramm. Remote Sens. Spatial Inf. Sci., II-5/W1, p. 13-18. http://hdl.handle.net/10261/81939.
https://doi.org/10.5194/isprsannals-II-5-W1-13-2013.
Carbonnell, Maurice, 1989, Photogrammétrie appliquée aux relevées des monuments et des centres
historiques, Rome : ICCRO.
Salmerón, Pedro, y Almagro, Antonio, 1993, “La Catedral de Granada. Documentación y levantamientos
fotogramétricos”, La Conservación del Patrimonio Catedralicio: Coloquio Internacional Madrid, 21/24
de noviembre de 1990, Madrid: Instituto de Conservación y Restauración de Bienes Culturales, p. 99
112. http://hdl.handle.net/10261/21338.
How to cite this article / Citation

Almagro Gorbea, A. 2019. “Half a century documenting the Architectural Heritage with photogrametry”,
EGE Revista de Expresión Gráfica en la Edificación, Nº 11, Valencia: Universitat Politècnica de València.
pp. 4-30. https://doi.org/10.4995/ege.2019.12863.

MEDIO SIGLO DOCUMENTANDO EL PATRIMONIO ARQUITECTÓNICO
CON FOTOGRAMETRÍA
1. INTRODUCCIÓN través de las fotografías aéreas que él usaba en su

trabajo, me habló por primera vez de cómo se hacían
La conservación del patrimonio debe estar siempre
planos topográficos a partir de esas fotografías. En el
basada en su conocimiento. El levantamiento
año 1972 la Dirección General de Bellas Artes me
planimétrico es sin duda el más eficaz y valioso
encargó realizar un estudio del Conjunto Histórico de
instrumento de conocimiento y análisis del patrimonio
Albarracín, lo que se denominaba un “Plan Urgente de
arquitectónico que hasta ahora poseemos. La
Protección” que pretendía ser una especie “plan
representación de la arquitectura mediante los
especial” cuando esa figura aún no existía en la
métodos establecidos por la geometría descriptiva nos
legislación urbanística. La importancia de la topografía
proporciona una información de la forma y las
del emplazamiento de este conjunto, que hacía que la
dimensiones de un objeto arquitectónico a las que
protección de las visuales exteriores y la conservación
luego podremos añadir técnicas gráficas que nos
de la volumetría resultara primordial en ese estudio, me
ilustren acerca de las texturas y colores. Aunque las
movió a pensar en usar esa técnica para generar un
nuevas tecnologías de representación tridimensional
buen plano topográfico con curvas de nivel e
pueden enriquecer ese conocimiento, las plantas y
información altimétrica fiable. Con la ayuda de técnicos
secciones siguen siendo medios insustituibles para
del Centro de Estudios y Experimentación de Obras
conocer y analizar de manera sintética la realidad
Públicas (CEDEX) encargué unas fotos aéreas a la
formal y espacial de un edificio.
mayor escala que se podía obtener (1/3.500) y
A esta convicción he llegado a través de un proceso que mediante un restituidor analógico Wild A8 me
en buena medida se puede decir que estuvo proporcionaron una planta a escala 1/500 de todo el
condicionado por experiencias negativas, es decir, de conjunto, con curvas de nivel cada 0.50 m, y el dibujo
ver cómo la ausencia de buena documentación de todos los tejados con cotas de altimetría de todos
planimétrica me impedía o dificultaba lograr un los elementos singulares (aleros, cumbreras, etc). Creo
adecuado conocimiento de un edificio y con ello, traía que Albarracín fue el primer Conjunto Histórico en
consigo dificultades añadidas en labores de estudio y España que contó con una información de este género
conservación. Una de mis primeras experiencias, que (Fig. 1). Debo reconocer que me gasté casi todo el
sin duda dejaron huella en mi actividad posterior, fue presupuesto disponible en generar ese plano, por lo
con motivo del remontaje del Templo de Debod en que el resto del estudio lo tuve que hacer a mi costa. A
Madrid (Almagro 1994). La escasa y a veces partir de esta experiencia y de modo casi simultáneo
contradictoria información planimétrica suministrada acometí la documentación de distintos yacimientos
junto con los bloques desmontados del templo dificultó arqueológicos en los que tuve encargos de obras de
bastante la reconstrucción que hubo de auxiliarse de consolidación como Numancia, Azaila, Clunia o
levantamientos publicados en viejos trabajos y que me Segóbriga encargando los oportunos vuelos
llevaron a abordar una planimetría completa del templo fotogramétricos y las restituciones correspondientes.
una vez remontado, donde pude comprobar las
Casi al mismo tiempo tuve ya un contacto pleno con la
dificultades que conlleva este tipo de trabajo realizado
fotogrametría, sus principios y sus posibilidades: cómo
con sólo medios manuales, es decir, con cinta métrica
las propiedades geométricas de la perspectiva
y a lo sumo una plomada o un nivel de agua. Estas
inherentes a la imagen fotográfica nos permiten
mismas dificultades puede encontrar en los
reconstruir los haces proyectivos; a partir de los haces
levantamientos de mis primeras obras de restauración,
de dos fotografías obtenidas desde sitios distintos es
donde no sin errores conseguía dibujar las plantas,
posible, mediante la intersección de sus haces,
pero en los alzados y secciones la medición de alturas
determinar la posición espacial de todos los puntos
y de elementos inalcanzables resultaba en general
registrados en ambas imágenes; la estereoscopía
dificultosa y a veces imposible.
ayuda a la fácil identificación de los puntos homólogos.
Gracias al curso de especialización en restauración que
cursé en 1973 en Roma, organizado por el ICCROM y la
2. LOS TIEMPOS DE LA FOTOGRAMETRÍA
Facultad de Arquitectura de la Universidad de La
ESTEREOSCÓPICA ANALÓGICA
Sapienza, tuve la oportunidad de conocer y recibir
Con estas experiencias iniciales, tuve mi primer docencia de dos de los máximos impulsores de las
contacto con la fotogrametría. Un amigo de mi familia, aplicaciones de esta técnica en el patrimonio. Maurice
geólogo, que descubría yacimientos arqueológicos a Carbonell, ingeniero del Institut Géografique National

ALMAGRO GORBEA, A.
de Francia y Hans Foramitti, de la Bundesdenkmalamt Una de las enseñanzas que saqué de estas
(Oficina Federal de Monumentos) de Austria me experiencias fue que la fotogrametría era un
introdujeron en la teoría y la práctica de esta técnica instrumento eficacísimo para la medición, pero no
aplicada a la documentación arquitectónica. Allí resolvía por sí sola los problemas de representación y
aprendí, entre otras cosas, los rudimentos de las tomas grafismo de los dibujos finales. Al tener que acudir a
fotográficas con cámaras métricas y la posibilidad que empresas y técnicos normalmente dedicados a los
ofrecía el sistema de medición tridimensional y de trabajos topográficos y habituados a hacer cartografía
obtención de proyecciones sobre distintos planos. del terreno, pero no a representar obras de arquitectura
Conocí especialmente los trabajos del IGN de Francia histórica, comprobé que los dibujos que salían del
y sus alzados urbanos dibujados a partir de fotos restituidor resultaban muy deficientes. Así confirmé
aéreas y también los trabajos de documentación que, para dibujar arquitectura, es imprescindible
sistemática que realizaba el Bundesdenkmalamt conocer la naturaleza y características de aquello que
(Carbonnell 1989) que inmediatamente me hicieron se dibuja. La mera contemplación de una foto no
pensar en su gran utilidad y en aplicarlos en Albarracín. permite a quien la observa dibujar correctamente lo
En el verano de ese mismo año organicé una misión de que allí aparece si no tiene unas nociones suficientes
tomas fotográficas con una bicámara métrica Zeiss de la materia. En aquellos momentos lo único que pude
Ikion SMK120, propiedad del ICCROM, con la que se hacer fue redibujar las restituciones interpretando
obtuvieron más de cien fotografías estereoscópicas de adecuadamente lo que se quería representar. Esta
Albarracín, las ruinas de Segóbriga y el castillo de Mora experiencia me serviría después en la selección de
de Rubielos (Almagro 1973). Con la experiencia y el colaboradores cuando pude disponer de los
material fotográfico obtenido pudimos posteriormente instrumentos de restitución expresamente dedicados
realizar restituciones de los alzados generales del al levantamiento arquitectónico. Comprendí que era
conjunto de Albarracín, así como de distintas más fácil y se aprendía antes a manejar un restituidor
construcciones del mismo conjunto (Almagro 1987) y de fotogrametría que a dibujar y representar
del teatro y anfiteatro de Segóbriga, utilizados en adecuadamente la arquitectura.
trabajos de restauración.
Tras casi quince años de trabajos realizados con la
A partir de ese momento, en todos los proyectos en que colaboración de terceros y tras muchas insistencias, en
tuve ocasión de actuar acudí al uso de esta técnica 1984 el Ministerio de Cultura decidió finalmente
recurriendo a la colaboración de organismos o constituir un Gabinete de Fotogrametría que pasaría a
empresas que dispusieran del equipamiento adecuado. integrarse en el Instituto de Conservación y
Muy especial fue la colaboración con el Servicio de Restauración de Bienes Culturales (ICRBC), hoy
Fotogrametría y Fotointerpretación de la Universidad Instituto del Patrimonio Cultural de España (IPCE).
Politécnica de Madrid ubicado en la Escuela de Aunque en esos años empezaron a aparecer los
Ingenieros Agrónomos, que disponía de un restituidor primeros restituidores analíticos, la limitación de
Zeiss Jena Topocart B con el que era posible obtener presupuesto y la experiencia que tenía con el
proyecciones del modelo fotogramétrico sobre los instrumento, me movió a adquirir una cámara métrica
distintos planos de referencia del sistema de Zeiss Jena UMK10 y un restituidor analógico Zeiss Jena
coordenadas, lo que permitía dibujar plantas, alzados y Topocart D con los que inicié una nueva andadura,
perfiles. Fruto de esta colaboración fueron los trabajos pues ya no dependía de terceros. Pude constituir mi
de levantamiento realizados el castillo de Mora de propio equipo de operadores para lo que decidí formar
Rubielos, así como los del castillo y el teatro romano de a dibujantes experimentados del propio Servicio de
Sagunto (Figg. 2 y 3) (Almagro 1978), que fueron Monumentos que tenían la ventaja de saber dibujar e
después utilizados, muy a pesar mío, en la desastrosa interpretar fotografías y representar la arquitectura
intervención allí llevada a cabo, quedando estos histórica, pudiendo por tanto obtener buenos dibujos
dibujos como testimonio del estado anterior. Mención directamente desde el restituidor.
especial merece el proyecto de documentación de la
Con ese equipo y la posterior adquisición de otras
Ciudadela de Amman (Jordania), para el que se contó
cámaras, iniciamos un proceso de experimentación y
con la colaboración del Ejército del Aire español que
afianzamiento en el uso de la técnica fotogramétrica
desplazó a Jordania un avión con dos cámaras para
realizando levantamientos “de impacto”, a la vez que
tomas fotogramétricas aéreas. Aprovechando el viaje
atendíamos a requerimientos de temas urgentes del
se transportaron los equipos de fotogrametría terrestre
servicio. Un primer trabajo realizado con la recién
y topografía realizando un levantamiento completo
adquirida cámara métrica fue el de la Giralda de Sevilla
combinando fotos aéreas y terrestres (Almagro 1988).
cuya restitución aún se realizó en gran parte en el
También se aprovechó para documentar numerosos
Servicio de la Universidad Politécnica mientras se
yacimientos arqueológicos de ese país. En todos los
recibía e instalaba el nuevo restituidor. Trabajos
casos aprovechábamos ya las posibilidades de obtener
posteriores como la puerta de San Esteban (Fig. 4) y el
distintas proyecciones, pese a las fuertes limitaciones
crucero renacentista de la Catedral-Mezquita de
que comportaban los restituidores analógicos.
Córdoba, el Salón de Comares y el Palacio de Carlos V

MEDIO SIGLO DOCUMENTADO EL PATRIMONIO ARQUITECTÓNICO CON FOTOGRAMETRÍA
de la Alhambra, la Catedral de Astorga, las iglesias de sólo se podía visualizar mediante un trazador gráfico
Monserrat y San Francisco el Grande de Madrid, etc. sobre papel. Con el nuevo instrumento pudimos
pusieron pronto de relieve nuestra capacidad de expandir nuestra actividad, tanto cuantitativa como
manejo de la técnica y el instrumental y las grandes cualitativamente. Uno de los primeros trabajos que
posibilidades y ventajas que brindaba la fotogrametría. realizamos con él fue una cartografía de la Alhambra
En el Salón de Comares se fotografiaron todos los para la redacción del primer Plan Especial del conjunto
paramentos de yesería para poder restituirlos a escala monumental. A semejanza de lo hecho catorce años
1/1. Todas estas fotografías fueron el embrión del antes en Albarracín, se dibujó no solo la planta
vasto archivo documental métrico que conserva el topográfica sino también alzados y secciones del
IPCE. En ese tiempo, de la mano de Maurice conjunto e incluso alguna axonometría (Fig. 5).
Carbonnell, entré a formar parte del CIPA (Comité
Poco después, mi actividad profesional sufrió un
International de Photogrammetrie Architecturale, hoy
cambio sustancial pues en 1987 pasé a desarrollar
International Committee for Documentation of Cultural
actividades de investigación en arquitectura islámica
Heritage, comité científico del ICOMOS) en donde en
en la Escuela de Estudios Árabes de Granada,
años sucesivos pude ampliar mis conocimientos y
dependiente de Consejo Superior de Investigaciones
enriquecerme con las experiencias y enseñanzas de
Científicas (CSIC). Con la experiencia de los años
múltiples colegas de otros países.
anteriores mi convicción sobre la necesidad de seguir
usando la fotogrametría como sistema de
documentación arquitectónica, imprescindible para
3. LA FOTOGRAMETRÍA ESTEREOSCÓPIA
poder desarrollar una investigación eficaz lo mismo que
ANALÍTICA
para abordar cualquier restauración, me llevaron a
Los sistemas analógicos, basados en instrumentos de replantear la metodología de los levantamientos. En mi
restitución de funcionamiento mecánico, tenían nuevo centro de trabajo no existía ningún equipamiento
enormes limitaciones al no permitir ninguna corrección y las posibilidades económicas eran manifiestamente
a las deformaciones de las imágenes respecto a las inferiores a las que tuve en el Ministerio de Cultura.
perspectivas teóricas. Por ello era obligado el uso de Pero la tecnología había cambiado lo suficiente como
fotografías métricas y para obtenerlas el empleo de para poder plantear una nueva filosofía. No sólo
pesadas y engorrosas cámaras fotográficas. Las fotos necesitaba instrumentos más baratos, sino que debían
debían tomarse siempre en caso “normal” (ejes de las ser más ligeros y fáciles de manejar. A partir de este
cámaras paralelos y perpendiculares a la base) con el momento mi obsesión fue poder usar la fotogrametría
plano de imagen casi paralelo al plano de proyección en cualquier lugar y circunstancia sin tener que recurrir
de la restitución con menos de 5º de desviación, etc. El a montar un “safari” de porteadores de pesados
uso de complejos calculadores mecánicos permitía las equipos que obligaban a una complicada logística,
tomas con inclinación vertical de ángulos fijos, pero a como hasta entonces ocurría. Afortunadamente, la
costa de pérdidas de precisión y complejas evolución tecnológica permitía avanzar por ese camino
operaciones de orientación de los pares (Almagro 1993, 1999, 2002). Inicialmente adquirí un
estereoscópicos. teodolito electrónico y desarrollé un programa
informático para cálculos topográficos especialmente
En esos momentos acababan de irrumpir los
adaptado a los levantamientos de arquitectura
ordenadores personales que permitieron, por su
combinando esas mediciones con rectificaciones
velocidad de cálculo, el desarrollo de la fotogrametría
fotográficas rudimentarias realizadas con una
analítica. Los restituidores dejaron de ser complejos
ampliadora de cuarto oscuro.
instrumentos mecánicos que reproducían físicamente
mediante barras los rayos proyectivos, para convertirse En los primeros trabajos en mi nuevo destino pude aún
en simples instrumentos de medición de coordenadas contar con los equipos del Ministerio para dos
planas de los puntos homólogos en las fotografías que proyectos que coordiné para la Junta de Andalucía. Uno
el ordenador transformaba mediante cálculo fue un programa de documentación fotogramétrica
matemático en coordenadas tridimensionales del dentro del Plan Andaluz de Catedrales. Se realizó una
objeto. La orientación de las fotos se hacía también por toma sistemática de fotografías terrestres y aéreas de
cálculo en breves instantes reduciendo errores y las catedrales andaluzas con las cámaras del Gabinete
posibilitando cualquier orientación de las fotografías. de Fotogrametría del ICRBC obteniendo cientos de
La toma fotográfica dejó de tener restricciones en el fotografías métricas. Mis contactos con el Ejercito del
giro de las cámaras respecto al plano de proyección del Aire de cuando los trabajos llevados a cabo en Jordania
dibujo. me permitieron involucrar al escuadrón Cartográfico y
Fotográfico en la realización de vuelos a baja altura
Al poco tiempo de la creación del Gabinete de
obteniendo fotografías a escala 1/1000 con las que era
Fotogrametría el Ministerio adquirió un restituidor
posible alcanzar escalas de restitución de hasta 1/200
analítico Wild Aviolyt BC2. Inicialmente, aunque el
e incluso forzando con comprobaciones y mediciones
sistema guardaba un archivo digital del dibujo, este
de campo, llegar a 1/100. De este modo se podían

ALMAGRO GORBEA, A.
obtener plantas y perfiles de las cubiertas de las levantamiento, aunque con cámaras fotográficas más
catedrales totalmente acordes con las restituciones de versátiles y ligeras que permitían realizar las tomas de
las fotos tomadas desde el suelo. Estas fotografías datos con mayor rapidez y desde lugares no
fueron después restituidas en distintas fases por alcanzables con los pesados equipos métricos. Esto
distintos equipos según se fue requiriendo para la nos permitió abordar grandes proyectos de
redacción de planes directores o de proyectos de documentación planimétrica como fueron los del
restauración (Almagro y Salmerón 1993). El otro Alcázar (Figg. 7 y 8), la Catedral (Fig. 9 y 10) y la
proyecto desarrollado enteramente por mí fue la colegiata del Salvador de Sevilla (Fig. 11) que dieron
restitución de un plano topográfico a escala 1/100 del lugar a una extensa colección de 120 planos que se
conjunto arqueológico de Madinat al-Zahra’ que luego presentaron en sendas publicaciones de gran formato
complementé con una concienzuda revisión de campo (Almagro 2000a, 2007, 2008) a las que luego se sumó
y la realización de alzados de las ruinas con la de la Cartuja de Granada (Fig.12) (Almagro 2010).
fotogrametría terrestre (Fig. 6) (Almagro 1992).
Al mismo tiempo, el trabajo cotidiano de investigación
Tras la compra del teodolito electrónico, la siguiente fue generando una cantidad muy numerosa de planos
adquisición, con cargo a un proyecto de investigación, y dibujos, siempre en formato digital, que junto a las
fue la de un restituidor analítico de pequeño formato fotografías hoy constituye una base de datos, sobre
(fotogramas de 6 x 6 cm) Adam MPS2. El software todo de arquitectura andalusí, de gran relevancia y que
incorporado en los sistemas de fotogrametría analítica he comenzado a poner a disposición de otros usuarios
permitía corregir deformaciones sistemáticas de las a través del repositorio de Digital.CSIC (Figg. 13-15).
imágenes con lo que se dio entrada al uso de las
Las posibilidades de cálculo que brindaban los
llamadas cámaras semi-métricas. Estas eran cámaras
ordenadores permitió un desarrollo de la fotogrametría
de fabricación estándar, normalmente de formato 6 x 6
analítica al margen de la mera restitución mediante
cm, que con unas simples modificaciones (inserción de
visión estereoscópica. Los iniciales sistemas de
una placa con retícula reseau y un sistema de bloqueo
aereotriangulación para el ajuste y orientación de
del enfoque) y un proceso de calibración
bandas de fotogramas aéreos que permitían el cálculo
(determinación de la distancia principal, del punto
de coordenadas de puntos de control para la
principal referido a la reseau y de los coeficientes de
orientación de múltiples pares de fotogramas a partir
un polinomio de corrección de la distorsión de la óptica
de unos pocos puntos de apoyo dieron paso a
del objetivo) permitían obtener prestaciones similares
programas más complejos de ajustes de haces de
a las de las cámaras métricas. Adquirí al principio una
bloque de fotografías de ejes convergentes. A través
Rollei 6006 metric, aunque después fui capaz de
del CIPA tuve conocimiento de esos sistemas y pude
transformar y calibrar otras cámaras, sobre todo a
adquirir y usar dos programas de este tipo. Uno fue
partir de las Hasselblad SWC de 38 mm de focal y
ORIENT desarrollado en la Universidad Técnica de
formato de 6 x 6 cm, gracias a la colaboración con
Viena (TUW) por el Dr. Kager. Con él llevé a cabo
colegas del CIPA.
distintas experiencias tanto de obtención de puntos de
A finales de los años ochenta aparecieron los control de series de fotografías para la posterior
programas de CAD y aunque inicialmente tuve que orientación de pares estereoscópicos como de
desarrollar un software específico para transformar los calibración de cámaras semimétricas. Disponer de un
archivos de dibujo generados por el restituidor en gran número de fotografías en las que aparecen los
archivos dxf, pronto la interconexión entre ambos mismos puntos del objeto permite contar de un mayor
sistemas fue una realidad de modo que los número de datos que los indispensables para el cálculo
instrumentos de restitución pasaron a ser y ajuste de la orientación de las imágenes. Esta
digitalizadores 3D de un modelo virtual tridimensional, redundancia hace posible que lo que en los sistemas
conectados al CAD, que lo registraba y representaba en de ecuaciones son datos puedan convertirse en
el monitor o en el trazador gráfico. De este modo las incógnitas a calcular buscando unos mejores
proyecciones finales de las representaciones podían resultados en procesos basados en los mínimos
elegirse libremente mediante el sistema de CAD. Aquel cuadrados. De este modo partiendo de unos valores
software lo desarrollé igualmente para el restituidor aproximados se puede llegar a determinar valores
Aviolyt BC2 del Ministerio, de modo que algunos precisos de los parámetros de calibración (distancia
trabajos de los que allí realicé los pude convertir en principal, posición del punto principal y coeficientes de
dibujos de AutoCAD, pues a partir de ese momento distorsión). Por este procedimiento calibré varias
pasé a realizar todos mis dibujos digitalmente. cámaras transformadas en semimétricas, como antes
se indicó. Para adquirir los datos necesarios usábamos
Unos años después, el CSIC me facilitó la financiación
el restituidor ADAM como monocomparador con el que
para adquirir un restituidor analítico de gran formato,
mediamos coordenadas de la imagen que luego se
un Leica SD2000, de prestaciones similares a las que
introducían en el proceso de cálculo lo que resultaba
tenía el del ICRBC. Con él volvía a disponer de los
un poco engorroso. Posteriormente se adquirió el
instrumentos adecuado para realizar cualquier tipo de
programa MAAS-CR adaptado al restituidor Leica que

hacía el proceso mucho más fluido e interactivo al fotográficas que pueden adquirirse en cualquier
poderse introducir simultáneamente muchas comercio y cuya resolución ha ido en constante
fotografías de formato 6 x 6 en los portafotogramas aumento sin apenas alteración de precio y de software
preparados para fotos aéreas de 23 x 23 cm. Con estos cada vez más sofisticado y potente que solo precisa de
procedimientos pudimos realizar, entre otros trabajos, ordenadores con prestaciones medias: casi cualquier
la orientación simultánea de 48 pares estereoscópicos ordenador de los usados para juegos es válido para
de las bóvedas de la catedral de Sevilla a partir de sólo estos fines. Se puede decir que lo que yo buscaba casi
28 puntos de control medidos con taquímetro y desde mis primeras experiencias hoy es totalmente
obteniendo coordenadas de 150 puntos de paso (Fig. alcanzable: disponer de sistemas con los que poder
16)(Almagro 1997). realizar un levantamiento gráfico totalmente
transportable a cualquier lugar y utilizable casi en
cualquier circunstancia.
4. UNA NUEVA ERA: LA FOTOGRAMETRÍA DIGITAL
Aunque hubo pronto en el mercado sistemas de
Coincidiendo con el final del siglo XX se extendió fotogrametría digital, en los primeros tiempos su precio
también en fotogrametría el uso de las fotografías era también elevado. Pero a través del CIPA tuve
digitales provenientes de dos orígenes. Por un lado, las acceso a sistemas desarrollados en universidades y
generadas a partir de fotografías tradicionales centros de investigación que pude utilizar primero con
digitalizadas mediante escáner y por otro lado las el fin de evaluarlos y después como colaborador
producidas mediante cámaras dotadas de sensores haciendo sugerencias como usuario y traduciendo sus
tipo CCD y más tarde CMOS. Pronto cámaras instrucciones y los mensajes del interfaz de usuario
comerciales de este tipo estuvieron disponibles a para su uso en español. Primero fue el VSD
precios cada vez más asequibles. Las imágenes desarrollado por el Prof. Jachimski de la Universidad
digitales cuentan con grandes ventajas para su uso AGH de Varsovia (Almagro 2000b) y después el
fotogramétrico. En primer lugar, podemos decir que Poivilliers F del ingeniero Ives Egels del IGN de Francia.
llevan incorporada en sí mismas la métrica de todos sus El primero muestra el par estereoscópico en la pantalla,
puntos. Basta con que señalemos un pixel para conocer una imagen en cada mitad de ella, que deben ser
sus coordenadas de imagen definidas por la fila y la observadas mediante un estereoscopio de espejos. El
columna que ocupa en la matriz y que se puede referir sistema sobrepone un cursor en cada imagen que se
al centro de la imagen o a cualquiera de los vértices. ven como marca flotante que se mueve en el espacio
Además, al tratarse realmente de una matriz numérica virtual y con la que se va dibujando. Para monitores
no se alteran ni sufren deformaciones ni con el tiempo grandes de sobremesa usamos un estereoscopio de
ni por acciones externas. Esto hace innecesario espejos de los que se usaban en fotointerpretación de
disponer de costosos sistemas para medir con imágenes aéreas, sujeto en un soporte adecuado. Para
precisión en las imágenes lo que ha traído consigo un el uso en ordenadores portátiles construí pequeños
notable abaratamiento de los sistemas estereoscopios ad hoc que permitían usar el sistema en
fotogramétricos. cualquier lugar al que pudiera llevarse el portátil. El
problema de este sistema es que estaba escrito para
Es cierto que la calidad métrica de la imagen depende
MSDOS y aunque funcionaba bajo Windows, las
de cómo se haya generado. Un escáner corriente no
versiones más recientes de este sistema operativo han
garantiza la conservación de la geometría de una
dejado de soportar aplicaciones del viejo sistema.
fotografía métrica o semimétrica en él escaneada por
Aunque se puede seguir usando con un simulador
lo que si queremos hacer uso de imágenes métricas
resulta sumamente engorroso. PoivilliersF es más
deberemos escanearlas con instrumentos de precisión
moderno y está escrito para Windows. Este sistema
bastante costosos. No obstante, este es un
superpone ambas imágenes en el monitor, bien
procedimiento que se utiliza para poder seguir usando
filtradas para ser observadas con gafas de anáglifos o
las fotografías de archivos fotogramétricos creados en
bien alternadas para su visualización en un monitor con
el pasado. Pero en las cámaras digitales el sensor es
propiedades para visión estereoscópica con gafas
un elemento que se considera que no sufre
activas de oclusión. En este caso, además del monitor
alteraciones dimensionales por lo que la imagen en él
y las gafas se precisa una tarjeta gráfica tipo NVidia
producida se mantiene inalterable. Por ello, cualquier
Quadro. En ambos sistemas el dibujo restituido se
cámara digital puede asimilarse a una cámara
presenta en 3D sobreimpuesto al modelo
semimétrica siempre que mantengamos la óptica fija y
estereoscópico y puede ser exportado posteriormente
la calibremos.
a AutoCAD. También participé en la mejora y difusión
Estos principios y propiedades facilitaron una del programa ASRix desarrollado por Steve Nickerson
verdadera revolución en la fotogrametría a partir de los para realizar rectificaciones fotográficas que
inicios de este siglo al poder prescindir de costosos igualmente he utilizado con asiduidad.
instrumentos para la toma fotográfica y para la
Progresivamente y a medida que las cámaras digitales
medición. Todo ha quedado reducido al uso de cámaras
fueron teniendo mayor resolución fuimos usando más

ALMAGRO GORBEA, A.
los sistemas digitales de modo que en 2018 los este tipo. Cuando he hecho algún trabajo o prueba ha
restituidores analíticos de la Escuela de Estudios sido con la colaboración de otros colegas. La razón
Árabes han quedado fuera de uso. Durante estos años fundamental de haber renunciado a su uso estriba en
hemos realizado innumerables trabajos utilizando que hasta ahora los escáneres de laser incumplían las
estos medios usando fotografías métricas y premisas que me he fijado para mis trabajos de
semimétricas escaneadas lo mismo que fotos digitales. levantamiento gráfico: procedimientos sencillos con
Así, gran parte del levantamiento de la colegiata del instrumentos de bajo coste, fáciles de transportar a
Salvador de Sevilla fue realizado con VSD y otros, como cualquier lugar y en cualquier situación. Hasta muy
los alzados de la mezquita de Córdoba (Figg. 17 y 18), recientemente los escáneres de laser eran equipos
se han hecho con Poivilliers F. pesados, que requerían varias personas para su
transporte, planteaban dificultades de estacionamiento
También la fotografía digital causó enseguida
y manejo, por ejemplo, en andamios o desde lugares
innovaciones en los sistemas de ajuste de haces pues
con dificultad de acceso, y han sido equipos de coste
al integrarse la medición sobre las fotos en el programa
muy alto. Su traslado a determinados países puede
informático todo el proceso resulta interactivo
presentar complicaciones en las aduanas, etc. Una
facilitando la reobservación y corrección de errores. Por
cámara digital compacta y un distanciómetro de láser
otro lado, el avance en los sistemas de cálculo y en la
tipo Disto se pueden llevar en un bolsillo o sujetos al
potencia de los ordenadores ha permitido la aplicación
cinturón y permiten incluso hacer un levantamiento de
de procedimientos como la correlación para la
forma discreta, pudiendo pasar, quien lo hace,
detección de puntos homólogos y la automatización de
desapercibido, como si se tratara de un simple turista.
los procesos.
Esta no es una cuestión baladí en determinados países
En nuestra experiencia utilizamos inicialmente la y circunstancias donde conseguir un permiso para
aplicación Orthoware desarrollada por la empresa realizar las mediciones resulta a veces farragoso y en
Metria asesorada por la Universidad Politécnica de ocasiones imposible y en general requiere una
Valencia. Este software permite la orientación de importante pérdida de tiempo en gestiones
bloque de fotografías digitales para después generar burocráticas.
de forma automática nubes de puntos por correlación
Los sistemas hoy disponibles permiten realizar
automática. A partir de estas se crean mallas de las
multitud de trabajos con medios realmente simples.
superficies, que pueden texturizarse y de las que se
Desde hace algunos años utilizo una cámara compacta
obtienen ortoimágenes mediante la proyección del
Ricoh GR de óptica fija gran angular equivalente a 28
modelo 3D así formado. Inicialmente nuestro interés
mm con resolución de 16 Mpixeles. La acompaño con
por este software se centró en usarlo como los antiguos
un distanciómetro Leica Disto X4, con visor digital para
programas de ajuste de haces, para calibrar las
poder hacer puntería en ambientes luminosos en que
cámaras digitales que seguíamos usando en
no puede verse el rayo láser. Este distanciómetro
restituciones estereoscópicas, y para obtener puntos
incorpora un inclinómetro que permite usarlo como
de control en todo el edificio u objeto a restituir, a partir
nivel (con precisión de 0.1º) que utilizando un trípode
de unos pocos puntos de control medidos con
fotográfico permite realizar apoyos de campo, de no
procedimientos topográficos, o incluso con meras
excesiva precisión, es cierto, pero suficiente para la
mediciones lineales y observaciones en el terreno. Es
mayoría de los casos de trabajos de investigación e
decir, mejorando y extendiendo procedimientos
incluso de restauración. Todo puede transportarse
simplificados de levantamiento fotogramétrico que ha
como equipaje de mano y su uso resulta discreto. Con
seguido siendo uno de nuestros objetivos durante
los datos obtenidos en campo y el software, ya sea de
todos estos años.
restitución estereoscópica o de escaneado
La aparición del software Photoscan de la firma fotogramétrico, se pueden realizar levantamientos
Agisoft, recientemente rebautizado como Metashape, gráficos de casi cualquier envergadura. Lo que hace
vino a introducir notables mejoras en el procedimiento cincuenta años requería de sofisticados y costosos
al automatizar prácticamente todo el proceso, ya que la instrumentos de manejo muy complejo, hoy se logra
detección inicial de puntos homólogos y el cálculo de con medios domésticos asequibles a un profesional y
las orientaciones de las fotografías se realiza sin la no digamos a cualquier departamento académico o
intervención del operador. centro administrativo.
Estos programas, que se suelen también denominar de De todos modos, hay que recordar que los modelos 3D
escaneado fotogramétrico, permiten generar modelos generados por estos procedimientos o mediante un
tridimensionales a partir de nubes de puntos, a escáner laser e incluso las ortoimagenes son un
semejanza de lo que se obtiene con los escáneres de material bruto que requiere de procesos interpretativos
láser. Debo resaltar que hasta el momento no he hecho y de elaboración gráfica (Almagro y Almagro 2007). El
mención de estos procedimientos de medición. Esto se valor del dibujo como medio de expresión no ha perdido
debe a que ha sido escasísimo el empleo que he hecho vigencia ni puede ser sustituido de forma radical por las
de ellos y que nunca he contado con un instrumento de imágenes generadas por la aplicación informática. El

dibujo elaborado de acuerdo con las normas de la superficie de más de 50 Ha. La imagen final tiene
geometría descriptiva requiere un análisis previo de la 30.000 x 30.000 pixeles (Fig20).
realidad, su comprensión e interpretación y su
Mi actividad en estos últimos años ha prestado una
expresión sintética a través fundamentalmente de
especial atención a los países del Norte de África, en
líneas. Aunque es cierto que una ortoimagen contiene
especial a Marruecos (Almagro 2013). Aparte de
mucha más información que el dibujo, precisamente
actividades dentro de proyectos concretos de
por ello puede resultar más confusa y menos expresiva.
investigación he tratado de suplir el vacío documental
Lo que con más frecuencia utilizo es una combinación existente puesto que desde la época del Protectorado
de la imagen ortográfica con textura fotográfica y el muy poco se ha avanzado en documentar su rico
dibujo vectorial, bien superpuestos (Figg. 15 y 19), bien patrimonio y sobre todo en poner a disposición de la
en presentación paralela (Fig. 17). Esto permite que el comunidad científica la documentación disponible. Así,
dibujo exprese el análisis sintetizado y la imagen aporte casi todos los monumentos importantes que he tenido
los detalles de color, textura y elementos de segundo o ocasión de visitar los he documentado tomando pares
tercer nivel cuya representación vectorial requiere de estereoscópicos o tomas más extensas de bloques de
un enorme esfuerzo de trabajo sin aporta un valor fotografías para generar modelos 3D. Especialmente
proporcional al dibujo. Lo habitual es que en relevantes han sido los trabajos hechos en las grandes
presentaciones sobre papel imprima ambos dibujos mezquitas históricas de Marruecos, la Qarawiyyin de
separado y en documentos digitales (dwg o pdf) lo haga Fez (Fig. 21) y la Kutubiyya de Marrakech (Fig. 22), así
en capas distintas superpuestas que pueden ser como la almorávide de Tremecén en Argelia.
activadas o desactivadas a voluntad. En todo caso, la
Con independencia de que muchos de estos dibujos los
línea vectorial superpuesta sobre la imagen siempre le
he ido publicando en artículos y monografías
aporta claridad y precisión al documento gráfico.
científicas, estoy procediendo a colocar todo este
Dentro de las recientes innovaciones disponibles para material gráfico generado a lo largo de mi actividad
la realización de levantamientos arquitectónicos está el profesional en el repositorio del CSIC
uso de drones para tomas fotográficas desde el aire. (https://digital.csic.es/ handle/10261/176807), con el
Esto permite que podamos prescindir del uso de las fin de que quede a disposición de otros investigadores
fotografías aéreas métricas logrando además escalas o responsables de la conservación del patrimonio. Sin
más grandes en los levantamientos y poder fotografiar duda, esta labor deberá proseguirse mejorando
zonas antes inalcanzables. Entre los trabajos recientes nuestros sistemas de información y conocimiento como
que he realizado usando un dron puedo mencionar el mejor modo de garantizar la conservación de nuestro
levantamiento del yacimiento arqueológico de patrimonio.
Volúbilis, en Marruecos. A partir de 3.100 fotografías
pude generar un modelo 3D y con éste una ortoimagen
con resolución de 1 pixel = 3 cm del terreno para una

https://doi.org/10.4995/ege.2019.12864
APEGA, UPV
CULTURAL HERITAGE DESIGN: THEORIES AND METHODS

FOR THE PROJECT COMPLEXITY MANAGEMENT
Daniela Besana
Department of Civil Engineering and Architecture, University of Pavia, Italy. daniela.besana@unipv.it
Abstract
The contribution focuses on the design project in particular in relation to the existing Cultural Heritage.
The principle aim is the investigation and the analysis of a complex as an indispensable relationship
between the phase of building knowledge and that of intervention. Methodologically this question will
be addressed firstly through a historical excursus through the main restoration theories with the aim of
understanding how this aspect has always been perceived as a fundamental element for the success
of the project; then it will be addressed towards the study and investigation of some more recent
methodological solutions. Outcome, still open to development and progress scenarios, is the evaluation
of how the most recent technologies and information systems can be able, if wisely used, to became
tools able to assist the designer in the synthetic control of the management of the building process.
Keywords: Knowledge; Restoration; BIM; Conservation.
*Correspondence author: Daniela Besana, daniela.besana@unipv.it

CULTURAL HERITAGE MANAGEMENT: THEORIES AND INTEGRATED METHODOLOGIES
1. THEORETICAL SCENARIO: THE REASONS statements proposed by Viollet Le Duc around the
FOR COMPLEXITY early XIX century. Until that time, the restorative
designers worked without any codified
This paper focuses on Cultural Heritage; firs of all
methodology of approach to the project and on
it is considered useful to give a definition of
poorly known monuments. The main and priority
Cultural Heritage also in order to understand the
objective was to reconstruct them, so “for a
strong heterogeneity underlying this term and
certain period the restorative architects should
consequently clarify the possible actions of
proceed by trial and error without any general rule
intervention. The Italian reference legislation is
that could have been determined by some
the Code of Cultural Heritage, issued in 2004
tradition” (Ceschi 1970: 66).
which establishes what is meant, or not, for
Cultural Heritage, defining its constraints and the What is important is that in Viollet Le Duc's
possible actions of protection and safeguard. statements it is instead possible to find some
Cultural Heritage concerns the recognized and fragments of theories now commonly shared in
well-known monumental building but also the the culture of the restoration project. First of all,
minor buildings complexes or the industrial he declares the need to approach the monument
heritage. This makes, a complex approach to the to be restored with profound humility, working
building precisely because the preliminary only taking care of the building and demonstrating
knowledge process is complex. Secondly, it opens an extreme meticulousness in understanding the
the cultural debate around, albeit important, long- intentions of the ancient designers during the
standing questions concerning to provide a single, creative phase. Therefore, the restoration project
unambiguous and universally shared definition of must follow the spirit of the monument, in order
some of the fundamental terms concerning the to be correct from a methodological point of view,
protection of Architectural Heritage such as able to lead the project.
Restoration, Recovery and Conservation.
The theory expressed by Annoni (1882-1954) is
Particularly significant are the words expressed interesting as placing the monument itself at the
by Benvenuto and Masiero who, in the incipit of center of the restoration project, considering it as
one of their essays, declare "Tradition, the object capable of providing the interpretation
conservation and restoration seem friendly words, key for a correct intervention; “by this I mean the
joined together by bonds of consanguinity and direct test on the monument, rather than as a
alliance" (Benvenuto, Masiero 1997: 103). The historical document and an expression of art, as a
authors define the relationship and the link constructive fact ... only if one penetrates the
between these terms almost immediately: if sometimes unexpected meanders of the ancient
tradition brings together the traces of the past buildings, and bricks and stones, beams and
and the historical and cultural testimonies of past paintings, organisms and forms let them say their
generations, the priority task of conservation unchanged word, just so the monument ...reveals
action inevitably becomes that of guaranteeing, its reason, and also that of those who made it and
preserving precisely, the traces of the past, as a wanted it” (Annoni 1929: 81-82). Following these
memory from which our generation descends. So, premises, he hopes “the respect to the monument
the restoration is the result of the set of that eschews sterile mummified conservation...
techniques and design actions that allow to [since] before the monument it is the master”.
achieve the conservation objective. It means that
So, he declares, just as Viollet le Duc had
it is not possible to solve the problem in such a
previously stated, the peculiarity and specificity of
simplistic way. The cause derives precisely from
each restoration intervention, according to which
the radical upheaval of speculative models of
it is necessary act case by case. So, Annoni's
which contemporary culture has been reduced,
thought takes up what Boito (1836-1914) had
which have made it difficult to formulate a single
already asserted, that is the active and real
definition.
interest of the monument, seen as a historical and
cultural testimony of an era. It is seen as design
value and therefore as architecture lesson
1.1 RESTORATION
necessarily belonging to its environmental
Regarding the first theoretical formulations in the context and that, for this reason, has a reuse
field of restoration, it is possible to quote the possibility, since "our architectural and building

BESANA, DANIELA
works must be for the use, of their citizens, and at industries. In the Universal Encyclopaedia of Art,
the same time for the city ornament”. So, restorer Bonelli gives his definition of critical restoration
must act as a surgeon making the additions declaring that the monument is itself a testimony
perfectly legible and distinguishable, respecting value, a document and the necessity to know the
the monument historical stratification. building completely in order to be able to
understand and intervene on it.
A new chapter in the restoration theory starts with
Gustavo Giovannoni, who sets the theme of
multidisciplinary restoration. He defines
1.2 CONSERVATION
restoration as a technique, or rather as an organic
and coordinated set of different procedures, with Today the contemporary debate and the most
explicit means and ends. Giovannoni considers recent regulatory instruments address, in order to
the use of the different methods, such as those of define a correct practice of restoration, new
architectural survey, construction techniques, questions complementary to the restoration one.
archaeology instruments for the restoration These aspects derive mainly from the evolution
project. Moreover, he is strongly convinced of the and from cultural and technological development
need to consider restoration as a discipline, as it that led to a re-reading of the most modern
stands as the “intrinsic end of the monument restoration theories and, consequently, to a
project action” (Torsello 1988: 46). greater awareness of their potential inherent. A
new attention has been introduced to the concept
Boito declares that the intervention on the
of conservation as indispensable tool for a correct
existing must be modern precisely because it
intervention on a historical building. This has
must differentiate itself in everything from the
allowed us to tackle the diagnostic phase with
context and above all because of the sincerity or
greater methodological and cognitive rigor, as a
constructive frankness in the intervention on
fundamental and essential moment for the
ancient buildings. They must necessarily be
building conservation. The study of the diagnostic
explained by the material and by the
phase and of its tools useful have opened the field
technological-constructive solution used that
of restoration to an increasingly interdisciplinary
reflects the era of intervention, differencing itself
sector, dictated by the numerous areas of
from the original architectural building. He
investigation necessary for a correct knowledge
formulates the need to proceed through a
of the building.
meticulous respect for the monument towards
which the restorer must guide himself, “the more Consequently, designers are not as the
the contemporary artist bows, kneels down, undisputed protagonist in the choices of
annihilates himself against monument, the better intervention but will have to collaborate with
he does his duty. The day when, raising his other experts in different sectors, in order to
forehead, he exclaims - I am there too - that day, reach a synthetic knowledge of the building and
the old building trembles” (Boito 1988: 120). to formulate correct and conscious hypotheses of
Aspects and problems that are part of the modern intervention. The Charter of Venice considers the
conception of restoration are outlined and preservation and restoration of monuments as a
systematized for the first time inside the Charter discipline with the aim of contributing to the study
of Athens (1931). It is assumed that the and to unique preservation of the Cultural
methodological foundation of restoration theory Heritage, declaring that “the conservation and
must be based on the investigation of pathologies restoration of monuments aim to safeguarding
and the state of degradation of the monument; both the work of art and the historical testimony.
this therefore means paying attention to the The conservation of monuments requires, first of
cognitive diagnostic phase and to the valuable all, systematic maintenance. The preservation of
information that it can offer if carried out monuments is always favoured by their use in
correctly. Starting from this, a new method can be functions useful to society. The conservation of a
established based on scientific rigor and on a new monument implies the environmental conditions
trust in investigative techniques, already placed one” (Charter of Venice, 1964, articles 2-6).
by Giovannoni, which shows how rapid and Subsequently, with the European Charter of
exponential their evolution is thanks to the very Architectural Heritage of Amsterdam in 1975, an
rapid increase by technology and by modern absolutely preeminent role is assigned to

integrated conservation, understood as action designer of functional destinations compatible

capable of removing threats from all forms of with the building and, finally, to preserve to
degradation. It is defined as “the result of the transmit or maintain the continuum with history
combined use of the restoration technique and that has come down to us and consequently to
the search for appropriate functions ... integrated future generations and, lastly, to preserve to
conservation must therefore constitutes one of prevent, or to delay or to slow down with natural
the preliminary components of urban and care the natural and unstoppable process of
territorial planning ...does not exclude degradation and therefore the loss of the
contemporary architecture in ancient areas, but it architectural building. The practice of
will have to take into account the existing conservation “privileges accurate preventive
environment, respect the proportions, the shape investigations, structural surveys and, above all,
and the layout of the volumes as traditional qualitative and quantitative knowledge of the
materials ... requires legal, administrative, processes of degradation and degenerative cycles
financial and technical means” (European Charter of the components, and that finds its outlet in
of Architectural Heritage, Amsterdam, 1975, minimal but timely interventions in punctual
Article 7). microsurgery operations, conducted with
experimentally advanced techniques, avoiding the
Dezzi Bardeschi also declares central and
generalized, uncritical renewal of structures and
fundamental the role of the conservation project.
materials” (Dezzi Bardeschi 1991: 152).
He defined restoration as “a patient but obstinate
search for permanence, that is, with the effective A reversal of the restoration concept starts with
preservation of the physical city” (Dezzi the Charter of Krakow (2000), which places the
Bardeschi 1988: 8). Subsequently he underlines concept of memory as a trace of the past at the
the coincidence between the action of restoration center of the restoration. This involves making a
and that of preserving. This implies a radical choice action, about what and how this should be
change in the perspective and objectives: preserved. "It is necessary to choose and from the
conservation means the set of all the actions that choice, therefore, inevitably derives the concept
allow to guarantee the physical persistence of the of project, because conservation is no longer
building aimed at containing its structural decay, technique, it is the end".
obsolescence and biological degradation without
this becoming embalming and fetishism. The goal
is therefore to add with caution without making 1.3 REUSE
subtractions respecting stratifications, Finally, it is possible to introduce the concept of
complexity and heterogeneity of the heritage. This reuse; Dezzi Bardeschi states that it is necessary,
implies the affirmation of a new culture of ie that it is not possible to guarantee effective
conservation that demands an absolute respect protection and effective conservation without
for the integral permanence of the monument- reuse “because use values are the main
document. guarantors of a building's future” (Dezzi
Furthermore, the author defines restoration as an Bardeschi 2004: 247). “The reuse therefore
action that “has the primary purpose of preserving imposes itself on all of us as an inescapable
the material, the physical consistency of the problem, which deserves full recognition both for
building to which it applies” (Dezzi Bardeschi historical awareness, and for the maximum
1991: 127) as it has come to us. So, conservation design attention for the existing ...; without the
is a science that “deals with analysing the reuse, every project of conservation would be
degradation of the components, preventing it equally senseless because it could perhaps
identifying the cycle of evolution, finally satisfy a naive image fetishism, but it would lack
containing it through the development of the most the real goal of dealing with the society of today
correct and appropriate strategies of and tomorrow who use it and enjoy it” (Dezzi
intervention” (Dezzi Bardeschi 1991: 72). To Bardeschi 2004: 250). The monument can
conclude, he underlines the importance of continue to live as a concrete material that
conservation for four specific purposes: to becomes a testimony and memory of the history
preserve in order to know the monument, to and brings with it a new character. It’s important
preserve to respect that involves the choice by the to define what are the limits of acceptability for

BESANA, DANIELA
new reuse hypotheses, according to the concepts objective is to defend and prolong the physical life
of compatibility and adequate destination that of the monument. It is also true that, to achieve
refer to the designer's responsibility to act as an both these aspects, it is necessary to mobilize all
interpreter and guardian of the safeguard and the techniques available today which are
protection of the existing heritage, respecting its increasingly refined and constantly being
materiality and its historical past. “What then will perfected and sufficiently numerous to allow the
be the limit condition for intervention, the designer the possibility of deciphering the
tolerable threshold beyond which in our use is monuments signs. “Architecture, among all the
inevitably transformed into abuse and objects handed down from the past, is the one
misunderstanding ...of the text?” (Dezzi Bardeschi that most strongly demands a constant reuse or,
2004: 255). according to a recent expression, a recovery of the
functions connected to living” (Torsello 2006:
Therefore, to save a text-monument, it is
156).
necessary to know it in all its specificities by
resorting to a profound and integral reading so Reuse today is understood as a necessary and
that the possibility is guaranteed that other users unavoidable action since only with use can the
and interpreters may in the future continue to building be preserved, whose respect for the
read its specificities for by means of its tracks historical and cultural value will guide the action
which therefore should not be confused or of the project. This means that the intrinsically
recklessly overwhelmed. The building must summarizes in itself the methodological process
continue to be available for careful future use, in underlying the conservation interventions, aimed
respect of its own specificity and integrity of at the complete knowledge of the building
material in which the users-interpreters preliminary to any choice of intervention.
themselves will preserve the historical memory
The designer is faced with a building that
engraved in its walls. So, the question “what will
represents an unicum, a result of an original
happen?” means to consider the destiny of the
design around which successive modifications
monument linked to the laws of nature and
and stratifications both on the building itself and
independent of human will, can be reformulated
in the relation to the surroundings and to the
in “what do I want to happen?... so, the act of will
environmental context. The building is presented
determines the choice, one of the many possible,
to the designer as a text characterized by multiple
and considers the why and how it should happen”
rewrites, gaps, additions whose result handed
(Torsello 2006: 146).
down to us, made of all these overlaps and
The design action linked to the reuse definitely modifications, makes the approach to the building
brings the human needs but, at the same time, uncertain and unaware. Only by degrees, through
invests the designer of an important responsibility a progressive deepening of knowledge, the
linked to its destiny after the decisions and designer acquires all the information in order to
choices made during the design phase. In fact, clarify and understand the complexity and the
thinking about the theoretical and technical relationships between the historical building, the
feasibility of a reuse on a historical building materials, the construction techniques and the
means carrying out both important assessments surroundings.
about the insertion of additional new functions
The most important aspect for understanding
essential to revive the building after the
how to operate on the existing is to directly face
regulatory adaptation and the evaluation linked to
the theoretical and operative node, between the
the addition of a new function that is in any case
cognitive phase and the design phase. This
compatible in terms of safeguarding the building
moment summarizes a high degree of complexity
identity itself and of technical concreteness for
precisely because it is not possible to refer to
the real feasibility of the project without changing
absolute and universally valid theories as each
the building.
project has its own specific characteristics. One
From a critically re-read theories, it can therefore possible way is to initially work with distinct
be stated that different ways of approaching a disciplinary fields without losing sight of the final
building can be done. If in the restoration project objective. The cognitive and diagnostic process is
the main objective is to protect the signs of the a real phase of the design process proceeding
past, in the conservation one, the primary with an initial breakdown of a problem and, once

understood and interpreted, it is subsequently detachment between the design processes that,
recomposed in an operational and effective way very often, generate improper architecture
for defining the project choices. Hence the solutions.
importance of tests and investigations already in
Knowledge, diagnosis and project synthesis are
the preliminary design phase, aimed at acquiring
the main keywords around which the design
elements of judgment for the choices of types and
project moves. The term knowledge refers to the
methods of intervention.
documentation and acquisition phase of all the
knowledge inherent to the building, that is to say
its historical, cultural and morphological aspects
2. METHODOLOGICAL PROPOSAL
and those concerning materials and construction
The main purpose of this paper is to propose a techniques. It is clear that this phase includes a
methodological solution for designer as a tool to high degree of complexity as it deals with
manage the complexity of the project, which different disciplinary areas ranging from the
descends, as seen, not only from the building simple difficulty of finding archival sources or
itself but also from the complex relationship construction events to an exhaustive
between the cognitive phase and the design understanding of the building (Fig.1).
application. Indeed, there is a substantial
Fig. 1. knowledge design phase (Source: own’s).
The complexity of the diagnostic and investigative precise, but not useful and effective for the
phase lies instead in the impossibility of adopting solution of a specific problem. In fact, the
a universally usable methodology, leaving the detection of the same symptomatology, linked to
design and management of the process to the a particular form of degradation, can derive from
experience and competence of the designer. On the same pathological picture, evidenced through
the one hand, therefore, the possibility of being appropriate tests, but be triggered by different
able to dispose of a high number of sophisticated causes.
investigative techniques could be a lifeline for the
It is clear how the reading of data and information,
designer who entrusts the correctness of the data
obtained during the diagnostic phase, and above
and of the results from technology; on the other
all the interpretation of the data meaning, left
hand, instead, a total and complete trust in the
completely in the hands of the designer, become
technique, without an overall view of the problem,
absolutely important. To increase the difficulty of
could lead to obtaining data, certainly correct and
the process, the designer, following the

BESANA, DANIELA
technological innovation, has at his disposal an that is to say therefore that more a cognitive
increasingly wide range of tests to be carried out, process is well conducted, more conscious and
making it therefore necessary to have an effective the intervention project will be.
increasingly targeted control on the effectiveness
of the actions to be interpreted and of the correct
reading of the results obtained. A correct design 2.1 DIAGNOSTIC TECNIQUE
strategy cannot therefore be limited to a simple Certainly, it is possible to state how important but
chase, as sterile as it is unstoppable, of at the same time complex is the diagnostic
technological innovation. It may be necessary to process, which is increasingly assuming a central
try to understand the potentialities and the and fundamental role for the definition of design
information that can be obtained from them, strategies. Annoni, in the thirties, in order to
leaving to specialized technicians the use and the define a possible methodological approach for a
study of the physical or chemical principles linked correct restoration project, argued for the need to
to the tests themselves, in the awareness, proceed by “direct interrogation of the monument,
however, that, without the aid of these first as a historical document ..., as a constructive
investigation tools, it would be very difficult to fact” (Annoni, 1992: 81-82). It means
make a correct and conscious choice of investigating the building in its complexity, that is
intervention. taking into consideration all the elements suitable
Although knowledge of the investigation methods for defining its overall framework, starting from
and of their application areas is important, it is the survey phase, assessing its state of
understandable that the knowledge required to conservation and residual performances both of
the restorers cannot be highly specialized in all the structural elements and of the materials, the
the multiple fields of application; however, they state of degradation and instability in order to
must be known in their peculiar characteristics define the possible design actions respectful the
and in their potential in order to allow designers building.
to choose the most suitable techniques to solve However, the technological question has always
the contingent problem. Since it is clear that a divided scholars into two different groups: those
specific restoration project cannot be subjected that highlight the extremely positive aspects of
to standardization procedures deriving from a developing the investigation phase for
generalizable model, it is fundamental to define a understanding the monument (nda. Maltese,
methodology for carrying out investigations so Giuffrè Marconi, Elia, Caniggia) and those who
that the data collected are qualitatively and called for a return to a so-called intelligent
quantitatively representative of the dexterity: dexterity underling the importance of
characteristics of the building. Alongside the manual work in the face of excessive
theoretical model, the return of the experimental mechanization; intelligent because manual work
data obtained during the diagnostic phase helps had to be lightened precisely by modern
therefore to describe real situation. It is for this technology, adapted, thanks to its development,
reason that potentially the tests are great tools, to all those operations that could be easily
because they lead to a complete building reading. replaced by machines and also the use of
"Structural forms, materials, construction programmable computer systems in their
techniques constitute a knowledge fortune that operations. In Marconi's words, for example, there
allows us to have a privileged observation point is a still unresolved doubt about innovative
for the knowledge of the technical heritage of materials that still leave a large margin of
past eras and also for the study of solutions that unreliability on their reliability and durability over
can still be widely valid" (Monaco, Santamaria, time.
1998: 12). Also Dezzi Bardeschi considers as
fundamental the role of preliminary investigations Thanks to technological development, the areas
and historical reading conducted on archival of application of the survey techniques are
sources, considering as “an excellent investment extremely varied and diversified. Knowing
... between the minimization of the intervention therefore means analysing the historical
and the accuracy of the preliminary constructive structure by performing a precise
investigations” (Dezzi Bardeschi 1994: 383-384), geometric and material survey through specific
investigation instruments, but also investigating

the physical-chemical characteristics of the and aiming at the maximum degree of project
materials, performing geological-petrographic reversibility.
analyses, evaluating the state of preservation and
It is essential to make specific preliminary
residual performances, that is to carry out a
considerations, case by case, in order to choose
diagnostic process that allows to investigate the
the best intervention technique, traditional or
state of degradation and the static and structural
innovative, but which respects the monument,
failures in progress through specific tests.
guaranteeing maximum durability and, the least,
Each of these aspects requires the most possible degree of invasiveness. The knowledge
appropriate investigative techniques and above of innovative survey techniques therefore widens
all it must be read not as stand-alone information the range of possibilities to tend to the best
but integrated and correlated with the set of solution and allows constant monitoring during
results obtained in order to reach the synthesis of and after the intervention phase. From this it
the building knowledge, identifying the causes of follows how, only once the potentialities offered
alteration detected and then proceeding with the by the investigation tools are recognized, is it
choice of solutions to be carried out during the possible to program a conscious and effective
design phase. “The historical buildings appears to application. The information that can be obtained
us then as an enigma whose opacity can become is valuable, as they guarantee a high level of
gradually transparent with the refinement of the knowledge and of building control and allow,
analytical gaze, with the widening of scientific thanks to technological and IT innovation, ever
curiosity, with the improvement of the increasing levels of accuracy together with faster
instruments of investigation" (Torsello, 1997: data acquisition and processing times.
199).
The need to use of increasingly innovative
So, tests cover the entire design process, techniques is always strongly stated in “Principles
precisely because of their constant and for the conservation and restoration of built
transversal presence. Torsello had declared that heritage" (Charter of Krakow 2000), which states
“analytical work emerges as a structure of the that “the role of techniques in conservation and
project and it prepares to assume a triple restoration is closely linked to interdisciplinary
function: it is a cognitive approach to the work, scientific research on specific materials and
before any operational decision; it is a recording specific technologies used in the construction,
and study instrument during the construction site, recovery and restoration of the cultural heritage”.
it is an action of control and verification, but also
The main techniques are based on principles that
of continuous reopening to research, after the
embrace different fields of knowledge, such as
intervention” (Torsello, 1988: 40). The need to use
physics, chemistry and mechanics. However, due
tests as transversal tools throughout the
to their high number and above all to the degree
restoration project can also be found in the text
of technological specificity and innovation, there
of the Krakow Charter, point 10, which states that
is the risk of incorrect use of their inherent
it is “necessary to provide for continuous
specificity, with the consequent disorientation of
monitoring of the results obtained, taking into
the designer who is sometimes unable to choose
consideration their behaviour over time and the
the most suitable tests for design purposes. The
possibility of feasible reversibility” (Krakow
positive aspects of the high degree of
Charter 2000) of the new techniques used.
technological innovation therefore risk losing
Interesting considerations are also explained in much of their effectiveness, in the absence of a
the Icomos Recommendations (ISCARSAH - correct interpretative framework.
International Scientific Committee for the
If “in the past the restricted number and the
Analysis and Restoration of Structures of
scarce complexity of materials and techniques for
Architectural Heritage) of 2003 which, in section
building consented to the formation of a
3, states that it is necessary to proceed with the
homogeneous, widespread and shared technical
intervention on the building with the purpose of
awareness among the various operators, the
maintaining it over time. To achieve this goal, it is
current technological opulence, both in terms of
necessary to use the most modern techniques of
materials and their different connection
investigation and analysis, respecting the
possibilities, makes difficult the formation of a
materials and the building construction rationality

BESANA, DANIELA
technical culture” (Campioli, 1994: 9-10). So understood as a connection of elements in an

designers seems exposed to the risk of not organic whole, elements that can be independent
grasping the proactive dimension offered by the or interrelated and complementary to each other,
widening of the technical possibilities and, on the internal to a specific reality or within a specific
contrary, having understood the technological activity. Complex system that can also be
development as a tool able itself to resolve the understood as an entity that, at every slightest
complexity of the design process losing the need solicitation responds to a precise reaction
to reach the synthesis of the collected according to its own laws that are not easily
multidisciplinary data. recognizable. Regulations that has to be known in
depth by those who intend to control and to
Starting from the observation that contemporary
manage complexity” (Bardelli, 1999: 197).
technology seems to break down any limit of non-
compatibility, the infinite possibility offered by Complexity is an important source of information
technological development and the lack of a limit and of suggestions; so, it is important that
become the problem of the progress of science. It designers learn to control it and to consciously
is without border but, however, according to manage it in order to make the development of
Campioli, it must not lead to the suspension of the the project design profitable and not difficult and
project activity, but rather to the need to define tortuous. Not being able to manage complexity
criteria according to which it is possible to involves an uncontrolled and uncontrollable way
express the design project plan (Campioli, 1994: of operating that can lead to contradicting and
9-10). distorting the spirit of the original project.
Precisely for this reason Bardelli affirms the
For Crespi the field of architectural technologies
absolute importance of carrying out a continuous,
must be understood as the moment in which we
constant and progressive control with repeated
get the transition from the field of knowledge of
and crossed checks by the project team in which
the techniques to that of the design process.
each actor has a specific role but, at the same
“The objective of technical knowledge is thus
time, is aware of the activity of the other specialist
configured (for the architect) with the instruction
recognizing a fundamental and indispensable role
to use, as unprejudiced and possibly unpublished
for any person involved. “It is possible to control
as possible, of the existing technical tools and
complexity through a design method that is able
with training to develop sufficient imaginative
to identify a hierarchy of problems, progressively
skills to identify and describe the technical
break them down, in individual aspects without,
requirements so that, where the instruments do
however, neglecting an overall view and the
not exist, these can be invented or "re-invented"
individual specific interconnections. A sort of
according to new objectives” (Crespi, 1990: 19).
iterative process can arise which alternates
These considerations lead, within such a complex
moments of in-depth analysis with global
scenario, to a necessary rethinking of the role of
synthesis ones, thanks to recurrent checks on the
the designer who must act as a director of the
different levels of design development, from the
various project phases being able to deal
original concept to the scale of the single detail”
interdisciplinary with the specialists of the
(Bardelli, 1999: 201). In conclusion, this means
different sectors. Otherwise, a possible risk is to
tackling the existing project design
obtain results that, although scientifically correct,
deconstructing the process into parts that are
are not actually useful to the project. Only in this
simple to analyse, study, learn and resolve
way, “the monument/document is configured
individually without ever losing the whole and the
[nda. correctly as] theatre of analytical and
interconnection between the parts.
interpretative attention, but at the same time ...
exercise of innovation, of the most advanced It is therefore considered important to understand
technologies ... and of the actual spatial which aspects should not be neglected precisely
conception” (Torsello, 1997: 199). because through their understanding it is possible
to define a possible approach to the project. A
possible response to manage the complexity of
3. COMPLEXITY MANAGEMENT TOOLS the project may arise using a tool that can
Quoting Bardelli’s thought is possible to define organize and catalogue all the information
the existing building as a “complex system obtained during the design process. These data

must serve not only as sources for the exhaustive and complete knowledge of the
implementation of knowledge but must be monument (Fig.2-3).
decoded and interpreted. Furthermore, they will
This need to summarize the information obtained
themselves become part of a background of
during the knowledge process, has led to the use
information that can be used again for future
of modeling software precisely as a complexity
interventions or for comparison with other case
management tool. The building modeling
studies.
constitutes the schematic representation of a
complex system, which must be implemented as
a synthesis of the monument cognitive phase. It
realizes the element of conjunction between
survey and analysis, being the virtual space of
collection, organization and elaboration of all the
information collected during the building
investigation phase. The management of this
information volume requires the implementation
of a database capable of coordinating
multidisciplinary and multi-scale information,
represented both in geometric and textual form.
For this purpose, the use of Building Information
Fig. 2. GIS case studies on the Lardirago Castle, Pavia. Modeling (BIM) for the representation of the built
(Source: own’s). heritage is extremely useful (Fai et al. 2011).
Fig. 3. GIS case studies on the Cathedral of Pavia. Fig. 4. HBIM model of the Certosina complex, Pavia.
(Source: own’s). (Source: own’s).
It means, for example, to the possibility of using In order of its different potential use, it is in fact
GIS, i.e. computer databases, currently on the possible, in a pre-design phase, a modeling able
market or built ad hoc, that can place all the data to act as a synthesis action of the knowledge
collected on an IT platform, so that they can learned up to the present moment, with the aim
always be updated and implemented because no of creating a realistic model, but at the same time
moment of the process, being it the cognitive, schematic and light. It also possible to create a
diagnostic or investigative phase, can be modeling of the main building categories
considered never concluded and final. This attributing greater importance to dimensional
increases the degree of uncertainty in the properties than to detail and to formal or
designer who is called to make precise project typological qualities. The flexibility of the system
choices based on the results obtained during the also derives from the possibility of being able to
diagnostic-cognitive phase, while it allows a develop unique models for example through the
constant and progressive data integration and preparation and compilation of data and
updating in the time, in favour of an increasingly, extraction of them or through the insertion of
some information in a manual way in specially

BESANA, DANIELA
prepared fields or through calculation in a semi- buildings, adopting the same concept also un this
automated way thanks to the implementation of research approach.
scripts created in a VPL (Visual Programming
BIM application to historic buildings, named
Language) environment. The use of visual
Heritage Building Information Modelling (HBIM),
programming can, for example, allow the
has shown benefits in managing heritage
extraction from the digital model of data that is
projects. The HBIM literature highlights the need
stored in tabular form for consultation and
for further research in terms of the overall
management in software tools more familiar to
processes of heritage projects, its practical
the actors involved, such as spreadsheet
implementation, the need of simplifying the
programs (Fig. 4-5).
laborious modelling task, and need for better
standards of cultural documentation.
Murphy defined HBIM as a new system of
modelling historic structures creating full 2D and
3D models, which include detail behind the
surface of the objects concerning its methods of
construction and material makeup. According to
Volk, HBIM is the dynamic database of a historic
building with an improved coordination of
construction documents, in which geometry,
spatial relationships, geographic information, and
other quantities or properties of building
components are structured and documented.
HBIM has been recently defined as the recording
Fig. 5. HBIM integration such as with VPL software of and modelling of existing buildings, generating
the Certosina complex, Pavia. (Source: own’s).
BIM geometry from point clouds (Dore and
This process of simplification through computer Murphy, 2017). So, using HBIM and online work
models is also functional to the management of platform prototype the interdisciplinary
the processes and of the different subjects stakeholders can unify and synchronize heritage
involved in the design project, particularly if on an information.
existing building. Several design figures find
It is composed by the broader categories of
themselves having to talk, often with a completely
building (walls, floors, roofs, windows, doors and
different language, with the ultimate and joint aim
rooms) by giving space to the formal and
of proposing an aware and operational design
typological than to the dimensional properties.
solution. Heritage architectural projects involve
Once completed, this kind of model, which can be
collaborative work between different
used to perform different kinds of analysis.
stakeholders. Traditionally, each discipline works
independently, generating dispersed data.
Another useful tool is BIM defined by UK 4. CONCLUSION
Government as “a collaborative way of working, The technology can become a useful tool for
underpinned by the digital technologies which designers able to synthesize all the information
unlock more efficient methods of designing, obtained and potentially obtainable over time in a
delivering and maintaining physical built assets. single support or model allows to have, on a single
BIM embeds key products and asset data in a 3D platform, a synthetic vision of the knowledge
computer model that can be used for effective acquired on a product. This system becomes
management of information throughout an assets fundamental, as advocated by Annoni, not only for
lifecycle” (Architectural, Engineering and the knowledge and diagnosis phase but also and
Construction (AEC) Initiative, 2015). With this above all for the planning, execution and
definition, BIM has evolved into a more open management and maintenance phases over time.
concept since it takes into consideration the These models can be implemented over time,
management of the whole lifecycle of the becoming a database, a box in which it is possible
to contain all the information on the monument.

This is in other words and with a technology and conservation on building. Through these
already advanced as expressed by Dezzi modeling systems it will be possible to read the
Bardeschi that explicitly states the need to obtain data either individually or in an integrated way, for
a clinical record of the monument-patient, a the purposes of the project, of the cataloging and,
useful tool for the knowledge phase and a tool for last but not least, of the management and
guiding and supporting the choices of intervention programming of maintenance over time.
REFERENCES
Annoni, Ambrogio. 1992. “Criteri e saggi per la conservazione e il restauro degli antichi edifici nel
moderno rinnovamento delle città”, Comunicazione n. 91 in occasione del Congresso di Tokyo del 1929.
In Grassi, Giorgio ed. L’architettura come mestiere e altri scritti. Milano: Franco Angeli. ISBN
9788820492588.
Bardelli, Pier Giovanni, Mangosio, Marika. 1999. “Più competenze per un progetto unitario: l'intervento
di restauro come luogo di apporti sovradiscipliari”. In Bardelli, Pier Giovanni ed. La Dimora della Reale
Mutua in Torino. Esperienze di restauro del Moderno. Firenze, Reale Mutua Assicurazioni, Octavo
Produzioni Editoriali Associate.
Benvenuto, Edoardo, Masiero, Roberto. 1997. “Sull'utilità e il danno della conservazione per il progetto”.
In Pedretti, Bruno ed. Il progetto del passato. Memoria, conservazione, restauro, architettura . Milano,
Bruno Mondadori, pag. 103. ISBN 9788842494461.
Boito, Camillo. 1988. “I restauri in architettura - Dialogo I”. In Crippa, Maria Antonietta. Camillo Boito -
Il nuovo e l’antico in architettura. Milano: Jaka Book, pag. 120. ISBN 9788816402232.
Campioli, Andrea. 1994. Il contesto del progetto. Il costruire contemporaneo tra sperimentalismo high-
tech e diffusione delle tecnologie industriali. Milano: Franco Angeli Editore. ISBN 8820481820.
Ceschi, Carlo. 1970. Teoria e storia del restauro. Roma: Mario Bulzoni Editore. ISBN 9788571190436.
Crespi, Roberto. 1990. Quattro lezioni di tecnologia dell’architettura. Milano: Franco Angeli.
Dezzi Bardeschi, Marco 1988. “La nuova conservazione e il destino dell’esistente”. In Torsello, Benito
Paolo. La materia del restauro. Tecniche e teorie analitiche. Venezia: Saggi Marsilio. ISBN
: 883175050X.
Dezzi Bardeschi, Marco. 1991. Restauro: punto e da capo. Frammenti per una (impossibile) teoria.
Milano: Franco Angeli. ISBN 9788856807875.
Dezzi Bardeschi, Marco. 2004. Restauro: due punti e da capo. Milano: Franco Angeli. ISBN
9788846455284.
Dore, C. and Murphy, M. 2017, “Current state of the art historic Building Information Modelling”, ISPRS
- International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences ,
XLII-2/W5. https://doi.org/10.5194/isprs-archives-XLII-2-W5-185-2017.
Fai, Graham, K., Duckworth T., Wood N. and Attar R. 2011. “Building information modelling and heritage
documentation”. In Proceedings of the 23rd International Symposium, International Scientific
Committee for Documentation of Cultural Heritage (CIPA). Prague, Czech Republic.
Monaco, Luciano, Santamaria, Armando. 1988. Indagini, prove e monitoraggio nel restauro degli edifici
storici. Napoli: Edizioni Scientifiche Italiane. ISBN 978-8881147311.
Murphy, Maurice, McGovern, Eugene and Pavia, Sara. 2009, “Historic building information modelling
(HBIM). Structural Survey”. Journal of Building Pathologies and Refurbishment, Vol. 27, no. 4, pp. 311–
327. ISSN 2398-4708. https://doi.org/10.1108/02630800910985108.
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BESANA, DANIELA
Torsello, Benito Paolo. 1988. La materia del restauro. Tecniche e teorie analitiche . Venezia: Saggi
Marsilio. ISBN 883175050X.
Torsello, Benito Paolo. 1997. “Conservare e comprendere”. In Pedretti, Bruno ed. Il progetto del passato.
Memoria, conservazione, restauro, architettura. Milano, Bruno Mondadori, pag. 103. ISBN
9788842494461.
Torsello, Benito Paolo. 2006. Figure di pietra. L'architettura e il restauro. Venezia: Marsilio editore.
ISBN 8831790889.
Volk, R., Stengel, J. and Schultmann, F. 2014, “Building Information Modeling (BIM) for existing
buildings. Literature review and future needs”. Automation in Construction, Vol. 38, pp. 109 –127. ISSN
0926-5805. https://doi.org/10.1016/j.autcon.2013.10.023.

Besana, Daniela. 2019. "Cultural Heritage design: theories and methods for the project complexity
management", EGE Revista de Expresión Gráfica en la Edificación , Nº 11, Valencia: Universitat
Politècnica de València. pp. 31-43. https://doi.org/10.4995/ege.2019.12864.

https://doi.org/10.4995/ege.2019.12869
APEGA, UPV
MAPS AND DRAWINGS OF THE ROYAL SITES AROUND

THE GUADARRAMA MOUNTAIN RANGE
MAPAS Y DIBUJOS DEL ENTORNO DE LOS SITIOS REALES

DE LA SIERRA DE GUADARRAMA
Pilar Chías Navarroa , Tomás Abad Balboab

a
Department of Architecture, University of Alcalá, Spain. pilar.chias@uah.es
b
tomas.abad@uah.es
Abstract
Many roads which still cross the Sierra Guadarrama have since the time of the Roman Empire served
as communication routes between the two plateaux located in the center of Spain. Somosierra,
Navacerrada, La Fuenfría and Guadarrama came into use in the period between the Middle Ages and
the 18th century as necessary mountain passes on the route from Bayonne (France) to Madrid and
Andalusia. They were progressively improved by the Bourbon kings, as was reflected in Spanish maps.
Due to their strategic location, they played an important role during the Peninsular War and were
therefore mapped by both French and British cartographers. Together with the maps compiled before
and after the war, these maps, most of them unpublished and located in Spanish archives, comprise a
collection of great interest. The aim of this research is 1/ to study and disseminate this important
collection, 2/ to analyse the collaboration of Spanish cartographers with their European colleagues
throughout the 18th century, and 3/ to analyse the influence of this cartography on post-war maps.
Keywords: Ancient Cartography; Royal Sites; Spain; Monastery of El Escorial; La Granja de San
Ildefonso.
Resumen
El origen de muchos de los puertos que actualmente atraviesan la Sierra del Guadarrama se remonta
a la época romana, constituyendo las vías de comunicación entre las dos Mesetas del centro peninsular.
Desde entonces y hasta el siglo XVIII Somosierra, Navacerrada, La Fuenfría y Guadarrama se
consolidaron como pasos de montaña en las rutas que unían Bayona (Francia) con Madrid y Andalucía.
Fueron objeto de mejoras durante los reinados de los Borbones, y representadas por la cartografía
española de la época. Debido a su situación estratégica, estos puertos jugaron un papel importante en
las guerras, y especialmente en la Guerra de la Independencia fueron cartografiados por los ejércitos
británico y francés. Esta importante colección de mapas anteriores y posteriores a 1814 permanece
inédita en su mayoría. Los objetivos de la investigación son: 1/ estudiar y difundir tan importante
patrimonio cartográfico; 2/ analizar las colaboraciones establecidas entre los cartógrafos españoles y
extranjeros; y 3/ analizar la influencia de estos mapas en la cartografía del siglo XIX.
Palabras clave: Cartografía histórica; Sitios Reales; Monasterio de El Escorial; La Granja de San
Ildefonso.
* Correspondence author: Pilar Chías, pilar.chias@uah.es

CHÍAS NAVARRO, P., ABAD BALBOA, T.
1. INTRODUCTION As these roads also led to the royal sites of San

Lorenzo de El Escorial (in the northwest of the
The present study covers a period of one hundred
province of Madrid and on the southern side of
years, during which time close relations were
the mountain range), Valsaín and La Granja de
established between the Bourbon kings who ruled
San Ildefonso (both in Segovia, on the northern
simultaneously in France and Spain.
side of the mountains), the documentation on
Collaboration in the field of cartography began in
them is particularly abundant and covers from the
1700, coinciding with the accession to the
16th century to the present day.
Spanish throne of Philip V, grandson of Louis XIV
of France, and lasted until the mid-19th century. The maps studied in the present research have
largely remained unpublished and have not
The westernmost passes of the Central System
previously formed the subject of a specific and
are located in the geographical area of the
contextualised monographic study. They are held
Guadarrama mountain range and include the
in major Spanish archives, in particular those at
Guadarrama and La Fuenfría passes. Historically
ºthe Ministerio de Defensa, the Biblioteca
therefore, the area has been considered strategic
Nacional de España and the Library and Archive
for routes between Madrid and Segovia, which
of the Palacio Real, all of them located in Madrid.
subsequently extended as far as Paris via Burgos
and Bayonne (Fig. 1).
Fig. 1. Anonymous 1750, Mapa en el que se demuestra la dirección de la parte del Camino de Castilla. Manuscript
map of the Camino Real (Royal Road) from Madrid to Segovia. Approximate scale 1:178,000. Size 23.3 x 145.0 cm.
Projected road is indicated as well as the points where culverts and bridges over streams and ravines were to be
built. (Courtesy of Archivo Cartográfico y de Estudios Geográficos del Centro Geográfico del Ejército, Ministerio de
Defensa, Madrid. Bookmark: Madrid 127).
With regard to the precedents, it is important to monograph on the architecture of the Reales
take note of two catalogues: one covering the Sitios (Sancho 1995) which includes an image of
exhibition held on the occasion of the centenary the Villanueva plan which was not studied in
of the outbreak of the War: Madrid 1808 (2008), detail (Fig. 2), and the studies by Chías and Abad
and the other published by the Spanish Ministerio (2014, 2016, 2016a, 2016b).
de Defensa (2008). It can also be mentioned the
Fig. 2. Juan de Villanueva 1788, Plan que demuestra el trozo de camino que se proyecta ejecutar desde el Real
Sitio de San Lorenzo hasta unirse con el camino antiguo que desde el mismo Sitio conduce a El Campillo y
Guadarrama. Manuscript map developed by the architect of the Prado Museum, who designed a baroque urban
plan for San Lorenzo de El Escorial. Size 180 x 807 mm; approximate scale 1:13,500 (Courtesy of Archivo del Palacio
Real, Patrimonio Nacional, Madrid. Bookmark: 718)

MAPS AND DRAWINGS OF THE ROYAL SITES AROUND THE GUADARRAMA MOUNTAIN RANGE
2. THE HISTORIC CONTEXT France and other European countries with the aim
of improving marine navigation at sea. Three
The first Spanish king of the Bourbon dynasty was
years later, Tomás López was sent to Paris by the
Felipe V, grandson of the French King Louis XIV,
Marqués de la Ensenada to be trained as a
who came to the throne in 1700. Since then, and
cartographer by Bourguignon d'Anville. And in
throughout the eighteenth century, the mutual
1753 the astronomer Louis Godin was appointed
influence and the cooperation between military
as director of the Academia de Guardias Marinas
cartographers and engineers from both countries
(Midshipmen Academy) in Cádiz.
was continued and upheld by the Pacte de
Famille. Although this close cooperation was not Another example of Spanish-French cooperation
widespread, it nevertheless materialised in the occurred in 1776 when José Varela took part in
training of Spanish cartographers in France and the hydrographic and astronomical campaigns
the creation of Academies in Spain imitating directed by Jean-Charles Borda which were
French institutions, as well as in the development jointly developed in the Canary Islands and on the
of common cartographic projects. One of these western coast of Africa. A decade later, the
projects was to create a general map of Spain, an Comisión de Límites (Border Commission) which
undertaking which had its origin in 1740 and can consisted of both Spanish and French officers,
be compared to the Carte de Cassini (Fig. 3). was created to map the border between Spain
and France in the Pyrenees and, in 1792, a joint
project was undertaken on the prolongation of the
meridian between Paris and Barcelona.
The results of a century of cartographic,
astronomic and geodetic collaboration led to a
similar training of cartographers in both countries.
However, the main difference between the
cartographic production in Spain and France was
the very different nature of the political support
that cartographic initiatives received on both
sides of the Pyrenees.
The Peninsular War (1808-1814) wrought a
change on Enlightened reformist projects, and
especially on scientific mapping at national scale,
of which only a few isolated geodetic
observations remained. All this would be
insufficient to produce the large map of Europe
that Napoleon dreamed of.
Fig. 3. Francisco Lorenzana 1783, Mapa geográfico y

3. SPANISH MAPS PRIOR TO THE TREATY OF
topográfico de los contornos de Madrid. Detailed
manuscript map of the Madrid surroundings describing FONTAINEBLEAU (1807)
both the old road crossing the pass of La Fuenfría and With the exception of the Spanish coastline,
the new one across Guadarrama. It also depicts the
which had been accurately mapped by Tofiño in
grids used for topographic and geodetic work.
his Atlas Marítimo (1789), the cartography of the
Approximate scale 1:130,000. Size 110.9 x 137 cm.
(Courtesy of Archivo Cartográfico y de Estudios
Peninsula at the beginning of the 18th century
Geográficos del Centro Geográfico del Ejército, presented some notable deficiencies. These were
Ministerio de Defensa, Madrid. Bookmark: Madrid 5) denounced by the military and by politicians
imbued with Enlightenment ideas: "Geographical
As an example of the cooperation between Spain
maps. There are no accurate maps of the kingdom
and France, the teamwork between the eminent
or its provinces; nobody knows how to engrave
Spanish mariners and scientists Jorge Juan and
them, nor do we have any others than the
Antonio de Ulloa during the expedition of 1735-
imperfect ones produced in France and the
1746 must be highlighted. An undertaking which
Netherlands. Consequently, we do not know the
continued in 1748-1749 with commissions in

true location of towns or their distances, which is

a shameful state of affairs. […] The benefit that
would accrue from this measure is not limited to
a knowledge of the specific location of each
place; it would illustrate the extent of the territory,
[...] the course of rivers, the places they could
irrigate, and the navigation for which they could
be used, the use and exploitation of land, with the
harvests that could be produced, the royal and
private roads, and other information important for
good governance by the monarchy and for the
advancement of trade. It would tell us how many
feet Spain as a whole and each of its provinces
measures [...] and in which locations [...] to
establish factories, which is one of the most Fig. 4. Pedro de Esquivel c1538-c1545, Atlas of the
delicate points that may arise". (Marqués de la Escorial. Index Map (fols. 1v-2r). Scale approximately
Ensenada, Puntos de Gobierno, 1748; cit. en 1:2,600.000. A map of compilation in 20 sheets, each
Rodríguez Villa 1878: 161-162). one measuring 440 x 590 mm. (Madrid, Library of the
Monastery of El Escorial, Bookmark MS. K.1.1).
The Carte de Cassini became the model to follow,
so that between 1751 and 1807 several projects Nonetheless, a large number of local and route
were proposed to produce a map of Spain by maps were produced throughout the century,
scientific methods and create the corresponding most of which were hand drawn and relatively
name index. This last proposal was made by the accurate. Many of them were created as a result
distinguished cartographer Felipe Bauzá (Barber of the Bourbon monarchy's desire to improve land
1996), who reasoned that "without a good and river communications inside the country as
geographical map, the government cannot design the basis for stimulating economic development,
roads or canals, nor know how rivers should be which required the production of numerous hand-
connected or their limit of navigability [...] nor can drawn, accurate maps (Fig. 5). These maps
they ensure the people's welfare; nor can they focused on strategic points such as the mountain
select the essential locations for the country's passes, or on areas that were of particular
defence, in other words, provide the means for its interest, such as Crown properties, the environs
preservation and security" (Bauzá 1970). of major cities such as Madrid, and town plans.
Unfortunately, these initiatives remained

incomplete due to a lack of sustained support
from the government. As a result, the only maps
drawn on a sufficiently large scale that were
available in the mid-eighteenth century in
peninsular Spain were the hand drawn maps by
Pedro de Esquivel (Crespo and Vicente 2014)
(Fig. 4) and an incomplete map attributed to the
Fig. 5. Francisco Nande 1749, Mapa del Puerto de
Jesuits Carlos Martínez and Claudio de la Vega
Guadarrama y sus contornos en que se demuestra la
(1739-1743; Biblioteca Nacional de España, nueva carretera. Manuscript map of the new road
Bookmark Mr/033/224). crossing the pass of Guadarrama, which makes a
There were also the general and regional maps distinction between the works already carried out and
those just planned. Approximate scale 1:24,000
printed by Tomás López, which were produced by
(Courtesy of Archivo Cartográfico y de Estudios
means of a desk study rather than fieldwork,
Geográficos del Centro Geográfico del Ejército,
compiling information from various sources Ministerio de Defensa, Madrid. Bookmark: Madrid 126)
(Manzano-Agugliaro, Fernández-Sánchez and
San Antonio 2013). However, these maps were The maps of roads that started in Madrid and led
unsuitable for military purposes due to the use of northwards, crossing the Central System via the
different scales - between 1:400,000 and passes of Guadarrama, La Fuenfría or
1:164,000 - and their inaccuracy. Navacerrada, formed part of this series. These

routes also connected the capital with the royal of the armies and light artillery. His strategies and
forest of El Escorial and with the royal sites of El stages necessitated careful planning, and this in
Pardo, La Granja de San Ildefonso and Valsaín. turn required a detailed and accurate knowledge
Drawn between 1749 and 1788, these maps were of the terrain, topography and hydrography. It was
very accurate, as can be seen when compared necessary to possess information about the roads
with present day maps. and their characteristics - slopes, surfaces,
capacity, fords, bridges, etc. - as well as the
The map by Juan de Villanueva (Fig. 2) is of
distances and the time required to cover them.
particular interest because it applies the criteria
Given that the French army could advance
of Baroque scenography to the road drawn
approximately one league - about 3.9 km - in half
between San Lorenzo and Guadarrama, clearly
an hour, in one day it could cover between twenty
depicting the circular plazas located rhythmically
and thirty kilometres, and even forty on a forced
along the route, as well as the three main roads
march (Castañón and Puyo 2008). It was equally
starting close to the town of the royal site that
important was to possess information about the
comprise its urban section (Chias 2013 and 2014;
surroundings of these routes.
Chias and Abad 2012 and 2014b).
Details of the vegetation - forests, shrubs, crops
- was also essential, since it might conceal enemy
4. CARTOGRAPHY IN FRANCE DURING THE troops, slow progress or hinder supplies. It was
CONSULATE also necessary to identify the most suitable
The need to adopt new methods and criteria in places for setting up camp, stocking up on water
cartographic representation in order to transmit and food and obtaining other types of supplies, as
information accurately and unambiguously was well as to ensure the maintenance of
early detected by General Sanson, director of the communications.
Depot de la Guerre, the body responsible for Possession of this information required
cartographic documentation. topographic maps drawn at scales between 1:20
Between September and November of 1802, a 000 and 1:100,000, and a general map of Spain at
commission was created in France to simplify and a scale of 1:200,000. However, the geographical
unify map symbols and conventions and the information that Napoleon needed also required
criteria to apply to topographical maps and the production of long-distance route maps, 1st,
drawings. Its findings were published in the 2nd and 3rd order surveys, town maps, plans of
Memorial topographique et militaire and were fortifications, visual inspections, battle maps and
later repeated in numerous practical manuals drawings of war events.
(Hayne 1806).
Thereafter, important criteria were established 6. FRENCH CARTOGRAPHY OF SPAIN
such as the use of the decimal system for
To meet these needs, Napoleon created several
measurements and scales, reference to the origin
cartographic corps that did not work in
of the altitude scale at sea level, the elimination
coordination. In 1807, he organised the Dépôt de
of representation of geographical elements in
la Guerre, composed of geographical engineers.
perspective or flattened, and the standardisation
Other corps included the Staff Officer's Corps, the
of symbols and the use of colour. The criterion for
Genie or Engineering Corps and the Cabinet
representing the relief by means of maximum
Topographique de l'Empereur.
slope lines was improved with the introduction of
shading, which would make "the drawing of maps Since its inception, the Dépôt de la Guerre began
an art of imitation, a new genre of geometric to gather all the maps of Spain which were held
painting" (Bacler d'Albe 1803:21). in France (Villèle 2008). To their surprise, the
available printed cartography was limited to a
French translation of Tofiño's Atlas Marítimo, of
5. CARTOGRAPHY AS A RESPONSE TO THE excellent quality and accuracy, the 1799 Carte
NEEDS OF WAR d’Espagne et de Portugal in nine sheets by Pierre-
The innovative military tactics that Napoleon Gilles Chanlaire, at an approximate scale of 1:1
deployed in his campaigns relied on the mobility 000 000, the 1774 Carte d'Espagne et Portugal

comprenant les Routes des Postes et autres de might exist in public archives such as the War and
ces Royaumes in six sheets by Brion de la Tour, Naval Depository in Madrid and the archives of
drawn to an approximate scale of 1:1 380 000, the scientific societies, provincial universities, the
map of the Pyrenees by Roussel and La Blottière nobility and the church, etc. The same care must
published in 1730 and not updated, and lastly, an also be taken to obtain astronomical and
incomplete copy of an outdated edition of the trigonometric results" (Sanson 1808).
Atlas by Tomás López.
This deficiency was exacerbated by a lack of
There was also a series of hand drawn maps knowledge about the rugged topography of the
representing small areas of the country, which Peninsula due to inaccuracies in representations
mostly dated back to the War of the Spanish of the relief, which was drawn following the
Succession, were very outdated and of little use. techniques of Philippe Buache, consisting of first
The same was the case of the 1768 survey drawing the river network, before then filling in
conducted by General de Grandpré on the border the mountain ranges. The description by Jean-
at Alduides. Baptiste Bory de Saint-Vincent (1823:7) of his
experience in the Peninsular War is an accurate
To judge from this limited collection, Napoleon
reflection of the lack of reliable topographic
did not have the necessary accurate maps of the
information: "Confused by such indications, the
whole of Spain. The situation was described in
soldier makes his calculations about obstacles or
February 1808 by General Sanson: "the paucity of
defensive points that he will not find anywhere;
engraved topographic materials on Spain has
the naturalist dreams of rugged terrain conducive
imposed on the geographical engineers of the
to his research, but this will be transformed into
Bureau the duty to urgently collect, with all
an arid and horizontal plain".
possible devotion and the most painstaking care,
everything that they know to exist or suspect
Fig. 6. Comisión de Jefes y Oficiales a las órdenes del Ministro de la Guerra [1795], Mapa itinerario de los contornos
de Madrid. Spanish itinerary showing the environment of the Monastery of El Escorial and the road to Guadarrama
pass, along which there are signs such as a red hand showing where bandits used to hide. Size 411 x 650 mm
(Courtesy of Archivo Cartográfico y de Estudios Geográficos del Centro Geográfico del Ejército, Ministerio de
Defensa, Madrid. Bookmark: Madrid 136)

French officials were unaware that the Spanish by Commander Auguste Chabrier. This
troops were frequently accompanied by the cartographic unit, which remained active until
Company of Guides, who knew the terrain and 1811, was composed of French geographical
provided the information that was rarely engineers. From the outset, they faced numerous
contained in maps. The map drawn up by the problems such as permanent interference from
Commission of Spanish Chiefs and Officers and Paris, contradictory orders, a constant reduction
dated around 1795 accurately identified in the number of personnel, and the
hazardous points on the roads leading to the aforementioned absence of useful maps of Spain
Sierra and San Lorenzo where highwaymen could in the French archives (Fig. 7)
hide. These are indicated in the legend next to an
Among their tasks was that of producing a Carte
extended red hand: "Sites where thieves usually
des postes et étapes d’Espagne, an assignment
position themselves due to the thicket that hides
that was carried out by Chabrier on a scale of
them and the vast expanse of country that can be
1:1,000.000 and was completed and sent to Paris
seen from there". In addition to its graphic clarity,
in 1809. This map was probably the origin of the
the map is notable for its ornamentation,
later military map of the Peninsula.
concentrated on the left-hand side (Fig. 6).
Simultaneously, maps were drawn of stages at
In order to obtain geographical information about
provincial and local scale, which contained the
the Iberian Peninsula and produce the necessary
information collected on the ground concerning
maps, on February 27th 1808 Napoleon created
the quality and surface of the roads, the state of
the Bureau topographique de l’Armée d’Espagne,
bridges and fords, the slopes, and the vegetation
reporting to the Dépôt de la Guerre and directed
(Núñez de las Cuevas 1991: 190).
Fig. 7. Bureau topographique de l’Armée d’Espagne [1808], Route de Ségovie à Madrid. Detail of a French
manuscript map depicting the pass of Guadarrama and the Royal Woods of El Escorial, which was drawn following
the new cartographic conventions. Approximate scale 1:13,000; Size 1351 x 448 mm (Courtesy of Archivo
Cartográfico y de Estudios Geográficos del Centro Geográfico del Ejército, Ministerio de Defensa, Madrid.
Bookmark: Madrid 137-3)

The second group of French cartographers was The French maps were the result of surveys on
formed by specialised officers from the general the ground, conducted in the face of open hostility
staff. They were placed under a commanding from the population and difficulties in
officer to help them with their decisions and communications. The maps were frequently
devoted themselves in many cases to carrying out intercepted, preventing the flow of information -
surveys on the ground. not only cartographic - between the troops in the
Peninsula and Paris.
Finally, the Genie or Engineering Corps was
responsible for directing sapper companies, The French army produced highly accurate maps
which were essential in sieges and to garrison which were accompanied by descriptive reports.
strongholds. They thus focused their cartographic It also produced military routes, maps of cities
work on surveys of fortifications, which were and fortifications, and depictions of battles and
often carried out "by visual inspection" and with other war events.
little accuracy, but which were nevertheless very
Unfortunately, the difficult working conditions
useful.
and the absence of a complete geodetic network
Following the guidelines of the Memorial in Spain meant that the maps produced during the
topographique, they also made numerous Peninsular War did not serve Napoleon's purpose
drawings of the landscape, some of which were of creating a general map of the Peninsula that
engraved after the war and were used to illustrate could be linked to European cartography.
travel books such as the aforementioned one by Nevertheless, Chabrier's initiatives of drawing a
de Bacler d'Albe (Fig. 8). map at 1:1,000.000 and commencing a series of
military maps at 1:100,000 can be considered
especially important.
Neither did the large volume of work carried out
have any military use beyond the specific military
campaigns, since there was no effective system
of reproduction available that would have made it
possible to distribute the maps among the army
commanders. In fact, it was common for the
original maps themselves to be circulated around
Spain in the midst of war, exposing them to
damage and loss.
7. SPANISH CARTOGRAPHY DURING THE

PENINSULAR WAR
French cartography had a very beneficial effect on
the maps produced by Spanish cartographers
because it promoted the introduction of the
modern cartographic techniques established by
the Commission topographique of 1802.
Consequently, Spanish cartographers adopted
the use of decimal metric system units, new
methods of representing relief, and more or less
Fig. 8. Baron Louis Albert Ghislain Bacler d’Albe 1820- conventional cartographic symbols, paying
1822, Souvernirs pittoresques du Général Bacler special attention to the representation of
d’Albe. Monument élevé sur le sommet du Guadarrama, vegetation and crops, and they began to define
á la limite des deux Castiles. Size, 201 x 141 mm the geographical characteristics of the environs of
(Courtesy of Museo de Historia de Madrid, Madrid. towns and roads with greater accuracy, even
Bookmark: IN 2003/17/598) including information about the times needed to
cover distances (Fig. 9).

the National Library of Spain (Bookmark

GMG/858 and GMG/859) containing sixty-six
printed maps grouped into two volumes; it is
known as the Wellington Atlas because it
preserves an autograph of the general on the
flyleaf, and is dated to 1810 (Fig. 10).
Fig. 10. Tomás López Atelier 1810, Atlas Geográfico de

España. Mapa de la provincia de Madrid, comprehende
el Partido de Madrid y el de Almonacid de Zorita. This
map was composed in 1773. Along the right side appear
notes made by a British officer; there is also a red line
drawn in pencil indicating one of the routes. Scale
1:230,000. Size 340 x 385 mm (Courtesy of Biblioteca
Nacional de España, Madrid. Bookmark: GMG/832)
8. CARTOGRAPHY IN THE POST-WAR PERIOD

Despite the large number of maps intercepted in
the French post, most of those produced by
Napoleon's army were unknown to Spanish
cartographers until the decade of 1820s.
Nonetheless, the usefulness of these maps was
evident in the post-war period both in terms of
Fig. 9. Depósito de la Guerra [1809], Plano de los reproducing them for commercial purposes, and
alrededores de Madrid. Spanish copy of the French
of stimulating interest to complete the
map Land compris et depuis Somosierra jusq'à Tolède
cartographic projects commenced. The
Ocana, at a scale of 1:100,000, located in the Service
Historique de la Défense in Vincennes, Bookmark: unpublished geographical information and
L12B3 343. Three sheets of 161 x 65 cm (Courtesy of cartography that had accumulated concerning the
Archivo Cartográfico y de Estudios Geográficos del Peninsula might not only be useful, but also
Centro Geográfico del Ejército, Ministerio de Defensa, profitable.
Madrid. Bookmark: Madrid 144)
At the end of the war, some of the French officers
Meanwhile, despite their known inaccuracies, the who had worked in Spain during the war, such as
maps drawn up by Tomás López were frequently Bory de Saint-Vincent and Calmet-Beauvoisin,
used during the war by the English, French and proposed concluding the abandoned work on the
Spanish armies alike. Even Wellington used them general map of Spain and the 1:100 000 map,
during his campaigns of 1809 and 1814, guided not only by scientific but also commercial
confirming their scant reliability. This fact is interest. However, the "hundred days of
supported by the existence of a factitious atlas in Napoleon", which marked the return of Napoleon,

delayed these projects, which would not begin to Peninsula which remained in use until the mid-
materialise until the decade of 1820s. twentieth century, but also developed a concept
of the orography, which was subsequently
followed by Alexandre Laborde, among other (Fig.
11).
For his part, Marie-Antoine Calmet-Beauvoisin
leveraged his knowledge and experience in
l'Armée d'Espagne and his ability to access funds
from the Dépôt de la Guerre to carry out a
mapping project that consisted of publishing - by
subscription - a new atlas of Spain and Portugal
to an approximate scale of 1:200 000, which
would include maps of major towns. However,
publication was delayed for various reasons, and
the project was finally abandoned in 1830.
In addition, spurred by the entry into Spain in 1823
of the “hundred thousand sons of Saint Louis”,
the work begun in the military campaigns was
continued, although this time with Spanish and
French cartographers working in collaboration.
During this period, Capitaine's map of France at a
scale of 1:345,600 was extended southwards, and
work continued on the military route map at a
scale of 1:740,000, writing the corresponding
descriptions and reports and lithographing the
resultant cartography. Fieldwork and visual
surveys at a scale of 1:20,000 were completed, as
well as a series of descriptions and statistics that
are held in the French military archives and the
Spanish Ministry of Defence archives.
The Map of the Surroundings of Madrid in forty-
eight sheets was produced during this period and
was based on surveys conducted by Joseph
Charles Marie Bentabole in 1809, improving its
accuracy by means of a new triangulation
measurement in June 1823. Although de Castres,
Fig. 11. Alexandre Laborde 1837, Atlas itinerario de
the director of the work, was required to return to
España. Pl. 8: Route de Burgos à Buitrago. 200 x 90 mm.
France before completion of the map, it was
(Courtesy of Biblioteca Nacional de España, Madrid.
Bookmark: GMG/1177)
concluded in November 1824 under the
supervision of the staff officers Desjardins and
Among other things, Bory de Saint-Vincent wrote Harmois, who were responsible for representing
a report on the physical geography of the Iberian the topography by means of hachures, which was
Peninsula which he included in his Guide du already outdated by this time (Castañón, Puyo
voyageur en Espagne. He based his maps on and Quirós 2008) (Fig. 12).
original documents and the experience he had
gained during the campaigns, taking particular From 1827 until 1840, the second stage of the
care to avoid using the symbols employed in the work was conducted by teams of Spanish and
pre-war maps that had caused such confusion French cartographers and geodesists, who
when compared with reality. As a scientist, carried out intensive field work. As an example,
geographer and naturalist, he not only proposed maps of the environs of Madrid and the Sierra
names for the main mountain ranges in the were extended northwards on a scale of 1:50,000
(Fig. 13).

Fig. 12. Depósito de la Guerra 1823-1824, Plano de los alrededores de Madrid. Spanish manuscript copy of a French
map in forty-eight sheets; in the upper left is indicated the "Parque de El Escorial". Sheet 1, onionskin Approximate
scale of 1:13,000, Size 351 x 448 mm (Courtesy of Archivo Cartográfico y de Estudios Geográficos del Centro
Geográfico del Ejército, Ministerio de Defensa, Madrid. Bookmark: Madrid 137-1 (2))
Fig. 13. Hipólito Obregon, José Coello and Benigno de la Vega 1856, Plano de Madrid y sus contornos. Spanish
manuscript map on 9 sheets, each sheet approximately 700 x 790 mm. Scale 1: 10,000. Contains details of the
buildings, facilities and services of Madrid, as well as detail of the surrounding crops, boundaries, and some data
about the accommodation of troops (Courtesy of Archivo Cartográfico y de Estudios Geográficos del Centro
Geográfico del Ejército, Ministerio de Defensa, Madrid. Bookmark: Madrid 61(1)

One of the most important consequences of these the difference observed between maps produced
agreements and joint campaigns between the two in Spain and those produced in France was due to
States was undoubtedly that the eminent Spanish the fact that scientific and cartographic work
cartographer, Francisco Coello, was able to received very different levels of political support
consult French maps of Spain in Paris. This in the two countries, in such a way that projects
enabled him to start his Atlas of Spain and her in France made more progress than those in
Overseas Possessions in 1844, and its provincial Spain.
maps (on a scale of 1:200,000), maps of urban
The distribution of hand drawn Spanish maps was
environs (1:100,000), and maps of towns
also very different; these were rarely printed since
(1:10,000 to 1:20,000) would accompany Pascual
they were subject to the requirements of secrecy
Madoz's Geographical and Statistical Dictionary.
which had been implemented since the 16th
Although Coello's project was never completed,
century as regards maps of the Spanish Crown's
his incorporation together with Madoz and
territories.
Figuerola onto the Statistical Commission led to a
decisive change in cadastral work and launched The importance of the maps produced as a result
modern cartography of Spain (Nadal and Urteaga of this collaboration is evident. Spanish archives
1990), finally enabling completion of the national hold a large collection of maps dating back to the
geodetic network and the national topographic period prior to the Peninsular War, but also of
map at a scale of 1:50,000, the origins of which maps drawn both during and after the war. For the
dated back in the middle of the 18th century. most part, these remain unpublished.
The collection primarily consists of hand drawn
maps at different scales, but also includes routes,
9. CONCLUSIONS
geodesic work, local and town maps, plans of
The fact that the Bourbon dynasty reigned in both fortifications, and visual surveys. Maps of the
Spain and France throughout the eighteenth mountain passes in the Central System
century facilitated Spanish-French collaboration connecting the capital of Spain with the north
on scientific and cartographic matters: several comprise one example of this important
Spanish cartographers were trained in Paris; cartographic heritage.
cartographic institutions and bodies were created
Lastly, the influence of mutual cooperation
in Spain very soon after similar ones had been
between Spanish and French cartographers
founded in France; Spain enacted the
proved decisive in the development of modern
corresponding regulations and ordinances of
Spanish cartography.
engineers; scientific instruments were acquired in
France and Great Britain and studies were made The need to disseminate the historical
of their observatories and advances in navigation; cartographic collection available on the study
and many joint Spanish-French campaigns were area has led us to create a 'digital map library' at
initiated. the University of Alcalá. The aim of this project,
entitled Ancient Spanish Cartography e-Library, is
After a century of collaboration in the fields of
to facilitate the access to and study of Spanish
cartography, geodesy and astronomy, the training
cartographic heritage via the Internet (Chias and
and expertise of professional cartographers was
Abad 2010 and 2012b).
similar on both sides of the Pyrenees. However,
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Topographique et Militaire, no. 5, pp. 65-91.
Barber, Peter. 1996. “Riches for the Geography of America and Spain”. British Library Journal, vol. 12,
no. 1, pp. 28-57. ISSN 1478-0259
Bauzá, Felipe. 1970. “El Mapa de España: Discurso en la Real Academia de la Historia en 1807”. Revista
General de Marina, no. XII, pp. 607-614. ISSN 0034-9569
Bory de Saint-Vincent, Jean-Baptiste. 1823. Guide du voyageur en Espagne. Paris: L. Janet.
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Castañón, Juan Carlos and Puyo, Jean-Yves. 2008. “La cartografía realizada por el ejército napoleónico
durante la Guerra de la Independencia”. Madrid 1808, Guerra y territorio. Madrid: Ayuntamiento de
Madrid, pp. 67-108. ISBN 978-84-7812-699-6
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Ayuntamiento de Madrid, pp. 109-127. ISBN 978-84-7812-699-6
Chías, Pilar. 2013. “Territory and landscape surrounding the Monastery of San Lorenzo de El Escorial:
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http://dx.doi.org/10.4995/ega.2013.1687
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CSIC, pp.29-42. ISBN: 978-84-617-5584-4
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Spanish Ancient Cartography”. In Markus Jobst (ed.) Preservation in Digital Cartography. Archiving
Aspects. Berlin: Springer Verlag, pp. 181-206. ISBN: 978-3-642-12732-8
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Escorial. Water, territory and landscape”. Informes de la Construcción, vol. 66, no. 536: e046,
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
MAPAS Y DIBUJOS DEL ENTORNO DE LOS SITIOS REALES
DE LA SIERRA DE GUADARRAMA
1. INTRODUCCIÓN La necesidad de que España dispusiera de una

cartografía moderna y actualizada había quedado de
La cartografía que es objeto del presente estudio ha
manifiesto durante la Guerra de Sucesión Española
permanecido hasta ahora inédita en su mayor parte, y
(1701-1713) desencadenada tras la muerte sin
no ha sido objeto de un estudio monográfico y
descendencia de Carlos II, el último rey de la dinastía
contextualizado independiente.
Habsburgo. Desde la llegada al trono de España del
Se trata de los mapas realizados en torno a la Guerra primer rey Borbón y a lo largo de todo el siglo XVIII, los
de la Independencia española que se conservan en los Pactos de Familia propiciaron la influencia francesa en
principales archivos españoles, y en particular en los España en todos los ámbitos relacionados con la
del Ministerio de Defensa, la Biblioteca Nacional y el producción de mapas.
Palacio Real, todos ellos en Madrid.
Este influjo se concentró en tres líneas de actuación:
En el ámbito temporal, el estudio abarca un periodo de se fomentó la formación en París de los responsables
cien años, durante los cuales se establecieron de la redacción de mapas, se realizaron numerosas
estrechas relaciones entre los reyes de la dinastía campañas cartográficas y geodésicas conjuntas en las
Borbón, que gobernaban simultáneamente en Francia que intervinieron cartógrafos e ingenieros militares de
y en España. Las colaboraciones en materia ambos países, y se crearon nuevas instituciones
cartográfica empezaron en 1700 coincidiendo con la siguiendo los precedentes franceses. El objetivo final
llegada al trono de España de Felipe V, nieto del rey de era la realización de un mapa general de España
Francia Luis XIV, y se prolongaron hasta la mitad el comparable a la Carte de Cassini.
siglo XIX.
La formación de los cartógrafos y grabadores se
En este ámbito geográfico de la Sierra del Guadarrama desarrolló principalmente en París y Londres. Se
se encuentran los pasos más occidentales del Sistema beneficiaron de estas estancias cartógrafos, ingenieros
Central, entre los que destacan los puertos de militares y marinos tan importantes como Jorge Juan y
Guadarrama y La Fuenfría. En consecuencia, se trata Antonio de Ulloa (1748-1749), Tomás López (1752),
de una zona históricamente considerada como Jiménez Coronado (1785), y Mendoza y Ríos (1789),
estratégica para las comunicaciones entre Madrid y que aprovecharon sus estancias para realizar labores
Segovia, que se prolongaban hasta París a través de de espionaje. Otros oficiales fueron comisionados para
Burgos y Bayona (Fig.1). adquirir instrumentos científicos, libros y otros
materiales que serían destinados tanto a los distintos
Por otra parte, el hecho de que estos caminos reales
observatorios españoles como al Gabinete Geográfico
condujeran también a los Reales Sitios de San Lorenzo
de Madrid.
de El Escorial –al noroeste de la provincia de Madrid y
en la ladera meridional de la sierra-, Valsaín y La Granja A lo largo del siglo XVIII también se desarrollaron
de San Ildefonso –ambos en Segovia, en la vertiente numerosas campañas cartográficas e hidrográficas en
septentrional-, hace que la documentación existente las que colaboraron científicos y técnicos de ambos
sobre ellos sea particularmente abundante y abarque países. Además de la célebre expedición al Perú
desde el siglo XVI hasta la actualidad. dirigida por Godin y La Condamine para medir el grado
del meridiano, en la que participaron Jorge Juan y Ulloa
Entre los antecedentes se pueden citar dos catálogos
(1735), hubo otras muchas menos conocidas. En 1776
de exposiciones celebradas con motivo del centenario
José Varela participó en las campañas hidrográficas y
del comienzo de la Guerra: Madrid 1808 (2008) y el
astronómicas dirigidas por Jean-Charles Borda, que se
editado por el Ministerio de Defensa español (2008).
desarrollaron conjuntamente en las Islas Canarias y la
También cabe citar la monografía sobre la arquitectura
costa occidental de África. Una década después, se
de los Reales Sitios (Sancho 1995), que incluye una
creó la Comisión de Límites compuesta por militares
imagen del plano de Villanueva (Fig.2) aunque sin
españoles y franceses para cartografiar la frontera de
estudiarla en detalle. Entre los estudios más completos
los Pirineos entre España y Francia (1786-1792), y en
sobre la cartografía de la zona hay que citar los de
1792 tuvieron lugar los trabajos conjuntos para la
Chías y Abad (2014, 2016, 2016a, 2016b).
prolongación del Meridiano de París hasta Barcelona,
que se completarían en una segunda campaña entre
1803 y 1806.
2. EL CONTEXTO HISTÓRICO

EGE - Revista de Expresión Gráfica en la Edificación, Nº XX, ISSN: 2605-082X, 2019 X.58
La tercera línea de actuación se concentró en la Lamentablemente estas iniciativas no llegaron a

creación, a imagen de los precedentes franceses, de completarse por carecer de un respaldo gubernamental
instituciones para la formación de los cuerpos militares continuado. En consecuencia, los únicos mapas
y de los oficiales de Marina, así como en la organización disponibles a mediados del siglo XVIII de la España
y custodia de la producción cartográfica y de trabajos peninsular, dibujados a una escala suficientemente
hidrográficos. Para ello se creó el Cuerpo de Ingenieros grande, eran los manuscritos de Pedro de Esquivel
Militares (1711) a semejanza del de los Ingénieurs pour (Crespo and Vicente 2014) (Fig.4) y el incompleto
les camps et armées franceses (1691). También se atribuido a los jesuitas Carlos Martínez y Claudio de la
fundaron la Academia de Guardiamarinas de Cádiz Vega (1739-1743; Biblioteca Nacional de España,
(1717), los Reales Observatorios de Cádiz (1753) y Bookmark Mr/033/224).
Madrid (1790), el Depósito Hidrográfico (1789), el
También se disponía de los mapas generales y
Gabinete Geográfico (1795), y la Dirección de Trabajos
regionales impresos de Tomás López, que habían sido
Hidrográficos (1797).
compilados en gabinete reuniendo informaciones
diversas, pero sin realizar trabajos de campo
(Manzano-Agugliaro, Fernández-Sánchez and San
3. LA CARTOGRAFÍA ESPAÑOLA ANTES DEL
Antonio 2013). Pero estos mapas resultaron
TRATADO DE FONTAINEBLEAU (1807)
inadecuados para un uso militar debido a la falta de
Con la excepción de las costas españolas que habían homogeneidad en las escalas –entre 1:140.000 y
sido cartografiadas con precisión por Tofiño en su Atlas 1:640.000- y a su imprecisión.
Marítimo (1789), la cartografía de la Península a
Sin embargo, a lo largo del siglo se había dibujado un
comienzos del siglo XVIII presentaba unas deficiencias
gran número de mapas a escala local e itinerarios, la
notables. Éstas eran denunciadas por los militares y los
mayoría manuscritos y bastante precisos. Muchos de
políticos imbuidos de ideas Ilustradas: “Cartas
ellos fueron el resultado del interés de los Borbones por
geográficas. No las hay puntuales del Reino y de sus
mejorar las comunicaciones terrestres y fluviales del
provincias; no hay quien las sepa grabar, ni tenemos
interior del país, como base para fomentar su desarrollo
otras que las imperfectas que vienen de Francia y
económico, lo que requirió la redacción de numerosa
Holanda. De esto proviene que ignoremos la verdadera
cartografía manuscrita y muy precisa (Fig.5).
situación de los pueblos y sus distancias, que es cosa
vergonzosa. […] El beneficio que producirá esta Estos mapas se centraron en puntos estratégicos como
providencia no se limita al conocimiento de la situación los pasos de montaña, o en áreas que eran objeto de
puntual de cada lugar; pondrá a la vista la extensión de un interés particular, como las propiedades de la
su territorio, […] el curso de los ríos, los términos que Corona, los contornos de ciudades importantes como
pueden regar, y la navegación que puede hacerse en Madrid, y los planos de poblaciones.
ellos, el uso y aprovechamiento de las tierras, con los
A esta serie de mapas corresponden los de los caminos
frutos que pueden producir, los caminos Reales y
que, partiendo de Madrid hacia el norte, atravesaban el
particulares, y otras noticias importantes al buen
Sistema Central por los puertos de Guadarrama, La
gobierno de la Monarquía y al adelantamiento del
Fuenfría o Navacerrada. Estas rutas comunicaban
comercio. Se sabrá cuántos pies mide la España y cada
también la capital con el Bosque Real de El Escorial y
una de sus provincias […] y en qué parajes […]
con los Reales Sitios de El Pardo, La Granja de San
establecer ciertas fábricas, que es uno de los puntos
Ildefonso y Valsaín. Dibujados entre 1749 y 1788, son
más delicados que puedan ocurrir.” (Marqués de la
mapas muy precisos, como se puede comprobar si se
Ensenada, Puntos de Gobierno, 1748; cit. en Rodríguez
superponen con la cartografía actual.
Villa 1878: 161-162).
El mapa de Juan de Villanueva (Fig.2) tiene un interés
La Carte de Cassini se convirtió en el modelo a seguir,
particular porque aplica los criterios de trazado
de modo que entre 1751 y 1807 se plantearon varios
escenográfico barroco al trazado de la carretera entre
proyectos para levantar un mapa de España por
San Lorenzo y Guadarrama, de modo que pueden
métodos científicos y realizar el correspondiente
apreciarse claramente las plazas circulares situadas
nomenclátor. La última propuesta, debida al insigne
rítmicamente a lo largo del camino, así como los tres
cartógrafo Felipe Bauzá (Barber 1996), justificaba su
ejes que, arrancando en la más próxima a la población
necesidad porque “El Gobierno, sin una buena carta
del Real Sitio, configuran su trazado urbano (Chias
geográfica, no puede trazar caminos y canales, ni saber
2013 y 2014; Chias and Abad 2012 y 2014b).
cómo se han de comunicar unos ríos con otros, ni hasta
dónde se pueden soportar buques […], ni disponer el La Guerra de la Independencia alteró los proyectos
bienestar de los pueblos; ni tampoco puede hacer reformistas ilustrados y muy especialmente los
elección de los puntos esenciales de defensa del país; trabajos cartográficos científicos a escala nacional, de
es decir, de proveer a los medios de su conservación y los que apenas quedaron algunas observaciones
seguridad.” (Bauzá 1970) (Fig.3). geodésicas aisladas. Todo ello resultaría insuficiente
para componer el gran mapa de Europa con el que

MAPAS Y DIBUJOS DEL ENTORNO DE LOS SITIOS REALES DE LA SIERRA DE GUADARRAMA
soñaba Napoleón. agua y comida, y conocer también la posibilidad de

obtener otro tipo de suministros, así como asegurar el
mantenimiento de las comunicaciones.
4. LA CARTOGRAFÍA EN FRANCIA DURANTE EL
Para disponer de esta información, eran necesarios
CONSULADO
mapas topográficos dibujados a escalas entre 1:20.000
La necesidad de adoptar nuevos métodos y criterios en y 1:100.000, y un mapa general de España a escala
la representación cartográfica que transmitieran la 1:200.000. Pero la información geográfica que
información con precisión y sin ambigüedades, fue necesitaba Napoleón incluía también la redacción de
detectada tempranamente por el general Sanson, los itinerarios de longitud; los reconocimientos de 1er,
director del Dépôt de la Guerre, que era el organismo 2º y 3er orden; los planos de población y de
responsable de la documentación cartográfica. fortificaciones; las vistas de ojos; los planos de
batallas, y dibujos de sucesos bélicos.
Entre septiembre y noviembre de 1802 se creó en
Francia una comisión encargada de simplificar y
unificar los signos y convenciones en los mapas, así
6. ESPAÑA EN LA CARTOGRAFÍA FRANCESA
como los criterios a aplicar en los planos y los dibujos
topográficos. Sus conclusiones se publicaron en el Para satisfacer estas necesidades Napoleón creó
Mémorial topographique et militaire y fueron recogidos varios cuerpos de cartógrafos que no estaban
después en numerosos manuales prácticos (Hayne coordinados entre sí. En 1807 organizó el Dépôt de la
1806). Guerre compuesto por ingenieros geógrafos. Otros
cuerpos eran el de Oficiales del Estado Mayor, el Génie
A partir de entonces se establecieron criterios tan
o Cuerpo de ingenieros, y el Cabinet topographique de
importantes como la utilización del sistema de
l’Empereur.
unidades decimales en mediciones y escalas, la
referencia del origen de la escala de altitudes en el Desde su creación, el Dépôt de la Guerre empezó a
nivel del mar, la eliminación de la representación de reunir todos los mapas sobre España que se
elementos geográficos en perspectiva o abatidos, la conservaban en Francia (Villèle 2008). Para su
unificación de la rotulación y del uso del color. El sorpresa, la cartografía impresa disponible se reducía
criterio de representar el relieve por líneas de máxima a la traducción francesa del Atlas marítimo de Tofiño,
pendiente fue mejorado con la introducción del de gran calidad y precisión; la Carte d’Espagne et de
sombreado que haría “del dibujo de los mapas un arte Portugal en nueve hojas de Pierre-Gilles Chanlaire de
de imitación, un nuevo género de pintura geométrica” 1799, a escala aproximada 1:1.000.000; la Carte
(Bacler d’Albe 1803:21). d’Espagne et Portugal comprenant les Routes des
Postes et autres de ces Royaumes en seis hojas de
Brion de la Tour de 1774, dibujado a escala aproximada
5. LA CARTOGRAFÍA ANTE LAS NUEVAS 1:1.380.000; el mapa de los Pirineos de Roussel y La
EXIGENCIAS BÉLICAS Blottière publicado en 1730 y no actualizado; y
finalmente un ejemplar incompleto de una edición no
Las novedosas tácticas militares que desarrolló
actualizada del Atlas de Tomás López.
Napoleón en sus campañas se basaban en la movilidad
de los ejércitos y de la artillería ligera. Las estrategias También disponían de una serie de planos manuscritos
y las etapas debían planificarse cuidadosamente, y ello que representaban extensiones reducidas del territorio,
requería un conocimiento detallado y preciso del que databan en su mayoría de la Guerra de Sucesión
territorio, la topografía y la hidrografía. Debían española, estaban muy atrasados y tenían poca
conocerse los caminos y sus características – utilidad. Lo mismo sucedía con el levantamiento
pendientes, firmes, capacidad, vados, puentes, etc-, así realizado en 1768 por el general de Grandpré en la
como las distancias y el tiempo que se necesitaba para frontera de los Alduides.
recorrerlas. Considerando que en media hora el Ejército
A juzgar por la reducida colección, Napoleón no
Francés recorría aproximadamente una legua –unos 3,9
contaba con la cartografía necesaria y fiable del
km-, en un día podía avanzar entre veinte y treinta
conjunto de España. La situación fue descrita en
kilómetros –e incluso cuarenta en las marchas forzadas
febrero de 1808 por el general Sanson: “la rareza de los
(Castañón and Puyo 2008). Igualmente importante era
materiales topográficos grabados sobre España
conocer el entorno de tales rutas.
impone a los ingenieros geógrafos del Bureau el deber
La información sobre la vegetación –bosques, arbustos, urgente de recoger con toda la dedicación posible y el
cultivos- también era esencial, ya que en la espesura cuidado más minucioso todo lo que puedan saber o
se podían ocultar las tropas enemigas, pero también sospechar que exista en los archivos públicos tales
podía ralentizar los avances o dificultar el como el Depósito de la Guerra y de la Marina en
aprovisionamiento. Debían, asimismo, identificarse los Madrid, los archivos de las sociedaddes científicas,
lugares más adecuados para acampar y abastecerse de universidades de provincias, señoriales, eclesiásticos,

etc. El mismo cuidado deberá ponerse en la obtención vados, las pendientes, y la vegetación (Núñez de las
de los resultados astronómicos y trigonométricos” Cuevas 1991: 190) (Fig.7).
(Sanson 1808).
El segundo grupo de cartógrafos franceses estaba
Esta carencia se agudizaba por el desconocimiento de constituido por oficiales especializados del Estado
la accidentada topografía de la Península debido a la Mayor. Se hallaban a disposición de un mando para
imprecisión en la representación del relieve. Éste se ayudarle en sus decisiones, y se dedicaron en muchos
dibujaba siguiendo las técnicas de Philippe Buache casos a realizar reconocimientos sobre el terreno.
consistentes en dibujar primero la red fluvial,
Finalmente, el Génie o Cuerpo de Ingenieros se
rellenando después las alineaciones montañosas. La
ocupaba de dirigir las compañías de zapadores, que
experiencia en la Guerra de la Independencia de Jean-
eran imprescindibles en los asedios y guarniciones de
Baptiste Bory de Saint Vincent (1823:7) refleja
las plazas fuertes. Por ello concentraron su labor
precisamente la falta de información topográfica fiable:
cartográfica en el levantamiento de fortificaciones que
“Confundido por tales indicaciones, el militar hace sus
se realizó muchas veces “a la vista” y con escasa
cálculos sobre obstáculos o sobre puntos de defensa
precisión, pero que resultaban de gran utilidad.
que no encontrará por ninguna parte; el naturalista
sueña con un terreno abrupto propicio a sus Siguiendo las directrices del Mémorial topographique,
investigaciones, pero éste se transformará en una árida también realizaron numerosos dibujos de paisaje,
y horizontal extensión.” algunos de los cuales se grabaron tras la guerra y
pasaron a ilustrar libros de viajes como el de Bacler
Los oficiales franceses desconocían que las tropas
d’Albe (Fig.8).
españolas se hacían acompañar frecuentemente por la
Compañía de Guías, conocedora del territorio y que Los mapas franceses fueron el resultado de los
aportaba la información que raramente figuraba en los reconocimientos sobre el terreno, a pesar de sufrir la
mapas. El mapa redactado por la Comisión de Jefes y abierta hostilidad de la población y las dificultades en
Oficiales españoles y fechado hacia 1795, muestra las comunicaciones. Éstas eran frecuentemente
precisamente aquellos puntos conflictivos de los interceptadas, impidiendo que la información –no sólo
caminos que se dirigían a la Sierra y a San Lorenzo cartográfica- fluyera entre las tropas de la Península y
donde podían esconderse los salteadores. Así se indica París.
en la leyenda junto a una mano roja extendida:
El Ejército Francés produjo una cartografía de gran
“Parages donde los salteadores suelen situarse a favor
precisión, que se acompañó de memorias descriptivas.
de la espesura que les oculta y la gran extensión de
Redactaron también itinerarios militares, planos de
País que desde ellos se descubre.” Además de la
ciudades y de fortificaciones, y vistas de batallas y
claridad gráfica, es destacable su ornamentación,
otros sucesos bélicos.
concentrada en la parte izquierda del mapa (Fig.6).
Lamentablemente las difíciles condiciones de trabajo y
Para obtener la información geográfica sobre la
la ausencia de una red geodésica completa en España
Península Ibérica y redactar los mapas necesarios, el
hicieron que la utilidad de la cartografía levantada
27 de febrero de 1808 Napoleón creó el Bureau
durante la Guerra no sirviera al propósito de Napoleón
topographique de l’Armée d’Espagne, dependiente del
de construir un mapa general de la Península que se
Dépôt de la Guerre y dirigido por el comandante
pudiera vincular a la cartografía europea. No obstante,
Auguste Chabrier. Esta unidad cartográfica, que se
las iniciativas de Chabrier de dibujar un mapa
mantuvo activa hasta 1811, estaba compuesta por
1:1.000.000 e iniciar la serie militar 1:100.000 se
ingenieros geógrafos franceses. Se enfrentó desde el
pueden considerar singularmente importantes.
principio a numerosos problemas como la injerencia
permanente de París, las órdenes contradictorias, la El gran volumen de trabajo realizado tampoco tuvo una
constante reducción de sus efectivos, y la citada utilidad militar más allá de las campañas militares
ausencia de mapas útiles de España en los archivos concretas ya que no se dispuso de un sistema de
franceses. reproducción eficaz que los difundiera entre los
mandos de los Ejércitos. De hecho, era habitual que los
Entre sus cometidos se encontraba el de levantar una
mapas originales circularan por España en plena
Carte des postes et étapes d’Espagne, trabajo que fue
guerra, exponiéndose a deterioros y pérdidas.
realizado por Chabrier a escala 1:1.000.000, concluido
y enviado a París en 1809. Este mapa fue
probablemente el germen del posterior Mapa militar de
7. LA CARTOGRAFÍA ESPAÑOLA DURANTE LA
la Península.
GUERRA DE LA INDEPENDENCIA
Simultáneamente se dibujaron los mapas de etapas a
La cartografía francesa tuvo un efecto muy beneficioso
escala provincial y local, a los que se incorporó la
en los mapas realizados por los cartógrafos españoles
información recopilada sobre el terreno a cerca de la
porque impulsó la introducción de las técnicas
calidad del trazado y del firme, el estado de puentes y
cartográficas modernas establecidas por la

MAPAS Y DIBUJOS DEL ENTORNO DE LOS SITIOS REALES DE LA SIERRA DE GUADARRAMA
Commission topographique de 1802. geógrafo y naturalista, no sólo propuso una

denominación de las principales cadenas montañosas
En consecuencia, los cartógrafos españoles adoptaron
de la Península que se ha mantenido hasta mediados
el uso de las unidades del sistema métrico decimal, los
del siglo XX, sino que desarrolló un concepto de la
nuevos modos de representación del relieve, los signos
orografía que sería seguido por Alexandre Laborde
cartográficos más o menos convencionales -con
(Fig.11), entre otros.
especial atención a la representación de la vegetación
y los cultivos-, la precisión en la definición de las Por su parte, Marie-Antoine Calmet-Beauvoisin
características geográficas de los contornos de los aprovechó sus conocimientos y experiencia en l’Armée
núcleos de población y de las vías de comunicación – d’Espagne y su capacidad de acceder a los fondos del
que empezaron a incluir información sobre los tiempos Dépôt de la Guerre, para desarrollar un proyecto
de marcha (Fig.9). cartográfico que consistía en publicar por suscripción
un nuevo atlas actualizado de España y Portugal a una
Por otra parte, y a pesar de sus conocidas
escala aproximada 1:200.000, que debía incluir planos
imprecisiones, el uso de los mapas de Tomás López
de las principales poblaciones. Sin embargo, la edición
durante la Guerra por los ejércitos español, francés e
se retrasó por causas diversas y, finalmente, se
inglés fue habitual. El propio Wellington los utilizó
abandonó el proyecto en 1830.
durante sus campañas de 1809 y 1814, comprobando
su escasa fiabilidad. Apoya este hecho la existencia de También, y con motivo de la entrada en España en 1823
un atlas facticio en la Biblioteca Nacional de España de los Cien Mil Hijos de San Luis, se continuaron los
(Signaturas GMG/858 y GMG/859), con sesenta y seis trabajos iniciados en las campañas bélicas, aunque
mapas calcográficos agrupados en dos volúmenes; es esta vez de forma conjunta por cartógrafos españoles
conocido como Atlas Wellington porque conserva un y franceses.
autógrafo del general en las guardas, y está fechado
En este periodo se prolongó hacia el sur el mapa de
hacia 1810 (Fig.10).
Francia de Capitaine a escala 1:345.600, y prosiguieron
los trabajos del mapa itinerario militar 1:740.000,
redactándose las correspondientes descripciones y
8. LA CARTOGRAFÍA EN LA POSGUERRA
memorias, y litografiándose la cartografía resultante.
A pesar de la gran cantidad de mapas que fue Completaban los trabajos sobre el terreno los
interceptada a los correos franceses, la mayoría de la levantamientos “a la vista” a escala 1:20.000, y toda
producción del Ejército de Napoleón fue desconocida una serie de descripciones y estadísticas que se
para los cartógrafos españoles hasta la década de conservan tanto en los archivos militares franceses
1820. Sin embargo, la utilidad de estos mapas se puso como en los del Ministerio de Defensa español.
de manifiesto en la posguerra tanto en la posibilidad de
A esta etapa corresponde el Plano de los alrededores
reproducirlos con fines comerciales, como en el interés
de Madrid en cuarenta y ocho hojas, que se basó en los
por continuar los proyectos cartográficos emprendidos
levantamientos realizados por Joseph Charles Marie
hasta su culminación. La información geográfica y la
Bentabole en 1809, mejorando su precisión con una
cartografía inédita que se había acumulado sobre la
nueva triangulación medida en junio de 1823. A pesar
Península no sólo podía ser útil, sino rentable.
de que el director de los trabajos De Castres fue
Al terminar la contienda, algunos oficiales franceses requerido en Francia antes de concluir el mapa, éste
que habían trabajado en España durante la Guerra, pudo terminarse en noviembre de 1824 bajo la
como Bory de Saint-Vincent y Calmet-Beauvoisin, supervisión de los Oficiales del Estado Mayor
propusieron concluir los trabajos abandonados del Desjardins y Harmois, a los que se debe la
mapa general de España y de la cartografía 1:100.000, representación de la topografía por el método de las
guiados por un interés científico, pero también normales, que en este momento ya estaba anticuada
comercial. Sin embargo, el lapso de los “Cien Días” que (Castañón, Puyo and Quirós 2008) (Fig.12).
supuso la vuelta de Napoleón, retrasó estos proyectos,
La colaboración hispano-francesa se prolongó en una
que hubieron de esperar a la década de 1820 para
primera fase hasta 1827, ya terminada la ofensiva
empezar a ver la luz.
militar. El resultado fue una gran cantidad de
A Bory de Saint-Vincent se debe, entre otras cosas, una cartografía elaborada por los franceses con el apoyo
memoria sobre la geografía física de la Península español, en el marco de un acuerdo de intercambio
Ibérica que incluyó en su citada Guide du voyageur en cartográfico firmado por ambos Estados que permitía a
Espagne. Redactó sus mapas con documentos los militares franceses acceder a toda la información
originales y con la experiencia adquirida durante las disponible en el Depósito de la Guerra, a cambio de
campañas, prestando especial atención para evitar enviar a España una copia de las minutas cartográficas
aquellos grafismos empleados en los mapas de antes que dibujaran.
de la Guerra que tanto les habían confundido al
A partir de aquel año y hasta 1840, la segunda fase de
contrastarlos con la realidad. Actuando como científico,
los trabajos se llevó a cabo por equipos de cartógrafos

y geodestas hispano-franceses, que desarrollaron un cartógrafos y su capacidad técnica era similar a ambos
intenso trabajo de campo. Como ejemplo, en la zona de lados de los Pirineos. Sin embargo, la diferencia que se
los contornos de Madrid y la Sierra los trabajos se aprecia entre la producción cartográfica en España y en
prolongaron hacia el norte a escala 1:50.000 (Fig.13). Francia se debe a que el apoyo político que tuvieron las
iniciativas cartográficas y científicas fue muy distinto
Sin duda, una de las consecuencias más importantes
en ambos países, lo que hizo avanzar más los proyectos
que tuvieron estos acuerdos entre Estados y las
en Francia que en España.
campañas conjuntas, fue que el eminente cartógrafo
español Francisco Coello pudo consultar los mapas También fue muy distinta la difusión que tuvieron los
franceses sobre España en París. Ello le permitió iniciar mapas manuscritos españoles, que rara vez se
en 1844 el Atlas de España y sus Posesiones de imprimían por estar sujetos a la exigencia de
Ultramar, cuyos mapas provinciales -a escala secretismo que se había implantado desde el siglo XVI
1:200.000-, de entornos urbanos –a 1:100.000-, y a la cartografía de los territorios dependientes de la
planos de poblaciones –a 1:10.000 y 1:20.000-, Corona de España.
acompañarían al Diccionario Geográfico-Estadístico de
La relevancia que tienen los mapas realizados como
Pascual Madoz. Aunque el proyecto de Coello no llegó
consecuencia de esta colaboración es manifiesta. Los
a terminarse, su incorporación junto a Madoz y
archivos españoles custodian un importante conjunto
Figuerola a la Comisión de Estadística propició un
de mapas que datan del periodo anterior a la Guerra de
cambio decisivo en los trabajos catastrales e iniciaron
la Independencia, pero también de los que se dibujaron
la cartografía moderna de España (Nadal and Urteaga
durante ella y en el periodo posbélico. En su mayoría
1990), lo que permitiría finalmente completar la red
aún permanecen inéditos.
geodésica nacional y el Mapa Topográfico nacional a
escala 1:50.000 cuyos orígenes se remontan a El conjunto se compone fundamentalmente de mapas
mediados del siglo XVIII. manuscritos dibujados a diversas escalas, pero
también incluye itinerarios, trabajos geodésicos,
planos locales y de población, planos de fortificaciones,
9. CONCLUSIONES y levantamientos “a la vista”. Los mapas de los pasos
de montaña que comunican la capital de España con el
El hecho de que a lo largo del siglo XVIII reinara en
norte a través del Sistema Central son una muestra de
España y en Francia la dinastía de los Borbones facilitó
tan importante patrimonio cartográfico.
la colaboración hispano-francesa en materia científica
y cartográfica. Varios cartógrafos españoles se Por último, la influencia de la colaboración mutua entre
formaron en París. Se crearon instituciones y cuerpos cartógrafos españoles y franceses resultó decisiva en
de cartógrafos en España muy poco después de el desarrollo de la cartografía española moderna.
haberse fundado otros similares en Francia. En España
La necesidad de difundir los fondos cartográficos
se promulgaron los correspondientes reglamentos y
históricos disponibles sobre la zona de estudio nos ha
ordenanzas de ingenieros. En Francia y en Gran
llevado a impulsar la creación de una ‘cartoteca digital’
Bretaña se adquirieron instrumentos científicos, a la
en la Universidad de Alcalá. El proyecto, titulado
vez que se estudiaron sus observatorios y los avances
Ancient Spanish Cartography e-Library, tiene por
en materia de navegación. Y se iniciaron numerosas
objetivo facilitar el estudio del patrimonio cartográfico
campañas conjuntas hispano-francesas.
de España a través de Internet, contribuyendo a la
Tras un siglo de colaboración cartográfica, astronómica difusión de su conocimiento (Chías and Abad 2010 y
y geodésica, la formación de los profesionales 2012b).

https://doi.org/10.4995/ege.2019.12870
APEGA, UPV
THE MIES VAN DER ROHE EXHIBITION AT THE MOMA IN 1947:

A 3D RECONSTRUCTION MODEL
Carlos Montes Serranoa, David Durántez Stolleb

Department of Urbanism and Representation, University of Valladolid
montes@arq.uva.esa; durantez@hotmail.esb
Abstract
Between 16 September 1947 and 25 January 1948 the Museum of Modern Art of New York hosted a
Mies van der Rohe exhibition. This exhibition was made up of photo-murals, collages, drawings and
photographs of his buildings. In addition; five scale models of commissions received in the United
States and some of his pieces of furniture were on display. This article will study the graphical works
selected by Mies and how they were laid out in the exhibition area, so as to enable the reproduction in
the form of computer recreations of the spatial impressions received by visitors going around the site.
Keywords: Mies van del Rohe. Exhibition. MoMA. 1947
*Correspondence author: Carlos Montes, montes@arq.uva.es

MONTES SERRANO, C., DURÁNTEZ STOLLE, D.
1. RESEARCH IN GRAPHIC RESTITUTION architectural exhibition, as well as in many others,

was of crucial relevance.
The current graphic tools at the service of
architecture have expanded the scope of research In this article, we will reveal the work process and
in the scientific area of Architectural Graphic the objectives finally achieved, offering a series of
Expression, allowing to obtain visual recreations images of the exhibition seeking to emulate the
of already extinguished buildings or urban photographic records that are preserved from it
environments of heritage value, as well as (black and white photographs). I should mention
projects of recognized interest that did not finally that although all the work is of joint authorship,
get materialized. These works can be the documentation work is due largely to Carlos
encompassed in the wide field of architectural Montes, while all the graphic processing was
graphic analysis, which have given rise to several developed by David Durántez.
doctoral theses and final degree projects, which
together represent a valuable scientific
contribution. 2. THE STATE OF THE QUESTION
At the Valladolid School of Architecture, this line The contents of the exhibition are very well known
of research has been developing since the early thanks to the book Mies van der Rohe by Philip
1990s, moving about naturally from the traditional Johnson (1947), published as a catalogue by the
drawings to powerful digital technologies. In this MoMA. It was the first work on the German
sense, it is worth mentioning some recent works architect. Hence, it became the canonical account
dedicated to the analysis and graphic restitution of his life and work, until much later studies
of single-family housing projects by the last rounded out this narrative with episodes that had
century’s great masters, such as Mies van der been omitted, fresh data and more accurate
Rohe, Adolf Loos, Le Corbusier or Louis Kahn. interpretations.
A truly original example of this type of graphic

restitutions is the work accomplished by David
Durántez Strolle over the exhibition organized by
Mies van der Rohe on his own architectural work
in 1947 at the MoMA in New York.
It should be noted that modern architecture
exhibitions are a subject that has gained certain
relevance as a field of research in recent years
since, along with magazines and publications,
they were once a very effective channel to expose
and disseminate new ideas among a wider
audience.
In most cases, these research works deal with the
documentation of the materials exposed in the Fig. 1. Mies van der Rohe and Philip Johnson (William
Leftwich; The MoMA Archives)
exhibition (usually scale models, drawings, plans
and photographs), with the vicissitudes of its The article by Terence Riley (2001), “Making
organization and with its impact in the criticism of History: Mies and the MoMA”, is the most
the moment. complete study of the exhibition. Nevertheless,
more recently several other pieces have
A common challenge is that the graphic and
appeared, adding detail or making comments with
photographic documentation conserved in these
regard to the exhibition. One instance is the text
events is quite limited. Hence, through this work,
by Barry Bergdoll (2017), “Walk-in Collage: Mies
we set out to study the graphic reconstruction of
van der Rohe’s Design of his 1947 Exhibition at
an entire exhibition (of the site and its content’s
MoMA”. On the MoMA website are available a
layout). Our aim was to be able to visualize any of
number of documents and ten photographs of the
the exhibition views recreating the visual
exhibition taken by William Leftwich, Soichi
impressions received by visitors when touring the
Sunami (the Museum photographer since 1930),
enclosure, a circumstance that in this
and Herbert Matter (Fig. 1-3).

THE MIES VAN DER ROHE EXHIBITION AT THE MOMA IN 1947: A 3D RECONSTRUCTION MODEL
there is information about the size and layout of

the site (Eames 1947).
In The Mies van der Rohe Archive (Schulze 1992)
a number of plans are reproduced, giving details
and measurements for the temporary partitions.
These drawings, together with the layout plan for
the third floor of the Museum as it was in 1947,
permitted reconstruction of the floor-plan for the
whole site during the exhibition projected by Mies
van der Rohe (Fig. 5).
Study of the above-mentioned documents from
the Mies van der Rohe Archive revealed a little-
Fig. 2. Installation view of the Exhibition (Soichi
known fact: Mies van der Rohe actually drew up
Sunami; The MoMA Archives) plans for two exhibitions, one given over to his
own work, and another, smaller display in the
lobby, which remained open the same length of
time as the exhibition of his architecture. This
small display had as its theme the design of
objects for domestic use, and bore the title of 100
Useful Objects of Fine Design 1947: Available
under $100. Whilst the design of this exhibition
was very austere, Mies did design the tables and
shelving for the display of this varied set of items.
On the basis of the floor-plan that it proved
feasible to draw it was possible to locate the
viewpoints from which the photographs were
taken, as well as the exact position of all the
graphical documents displayed (a total of forty-
four, counting plans, drawings, photos, collages
Fig. 3. Installation view of the Exhibition (Herbert
Matter; The MoMA Archives) and photo-montages), the furniture (six different
pieces of furniture in total), and the other items
displayed (scale models of five buildings and one
mock-up full-scale construction detail).
3. THE EXHIBITION AREA

The idea for the exhibition came from Philip
Johnson, who succeeded in convincing a reticent
Mies van der Rohe to exhibit his work and to take
charge of designing the installation. George
Danforth, an academic at the Illinois Institute of
Technology, Mies’s collaborator and former pupil,
co-ordinated all of the efforts under his own
direction.
Fig. 4. Installation view of the Exhibition (Charles
Eames) The greatest difficulty for the exhibition was the
material to be displayed, as Mies was only then
Moreover, a further fourteen photographs are beginning the construction of his first buildings at
extant, taken by Charles Eames (Fig. 4) for an the IIT in Chicago, and the graphical
article in the journal Arts & Architecture which documentation for his pre-war work was
also includes a sketch plan of the exhibition. This inaccessible in Eastern Germany. He hence had
sketch is the sole document so far known in which only the photographic negatives for his European

buildings, plus the collages, drawings, plans and Museum to illuminate the photographic murals
models for the projects he was just starting in the and the side walls.
United States.
It is curious to note that the five photos taken by
Philip Johnson suggested that he should include Herbert Matter kept in the MoMA Archives were
some pieces of furniture. This led to a curious retouched to show a uniformly grey ceiling,
illusion effect, mentioned by Charles Eames in his erasing the lighting units and the air-conditioning
article. This was that the real items of furniture vents. This must have been suggested by Mies,
seemed to be superimposed upon those vexed by these unavoidable light sources that
appearing in the photographs of the Barcelona caused the design of his exhibition to lose some
Pavilion or the Tugendhat House (Fig. 4). To of its clarity and simplicity. It is one more example
indicate the works exhibited, the same type of of his attempts to exclude anything that might run
letters designed in the 1920s by architect Gerhard counter to his ideals of minimalism and the
Severain were specially made for this occasion in utmost abstraction (Fig. 6).
wood and painted in red.
The location for the exhibition was on the third
floor of the Museum. It was a large, luminous
space, fourteen feet tall (thus somewhat more
than four metres in height), with six pillars at its
centre. On one side it had the glazed façade of the
Museum, on the other the sculpture gallery
overlooking its rear garden (Fig. 5).
Fig. 6. Installation view of the Exhibition (Herbert

Matter; The MoMA Archives)
The four pillars in the centre of the room were

hidden from those entering the site by means of
free-standing plastered wooden partitions
running from floor to ceiling. On these large
photographic reproductions of four pieces of work
from the architect’s Berlin period were fixed. Mies
did not utilize the Museum’s moveable panels,
preferring to design these partitions of variable
Fig. 5. Layout of the Third Floor during the Exhibition
(David Durántez)
length and some fifteen centimetres thick. They
were set against the pillars for support, giving rise
Mies van de Rohe reduced this extensive locale to a fluid, dynamic space, thanks to a saltire
by means of temporary partitions specially layout.
designed for the purpose. This yielded an
enclosure approximately twenty-one metres The entrance to the exhibition area was displaced
square, with four pillars at its centre. To reach this somewhat to the right relative to the central axis
enclosure it was necessary to cross the lobby in of the room, which lay between the four pillars. As
which had been set up the Useful Objects a result there was a greater effect of visual
exhibition. Mies left open one of the two existing dynamism, since the entrance gave directly onto
entrances to the sculpture gallery, so as to part of a large photo-mural, in turn heightening
provide an alternative exit. He also had the ceiling the prominence of the two photo-murals on the
coloured grey, in a tone similar to that of the left (Fig. 2).
flooring, thus ensuring that the white-painted The set of four photo-murals split the area into
walls stood out more strongly. Use was made of five interlinked sub-spaces. One was the central
the moveable lighting units available to the zone, situated between the large panels, to which

anybody entering the exhibition would The problem with isotropic sites of this sort lay in
unconsciously gravitate. After that, the four the organization of the interior, as the material
rectangular areas lying around it would be displayed had to be organized by means of panels
traversed clockwise. or display stands that would be such as not to
impede visitors from wandering freely around the
This differed from other spaces for exhibitions
space. This difficulty can be appreciated from the
that Mies van der Rohe had set up in Europe, such
space designed for the German Silk Exhibit
as the Glas Raum in Stuttgart in 1927, in that
housed in the Centre for Textile Arts at the same
these led visitors along fixed itineraries through
Barcelona Exposition. In it, Mies van der Rohe and
what might be termed transit spaces. The MoMA
Lilly Reich had to lay out a number of free-
site can be called a space for strolling, that is, for
standing panels of coloured glass and lower-lying
wandering around at random from one side to
display cases, so as to facilitate movement
another, without any certainty of having taken in
around the material on display, something which
everything that the exhibition had on offer (Fig. 7).
they repeated in the German Textile Industry
The number of viewpoints was greatly increased, Exhibit at the Exhibition Internationale des Arts et
as a single, one-way route was avoided, and Techniques dans la Vie Moderne, held in Paris in
visitors were offered a very varied set of visual 1937 (Lizondo 2012, 2013).
experiences. This is the impression gained from
Mies van der Rohe continued experimenting with
the set of photographs that have been preserved,
the idea of free, fluid space in his designs for the
and what was so accurately described by Charles
Court Houses, separating his areas by means of
Eames in his account for Arts & Architecture.
free-standing walls, which later he would replace
with photo-murals. The collages of houses with
courtyards, already used as an exercise for
teaching projects at the Bauhaus and later at IIT,
show the evolution of this idea.
In 1943 he was to publish in Architectural Forum
his idea for A Museum for a Small City, with a
declaration of intent in which he stated that the
value of a museum was to be found as much in
the way in which they were displayed as in the
quality of the works of art exhibited. Mies’s
proposal consisted of a single large space that
allowed great flexibility in the organization of
exhibitions, by means of freely moveable self-
Fig. 7. Installation view of the Exhibition (Soichi supporting walls. With the aim of making his idea
Sunami; The MoMA Archives). known Mies commissioned two collages from
George Danforth which he put on display four
years later, alongside a perspective view of the
4. A CONTINUOUS COLLAGE OF IMAGES
museum proposed, in the exhibition at the MoMA.
Mies had already utilized large photos on the
In brief, the exhibition at the MoMA summed up
inside walls of the German Electricity Supply
several years of experimentation with free,
Pavilion at the 1929 International Exposition in flexible and abstract spaces. They were
Barcelona. This was also an enclosed and
subdivided into compartments by means of
luminous space, with no openings, some eight
sculptures or large paintings, or in this instance
metres high and with an eighteen-metre-square
thanks to the large photo-murals.
ground-plan, its walls covered with a continuous
collage of photographs. The end product was As some authors have highlighted (Bergdoll
startling, both because until that time no photos 2017), Mies converted his exhibition into a sort of
of such size had been seen, and because it gave three-dimensional collage. In it, the flat images of
the sensation that the space stretched out with the giant photographs were superimposed one on
its boundaries blurred (Lizondo 2017). another in accordance with the shifting position
of the spectator.

According to the accounts that have survived, three smaller drawings of unbuilt designs: the
Mies spent a great deal of time devising how to Kröller-Muller House, the Brick House and the
lay out the images used. He took into Concrete House.
consideration the size of the photo-murals, the
As it has been commented in many occasions due
situation of the horizon line in the buildings
to its unusual character, Mies then arranged his
photographed, the effects caused by
Mountain House in the Tyrol sketch in a privileged
superposition, possible routes visitors might
place, reproduced to the dramatized size of six
follow, the positioning of furniture, and other
meters long by the hall’s maximum height
features.
permitted. We believe there was a reason for that:
We can basically reconstruct the design process the subtle line sketch over a large white backcloth
and the arrangement with which Mies laid out the served as a background on which the mural
images according to a probable dominant photos of the Barcelona Pavilion and the
itinerary (Fig. 8). The mural of the Monument to Friedrichstrasse Skyscraper were cut out (Fig. 2).
the November Revolution in Berlin faced whoever With this, we intend to highlight that three-
entered the hall. Due to the framing of the dimensional collage effect or scenographic effect
photograph, the mural would act as a wall that cut achieved through a backstage sought by Mies.
off the visitor's visual on the right side, inviting The itinerary would continue on that same wall
observers to head up to the left and face the Glass cloth, facing next the two collages corresponding
Skyscraper photograph (Fig. 2). to the Theater Project and the Concert Hall.
Located in the center of the hall, the visitor's The next wall, the one concealed by the façade’s
attention would be shifted to the photograph of glass front, was almost entirely dedicated to the
the interior of the Barcelona Pavilion, which due Tugendhat House. The first photo reproduced the
to its horizon line and the large vanishing lines living room at a large size and, as it happened with
perpendicular to the observer, created the that of the Pavilion, it created the unusual
impression of viewing a more dilated space. From sensation of exceeding the plane's boundaries. It
there, Mies placed the images of the side walls was followed by another six photographs of the
following a clock-wise arrangement, since to the exterior and interior of the house (Fig. 7). The wall
left of the mural photograph was the cartouche in was completed with the three collages of the
which the project of Barcelona was explained, Court Houses project, executed by George
followed by the other five photos of the Pavilion Danforth. Finally, turning towards the enclosure’s
(Fig. 6). entrance, there was a large-scale reproduction of
the perspective drawing of the Museum for a
Small City Project, in addition to two collages of
this project also carried out by Danforth.
To the left of the hall access from the lobby, the
projects that Mies was carrying out for the Illinois
Institute of Technology Campus were exhibited
on both corner walls. This information was
summarized in four perspective drawings of the
exterior of the Campus, three photographs of the
works already constructed, and two plan floors
and elevations of the Library and Administration
Building. This set of images was completed with
the scale model of the building and with a
simulation of a full scale constructive detail.
At least two of the partitions on which the large
Fig. 8. Main movement around the material on display photographic murals rested served to display
(David Durántez)
some works on the opposite side. Behind the
Following the probable itinerary, the observer Pavilion of Barcelona’s mural, the scale model of
could contemplate the large-scale reproduction the Resor House and two collages of it were
of Mies’ Concrete Office Building drawing and placed. Also, behind the Monument to the

November Revolution in Berlin, in addition to the In the sense of volume. In the sudden change of a
model of the Hiway Restaurant, two drawings of scale from a huge photo mural of a small pencil
the design process of the Conchoidal Chairs, sketch, to quarter-inch-to-the-foot model, to
which were never manufactured, were arranged. man, to twice-life-size photograph, to actual
We believe that the minor partitions (with the pieces of furniture.
photo murals of Berlin’s skyscrapers) did not
In the simultaneous effect when the natural
display any work on the opposite side, although
perspective of the planes of the room are
one of them served as a background for the
combined with the perspective and planes of the
Fansworth House scale model.
life-sized photographs. And especially in the
It is noteworthy that with this laying out of his variety and richness of the exhibition derived from
works, Mies gave up any attempt to show the the simplest plan. By moving and turning within
evolution over time of what he had produced these simple elements one feels the impact of
(ordered from his Berlin projects through to his each new relationship” (Eames 1947).
most recent American efforts). Rather, his
With the aim of attempting to revive this
intention was to create a visual experience of the
experience of moving around the space from one
whole set which might be somewhat chaotic, but
side to another, and as the final objective of this
was bound to be striking. It has been stated, with
study, a three-dimensional reconstruction model
some reason, that for a narrative of the historical
of the exhibition has been produced. From this, a
developments in his projects the book by Philip
number of renderings have been taken for this
Johnson was already available.
article, expanding upon the set of period
Although Mies had very little in common with photographs of that event which have been
László Moholy-Nagy, both agreed on what an preserved (Fig. 9-15).
exhibition should be like. They favoured the vision
in motion; a continuous transit between various
contexts, with the aim that visitors should receive
an accumulation of visual stimuli of disparate
phenomena and thus come to experience this set
of impressions as something unitary and coherent
(Moholy-Nagy 1947, p. 261).
5. NEW VISUAL IMPRESSIONS

When Charles Eames visited the exhibition he
recorded in writing that the information about
Mies’s output had not impressed him, as he was
already aware of these details. What had really
surprised him was the ingenious way in which all
this material had been laid out in the room, the
space being manipulated to create a true work of
architecture:
“The significant thing seems to be the way in
which he has taken documents of his architecture
and furniture and used them as elements in
creating a space that says: this is what it’s all
about”.
Certainly it is the experience of walking through
that space and seeing others to move in it is the
high point of the exhibition. It comes off
wonderfully in so many ways:

Fig. 16. Scheme of the exposed material (David

Durántez)
It was not at all easy to identify some of the
graphical documents from the exhibition. Specific
instances were one of the drawings for future
construction on the campus of the Illinois
Institute of Technology in Chicago and the plans
exhibited for the projected Administration
Building of the IIT.
One of the three collages of the Court Houses
made by George Danforth in the project classes
with Mies is not preserved; however, we have
been able to reconstruct it by identifying the
collage painting with a fragment of the Georges
Braque painting, Still life with Brown Pitcher, also
employed by Dantforth in one of his Museum for
a Small City collages, which was in the exhibition
as well.
We have also paid close attention to identifying
the original collage of the Concert Hall and to
select the appropriate version of the two collages
of the Theater Project, the pencil sketch (and not
the two-color ones) of the Concrete House, or the
Fig. 9-15. Images from the 3D Reconstruction Kröller-Muller House drawing.
Model of the Exhibition (David Durántez)
The large-scale photograph of the Barcelona
To carry out these visualizations we had to Pavilion had to be trimmed to fit the central
accurately inventory all the graphic documents panels, and the image that was exhibited from the
(collages, drawings, plans and photographs of the Glass Skyscraper had to be selected among the
work) selected by Mies, as shown on the floor many that we identified, verifying that it was
plan of the exhibition we have devised and in the enlarged at the bottom.
annex of works (Fig. 16). The second stage Introducing the original photographs of the
intended to procure a good reproduction of each exhibition in AutoCAD and having the overall
of these documents, which could have easily been measures of the site, we were able to rectify the
achieved by resourcing the extensive bibliography images, thus determining the measurements of
on Mies van der Rohe. each work and its exact size and position in the

exhibition area. With this data, we were able to that this would demand without contributing
make all the elevations (figs. 17-20) and sections anything new (the scale models and furniture are
of the enclosure including in them all the preserved and are well known). Furthermore,
documents that were exposed. Mies van der Rohe’s assembly gains clarity and
elegance by disregarding the scale models.
From the graphic restitution of the plan, the
ceiling and the elevations and sections, we The high resolution of the renders and images of
proceed to generate the renders adjusting the Mies’ works, will allow anyone interested in
textures and luminosity to simulate the original studying the MoMA exhibition to be provided with
photos by Soichi Sunami. For these graphic all the information about them, as well as their
recreations, it was decided to dispense with the exact disposition in the museum’s hall, something
scale models and furniture given the complexity that could hardly be conceived up until now.
Fig. 17. Elevation A (David Durántez)
Fig. 18. Elevation C (David Durántez)
Fig. 19. Elevation E (David Durántez)
Fig. 20. Elevation G (David Durántez)
ADDENDUM: REFERENCES OF PHOTOS, 03. Monument to Liebknecht and Rosa

MODELS AND FURNITURE Luxemburg, 1926
01. Barcelona Pavilion,1929 04. Glass Skycraper, 1922
02. Office Building, Friedrichstrasse, 1922 05. Kröller-Muller House, 1913

06. Brick Country House, 1924 40. Concrete Office Building, 1923
07. Concrete Country House, 1923 41-42. Resor House, 1937-1938
08. Mountain House, 1934 43-44. Conchoidal Chair, 1946
09. Theater Project, 1947 45. Resor House, model, s.f.
10. Concert Hall, 1942 46. Farnsworth House, model, 1946
11-17. Tugendhat House, 1930 47. Hiway Restaurante, model, 1946
18-20. Court Houses, s.f. 48. Court House, model, s.f.
21-23. Museum for a Small City, 1940-1943 49. IIT Administration Building, model, 1943
24. IIT Minerals and Metals Research Building, 50. IIT Administration Building, construction
1943 detail mockup, 1946
25-26. IIT Metallurgical and Chemical 51. MVR Chair, 1926
Engineering, 1946 52. Coffe Table, 1929
27. IIT Sports Center,1942 53. Silla Brno Chair, 1930
28-29. IIT Alumni Memorial House, 1946 54. Barcelona Chair, 1929
30-34. IIT Administration Building, 1943 55. Ottoman, 1929
35-39. Barcelona Pavilion, 1929
REFERENCES
Bergdoll, Barry. 2017. “Walk-In Collage: Mies van der Rohe’s Design of his 1947 Exhibition al MoMA”.
In Beitin, Andreas (editor), Mies van der Rohe Montage Collage. London: Koenig Books, p. 172-187. 264
p. ISBN: 978-3-96098-053-7.
Drexler, A., Schulze, F. 1992. The Ludwig Mies van der Rohe Archive of The Museum of Modern Art , vol.
13. New York: Garland, p. 19-22. ISBN 0-8240-5997-2.
Eames, Charles. 1947. “Mies van der Rohe”. Arts & Architecture, nº 12, p. 24-27.
Johnson, Philip. 1947. Mies van der Rohe. New York: Museum of Modern Art.
Lizondo Sevilla, Laura. 2017. “Mies’s Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona
International Exposition”. JSAH: Journal of the Society of Architectural Historians, vol. 76, 2, p. 197-217.
ISSN 0037-9808. https://doi.org/10.1525/jsah.2017.76.2.197
Lizondo Sevilla, Laura, et al. 2012. “El valor de las exposiciones: el legado menos conocido de Mies van
der Rohe para la Exposición Internacional de Barcelona de 1929”. Cuadernos de Arte de la Universidad
de Granada, nº 43, p. 115-132. ISSN 0210-962X
Lizondo Sevilla, Laura, et al. 2013. “La idea materializada en la muestra Die Wohnung Unserer Zeit de
Mies van der Rohe”. Proyecto, Progreso y Arquitectura, nº 8, p. 28-41. ISSN 2173-1616.
https://doi.org/10.12795/ppa.2013.i8.02
Mies van der Rohe, Ludwig. 1943. “A Museum for a Small City”. Architectural Forum, nº 78, 1943, p. 84-
85.
Miller, Wallis. 2001. “Mies and Exhibition”. In Riley, Terence, Bergdoll, Barry (editors), Mies in Berlin.
New York: Museum of Modern Art., p. 338-349. ISBN: 0-8109-6216-0.
Moholy-Nagy, László. 1947. Vision in motion. Chicago: Paul Theobald.
Riley, Terence. 2001. “Making History: Mies and the Museum of Modern Art”. In Riley Terence, Bergdoll
Barry (editors), Mies in Berlin. New York: Museum of Modern Art, p. 10-23. ISBN: 0-8109-6216-0.

Montes Serrano, C., Durántez Stolle, D. 2019. " The Mies van der Rohe exhibition at the MOMA in 1947:
a 3D reconstruction model", EGE Revista de Expresión Gráfica en la Edificación , Nº11, Valencia:
Universitat Politècnica de València. pp. 64 - 73. https://doi.org/10.4995/ege.2019.12870.

https://doi.org/10.4995/ege.2019.12872
APEGA, UPV
GEOMETRY OF VAULTED SYSTEMS IN THE TREATISES BY GUARINO GUARINI
Roberta Spallone
Department of Architecture and Design, Politecnico di Torino, Italy. roberta.spallone@polito.it
Abstract
Guarini first develops a rigorous and systematic discourse on vaulted systems. In three treatises:
Architettura Civile, Euclides adauctus, and Modo di misurare le fabriche, he described the geometric
nature of the vaults, the principles of geometry and their practices in the stereotomy, and the
measurement of the vaults’ surfaces and volumes, respectively. In this paper, moving from previous
studies, the significant relationships between the Architettura Civile and Modo di misurare le fabriche
are deepened, also in light to the theoretical bases established in the Euclides adauctus. Graphical
analyses and reconstructive digital models, linking the texts to the original diagrams and drawings of
the treatises, allow to highlight the role of geometry in Guarini’s theorization and the logic of shapes’
composition at the basis of his inventions, and constitute a knowledge base to recognize and interpret
the geometric structure of the vaults in Baroque built heritage.
Keywords: Vaults, Baroque architecture, Graphical analysis, Reconstructive digital modelling.
*Correspondence author: Roberta Spallone, spallone@polito.it

SPALLONE, R.
1. INTRODUCTION combines Guarini’s contribution to the geometric

definition of vaulted systems in an organic
“The vaults are the main part of the buildings, and
discourse, is proposed.
the authors who wrote about architecture debate
them so briefly, that someone does not even Moreover, the texts were linked to the original
mention them, because they are the hardest to diagrams and drawings of the treatises by means
ideate, draw, and build” (Guarini 1737: 183). of graphical analysis and reconstructive digital
modeling, personally carried out.
Guarino Guarini (1624-1683), born in Modena
(Italy), was an abbot of the Theatines order and The graphical analysis and digital modeling of
an eminent scholar with wide-ranging interests, surfaces allowed: the recognition of the geometric
mainly in architecture, mathematics and primitives underlying simple and complex vaults,
philosophy. He lived and worked in the 17th the check of consistency between the
century, a period imbued by the esprit de orthographic projections of the models of vaults
géométrie, which was fueled by the discoveries proposed for civil architecture, the construction of
and studies in the mathematical field, in particular a vocabulary of shapes, and the reconstruction of
of pure geometry. Indeed, at that time a leading the compositional logics recognizable in several
position of geometry within the philosophical Baroque architectures.
method established, through the theories of
Galileo, Bacon, Descartes, Malebranche,
Desargues. 2. REASONING ABOUT THE VAULTS IN
GUARINI’S TREATISES
Guarini, after a series of journeys in Italy and
France, during which he focused on theoretical The main contributions from Euclides adauctus to
studies and architectural design, in 1666 settled the discourse about the vaults, developed in the
in Turin. Here, he published some of his most Architettura Civile and Modo di misurare le
important treatises and created several religious fabriche, are present in the Tractatus XXIV
and civil Baroque architectures. focused on the conics, in the Tractatus XXXI on
the surfaces calculations, and in the Tractatus
Guarini first develops a rigorous and systematic
XXXII linked to stereotomy through the
discourse on vaulted systems.
explanation of intersections between solids,
In three treatises: Architettura Civile between solids and planes, and their
(posthumous 1737), Euclides adauctus (1671), developments on a plane.
and Modo di misurare le fabriche (1674), he
The references to the Euclides adauctus are very
described the geometric nature of the vaults, the
numerous in the other two treatises,
principles of geometry and their practices in the
demonstrating Guarini’s will to connect the
stereotomy, and the measurement of the vaults’
theoretical foundations and their applications in
surfaces and volumes, respectively.
the ideation, design, and construction phases.
Among these books, the Euclides adauctus takes
Architettura civile, written in Italian in the last
the role of theoretical reference based on
years of Guarini’s life and unpublished at his
geometry, with respect to the approach of the
death, but definitive in the drafted parts including
other two treatises, constantly referred to the
the original plates (Kruft 1999: 125), was finally
architectural works.
edited in 1737 by Bernardo Vittone.
In this paper the significant relationships between
The text, divided into five “treatises”, counts 308
the Architettura Civile and Modo di misurare le
pages with, at the end, 44 plates related to the
fabriche, whose complementarity also emerges in
text and 34 coming from the collection of Dissegni
the continuous reference to the binomial
d’Architettura civile et ecclesiastica (1686).
Geometry-Architecture, are deepened, also in
light to the theoretical bases established in the The topic of the vaults is inserted at the end of
Euclides adauctus. the Trattato III devoted to the Ortografia elevata
(orthographic elevation) and is developed along
Moving from previous studies (Spallone 2016,
eight pages and by two plates.
Spallone 2017, Spallone 2019a, Spallone 2019b),
a logical sequence of interpretation which

In particular, in the Capo Vigesimosesto (Chapter operative complement of the demonstrations

XXVI) entitled “About vaults, and various ways to presented in the Euclides adauctus.
make them”, the author performs an unusual
The treatise is structured in three parts, which are
vaults’ classification based on a geometric
dedicated to the rules for the calculation, in
criterion, identifying their elements and proposing
sequence, of flat Figures, 3-dimensional surfaces,
some combinations that are suitable for roofing in
and volumes. In particular, the second part
the field of civil architecture.
constantly refers to the intradosal surfaces of the
Guarini explains his will to illustrate personal vaults. Thirty-six propositions make up this
inventions and overcome the classifications used second part; among these, 19 refer to the
in the past: “But now I will divide the species, I calculation of the intradosal surface of the vaults;
will propose different methods and inventions of further evidence of the importance that the
vaults, and finally I will treat the way to build author, first in the architectural treatises,
them” (Guarini 1737: 183). As Edoardo Piccoli attributes to the theme.
points out considering both the drawings, the
Along these propositions the constructions and
treatise, and the buildings by the Theatine,
surface measurements of more than 30 shape
Guarini aims to review the whole process of vaults
variations applicable to the vaults are proposed;
design and construction, reformulating it from the
twenty of them add new opportunities to the
geometric principles, materials and procedures
casuistry exposed in the Architettura civile.
(Piccoli 2006: 43).
Each proposition is illustrated by a xylography
In the two autograph plates, the XIX and the XX,
interspersed in the text that represents by a
Guarini represents in parallel oblique projection
diagram in pseudo-axonometry, traced with some
and in double orthographic projection the formal
incertitude, the measurement problem.
genesis of the vaults, even invented by himself,
which was born from the combination of “six
round bodies” (Guarini 1737: 183) through cuts 3. FROM THE “SIX ROUND BODIES” TO THE
and intersections. VAULTS ELEMENTS
The text and the plates relate to rigorously and In the Architettura civile, Guarini focuses on the
systematically describe a repertoire of elements geometric genesis of the various types of vaults
that, differently composed, give rise to a variety of that all derive from six round bodies: cylinder,
vaulted systems. cone, conoid (i.e. cone that does not end in a
Modo di misurare le fabriche, written in Italian vertex, but in a straight line), sphere, rotating
too, is a relatively small book: 208 pages in ellipsoid or oval (i.e. elliptical or ovate surface that
10.5x18.5 cm format. cut in the middle has a circular section) and
scalene ellipsoid or oval (i.e. lenticular surface
Referring continually to the Euclides adauctus,
that cut in the middle has an elliptic or oval
Guarini expresses the desire to make the
section) (Fig. 1).
geometric principles developed therein applicable
and accessible. The purpose of Modo di misurare He geometrically demonstrates the possible
le fabriche, stated in the dedication to the decompositions by cuts and compositions of
Superintendent of the Royal Finances of the elements. Then, he shows the variants deriving
Savoy, is to provide methods of measurement of from the different elementary surfaces, and
works in buildings that were under construction in proposes different types and inventions by
the second expansion of the Baroque city, started specifying the right ratios of the rooms to be
in 1673 under the direction of Amedeo di vaulted.
Castellamonte Lastly, he describes the methods of graphic
The themes that characterize the book are tracing and proportioning the vaults, and finally
preceded by the Prelude in which the author “to build them in bricks as well as marble”
exposes the main rudiments of Arithmetic, aimed (Guarini 1737: 183).
at carrying out the calculations proposed in the As anticipated, cutting each one of the six
text. Then, the book describes methods of survey primitives by vertical planes, he explains how to
and expresses the intention to establish as an generate elements for the different vaults.

SPALLONE, R.
Summarizing: 4. THE COMPOSITION OF ELEMENTS AND

THE VARIANTS
- groins, coves, fascie (i.e. arches), trombe (i.e.
portions of barrel vaults defined by planes not The elements described in the Architettura civile
parallel to each other) derive from cylinders create a real vocabulary of elementary surfaces to
(Fig.3). be used for creating a lot of simple and composed
vaults that feature the covering of Baroque
- fascie a squarcio (obtained through the cut of
architecture.
conical surfaces with planes parallel to the
directrix) derive from cones;
- domes, pendentives, and sails derive from
spheres, rotational ellipsoids or ovals, and
scalene ellipsoids or ovals.
Fig. 1. Guarini, the six round bodies. (Source: Guarini, Fig. 3. Guarini, elements and vaults arising from cones.
1737, plate XIX. Modelling: author). (Source: Guarini, 1737, plate XIX. Modelling: author).
Fig. 2. Guarini, elements and vaults arising from Fig. 4. Guarini, elements and vaults arising from
cylinders. (Source: Guarini, 1737, plate XIX. Modelling: conoids. (Source: Guarini, 1737, plate XIX. Modelling:
author). author).

Indeed, can be obtained: Guarini devotes special attention in comparison

with the treatisers of the time to the so-called
- barrel vaults, cutting cylinders and cones;
Gothic vaults, as variants of the Roman groin
- cross and cloister vaults (alsohaving different vault. They may come from different surfaces
polygonal plans), combining groins and coves (cylindrical and conical with circular or elliptical
derived from the cuts of cylinders, cones, and directrices) and, in the words of the author, even
conoids (Figg. 2, 3, 4); if they are not in use, they may sometimes
- domes, sail vaults, and pendentives cutting become useful (Guarini 1737: 186) (Fig. 6).
spheres, rotational ellipsoids or ovals, and About the vaults originated from cones and
scalene ellipsoids or ovals (Fig. 5). conoids, Guarini claims the invention of, and
reminds the application of one of the possible
variants in the design of the Castello di Racconigi.
This last, a kind of cloister that is formed by
cone’s portions with the vertex in the corners, is
not today existent and is not identifiable within
the autograph drawings classified by Augusta
Lange (Lange 1970).
About the domes, Marco Boetti notes that starting
from them ever-changing creative approaches
achieve spherical or elliptical shell, cut until to
form a series of interwoven arches. In this way,
vaults like those represented in the treatise (e.g.,
those in the chapel of the Holy Shroud and the
churches of San Lorenzo in Turin, Sainte-Anne-
la-Royale in Paris, San Gaetano in Nice, the
Somaschi in Messina) originate (Boetti 2006: 35).
Fig. 5. Guarini, elements and vaults arising from

spheres. (Source: Guarini, 1737, plate XIX. Modelling:
author).
Fig. 6. Guarini, elements and vaults arising from ogives. Fig. 7. Guarini, lunette vaults arising from ogives.
(Source: Guarini, 1737, plate XIX. Modelling: author). (Source: Guarini, 1737, plate XIX. Modelling: author).

SPALLONE, R.
The definition of lunette vaults deriving from the directrix of domes, groin, and cloister vaults. In
cut of one of the vaults previously described the 17th century, the conics, considered as a
(barrel, cross, cloister, dome, sail), concludes the projection of the circle on a plane, were the
description of the elements to shape the vaults. subject of Desargues’ writings, which Guarini
The cuts that do not arrive in the middle of the might have known (Bianchini 2008: 15).
main vault can be practiced by vertical planes,
The calculation of the surface of a cylinder
arising from a triangular, circular or square plan.
(Proposition 2) presents a Corollary referred to a
Then, as in Guarini’s words “that void is filled with
barrel vault, suggesting its application to the
a piece of cylinder cut triangularly with the same
covering of corridors. The measures given in the
angle of the cut, and as high as the same cut"
text (15 feet for the diameter, 50 for the length; 1
(Guarini 1737: 187).
foot is about 0.29m) are effectively consistent
The diagrams of such vaults show two variants, with the development of a corridor (about 4.35 ×
i.e. groins with a triangular and circular plans 14.50 m; 1 span is about 0.25 m).
inserted into a cylindrical cove.
The surface of a truncated cone (Proposition 8),
In Guarini’s explanation there is an evident in the Corollary, gives rise to a conical vault. Its
geometric inconsistency, because to guarantee two diameters respectively measure 16 and 10
the joint between the main vault and the groin, spans, the generatrix 9 span (about 4.00, 2.50,
this groin cannot be geometrically described as 2.25 m). The measures can refer to a connecting
cylindrical, but it must be generated by parallel vault between a main central vault and the
and variable sections (e.g. arcs of circumference perimeter walls.
or ellipse) (Fig. 7).
The calculation method for a semi-cove of a
In the Modo di misurare le fabriche the round arched cloister vault based on a square
explanatory sequence takes up the systematic plan (and a portion of it, designed to constitute a
organization of the Architettura civile, according lowered cloister) are developed in Proposition 10.
to geometric primitives, here reduced to four (Fig. 8). The repertoire of the coves that generate
(since conoid and scalene ellipsoid are absent): cloister vaults ranges among the plan’s various
i.e. cylinder, cone, sphere, and rotational ellipsoid Figures and various directrices.
and widening to their sections. Moreover, the
So, Proposition 11 is focused on the calculation of
same typological sequence (barrel, conical,
coves on five, six, and eight-sided plans, and
cloister, and cross vaults, domes and
Proposition 22 on a semi-cove with an elliptical
pendentives) is used. For this reason, they are in
directrix of a square base cloister vault (and a
the following grouped with the same sequence
portion of it). Moreover, Proposition 12 proposes
found in the Architettura civile. Moreover, their
the calculation of a cove (and a portion of it), as
shape is compared to built realities.
an element of a cloister vault on a rhombus or
Throughout the text, Guarini tends to focus on rhomboid plan (Fig. 8). An application of this
conics, which had been the subject of Treatise vault, in the lowered version, can be found in the
XXIV, De Sectionibus Conicis, of the Euclides corner vaults of the atrium of Palazzo Provana di
adauctus, and which here take on the role of Collegno, designed by Guarini himself.
Fig. 8. Guarini, coves with circular and elliptic directices. (Source: Guarini, 1674, Propositions 10 and 12. Modelling:
author).

The method for finding the surface of a circular- also valid for the smaller one, which is prevalent
section groin, designed as part of a groin vault on in the built vaults; just think of the lunettes in the
a square plan, is described in Proposition 14. Also, atria of the palaces Carignano and Provana di
it is cut by two vertical planes parallel to the Collegno, designed by Guarini (Fig. 9). The
keystone line and by a plane parallel to the discussion on the groins is concluded through an
directrix. In the Baroque age, this extremely original construction (Proposition 24), generated
lowered lunette, whose directrix is an arc of by the lateral half-faces of a concave pyramid on
circumference, is very widespread to give light in a square base, or by portions of them. The semi-
low-pitched vaulted rooms, such as mezzanines face, rotated by 180°, can constitute half of an
and basements. (Fig. 9). Also, the groins ogival groin (Fig. 9).
repertoire widens to the different directrix.
Propositions 17 and 18 develop, on the basis of
Indeed, Proposition 23 extends the case studies
Archimedes’ teachings, the calculation of the
to elliptic groins and their portions. These are also
spherical surface and a part thereof, applying it to
considered elements of a groin vault on a square
the description of a spherical dome and a calotte
plan. In the graphics scheme, the groin’s height is
dome.
given by the major semi-axis, but the method is
Fig. 9. Guarini, groins with circular, elliptic, and ogive directices. (Source: Guarini, 1674, Propositions 14, 23 and
24. Modelling: author).
The dimensional reference to the radius of the vault of considerable size, much wider than that
sphere (7 feet ≈ 2.03 m) and the generatrix in the atrium of Palazzo Carignano (about 10 ×
bowstring of the calotte (9 spans ≈ 2.25 m) 14.65 m). (Fig. 10). This case gives rise to the
suggest that Guarini is thinking of the small elliptical calotte proposed in Proposition 21.
central domes of the vaults, like those present in
The case of an ogival dome, similar, as Guarini
the rooms of Palazzo Carignano. (Fig. 10).
affirms to the ancient pseudo-cupola is
Proposition 20 describes the calculation of an
developed in Proposition 26. Therefore, its cross-
ellipsoid surface, applying it to the ellipsoidal
section is an acute arc (Fig. 10)
dome. The measures of the axes: 50 and 82
spans, about 12.50 and 20.50 m, bring to mind a

SPALLONE, R.
Fig. 10. Guarini, domes with circular, elliptic, and ogive directices. (Source: Guarini, 1674, Propositions 18, 20 and
26. Modelling: author).
Fig. 11. Guarini, “triangular” and “quadrangular” pendentives. (Source: Guarini, 1674, Proposition 19. Modelling:
author).
The calculation of the pendentives, is particularly the arches keystone, result in three
articulated, starting from two cases (Proposition “quadrangular” pendentives. (Fig. 11).
19). In the first, the cut of the hemisphere with
Proposition 16 shows a particular problem related
four two-by-two orthogonal planes generates a
to the lunette vaults: the calculation of the
sail vault, which, cut with a tangent plane to the
surface to be subtracted to the main surface
arches keystone, forms four “triangular”
consisting of quarter of a cylinder after cutting
pendentives with impost in a point. In the second,
with vertical planes. The author explains the
the hemisphere is intersected by three planes
necessity of such a calculation to achieve a
that first generate a triangular base sail with wide
correct measurement of the lunette vaults: "As it
circular imposts, then cut with a tangent plane to
is reasonable to measure the lunettes, that

certainly make greater the surface of a vault, so it the horizontal plane tangent to the vertex of the
is convenient to remove that surface from the groin, finalizing these operations to the
same vault, which occupies the space of the calculation (Fig. 12). In the empty space a lunette
lunette" (Guarini 1674: 109). This case must be inserted. Also in this case the issue of the
establishes an evident relationship with the built geometric joint between the two surfaces is not
architecture. Indeed, Guarini explains how to solved.
survey the position of some particular points and
Fig. 12. Guarini, surface to be subtracted for inserting a lunette. (Source: Guarini, 1674, Proposition 16. Modelling:
author).
5. FROM THE GEOMETRIC SHAPES TO THE The passage is also highlighted by the change of
DESIGN SHAPES graphic representation method. The double
orthographic projections replace the three-
In the Architettura Civile, from the Observation 8,
dimensional diagrams. This change of method
Guarini deals with the way to design the vaults
seems to conceptually indicate the gap between
(Guarini 1737: 188) passing to the architectural
the geometrical patterns previously described,
implementations, supported by his experience as
which are differently applicable, and the vaults’
designer.
models often inspired to his architectural
creations (Fig. 13). Approaching the architectural
design, Guarini uses the language of the technical
drawing, where the elevation “implies the plan
and raises from it the drawing” (Guarini 1737: 73)
In this part of the text, initially Guarini treats the
drawing as a geometric tracing: “The vaults
drawing does not involve much difficulty, because
the circle could be traced by the compass, about
the ovoidal and elliptical vault... I stated different
rules for giving them the rise” (Guarini 1737: 188).
Nevertheless, the term drawing assumes a more
pregnant value in the following of the discourse.
Here, it takes both a projectual value, identifying
drawing with design, and a perceptive value,
since, as in the words of the Theatine “in each
type of vaults certain devices could be adopted to
make them more grateful to the eye” (Guarini
1737: 188). At the end of the discussion, ‘drawing’
also takes a constructive value.
In the transition, from the definition of vault
typologies according to the pure geometries of the
intradosal surfaces, to the specifications of the
constructive features to be adapted to the civil
buildings, appears the gap between geometric
criteria of ideation, and proportional criteria
Fig. 13. Guarini, patterns of lunette vaults, sail vault, aimed to constructive dimensioning. This gap
and a fascie vaults. (Source: Guarini, 1737, plate XX. appears only in the text, not in the final eight
Modelling: author).
orthographic drawings, in which the will to

SPALLONE, R.
regularize the schemes prevails even in the independent from any other knowledge” (Guarini
elevations (using regular geometric Figures as 1737: 62).
rotational main surfaces and round arcs).
For these reasons, the methods of graphic
The description about designing the vaults analysis and three-dimensional modeling carried
therefore focuses on the rise in relation to the out in relation to the orthographic drawings of
planar ratios and, about the lunette vaults, on the these last models of vaults has been differently
number of lunettes in relation to the dimensions set. Indeed, it starts from the plans’ analyses and
of the rooms. In particular, Guarini asserts that makes checks and congruent corrections of the
the cloister vaults (also named a conca) shall be vertical sections.
more beautiful if they have a lower rise. Indeed, in
The geometric interpretation method has been
the ordinary rooms that are not so much high, if
suggested by the comparison between Guarini's
they are built with a little rise, they will make the
text and the drawings, and supported by the
room airier. The useful ratio for the rise is a
experience about three-dimensional digital
quarter or at less one fifth of the shorter side of
reconstruction of the multiple schemes present in
the plan, and if the designer wants to make them
the plate XIX, which, as previously said, allowed
look flat, he can create the cornice on which the
to discover the formal vocabulary he proposed
vaults’ imposts arise (Guarini 1737: 188).
using simple geometries.
The proposed typologies of vaults to be chosen,
This cognitive approach guided the graphic
are related to the shape and the ratios in plan of
analysis operations that, starting from the plans
the rooms they have to cover. Guarini suggests:
and sections drawn by Guarini, identified their
groin vaults, for the rectangular rooms, even
proportional relationships, symmetries, geometric
oblong, lunette vaults, having the groins inserted
constructions, primitives, and their compositional
on cloisters and barrel with cloister heads vault,
criteria.
for the rectangular halls, and rotational domes for
elliptical or oval plans. Three-dimensional modeling was carried out
according to the sequences and concatenations
Finally, Guarini attributes to himself the ideation
that are typical of Guarini’s modus operandi. This
of the a fascie (arched or architraved) vaults: “this
is described by Henry Millon, who, referring to the
kind of particular vaults is mine, and I created
work by Borromini and Guarini, states that the
them in many variations and satisfaction of the
building shapes designed by them were set on
people... They are very refined to behold, and
some basic geometric principles. Both developed
leave great areas for painting” (Guarini 1737:
their schemes adhering to a general concept of
189). These are designed to cover very wide
geometric evolution, which subsequently
rooms with single vaults.
determines the position of the main design
Several inconsistencies between the plans and components (Millon 1970: 39).
the vertical sections, particularly in the plate XX,
The analysis of the Theatine’s drawings also
have been noted. For their interpretation, it has
involved the use of a particular process of work,
been followed the remind by Piccoli, who
through which the two vertical sections are
observed the guide role that the plan tends to
automatically generated cutting the 3D models:
assume in Guarini’s design method (Piccoli 2006:
the first one is superimposed on the original
47).
drawing, allowing the check of the projective
In support of this hypothesis, it should also correspondence, and the second one completes
remember that Guarini emphasizes the relevance the representation with the lateral projection.
of the plan in several parts of the Architettura
Civile. Indeed, he points out that the design starts
and develops from it: “Knowing how to perfectly 6. PRACTICAL APPLICATIONS: GROIN,
draw the plans depends on the elevations, and LUNETTES, "A FASCIE" VAULTS IN BAROQUE
this last depends on the first one.... Just because ARCHITECTURE
you have to start from any one of them, here I
model, drawn in plate XIX, consists of a cross
have intended to give those notions aimed to
vault for covering rectangular and oblong rooms.
draw the plans, which are more general, and more
It is shown by the orthographic projections where

the two solutions are superimposed. In this case, some ambiguities. In the plan, the intersection
the two directrices (the first one semicircular and between the groins of the first solution does not
the second a semi-elliptic) use the side length of appear. In the vertical section the lining which
the room as the diameter or axis. Also, the semi- render the two arcs suggests that it is a cloister
circular arc with the same diameter of the other is vault instead of a groin one (Fig. 14).
set on the long side. Guarini's drawing shows
Fig. 14. Guarini, cross vaults. (Source: Guarini, 1737, plate XIX. Modelling: author).

SPALLONE, R.
Lunette vaults are widely discussed in the Architettura Civile. The reconstructive model
treatise and drawn in plate XX, surely because shows an adequate overlapping with Guarini’s
they are the most widespread covering system of projections, except for the lateral groins that are
that time. not rampants in the original drawing (Fig.15).
The first two examples are based on late- In the second example a lunette vault covers a
Renaissance lunette vault models. rectangular plan with side ratio of about 1:2. It is
a lunettes barrel vault with cloister heads. The
In the first case, the rectangular plan is covered
lunettes, defined by cuts parallel to the
by a cloister vault that is cut with vertical planes
intersections between the barrel and the coves,
parallel to the intersection between the coves.
have the same shape and are in a different
The rampant groins, inserted for closing the cuts
number on the sides. The compensation is
are equal in number for each side and have
necessary for the regularity of the system. It is
different spans of the perimeter arches on each
obtained by setting a different distance between
of the walls. Therefore, the arches are
the lunettes along the sides. The Guarinian
semicircular along two sides of the room and
vertical section of the main vault is not
semi-elliptical along the others. The main vault on
geometrically consistent with the plan: the profile
a rectangular plan has a 3:4 ratio of the sides and
of the section is elliptical rather than flat in the
semi-elliptical directrices of the two semi-
central part and circular at the ends (Fig. 15). The
cylinders that shape the coves of the cloister
above-mentioned vault may refer to a drawing
vault. The rampant groins, having a triangular
attributed to Francesco Lanfranchi: the cross-
plan of different base along the two sides of the
section of the design for the central body of
room originate from circular arches along the
Castello di Racconigi dating back around 1665
walls. This model could refer to the drawing of the
(Dardanello 2006: 435). Guarini succeeded him in
honor hall in the Guarinian design of Castello di
the task of castle’s transformation from 1677.
Govone, present in another plate of the
Fig. 15. Guarini, lunette vaults. (Source: Guarini, 1737, plate XX. Modelling: author).

The third case witnesses the passage from the Indeed, in the case of the mid-cross vault, the
late-Renaissance to the Baroque style, through intersection between the groins and the vertical
Guarini's invention of a lunette vault set on the projection of one of them are lacking, in the case
ovate plan. It recalls, for the geometric layout, the of the mid-cloister vault, the intersection
vault of the atrium of Palazzo Carignano, even if between the coves (Fig. 16).
the author does not explicitly refer to it. In the
original drawing the axes of the oval plan have a
ratio 4:3, while the vertical section reveals that
the main surface is generated by rotation of the
oval around the major axis: the resulting rise is
equal to the minor semi-axis. According to the
text, the horizontal projections of the groins have
equal sides, and the vertex is tangent to an inner
oval, offset of the main one. Guarini also shows a
variant with different sides in plan for the
diagonal groins. In the reconstructive model, the
rotating oval that shapes the main surface is cut
with vertical planes extruded from the projection
of the groins. These cuts involve groin vertices
higher than the drawing by Guarini. The rampant
groins, which originate from round arches, are
modeled by parallel arcs with variable curvature
along an oblique trajectory (Fig. 15).
Also the a fascie vaults (marked by arches) play a
significant role in the Architettura civile and in
Baroque architecture, just think to several vaulted
halls designed by Filippo Juvarra. They are
flanked by the a fascie piane vaults (marked by
beams), which develop as three-dimensional or
flat coverings. Both types are used for dividing the
space to be covered in smaller surfaces.
The plan projection of the a fascie vault in plate
XX is similar to the vault designed by Guarini for
one of the five halls of the first noble floor of the
Castello di Racconigi. Indeed, he affirms that in
Fig. 16. Guarini, a fascie vault. (Source: Guarini, 1737,
the plate he is showing an example among the
plate XX. Modelling: author).
many vaults designed for Racconigi (Guarini 1737:
189). The reconstructive model of the vault starts However, while the design drawing of the plan for
from four fascie a squarcio (i.e. conical arches) Racconigi is quite similar to that of the treatise,
that delimit the space of covering. A sort of sail is the drawing of the cross-section reveals a
set on the four arches and on short portions of the different spatial conception. Indeed, Guarini drew
perimeter walls. It is not an elliptical or ovaloid the roof of the room as covered by linear beams
surface cut by vertical planes, as Guarini taught that support almost flat surfaces. Therefore, the
describing the sail vaults (Guarini 1737: 186-187): a fascie vault offered as a model in the treatise
it must be geometrically built through parallel becomes in the design practice an a fascie piane
curved sections. Moreover, in Guarini’s drawing, vault.
the angular vaults are suitable for different Moreover, the a fascie piane vaults are developed
hypotheses: the a tromba vaults, above as a sort of three-dimensional frameworks of
described, confirm the correctness of both the absolute formal innovation, applied by Guarini in
projections, while the mid-cloister or mid-groin the design of the vault of Palazzo Madama
vaults, the more plausible ones from the formal (Zangirolami 2015: 130-136) or, simply, as flat
point of view, implicate some author’s omissions. roof.

SPALLONE, R.
7. CONCLUSIONS to the proportional one and opens to numerous

inventions that feature the vaulted systems in
The parallel reading of the Architettura Civile and
Baroque architecture.
the Modo di misurare le fabriche, in light to the
theoretical contribution of the Euclides adauctus, In the Modo di misurare le fabriche, the link with
about the theme of the geometry of the vaults, architecture is less stringent than in Architettura
offers an overview of the whole production cycle civile. Even if the treatise aims at being a subsidy
of vaulted systems that goes from the ideation, to to the architect’s operative activity, the discourse,
the design, to the construction, the calculation, as stated by Luigi Vagnetti "is kept on a
and the verification of the quantities of materials theoretical plane of absolute abstraction, in which
during construction. the scientific and speculative mentality of the
author is decidedly overwhelming" (Vagnetti
In the two treatises there is a further confirmation
1970: 508). Nevertheless, the scope of possible
of Guarini's vision according to which architecture
shapes broadens, presenting some novelties with
is dependent to mathematics and therefore must
respect to the Architettura Civile inspired to the
be traced back to its geometric matrices (Tavassi
real cases surveyed in the Baroque city.
La Greca 1968: 452-453).
Graphical analyses and reconstructive digital
The Architettura Civile states a real vocabulary of
models allowed to highlight the role of geometry
elements strictly derived from geometric
in Guarini’s theorization and the logic of shapes’
primitives usefully cut by planes. Their
composition at the basis of his inventions, and
combination originates a lot of composed vaults.
constitute a knowledge base to recognize and
Passing from the typological patterns to the
interpret the geometric structure of the vaults in
design models the geometric criterion gives way
Baroque built heritage.
REFERENCES
Bianchini, Carlo. 2008. La scienza della rappresentazione nella concezione di Guarino Guarini. Roma:
Gangemi. ISBN 8849214456
Boetti, Marco. 2006. “La geometria delle strutture voltate ad archi intrecciati”. In Dardanello, Giuseppe,
Klaiber, Susan, Millon, Henry A., ed. Guarino Guarini. Torino: Allemandi, p. 35-42. ISBN 978-88-422-
1471-7
Dardanello, Giuseppe. 2006. “Le idee di Guarini per il palazzo con cupola di Racconigi”. In Dardanello,
Giuseppe, Klaiber, Susan, Millon, Henry A., ed. Guarino Guarini. Torino: Allemandi, p. 425-440. ISBN
978-88-422-1471-7
Guarini, Guarino. 1671. Euclides adauctus et methodicus, matematicaque universalis. Torino: Typis
Bartolomaei Zapatae.
Guarini, Guarino. 1674. Modo di misurare le fabriche. Torino: Per gl’Eredi Gianelli.
Guarini, Guarino. 1686. Dissegni d'architettura civile et ecclesiastica, inventati et delineati dal Padre D.
Guarino Guarini. Torino: Domenico Paulino.
Guarini, Guarino. 1737. Architettura Civile. Torino: Appresso Gianfrancesco Mairesse.
Kruft, Hanno-Walter. 1999. Storia delle teorie architettoniche da Vitruvio al Settecento. Roma: Laterza.
1999. ISBN 978-88-420-5804-5
Lange, Augusta. 1970. “Disegni e documenti di Guarino Guarini: catalogo dei disegni manoscritti”. In
Guarino Guarini e l'internazionalità del Barocco, atti del convegno internazionale promosso
dall'Accademia delle Scienze di Torino, tomo I. Torino: Accademia delle Scienze, p. 92-346.
Millon, Henry A. 1970. “La geometria nel linguaggio architettonico di Guarini”. In Guarino Guarini e
l'internazionalità del Barocco, atti del convegno internazionale promosso dall'Accademia delle Scienze
di Torino, tomo I. Torino: Accademia delle Scienze, p. 35-60.

Piccoli, Edoardo. 2006. “Disegni di Guarini per le volte di edifici civili”. In Dardanello, Giuseppe, Klaiber,
Susan, Millon, Henry A., ed. Guarino Guarini. Torino: Allemandi, p. 43-49. ISBN 978-88-422-1471-7
Spallone, Roberta. 2016. “’On the vaults and various modes of making them’. Interpretative digital
models of the XIX and XX plates in Guarini's Architettura Civile, between designs and buildings” /
"’Delle volte, e vari modi di farle’. Modelli digitali interpretativi delle lastre XIX e XX nell'Architettura
Civile di Guarini, fra progetti e realizzazioni". In Bertocci, Stefano, Bini, Marco, ed. The Reasons of
Drawing. Thought Shape and Model in the Complexity Management / Le Ragioni del Disegno. Pensiero
Forma e Modello nella Gestione della Complessità. Roma: Gangemi, pp. 1275-1282. ISBN 978-88-492-
3295-0
Spallone, Roberta. 2017. “Matrici geometriche e saperi costruttivi”. In Spallone, Roberta, Vitali, Marco.
Star-shaped and Planterian Vaults in the Baroque Atria of Turin / Volte stellari e Planteriane negli atri
barocchi in Torino. p. 85-148. Ariccia: Aracne. ISBN 978-88-255-0472-9
Spallone, Roberta. 2019a. “Geometry, Arithmetic, Architecture. Calculation Methods for Vault Surfaces
in the Modo di Misurare le Fabriche by Guarini”. In Cocchiarella, Luigi, ed. ICGG 2018—Proceedings of
the 18th International Conference on Geometry and Graphics. Cham, Switzerland: Birkhäuser-Springer,
p. 2108-2119. ISBN 978-3-319-95587-2. https://doi.org/10.1007/978-3-319-95588-9_188
Spallone, Roberta. 2019b. “Lunette Vaults in Guarini’s Work. Digital Models between Architettura Civile
and Modo di Misurare le Fabriche / Volte a lunette nell’opera di Guarini. Modelli digitali fra Architettura
Civile e Modo di misurare le fabriche”. Disegno, no. 4, p. 91-102. ISSN 2533-2899
Zangirolami, Diego. 2015. “Immaginazione e potere: ricostruzioni dei progetti di Guarino Guarini per
Palazzo Madama e Racconigi, mai realizzati”. Palazzo Madama 2014-2015, pp. 130-136.

Spallone, R. 2019. "Geometry of Vaulted Systems in the Treatises by Guarino Guarini", EGE Revista de
Expresión Gráfica en la Edificación, Nº 11, Valencia: Universitat Politècnica de València. pp. 74 - 88.
https://doi.org/10.4995/ege.2019.12872

https://doi.org/10.4995/ege.2019.12873
APEGA, UPV
DIGITAL SURVEY: FROM NEW TECHNOLOGY TO EVERYDAY USE, A

KNOWLEDGE PATH AND CHALLENGE FOR SCHOLARS
Giorgio Verdiani
Dipartimento di Architettura, University of Florence, Italy. giorgio.verdiani@unifi.it
Abstract
Which is the meaning of researching and working in the field of the digital survey at the beginning of
the XXIth century? Are the scholars and professionals planning procedures and strategies or just
producing an enormous amount of digital data which destiny will be a colossal data loss? Starting from
a reflection about “where we are” after 20 years of active digital survey for built heritage this article will
try to trace some points about how to start and to plan digital survey intervention when the task is not
merely professional and when the new survey bases are supposed to be used in a “liquid” context.
From the massive machines and procedures of the XXth century, producing quite “light” amount of
data, in the last two decades these tools passed to be lightweight in their hardware, while the amount
of gathered data increased continuously, in what it seems an unstoppable process. But massive data
gathering maybe it is not knowledge by itself and the information society, especially in its next
evolutions, will need contents and versatile data to support and link our present to the heritage values.
A specific reflection on the value of digital survey and procedures will be held here not in the pretention
of finding a stable paradigm but in the will of stimulating the discussion in a field often tempted by
simply technical solutions.
Keywords: Lasergrammetry; Photogrammetry; Santa Maria del Fiore Cathedral; Palazzo Vecchio;
Firenze; Built Heritage.
*Correspondence author: Giorgio Verdiani, giorgio.verdiani@unifi.it

DIGITAL SURVEY: FROM NEW TECHNOLOGY TO EVERYDAY USE, A KNOWLEDGE PATH AND CHALLENGE FOR SCHOLARS
1. INTRODUCTION well as the contemporary Photogrammetry should

be in the so-called “Plateau of Productivity”: for
Two main presences have ruled the digital survey
the uses of Lasergrammetry, they entered the
scenario in the last twenty years: Lasergrammetry
Cycle from the “Technology Trigger” in 2012 and
and Photogrammetry applications have been a
were at the beginning of the “Peak of Inflated
more and more constant presence in every case
Expectations” in 2013, just to pass quickly the
studies and interventions on built, cultural and
“Trough of Disillusionment” and reached the
archaeological heritage. Their use alone, in
“Slope of Enlightenment” in 2014 (Murphy &
combination, or even integrated by other kinds of
Topcon, 2015). For Photogrammetry, it seems
data gathering have taken a large part of the
there is no a specific position in between the
attention in the technological renewal.
subjects analysed by the Gartner’s Cycles, but it
It is possible to consider them both as a part of should be possible to place its present position
the Information Technology Industrial revolution, along the “Plateau of Productivity” close to
included in the steps of the Industry 4.0 Lasergrammetry, maybe with the terrestrial
innovations (Bartodziej, 2016) and in the bases of photogrammetry a little forward in front of the
the Society 5.0 concepts (Salgues, 2018). In a aerial UAV/Drone solutions. The continuous use
certain way, these two technologies have of these solutions made them well integrated into
challenged each other in the field and in the the general approach and even if various personal
preferences of the operators, producing benefits preferences and behaviours may create a certain
in the evolution of the state of the knowledge and variety in the definition of the workflows between
excellent documentation and “digital twins” data gathering and post-processing, in general,
production (Auer Ram, 2019) for many elements the logic in the process appears well
of the Humanity’s Patrimony. consolidated. The two different technologies can
But which is the present scenario with built be considered as parallel starting from their
heritage and digital survey? Considering the measuring solution: on one side the “active”
Gartner “Hype Cycle” (Fenn, Raskino, 2008), even method of the 3D laser scanner: a specific signal
with all its limits and contradictions, the 3D Laser allow the gathering of the point, with a procedure
Scanner (3DLS) -or “Lasergrammetry”- uses as that now allows extremely massive captures.
Fig. 1. Gartner’s Hype Cycle for the emerging technologies: 3D Manufacturing, July 2018, the 3D Scanners are
underlined in blue. (Source: www.gartners.com).

VERDIANI, G.
On the other side, the photogrammetry adopts a minimal distances and then with an extremely
“passive” method, capturing the real without accurate description of the shape of a surface. At
interfering with it and creating the digital model the same time, in photogrammetry, the small size
from pictures which technical quality directly of the pixels on the object, the extremization of
influences the result (Stanco, Battiato, Gallo, the Ground Sampling Distance ratio (GSD,
2017). These two sides of the digital survey have originally defined for aerial digital photography,
seen a significant evolution since their but then extended to all the situations) (Sanz-
introduction on the field of built heritage (3DLS, Ablanedo et Ali, 2018), has brought the possibility
main diffusion from the end of the 90s) or since to produce 3D models with a level of details that
their digital renewal (SfM/IM Photogrammetry, goes quite beyond the common perception of the
main diffusion from the second half of the 2000s). same object by the human eyesight. The
possibility to explore from close-range to micro
For the 3DLS the more and more efficient
details the objects made particularly useful -and
“automatic alignment” procedure has shortened
even fascinating- this complex work of
the time needed to register the point clouds in a
reconstruction, opening new and interesting
single reference system, while the enhancements
perspectives in the possibility of analysis,
in the size, weight, autonomy, speed and accuracy
diagnostic and monitoring of various materials
of the laser units have made extremely simple to
and artefacts. But it is worth to remember that
bring these tools around and face complex and
any digital representation is necessarily made by
long survey campaigns. At the same time, the
a “finite” number of samples and that the creation
latest tendency seems to be quite oriented to the
of a digital twin needs a specific sampling of the
production of extremely massive data, with high
object that brings necessarily to a reduction (even
density, HDR/multi-coloured point clouds,
when beyond the human level of perception) of
excellent in the aspect and perfectly suitable for
the complexity of the real. In a certain way, it is
automatic procedures of alignment. Thus, the
established a parallel between the “continuity” of
side effect of this quality is the “size” of the
the real and the “sampled version” of the digital,
overall data, which makes easy the production of
the results are excellent, but the limit of the
hundreds of Gigabytes of data in a single day of
possible level of detail exists.
scanning. At the same time, the procedures for
photogrammetry have seen a significant speed- For this it comes out naturally to consider the
up in the time needed for processing and model “appropriate” level of detail for each task, the
production, an enhancement not only linked to the restoration, the evaluation of the seismic risk, the
better performance of the hardware, but to the production of multimedia or the study about
better optimization of the software. The gradual virtual reconstructions, etc... all of them require a
integration of the support to point cloud data in specific level of detail, when it comes “superior”
the photogrammetric software have made simpler to the needs the operators are simply “putting
to integrate both the surveys in a single common away” something useful for the future, but in the
result, with excellent benefits in the final quality final preparation of the graphics boards, of the
of the resulting products. APP, of the digital 3D model, the extreme
simplification will reduce to a fraction the entity
At the state of the development of these
of the original materials. Which think does not
technologies, it is worth to make some reflections
mean that all the people involved in the digital
and compare them to a couple of significant case
survey are called to produce only the exact
studies to better understand challenges and “next
amount of information needed for a single task.
moves” in the field of digital survey.
But that certain approach apparently guided by
massive intentions may have to wait for a possible
2. CONTINUOUS VS SAMPLED future use than being immediately useful.
The massive data gathering of the 3D laser At the same time the approach to digital as the
scanners and the more and more high resolutions “true representation of the real” may appear more
of the digital cameras push to some reflections like a fake myth than a real condition and depends
and speculations about the parallel real/digital, on some misinterpretation of a logic process.
from one side the high accuracy of the scanners Where the enthusiasm in technologies may
allows to produce point clouds with point grids at replace an appropriate reading of the context.

Moving out from the digital survey scenario it is enhanced not only by quantity but also by
possible to find some parallel clarifying this qualities. Such a choice and coherence can be the
concept, in an example: thinking about the next step forward in considering the digital
digitalization of the sound. The sound in nature approach not as an “exceptional” event, but in
can be represented in form of a wave, which is perfect continuity with the tradition of the artists
defined by a continuous curve, the digitalization and craftsmen who made the built heritage itself.
of the sound, samples this curve in a series of
segments, the smaller the segment, the better the
fidelity in the registration. The actual standards in 3. THE FLORENTINE CATHEDRAL
digital registration and reproduction, with their The Cathedral of Florence represent a long story
high quality, may induce some weird convictions of transformations: the city moving from a
about the parallel between real and digital, like: medieval town to the Renaissance was giving
“If you'd given Mozart a smartphone with his itself a new large building, replacing the previous
collected works on it, he would not have been able St. Reparata with a new church, large and rich,
to believe his ears. What that thing does, to him entitled to St. Mary of the Flower, clearly an
would have suggested either magic or witchcraft. allusion to the lily, the specific Florentine symbol.
He would never have heard his music sound so The construction of the Cathedral created a large
clear, so pure, so perfectly produced in his entire courtyard, extended in space and time: from the
short life.” (Hovestadt et Ali, 2017) where the early works from the 8 September 1296 to the
high-quality reproduction of the real looks completion of the Dome in 1434, to the
confused and considered superior to the real consecration in 1436, to the Façade added in the
itself. The digital recording/reproduction is at XIIX century (Gurrieri, 1995).
now better than any similar previous solution, but
cannot be compared to the quality and emphasis This five-century long process defined the third
of the real (and at the time of Mozart there were largest Christian cathedral in the world, a
no recordings tools), it is just a sampled version, monument that in our times brings important
a reduction to something portable that may leave issues about management, tourism impact, a
stunned for the appreciable result, but not proper way of restoration and correct strategies
considered superior to a real orchestra, even for in the intervention.
less trained ears than those of Mozart. The “Opera di Santa Maria del Fiore”, the
The same misunderstanding may happen in the "Fabbriceria della Cattedrale di Firenze", or
digital approach to Cultural Heritage, considering “Florence Cathedral Works”, was founded by the
the whole problem as merely linked to an Florentine Republic in 1296 to oversee the
accurate and mathematical/informatic accuracy, construction of the Cathedral.
which thing should be not. After all this time, the “Opera” is still managing
The digital part is only a step in a process of restorations, accesses and interventions all over
comprehension of the patrimony, the operation of this huge building.
guiding it to be “a little more” than the accuracy Since the early 2000s, to provide constant safety
and quantity of the data should be a fundamental conditions to the numerous people moving all
task for each scholar. The contents, the myriad of around the Cathedral every day and to avoid the
aspects, should be connected together, the real risk of decay for some parts of the façades, the
choice about quality, simplifications, post- Opera started a continuous check of all the
processing, should take care about the contents elements in the external walls of the Church,
of the specific subject, not treating it in a operating from the building and using large
continuous replica of the same process, equal for cranes periodically.
a design object, a statue or a building, but
oriented to valorise, optimize and enhance At the beginning of the second decade of the
accordingly to the understanding and the final 2000s a digital system, mapping all the elements
task of the interventions. of the façades started to support the activity of
architects, restorers and Cultural Heritage
This comprehension has the option for creating a experts. In 2017 a new accurate survey was
better bridge between the continuity of the real commissioned to update the state of knowledge
and the sampling of the digital, which can be

VERDIANI, G.
about the Cathedral with a completely new digital photogrammetry shots, this is also a challenge
survey of all the façades. The commitment was with the weather: in case of rain it is not possible
assigned to Area3D Srl, Livorno, with the to operate, the wind may reduce drastically the
scientific coordination and in collaboration with reachable height, the direct sun may cause
the DiDALabs system of the Dipartimento di unwanted shadows and chromatic dominants in
Architettura, University of Florence. The planning the shots. The photogrammetry from the crane
of the survey was articulated in two main started in May 2017 and is now (November 2019)
sequences: one using a 3D laser scanner unit to reaching the completion with the coverage of the
capture the whole detailed model of the southern front.
architecture and working as the main reference
For the southern apse and a part of the eastern,
for all the architectural elements.
there will be to wait for the restoration courtyard
The second was based on the photogrammetric to be finished, while now it is covering all this part
survey, aimed to produce a high detail image of with scaffoldings. It is important to consider that
the façade, integrated by the 3D laser scanner the crane used for these tasks is not the typical
measurements and developed to be the main small vehicle used for hanging around Christmas
reference for all the details, from the statues to decorations. The various units involved in time for
the minimal mosaics and marble elements. the monitoring are the large cranes with arms
extending up to 114 metres (which correspond to
In this way, all the possible issues caused by the
the longest range available in Italy).
extreme size and complexity of the façade were
under proper control, with the benefit in having a
global accurate survey based on 3D laser scanner
and a level of detail capable to show cracks,
spots, detachments, colour alterations, etc...
Thanks to the complete photogrammetry.
The whole scanning work was done using a
Cam/2 Faro Focus X330, which turned out as a
well-working choice: the low weight/small size
allowed to position the scanner anywhere in an
easy way, like over the roof of the Baptistery, or
in position reached using a crane, like all around
the apsis; the long-range of this unit, capable to
take points up to 330 metres of distance and the
good accuracy of about two millimetres at ten
metres of distance on normally reflective
materials, allowed to have a global base ideal for
preparing scaled drawings for the representation
of all the fronts. No scanning was done directly
from the crane, the presence of stable point of
view from all the building around the Cathedral
and an accurate planning of the scan stations all
Fig. 2. May 2017, the first photogrammetry campaign of
around the roofs and access in its top parts,
the Florentine Cathedral, operative unit, from the left:
allowed a complete coverage avoiding possible
Stéphane Giraudeau, Filippo Giansanti, Paolo
difficulties coming from the tilting of the crane Formaglini from the DiDALabs System, Architecture
arm and/or complex post-processing afflicting Photographic Laboratory (LFA). (Source: own’s, the
the final accuracy of the aligned point cloud. author).
This accurate digitalization by points was then These extreme extensions are needed not only for
used as a reference base for the photogrammetry. the reachable heights but for the rich articulation
This part of the work was -and yet is- a great of the arms, allowing to move all along a front,
adventure for all the operators, in facts, at any reaching difficult angles and making all these
occasion in which the crane is used for monitoring work from positions compliant with people traffic
the Cathedral, a new area is covered by on the ground.

The possibility to have three photographers at operators/tools, the shooting/sub-selection and

time during the operations allowed a specific the main corresponding orthophotos were:
strategy: two full-frame cameras (Nikon D800)
Western Façade, three operators, four FX sensor
with the same lens (Nikkor 35mm F2) mounted on
cameras with a resolution about 36 Mp, 3576
tripods, taking parallel shots from the two sides
shots, sub-selection at 2.960 photos. Resulting
of the platform and a third camera (Sony Alpha 7r,
polygonal mesh defined by about230 million
mounting a Sigma Macro 50mm F2,8 or Pentax
triangles; final orthophoto 51.431x62.033 pixels,
K1, mounting a Sigma 35mm F1,4), handheld and
pixel sizes on the object 0,98 mm.
used to take angled, detail and specific shots
accordingly to the area of intervention. Northern Façade, four operators, four FX sensor
cameras with a resolution about 36 Mp, 6.379
shots, sub-selection at 4.435 photos. Resulting
polygonal mesh defined by about 410 million
triangles; final orthophoto 152.536x86.070 pixels,
pixel sizes on the object 0,6 mm.
Northern apsis, four operators, two FX sensor
cameras with a resolution about 36 Mp, one FX
sensor camera with a resolution about 47 Mp, one
medium-format sensor camera with a resolution
about 50 Mp, 11.700 shots, sub-selection of 6782
photos. Resulting polygonal mesh defined by
about 2,1 billion triangles; final orthophoto
divided into 19 planes of about 35.000x50.000
pixels, pixel sizes on the object 0,4 mm.
The whole set of operations, from the shooting
from the platform to the treatment of all the
pictures and the long days of calculations, was
continuously aimed to the refining of the
procedure, getting better quality and higher
resolution results and adapting the process to the
specific needs of the area/sector taken in
processing. The darken colours caused by the
patina, the richness of the statues or the
Fig. 3. November 2018, the photogrammetry campaign
of the Florentine Cathedral: northern absis (Source: articulation of the apsis required little different
own’s, the author). strategies. The results, exploiting to the maximum
the resolution of the original shots produce
The intensive shooting produced a wide set of impressing image documentation of all the fronts,
images, that were later selected in terms of where all the details are clearly recognizable in
quality and proper overlapping, specific attention shape, colours, state of decay.
was given to the corners of the building and to the
most difficult occlusion areas. Some adjustments The following processing was aimed at the
and optimizations were brought on while the production of 2D drawings to enter the system of
survey campaign was ongoing, both following the management of the façades. Each element was
specific aspects of the building (passing from the traced with a closed polyline to be later imported
West façade, rich of statues, to the Northern, and described by all its attributes. The task of
characterized by large dark patina areas) and the Area3D/DiDALabs so-called with the drawing
changes/improvements in the equipment of the production, all the further operations were
Architecture Photographic Laboratory. The order brought on by the “Opera” officers.
of the operations was: May 2017, Western and Such a final use may look “a reduction” in the
Northern Façades; November 2018, Northern processing, while all the 3D data and high-
apsis; May 2019, Giotto’s Tower Bell; November resolution images are left behind the production
2019, Southern Façade. The photogrammetry of a “detailed” but “simple” drawing, but it simply

VERDIANI, G.
absolves the direct needs and creates a proper management, visualization and virtualization of
base for monitoring and managing the building. the whole monument. A simplified version of the
Otherwise, the richness of the bases is yet materials produced during the Cathedral survey is
available documenting the state of the cathedral visible and browsable in the Sketchfab.com
at the moment of the survey, remaining as a community, in the profile of the DiDALabs
reference and usable for further studies and Architecture Photographic Laboratory
tentative in enhancing the procedures of (sketchfab.com/L.f.A-DiDA-UNIFI).
Fig. 4. Northern Front of the Florentine Cathedral, final processing of the photo plane, orthographic projection,
original resolution: 152.536x86.070 pixels. (Source: Laboratorio Fotografico Architettura, DiDALabs, Paolo
Formaglini, Filippo Giansanti, Alessandro Giacomelli, Stéphane Giraudeau, 2018).
4. PALAZZO VECCHIO Renaissance restoration and transformation with

all the interventions by Giorgio Vasari; the later
Palazzo Vecchio is an incredible collection of
expansion and “completion” by Battista del Tasso
transformation and overlaid interventions. Since
e Bernardo Buontalenti. In recent times, being at
its foundation, it has seen a continuous courtyard
the same time the place of the Florentine
of adaptations and expansions, growing to fill the
Municipality and a large museum, it has received
whole block in its nearby areas, while the inside
numerous interventions to adapt the building to
changed its shape and aspects many times. It
technical needs: plumbing, piping, elevators,
covers the previous roman structures of various
electric and aeration systems. The result of
buildings, with the former Amphitheatre recently
centuries of growing and changing is a very
opened to the public for visits. In the past
complex structure, expanded, connected and
centuries, various studies documented this ever-
often carved, extremely rich of artworks and weird
transforming building (Rastrelli, 1792; Francini,
remains. In such a context, the request for
2007; Bruttini, 2013), in an extreme attempt of
defining the “seismic risk” brought to understand
resuming the reason for such intense
the need for a detailed survey.
transformations it can be argued that its origins
and development as the core of the Florentine In facts, the previous works (Bartoli, 2007) were
governance forced continuously the needs of offering appreciable drawing and description of
changing and adapting. The main interventions the building, but they all resulted of too simplified
can be focalized in the early medieval definition or too partial to support the seismic study with
of the so-called “Arnolfo’s Cube”; the large proper accuracy in the definition of walls,

interstices, openings and “holes”. This condition weight six Kgs), Z+F Imager 5016 (360x320°
pushed the municipality to decide on a new global capture field, two mm accuracy at 10 metres,
survey of the whole building. In the will of such an range up to 380 metres, weight 7,5 Kgs). In this
advance in the level of details and knowledge in way, the long-range scanners were used for all
the survey of Palazzo Vecchio, the work was the external parts, while the smaller and light
obviously monumental. The strategy adopted was weighted scanners were used in the interiors,
to operate with multiple 3D laser scanner units, with significant benefits in the small spaces, like
accordingly to the specifics of the unit to get the extrados, narrow staircases, interstices, etc...
best possible benefit about the accuracy,
Accordingly, to the aims of the survey, the needed
coverage, speed.
data were the simple geometry of the spaces,
without the need for texturing, so, no integrative
photogrammetry was done. The whole survey was
completed in about three weeks, with four
working groups exchanging their turns and
allowing a very heavy timetable (7.00 am – 10.00
pm or 9.00 am – 00.00 pm) with the start at the
end of July 2019 and all the main surveys done by
the first week of August and in the later campaign
at the beginning of September. Some integrations
were done in November 2019. The full coverage
of the building was completed in 4660 scans. The
logic in the planning of the survey was aimed to
produce an appropriate level of details for all the
walls, vaults, staircases, pits, voids, etc... But at
the same time, specific attention was dedicated
to parts showing interesting potentiality for
further studies/researches. In this sense specific
photogrammetry was taken for the statues in the
“Salone dei Cinquecento” and various integrative
scanning were done in the most detailed parts,
like for the halls “dei Gigli”, “Delle Udienze” e del
“Mappamondo”. The whole scanning work was
aligned in a series of “groups”, registering a
coherent sequence of scans and later combining
the parts together. The alignment was brought
Fig. 5. July 2019, the Lasergrammetry of the “Salone dei from the beginning to the end using Autodesk
Cinquecento” in Palazzo Vecchio, Florence. (Source: Recap. The idea to bring on such a complex
own’s, the author). alignment in Autodesk Recap was due to various
The scanners in use were of five different models, reasons, first of all for practical needs, this
often working with two at time: Cam/2 Faro Focus software is offered in free license to academic
X330 (360x320° capture field, two mm accuracy institutions and students, which means that any
at 10 metres, range up to 330 metres, weight 5 following study will be able to exploit the global
Kgs), Cam/2 Faro Focus 70s (360x320° capture point cloud without the need of commercial
field, 1mm accuracy at 10 metres, range up to 70 license, then it is a well promising package, with
metres, weight five Kgs), Leica BLK360 excellent options in terms of possible evolution
(360x320° capture field, 6mm accuracy at 10 and enhancements, it is having an extremely fast
metres, range up to 60 metres, weight one Kg), diffusion, due to the robust link with other
Leica RTC (360x320° capture field, one mm Autodesk product, like Autocad, Revit and 3D
accuracy at 10 metres, range up to 150 metres, Studio Max.

VERDIANI, G.
Fig. 6. Palazzo Vecchio, Lasergrammetry: Ceiling of “Sala dei Gigli”, Leica Geosystem RTC 360 scanner unit
(Source: own’s, the author).
At the moment of the writing the reconstruction complexity of an object compared to traditional
of the final, first, a global point cloud of Palazzo survey techniques corresponds to a greater
Vecchio is yet ongoing. The processing of benefit, practicality and advantage in the use of
assembling large areas to postpone the reunion digital techniques ".
to a final moment seems to work fine accordingly
to the intention to use Autodesk Recap for the
above-mentioned reasons. The following
operations, the creation of 2d drawings and 3d
parametric models as the bases for the seismic
study will produce an extreme simplification on
the general level of details, but all the data will
remain in the "original" dataset for further use.
The identification of a series of worthy subjects is
gradually bringing on specific studies and a line of
master’s degree thesis in Architecture.
The survey base, once again as a first digital twin
that is just the first knot in a network of
knowledge and experience.
5. CONCLUSIONS
In the last twenty years, the progressive
improvement of digital survey techniques has
made possible the documentation, with a level of
accuracy and detail previously unthinkable, of Figg. 7-8. July and September 2019, the
every kind of architecture. The relationship Lasergrammetry of Palazzo Vecchio, Florence, internal
between the subject detected and the result and external views of the aligned point clouds. (Source:
obtained immediately assumed a specific key, an own’s, the author).
effect that could be defined as "the greater

An apparently obvious and acceptable concept, The scenario described in this paper may offer
but not always fully grasped by all operators in the more open challenges than “conclusions”, for this,
general field of Built and Cultural Heritage. A in this closing, it is preferred to open one more
certain technological gap linked to the training of “front” in the “digital approach to everything”,
the operators and the modest presence of an which is less impressive, less capable to capture
attempt to trivialize the solutions of the digital curiosity, unless its missing or failure come out
survey, linked to the lack of understanding of the with dramatic aspects and it is the front of the
progressive establishment of the "Digital “digital repositories”. The place where all the
Heritage" field have contributed to a lack of digital data produced are supposed “to go” when
success in a full acquisition of some processes. that survey work or project or workshop is
completed. If the digital technologies in
Which according to the specific UNESCO
themselves, are positive and often became
definition: “Digital heritage is made up of
quickly practical even when they enter inside
computer-based materials of enduring value that
well-consolidated environments and force their
should be kept for future generations. Digital
renewal, their capacity to be correctly managed
heritage emanates from different communities,
by operators to produce complete and reliable
industries, sectors and regions. The description of
digital twins of the real is just the first step in an
a widespread and articulated entity that is now an
extended scenario of digital data efficiency. In it,
objective and constantly evolving presence”
it would be possible to imagine complete
[UNESCO, 2003; Berry, 2012].
inclusion of all the data gathered and processed
The digital survey is characterized by a scenario entering permanent archives and allowing the full
of technological transformation, with a behaviour benefit in time from this kind of solution. But the
perhaps comparable to the dawn of photography fragmentation and the limited competencies in
and that could see the same progressive some passage in the present digital process may
popularization of tools and methods, since, put at risk and slow down the possibility to reach
wanting to continue with this parallel, at the fully the positive effects of this massive
moment we could find ourselves in a phase digitalization. The request for “results” intended
equivalent to the one that saw the passage from as “the final passage only” of a whole process
the heavy “view cameras”, difficult to transport may put at risk of losing the option about having
and very complicated to use, to the entering of the all the original data stored somewhere for further
first medium format cameras with their access, checking and verification. In this, the
technically simplified operations. challenge against data obsolescence and decay is
What many of the operators of the digital survey more than impressive.
have in common with the past photographers is The digital twin seems to ask immediately for
the fact of being professionals of their own time, similar attentions than its real origin:
orienting themselves towards solving complex preservation, periodical maintenance, attention,
cases using what is available, with an acute clear procedures and approach.
interest for novelties and innovations, but always
The irreversible passage from traditional paper
balancing it with practical needs. They follow
boards production and storage to the electronic
technologies getting all the possible benefits for
archives may look like a solution to the size and
their work. The fact is that every "high level"
the accessibility of the information but will not
survey, whose object is a valuable architecture,
free people from the need of care and
and any situation worth of being considered as a
preservation of the repositories. It is possible to
real challenge, have always contributed to the
imagine this condition like a crossroad in the
definition of clear solutions with well-defined
approach to archiving, with one way going
goals, which were inspiring for following
towards the great efforts needed in the attempt
experience, they were the demonstration that it
about preserving everything, one another road
was possible “to be done” and they also showed,
going toward some sort of “biological mind”
possibilities, solutions, strategies. The results of
approach, where only some more important and
these works, when released, leave the possibility
influencing parts are preserved; and a third road
of appreciating the versatility of the products
based on casualties and where both the other
while increasing the state of the art and
roads are mixed. Surprisingly, or not so
knowledge about the subject of the activity.

VERDIANI, G.
surprisingly, this third one seems at now the Architettura, coordinator: Giorgio Verdiani,
closest to the present approach. Operative group: Paolo Formaglini, Alessandro
Giacomelli, Filippo Giansanti, Stéphane
The incredible increase of knowledge and data
Giraudeau, CAD drawing and post processing:
production brings the need for extending the
Tatiana Pignatale, Ilenia Tramentozzi, Anna
capacities and the skills about preservation,
Raffoni, Riccardo Crosara, Daniele Fedeli.
correct archiving and sharing. Whatever it will be
the next future of survey and production of digital The digital survey of Palazzo Vecchio was
twins: the need for extending and refining the operated during a research agreement between
approach to archives will be an ever-growing the Comune di Firenze, Fabbrica di Palazzo
presence. Most of all it is something to be Vecchio, coordinator: Paolo Ferrara and the
considered as a part of the tasks in the overall Dipartimento di Architettura, University of
digital strategy in survey and modelling Florence, agreement coordinator: Mario De
operations. Stefano, survey coordinator: Giorgio Verdiani,
sampling and data integration coordinator: Marco
ACKNOWLEDGEMENTS
Tanganelli; operative survey team: Mattia Faiulo,
The digital survey of the Santa Maria del Fiore Alexia Charalambous, Giulia Emilio, Andrea
Cathedral in Florence is a collaborative activity Guazzoni, Federico Nannini, Gaia Vannucci,
between Area3D Livorno, coordinators: Francesca Meli, Ilaria Bencini, Yelenia Ricci,
Alessandro Peruzzi and Massimo Gualandi, Opera Andrea Pasquali, Annalivia Ciuffreda, with the
di Santa Maria del Fiore Firenze, coordinator: collaboration of Paolo Capraro.
Samuele Caciagli and Dipartimento di
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
Reseñas de LIBROS
Reseña de LIBROS al servicio del conocimiento y ción de la informática gráfica

que no ha perdido protagonismo en la segunda mitad del siglo
a pesar de los avances técnicos XX y plantea previsoramen-
sino que se ve intensificada gra- te la necesidad de introducir
cias a ellos. en la formación académica de
Desgrana a continuación con nuestras escuelas, además de
un enfoque poliédrico y racional herramientas como el ya omni-
las diversas funciones del dibu- presente BIM otro tipo de tec-
jo arquitectónico. El recorrido nologías imprescindibles como
se inicia describiendo el dibujo los Sistemas de Información
como proyecto convertido en Geográfica (SIG) al tiempo que
herramienta para representar, hace un sincero alegato en favor
comunicar y definir el objeto del fomento de la interdiscipli-
arquitectónico. Se lamenta de nariedad y la colaboración entre
la posible pérdida de expresivi- saberes diversos.
dad que pueden comportar las En este libro José Antonio
nuevas herramientas, pero con- Barrera traslada la pasión por la
fía, con optimismo y esperanza, representación gráfica en todas
en la creatividad que la libertad sus manifestaciones y por el
del usuario permite para lograr descubrimiento y el análisis de
un compromiso adecuado entre la realidad a través del dibujo,
funcionalidad digital y calidad esa potente y hermosa herra-
gráfica. Añade la consideración mienta para aprender a pensar.
DIBUJAR PARA ENSEÑAR, del dibujo como herramienta
APRENDER E INVESTIGAR docente y reconoce la destre-
Ángel J. Fernández-Álvarez
za y capacidad de comunica-
Lección inaugural de la ETS Universidad de A Coruña
ción gráfica como competen-
de Ingeniería de Edificación. cias necesarias del docente de
Universidad de Sevilla. Curso las enseñanzas técnicas. Más
Académico 2019-2010 adelante señala el potencial
del dibujo como herramienta
de investigación, sobre todo en
José Antonio Barrera Vera
el ámbito del levantamiento ar-
Editorial Universidad de Sevilla. quitectónico, complementado
Colección Textos Institucionales. por los avances tecnológicos y
Nº 91, Sevilla, 2019. también por la introducción de
ISBN: 978-84-472-2901-7 la fabricación digital y el diseño
paramétrico y algorítmico. Pasa
a desarrollar el papel del dibujo
como documento y herramienta
Nos presenta el profesor José de análisis y registro geométri-
Antonio Barrera Vera en este co sistemático para el conoci-
libro una lección “magistral” en miento y la interpretación del
el sentido exacto de la palabra, edificio. También, la función del
fruto de su experiencia acumu- dibujo como medio de difusión
lada como docente de las mate- y disfrute del patrimonio cons-
rias de expresión gráfica aplica- truido comportando una im-
da a la edificación y, sobre todo, portante y estratégica función
desde la vocación, la pasión y social. Completa su clasifica-
el amor incondicional por una ción considerando el papel del RACCONTI DI VIAGGIO.
disciplina a la que ha dedicado dibujo como soporte de datos y VISIONI DELLA TERRASANTA
buena parte de su ya dilatada y también como patrimonio en sí
fructífera actividad profesional. mismo poniendo como ejemplo Stefano Bertocci
Comienza realizado con minu- las representaciones gráficas
ciosidad y precisión de orfebre de elementos arquitectónicos Serie: Ricerche | architettura,
una encendida y necesaria de- desaparecidos. Finaliza el tex- desing, territorio
fensa de la geometría como fun- to con una reflexión acerca del Editorial didapress, Florencia,
damento de una expresión gráfi- papel del dibujo técnico tras la 2018, 128 págs.
ca entendida como herramienta revolución causada por la irrup- ISBN: 978-88-333-8030-8
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Visioni della Terrasanta (Visión en la potencia de la repetición

de la Tierra Santa) forma parte y la estandarización?”; A. Ferrer
de la colección Racconti di viag- hace una valoración positiva
gio (Relatos de viaje). de los polígonos barceloneses
Forma parte de la serie de pu- (The undeserved discredit of
blicaciones científicas Ricerche the housing estate); A. Clement
|architettura, desing, territorio, defiende el valor del brutalis-
y tiene como objetivo la difu- mo británico; y C. Compain-
sión de los resultados de in- Gajac, en la línea de trabajo del
vestigación de los proyectos DOCOMOMO, insiste en el in-
realizados en el Dipartimento terés de los Grands Ensambles
di Architettura DIDA de la franceses. Porque como se dice
Università degli Studi di Firenze. en este libro, lo que hoy se pue-
de leer como imposición au-
Visioni della Terrasanta se com-
toritaria de un sistema de vida
pone de cuatro ensayos cor-
moderno, fue un intento valioso
tos: La ciudad Santa, Confín
de superar las condiciones resi-
y Desierto, La verde Galilea y
denciales insalubres generali-
Otro mediterráneo. Los encon-
zadas en la ciudad europea con
tramos enriquecidos con expre-
UTOPIA, S[OCIETÀ]. la Revolución Industrial, ya que
sivos apuntes realizados in situ,
R[ESPONSABILITÀ]. el Movimiento Moderno partía
a base de rotulador, acuarela o
L[IMITATA]. de una fe ciega en la capacidad
aguada, así como instantáneas
ICONE SCONFITTE de la arquitectura para influir en
en blanco y negro o color, dando
DELL’HOUSING SOCIALE la cohesión social reforzando
cuenta de la experiencia vivida
los vínculos vecinales y favore-
por algunos estudiantes, inves-
ciendo la aparición de nuevas y
tigadores y profesores del DIDA Cristina F. Colombo, Viviana armoniosas formas de relación
de la universidad florentina, du- Saitto comunitaria.
rante los dos viajes que tuvieron
Lettera Veintidue, Siracusa,
lugar en 2015 y en 2016.
2018, 190 págs.
El texto reconstruye metafórica- Marco Lucchini , Gaspar Jaén
ISBN: 978-88-6242-201-7 Polit. Milano, Univ. Alicante
mente un itinerario ideal com-
puesto por etapas, cada una de http://hdl.handle.
ellas descrita por los autores net/11311/1089242
que contribuyeron al trabajo,
y que vivieron la experiencia En este libro, las profesoras
del viaje de estudio en primera Cristina F. Colombo (Politecnico
persona. Milano) y Viviana Saitto
El significado último del traba- (Università di Napoli) analizan
jo es dar una imagen de los lu- tres ejemplos significativos de
gares a través de la percepción lo que llaman “icónica derro-
del arquitecto que se encuentra ta del alojamiento social”: los
inmerso en un “paisaje” rico en conjuntos Robin Hood Gardens
estímulos. De hecho, la ruta se- (Londres), Corviale (Roma) y
guida en estas etapas se foca- Las Velas (Nápoles), los tres
liza en las principales paradas sometidos a degradación y de-
turísticas de la zona, pero en rribados en todo o en parte. En
este caso son etapas del pen- relación al descrédito de estas
samiento humano, de la evo- masivas actuaciones de vivien- HÁBITAT Y DESARROLLO EN
lución de nuestra historia y de da social, J. Monclús plantea un EL SUR DE MARRUECOS. EL
la concreción de la historia de interrogante de difícil respues- KHORBAT EN EL OASIS DEL
la humanidad en “arquitectura, ta: “¿Se debió a la vulgarización FERKLA
monumentos y ciudades”. de los principios de los CIAM, a
los errores de la moderna cul-
Teresa Gil-Piqueras, Pablo
tura urbanística o a la pobreza
Rodríguez -Navarro (eds.)
Pablo Rodríguez-Navarro generalizada de un diseño ur-
Universitat Politècnica de bano y de una arquitectura que Ed. Argumentum, Lisboa, 2018,
València para la resolución de los pro- 180 págs.
blemas de alojamiento confiaba ISBN: 978-989-8885-03-6
Reseñas de LIBROS
En esta publicación, en la que sus resultados. Finalmente el li- Esta publicación es el resultado
participan varios investiga- bro también recoge la experien- de la recopilación de imágenes
dores, se recogen los resul- cia llevada a cabo mediante un y textos de la exposición que
tados obtenidos a lo largo de taller de participación que enri- se realizó en la Universidad de
diversas campañas de traba- quece el texto incidiendo en el Alicante en mayo de 2018, como
jo llevadas a cabo en el sur de carácter social de la arquitectu- actividad del XVII Congreso
Marruecos entre 2014 y 2016, ra y su estudio. Esta experiencia Internacional de Expresión
dentro del proyecto de investi- se realizó de forma paralela al Gráfica Arquitectónica.
gación “Arquitectura y Hábitat: proyecto con el objeto de inte- Recoge los paneles que allí se
investigación para la mejora grar a las asociaciones locales, exhibieron como una muestra
global de espacios habitacio- a la vez que contribuyó al desa- de los trabajos gráficos reali-
nales en la región de Tafilalt, rrollo social y empoderamiento zados entre 2016 y 2018 por los
Marruecos”, financiado a tra- económico de la mujer bereber. alumnos de una buena parte de
vés del programa de Proyectos las Escuelas de Arquitectura
de Investigación en Tecnología españolas.
Marina Sender Contell
para el Desarrollo Humano y
Universitat Politècnica de El libro comienza con una
Cooperación Internacional para
València presentación a cargo del
el Desarrollo, del Centro de
Director del Departamento de
Cooperación al Desarrollo de
Expresión Gráfica, Composición
la Universitat Politècnica de
y Proyectos, Jose L. Oliver
València.
Ramírez, de la Universidad de
El libro, prologado por la pro- Alicante, en la que se contextua-
fesora Pilar Chías, catedrática liza la enseñanza de la Expresión
de la Escuela de Arquitectura Gráfica Arquitectónica en la U.
de la Universidad de Alcalá de Alicante.
Henares, parte del análisis so-
En la Introducción, que redac-
cial, territorial y paisajístico del
tan los editores Pablo J. Juan y
oasis de Ferkla, para más ade-
Ricardo Irles se reflexiona desde
lante mostrarnos un riguroso y
la contemporaneidad acerca de
profundo estudio sobre la arqui-
la enseñanza del dibujo a mano
tectura vernácula del área pe-
y a máquina de la arquitectura,
riurbana de Tinejdad.
presentando un análisis de esta
El oasis se caracteriza por al- muestra gráfica, subdivida por
bergar una arquitectura muy materias: Geometría, Dibujo,
concreta, ejecutada con muros Análisis y Especialización, y
de tapia y adobe, realizados con concluyendo con una reflexión
tierra cruda, que tiene la parti- relativa al protagonista de la
cularidad de estar fortificada y muestra: el alumno por ser la
en la que se alojan numerosas pieza clave en el proceso de
familias, lo que se conoce con el enseñanza-aprendizaje.
nombre de ksar (ksour, pl.).
La publicación continúa con una
A través de mapas y planos el MUESTRA EGA 2018. serie de textos acompañados de
libro nos introduce en el cono- APRENDER Y ENSEÑAR EL imágenes de cada una de las
cimiento de estas estructuras DIBUJO DE ARQUITECTURA Universidades implicadas en la
urbanas, de sus viviendas, de exposición: Alicante, Politécnica
sus sistemas constructivos, do- de Cataluña, La Coruña, Alcalá,
cumentando no sólo las técni- CEU San Pablo, Politécnica
cas tradicionales, sino también Pablo J. Juan Gutiérrez, Ricardo de Madrid, Politécnica de
mostrando algunos ejemplos Irles Parreño (eds.) Cartagena, Navarra, Politécnica
de implantación de las técnicas Publicado por el Departamento de Valencia, Valladolid, Zaragoza
más actuales. La especialidad de Expresión Gráfica, y Las Palmas.
de los miembros del equipo en Composición y Proyectos de la En ellos, el Director del Área o
el ámbito de la expresión gráfica Escuela Politécnica Superior Departamento correspondien-
arquitectónica, les ha permitido de la Universidad de Alicante, te, analiza el método docente
seguir una metodología de tra- Alicante, 2019, 206 págs. empleado.
bajo basada en una minuciosa
documentación gráfica, apoya- ISBN: 978-84-1302-052-5 Como conclusión se exponen
da en un exhaustivo trabajo de https://ebuah.uah.es/dspace/ unas interesantes tablas donde
campo, como se desprende de handle/10017/30270 aparece el conjunto de asigna-
Reseñas de LIBROS
turas que constituyen la do- un posterior estudio histórico,

cencia de la Expresión Gráfica constructivo y patológico de la
Arquitectónica, el nombre de iglesia y su entorno, que que-
cada asignatura, el nombre de da expuesto en esta publica-
los profesores que la imparten, ción a través de ocho capítulos.
el número de créditos de la mis- Aunque tradicionalmente se ha
ma y el curso en que se imparte considerado la construcción de
en cada Universidad. este templo del siglo XVII como
Finalmente, ordenadas por el fruto de un trabajo llevado
universidades, se reproducen a cabo por lugareños sin un
los paneles de la Exposición trasfondo culto que avalara su
propiamente dicha titulada conservación, los autores han
“Trabajos gráficos de las escue- demostrado que se trata de una
las de arquitectura de España arquitectura ilustrada sujeta a
2016-2018”. unas normas estilísticas de in-
dudable valor disciplinar.
Por otra parte, parece importan-
te decir que es la segunda vez
que se realiza esta experiencia. Francisco Taberner Pastor
La primera la organizó en 2016 Real Academia de Bellas Artes
la Universidad de Alcalá con de Valencia
el libro titulado “Muestra EGA PATRIMONIO OLVIDADO.
2016: una mirada a las enseñan- LA IGLESIA DE SANTIAGO
zas del dibujo de arquitectura”. APÓSTOL DE BENICALAF
Además de la edición impresa
se ha realizado una edición di-
Concepción López González,
gital que permite el desplaza-
Teresa Gil-Piqueras (eds.)
miento por su contenido de for-
ma interactiva y donde además TC Cuadernos. General de
las imágenes se han digitalizado Ediciones de Arquitectura,
para poder reproducirlas a ta- Valencia, 2019, 112 págs.
maño original, lo que supone un ISBN: 978-84-17753-03-0
mayor nivel de detalle, y calidad.
Puede descargarse gratuita-
mente:https://doi.org/10.5281/
Se presenta este libro estructu-
zenodo.3516595.
rado en capítulos redactados por
Los editores resumen per- diversos autores, que constitu-
fectamente el espíritu de la ye una importante aportación al
publicación: estudio del patrimonio arquitec-
“El conjunto permite apreciar tónico olvidado y, consecuen- EL PALACIO DEL
las diferencias y similitudes de temente, supone un impulso y GENERALIFE: DEL
los interesantísimos dibujos un paso adelante en su puesta LEVANTAMIENTO DIGITAL
que la docencia de la arquitec- en valor. El levantamiento grá- AL PROYECTO DE GESTIÓN
tura española produce hoy en fico de la iglesia de Santiago
día; resultando todo ello un tes- Apóstol de Benicalaf fue reali- S. Parrinello, A. Gómez-Blanco
timonio de un valor inestimable zado por profesores y alumnos Pontes, F. Piccio (eds.)
para todos los interesados por de la Escuela Técnica Superior Pavia University Press, Pavia,
la representación gráfica de la de Ingeniería de Edificación 2017.
arquitectura.” de Valencia, en el marco
ISBN: 978-88-6952-071-6
del Proyecto de Innovación
Educativa “Adquisición de com-
petencias transversales a partir Publicación realizada por diver-
del trabajo colaborativo inter- sos autores, fruto del convenio
Ramón Maestre López-Salazar disciplinar“. Se utilizaron téc- de colaboración entre la univer-
Universidad de Alicante nicas tradicionales de toma de sidad de Pavía (Italia) y la uni-
datos así como fotogrametría y versidad de Granada (España)
escáner láser 3D. en la que se profundiza en el
Los resultados obtenidos han uso de las actuales técnicas
contribuido al desarrollo de de levantamiento para la do-
Reseñas de LIBROS
cumentación del patrimonio incorporación de sus datos en el que las hace únicas: están forti-
arquitectónico, como base fun- modelo BIM. ficadas y presentan una enorme
damental para la adquisición de torre de tapia, que es el objeto
datos encaminados a la gestión de esta publicación.
Teresa Gil-Piqueras
del patrimonio y a la restaura- Universitat Politècnica de El autor nos muestra los avata-
ción arquitectónica. A través València res históricos que han sufrido
de las investigaciones llevadas y que nos han ido deformando
a cabo desde los laboratorios, su visión de forma individuali-
Dada Lab (Drawing Architecture zada, dificultando a veces en
Document Action Laboratory) y extremo su identificación. Nos
SMlab (Survey and Modelling aproxima a las torres de Albal,
LAB of Architectural Heritage), Alcàsser, Aledua, Alfarb, Antella,
de Pavía y Granada respectiva- Benifaiò, Beselga, Bétera,
mente, y tomando como caso de Bofilla, Espioca, Gestalgar,
estudio un excelente referente Godelleta, Muza, Olla, Pardines,
arquitectónico como es el caso Racef, Ria, Satarenya, Serra, Sot
del Palacio del Generalife de de Chera,… cuyo estudio se ha
Granada, la publicación afron- basado en las fuentes escritas
ta la documentación gráfica del y, sobre todo, en el estudio de
edificio a través del uso de di- las propias obras arquitectóni-
ferentes métodos de toma de cas que aún perduran.
datos, haciendo referencia a la A través del Llibre dels fets
evolución de las herramientas analiza la campaña militar de la
digitales. conquista cristiana. La consigna
El libro parte de una introducción era arrasar y matar, sembrar el
histórica sobre el Generalife, caos para facilitar las tomas o
y tomando como base el los pactos. También nos mues-
Manifiesto de la Alhambra de tra cuáles fueron las debilidades
1953 en el que se afronta por de los musulmanes, basadas en
LAS TORRES ÁRABES DE LAS
primera vez los criterios a tener las intrigas de sus dirigentes, a
ALQUERÍAS VALENCIANAS
en cuenta en el levantamiento las que se les sumó un impor-
arquitectónico de este complejo tante debilitamiento militar.
nazarí, nos muestra el proceso XI Premio de Investigación Ibn A lo largo de la investigación
de toma de datos llevado a cabo al-Abbar muestra cómo estas alquerías
en la campaña de 2017, en la fortificadas se manifiestan con
que participaron profesores y toda su competencia militar
estudiantes de las dos univer- Pablo Rodríguez-Navarro
pese a su reducido tamaño. En
sidades. En esta campaña se Ed. Tirant, Valencia, 2018, 212
ellas encontramos un elaborado
empleó para la toma de datos, págs.
diseño con una clara funcionali-
tanto el escáner láser como la ISBN 978-84-17203-68-9 dad defensiva, a modo de micro
fotogrametría multi-imagen. castillo, pero con un proyecto
e-ISBN 978-84-17203-69-6
Los siguientes capítulos afron- adaptado a sus medidas, per-
h t t p s : / / w w w. t i r a n t . c o m /
tan el reto del dibujo y modelado fectamente preparado para so-
editorial/libro/las-to-
de este conjunto mediante BIM, portar largos asedios y repeler
rres-arabes-de-las-alque-
empezando por el dibujo de ataques tanto repentinos (ca-
rias-valencianas-pablo-rodri-
detalles ornamentales para el valcades), como con maquinaria
guez-navarro-9788417203689
análisis de los patrones geomé- pesada (fenèvol).
tricos, pasando por la documen- El libro se presenta bien estruc-
tación de la vegetación median- turado, iniciando con un recorri-
te su escaneado, o el empleo Libro prologado por el prestigio- do sobre el hábitat rural valenti-
de fichas de catalogación como so medievalista Pierre Guichard, no y su sociedad; seguidamente
base para su implementación que trata sobre las alquerías va- se analiza la campaña de debili-
en GIS, todo ello encaminado lentinas en época de domina- tamiento y las tomas realizadas
a la posibilidad de afrontar con ción musulmana. Éstas surgen por el rey Jaume I. A continua-
éxito la redacción del proyec- como pequeños centros de po- ción, la parte menos conocida,
to de gestión y restauración de blación, facilitando la residencia de aportación al conocimiento,
bienes patrimoniales. a los agricultores y ganaderos donde se analizan las torres
El libro termina afrontando el del lugar, disponiendo de una existentes desde un punto de
reto de la lectura energética y la característica diferenciadora vista formal y constructivo, para
Reseñas de LIBROS
establecer una reflexión basa- nidos y buenas ideas. Siempre y color en el flujo de trabajo.
da en sus invariantes, que nos nos ha llamado la atención los El primer apartado trata asun-
llevan al establecimiento de la pocos arquitectos que hablan tos como qué es el color, cómo
primera hipótesis tipo-cronoló- de color, el color como forma se nombra, qué aspectos influ-
gica que se ha establecido para expresiva, el color como funda- yen en su percepción, si existen
estas construcciones medieva- mento y el color como estrate- criterios de combinación de co-
les. Finalmente, la publicación gia que ayuda a entender mejor lores, etc. El segundo apartado
concluye con nuevas realidades la arquitectura de nuestros días. reflexiona sobre el color como
que demuestran errores histo- Juan Serra, es doctor especia- respaldo a la forma arquitec-
riográficos y de intervención, lista en la aplicación del color tónica, la ergonomía visual, el
facilitando una información va- en arquitectura contemporánea falso mito del color blanco en
liosa para futuras actuaciones. desde hace una década, miem- la arquitectura de la moderni-
Esta investigación ha sido lleva- bro del Grupo de Investigación dad, su significado, tendencias,
da a cabo por su autor durante del Color en arquitectura patri- etc. El último apartado enseña
los últimos 12 años, y le ha va- monial y miembro del Instituto a manejar el color de manera
lido para obtener el Premio Ibn de Patrimonio de la Universitat consistente desde la toma de
al-Abbar de investigación, y su Politécnica de València. una fotografía, su visualizado
publicación por Tirant, actual- Profesor del Departamento de en pantalla e impresión, has-
mente líder en editoriales es- Expresión Gráfica, compagina ta su puesta final en obra. Por
pañolas en el área de humani- su docencia con la investiga- último, una extensa bibliografía
dades (SPI Scholarly Publishers ción profundizando y dando una incluye autores esenciales de
Indicators in Humanities and visión teórica desde el punto la teoría del color e investiga-
Social Sciences, 2018). de vista del color y sus aplica- dores actuales con resultados
ciones en el mundo real de la publicados en revistas como
arquitectura. Color Research and Application
Camilla Mileto
Este libro que aquí se presenta, (© Wiley Science), de la que el
Universitat Politècnica de
es un libro sensible y ameno, autor es miembro del Consejo
València
útil y bello, donde podemos en- Editorial.
contrar desde los fundamentos Indudablemente, este libro es
del color y su lenguaje, hasta una gran paleta de color, tan ac-
ahondar en las técnicas cientí- tual y versátil como lo fue en su
ficas del extraordinario mundo momento las paletas de color de
de la percepción. El autor, ahon- Delacroix, rigurosa y detallada,
da tanto en la cultura del color siempre con la intención de dar
como las diversas aplicaciones a conocer el abanico de posibi-
en el campo de las bellas ar- lidades presentando la diversi-
tes, sin dejar atrás la tarea de dad detectada en el empleo del
comunicar y dar a entender a color para y por el nuevo mundo
los estudiantes las posibilida- de la arquitectura.
des y aplicaciones del color con
sencillos ejemplos prácticos. Es Ana Torres Barchino
sin duda, un libro ilustrado, un Universitat Politècnica de
libro abierto lleno de nociones València
y emociones con estudios y re-
flexiones inteligentes, compren-
sibles de entender a los menos MUDÉJAR. PERVIVENCIA DEL
COLOR FOR ARCHITECTS documentados sobre el tema, MUDÉJAR Y NEOMUDÉJAR
ofreciendo al lector la oportu- EN LA ARQUITECTURA DE LA
nidad de conocer el mundo del CIUDAD DE GUADALAJARA
Juan Serra Lluch color desde una perspectiva
Serie: Architecture Briefs metodológica acompañada de
casos prácticos. Premio “Layna Serrano” de
Princeton Architectural Press, Investigación Histórica 2016
2019, 232 págs. Este libro responde de manera
rigurosa a numerosas cuestio-
ISBN-10: 1616897945 nes importantes sobre color y Antonio Miguel Trallero Sanz
ISBN-13: 978-1616897949 arquitectura en tres apartados: Editorial Aache, Diputación de
Un nuevo libro llega a nuestras fundamentos del color, color Guadalajara, Guadalajara, 2017
manos lleno de buenos conte- para el proyecto arquitectónico ISBN: 978-84-92502-62-2
Reseñas de LIBROS
arquitectura de la ciudad de el cariño y la atenta y permanen-

Guadalajara, de sus técnicas de te dedicación de Antonio Miguel
trabajo y de su pervivencia a lo Trallero Sanz a los monumentos
largo del tiempo, desde la re- de la misma. Son congruos los
conquista cristiana hasta el mo- galardones otorgados a este es-
mento actual. No se ha ceñido tudio, de cuya publicación de-
a un periodo estilístico concreto seo que disfruten sus lectores
sino que el desafío investigador tanto como este presentador.
ha consistido en un seguimien-
to a lo largo del tiempo de lo
que constituye el primer esca-
lón en el análisis del lenguaje Gonzalo M. Borrás Gualis
artístico y arquitectónico: el de Universidad de Zaragoza
los materiales utilizados en la
obra y sus técnicas de trabajo;
asimismo se han constatado las
pervivencias formales a lo largo
del tiempo más allá de los perio-
dos artísticos, lo que constituye
el segundo escalón en dicho
El presente libro es el brillante análisis.
resultado de las investigaciones El resultado de este enfoque
realizadas por el doctor arqui- es el libro que se presenta. Se
tecto Antonio Miguel Trallero confundirá quien piense que
Sanz para la elaboración de su se trata de una simple guía de
segunda tesis doctoral, en esta la arquitectura de la ciudad de
ocasión en historia del arte, Guadalajara, ya que, sin dejar
que defendió en 2016 en la U. de cumplir con creces esta fun-
de Alcalá, obteniendo la califi- ción, el relato tiene otro objetivo
cación de sobresaliente “cum que es supraestilístico, y cuyo
laude”. hilo conductor a través del tiem-
Concurren en este libro dos no- po son los materiales, sus téc-
tas poco comunes: la de un au- nicas y sus formas perviviendo
tor en plena madurez personal y en el espacio de la ciudad, so-
profesional y la de un enfoque bre la que actúan, confiriéndole
nada frecuente en la historio- una coherencia y personalidad
grafía artística. Por lo que hace propias.
al autor quedé gratamente sor- En la definición material y for-
prendido cuando le conocí, re- mal de cada monumento se han
querido por mi buen amigo, el tenido en cuenta tanto los tes-
profesor José Francisco Forniés timonios materiales llegados
Casals, de la U. de Alcalá, para hasta nuestros días, plasmados
codirigir la segunda tesis del en cuidadosas planimetrías,
autor. El profesor Trallero es como las fuentes arqueológicas
un enamorado de su profesión, y gráficas, en especial la plani-
adscribiéndose a la tradición metría y la fotografía histórica
de arquitectos estudiosos de en un intento de aproximación
la historia de la arquitectura, rigurosa al original, señalando
con el deseo de que sus in- sus transformaciones y modi-
tervenciones en el patrimonio ficaciones posteriores, con una
monumental estén dotadas del metodología de trabajo muy
mayor rigor, en este caso de la depurada.
ciudad de Guadalajara, cuyos La ciudad de Guadalajara se
monumentos ha estudiado en halla de enhorabuena con este
profundidad. espléndido estudio, fruto de una
Es de destacar el novedoso constante dedicación, y que me
planteamiento de la investiga- permite augurar para el autor
ción: analiza la naturaleza de el título honorífico de arquitecto
los materiales utilizados en la de cabecera de la ciudad, dado
Reseñas de TESIS DOCTORALES
Reseña de determinadas necesidades ge-

neradas por una importante
TESIS DOCTORALES producción agropecuaria. Estas
construcciones tradicionales
se relacionan inequívocamente
con su entorno, facilitándonos
su lectura y comprensión, ade-
más de ser testimonios de mo-
dos de vida pasados.
La comarca estudiada en esta
tesis posee unos magníficos
ejemplos que, a pesar de estar
tan dañados en algunos casos,
son percibidos con un importan-
te significado heredado y apre-
ARQUITECTURAS RURALES Y hendido individualmente.
PAISAJE ANTRÓPICO EN CAMP
En esta tesis se pone en valor,
DE TÚRIA
tanto las arquitecturas rurales
mal llamada en algunos casos
“arquitecturas menores”, como
Autor: Javier Bonastre Pina el entorno que necesariamen-
te llevan asociado. Para ello LAS PORTADAS DE LA FERIA
Directores: María Concepción DE ABRIL DE SEVILLA. LOS
se han ubicado en su entorno
López González, Julián Esteban CONCURSOS DE IDEAS DE
geográfico actual y en el entor-
Chapapría. 2006 A 2017
no sociocultural y productivo de
Fecha de Lectura: 28/09/2017 su momento dándole un doble
Programa Oficial de Doctorado enfoque: por un lado, la arqui-
en Arquitectura, Edificación, tectura propia y única de estos
Autor: Pablo Díaz Cañete
Urbanística y Paisaje. Escuela conjuntos y por otro, cómo son
de Doctorado, Universitat creadoras de paisaje. Director: Juan José Moyano
Politècnica de València. Campos.
Por su contribución al conoci-
Tribunal: Juan Piqueras Haba miento y puesta en valor de las Fecha de Lectura: 29/06/2017
(presidente), Jorge Luís García masías y la formación del paisa- Departamento de Expresión
Valldecabres (secretario), je cultural del camp de Túria, la Gráfica e Ingeniería en la
Arturo Zaragoza Catalán (vocal). tesis ha merecido el Premio a la Edificación. Escuela Técnica
Calificación: Sobresaliente Cum Excelencia de Tesis Doctorales Superior de Ingeniería de
Laude. otorgado por la Real Academia Edificación, Universidad de
de Cultura Valenciana de Sevilla.
Valencia en su edición de 2018. Tribunal: Mª Dolores Robador
El estudio exhaustivo de un González (presidenta), Luis
El área geográfica que en la ac- grupo de masías, previamen- Pérez Ordoñez (secretario),
tualidad delimita la comarca de te seleccionadas, ha permitido Inmaculada Sánchez Ruíz de
Camp de Túria es un territorio mejorar el conocimiento porme- Valdivia y Mercedes Valiente
habitado desde la antigüedad norizado de estas arquitecturas López (vocales).
que cuenta con un extraordina- rurales que se relacionan con el Calificación: Sobresaliente Cum
rio patrimonio cultural. Su parti- entorno. Asimismo, abundando Laude.
cular paisaje, modelado a lo lar- en una escala menor, ha esta-
go de los siglos para aprovechar blecido conclusiones que con-
al máximo los recursos disponi- tribuyen a su puesta en valor y
bles, cuenta con unos elemen- destacan su contribución a la La tesis doctoral trata del estu-
tos y valores propios, muchos formación del paisaje cultural dio de las Portadas de la Feria
de los cuales están desapare- del Camp de Túria. de Abril de Sevilla, enmarcado
ciendo producto de los cambios en un periodo denominado: “Los
sociales y modos de producción. Concursos de Ideas”, y cuyos lí-
Entre los distintos componen- mites cronológicos se sitúa en-
tes del paisaje antrópico, des- Concepción López González tre los años 2006 al 2017, siendo
tacan las arquitecturas rurales, Universitat Politècnica de este periodo donde concurren
aparecidas como respuesta a València el carácter participativo de los
ciudadanos concursantes como La adecuada metodología se

de aquellos que constituyen el acopla perfectamente a cada A lo largo de los años se han ido
jurado. modelo estudiado en el periodo perdiendo los antiguos oficios
En esta tesis se profundiza en el de 2006 a 2017. Los Cuadernos utilizados en la construcción.
conocimiento de las Portadas de Gráficos se han postulado como Muchos de estos han desapa-
la Feria de Abril de Sevilla como una herramienta útil y bien or- recido a partir de la Revolución
parte del patrimonio arquitec- ganizada que permite el estudio Industrial, periodo que marcó
tónico efímero de la ciudad, de estas arquitecturas pudiendo una nueva línea en la forma de
poniendo en valor el alcance ser utilizados para otras de si- edificar.
cultural, sociológico y artístico milares características como las
Esta tesis doctoral pretende
de las mismas. Se ha tratado portadas del Corpus Christi.
poner en valor estas antiguas
de mostrar otra forma de mirar Para concluir, esta tesis docto- técnicas constructivas y estruc-
a la monumental Portada de la ral debe entenderse como una turales, así como los materiales
Feria de Sevilla y así descubrir aproximación a una generalidad empleados.
los elementos que la forman y la constructiva de larga y arraiga-
De este modo, se trata de un
procedencia de su ideación. da tradición en Sevilla. Viene a
estudio que puede ser útil para
Es de destacar la originalidad ser una reflexión sobre el valor
trabajos en intervención de pa-
del tema tratado pues hasta la material, de uso, emotivo, so-
trimonio, sirviendo como guía
fecha no se había estudiado de cio-cultural y educacional de
que ayude a comprender los
manera tan detallada el diseño las Portadas de la Feria de Abril
procesos constructivos que se
arquitectónico y la ideación que de Sevilla como claro exponen-
desarrollaban antiguamente.
representan las Portadas de la te de la arquitectura efímera de
la ciudad hispalense. Trata de Para ello se ha utilizado como
Feria de Sevilla, y que se desa- laboratorio de ensayo la arqui-
rrolla a través de cuatro postu- concienciar sobre su fragilidad,
interesar sobre su preservación tectura rural de la subcomarca
lados definidores de este tipo de la Vallbona.
de arquitecturas: El carácter y mejorar su gestión futura, do-
temporal, su misión simbólica, tándolas de un valor activo en Se han extraído conclusiones
el carácter testimonial de una la configuración monumental y relativas a las tipologías cons-
época y su carácter novedoso y arquitectónica de Sevilla. tructivas y estructurales, a los
sorpresivo en el diseño. materiales empleados y su ma-
nipulación y a las técnicas cons-
Esta tesis doctoral ha permitido Dolores Rincón Millán
tructivas de puesta en obra.
localizar, identificar y recopilar Universidad de Sevilla
documentos gráficos y escritos
sobre las Portadas de la Feria Jorge L. García Valldecabres
de Abril recopilando gran can- Universitat Politècnica de
tidad de datos con una riquísi- València
ARQUITECTURA RURAL EN
ma documentación gráfica con LA SUBCOMARCA DE LA
abundancia de planos, dibujos y VALLBONA. MATERIALES Y
fotografías, que ayudan a com- TÉCNICAS CONSTRUCTIVAS
prender el origen y la evolución
de las mismas. Todo ello ha
sido ordenado mediante un in- Autor: José Fornieles López
ventario gracias al cual se han Directora: María Concepción
detectado las “ausencias” exis- López González.
tentes sobre algunas de ellas.
Fecha de Lectura: 25/09/2017
Por lo que ha quedado abierto
para ser completado en futuras Programa Oficial de Doctorado
investigaciones. en Arquitectura, Edificación,
Urbanística y Paisaje.
La tesis deja patente cuatro
modelos de gestión municipal Escuela de Doctorado de la
en el diseño de las portadas que Universitat Politècnica de
han ido desde la designación di- València.
recta del arquitecto municipal o Tribunal: Mercedes Valiente
un artista de reconocido presti- López (presidente), Jorge L.
gio hasta la actual convocatoria García Valldecabres (secretario)
de un concurso público de ideas Alba Soler Estrela (vocal).
en el que son los ciudadanos los Calificación: Sobresaliente Cum
que diseñan el pórtico ferial. Laude.
fesor Eugenio Pellicer. Como en Arquitectura, Edificación,

resultado, se desarrolló el proto- Urbanística y Paisaje. Escuela
colo BIMlegacy que contempla de Doctorado de la Universitat
a todos los agentes que partici- Politècnica de València.
pan en proyectos patrimoniales Tribunal: Mercedes Valiente
y la plataforma BIMlegacy como López (presidente); Adolfo
herramienta donde agentes in- Alonso Durá (secretario); Alba
terdisciplinares pueden unificar Soler Estrela (vocal).
y sincronizar la información pa-
Calificación: Sobresaliente Cum
PROTOCOL TO MANAGE trimonial en tiempo real y am-
Laude.
HERITAGE-BUILDING bos artefactos fueron aplicados
INTERVENTIONS USING a dos casos de estudios. Los
HERITAGE BUILDING resultados fueron expuestos en En esta tesis, el autor presenta
INFORMATION MODELLING un grupo focal para su evalua- una novedosa investigación re-
(HBIM) ción científica. lativa a la accesibilidad a luga-
Se puede decir, que la contribu- res públicos, concretamente al
ción de este protocolo, es posi- jardín más grande Europa. Se
Autor: Isabel Jordán Palomar
blemente, el primero que se de- trata del Jardín del Túria, anti-
Director: Jorge Luis García guo cauce del río que atrave-
sarrolla en el campo del saber
Valldecabres, Eugenio Pellicer saba la ciudad de Valencia. Los
sobre patrimonio y arquitectura.
Amiñana, Patricia Tzortzopoulus. estudios encaminados al avan-
La contribución es que los
Fecha: 09/09/2019 ce en temas relativos a la acce-
agentes no técnicos pueden
ETS Ingenieros de Caminos, sibilidad se han centrado hasta
participar activamente en los
Canales y Puertos, Universitat ahora en ámbitos construidos o
modelos HBIM y la aportación
Politècnica de València. en medios urbanos. Sin embar-
de información rigurosa volcada
go, los lugares de esparcimiento
Tribunal: Kirti Ruikar (presiden- por profesionales a disposición
al aire libre han queda relegados
te), Alberto Domingo Cabo (se- del público generalista y de las
quizás por su carácter natural y
cretario), Luis Agustín (vocal). comunidades locales.
paisajístico, alejado en algunos
Calificación: Sobresaliente Cum casos del carácter edificatorio.
Laude. Luis Agustín Fernández Es por esto que esta tesis, que
Universidad de Zaragoza centra la atención en los nume-
rosos casos de inaccesibilidad
El flujo de trabajo en los pro- que se producen en un parque
yectos patrimoniales presenta urbano, representa un docu-
problemas relacionados con la mento muy valioso para futuras
desorganización de procesos, la intervenciones, acciones y toma
dispersión de información y el de decisiones por parte de los
uso de herramientas obsoletas. entes públicos. En esta tesis
BIM se ha postulado como una se estudian todos y cada uno
metodología adecuada para me- de los elementos que se sitúan
jorar la gestión del patrimonio. en el antiguo cauce del rio Turia
destinados al uso colectivo por
La finalidad es el desarrollo de
todos los ciudadanos. Se aplica
un protocolo que ordene la ges-
la normativa vigente más res-
tión de proyectos patrimoniales ESTUDIO DE ACCESIBILIDAD trictiva entre la normativa auto-
usando HBIM y el diseño de DEL CAUCE DEL RÍO nómica y estatal, con el objeto
una plataforma web que sin- TURIA EN LA CIUDAD DE de ser un documento de base
cronice la información patrimo- VALENCIA. METODOLOGÍA DE para la propuesta de mejoras e
nial. Es de reseñar, la singular INTERVENCIÓN EN MATERIA intervenciones que se ejecuten
aportación que supone aplicar DE ACCESIBILIDAD EN MEDIO bajo los parámetros de la ac-
por primera vez de la mano de URBANO cesibilidad y el diseño univer-
la doctora profesora Patricia
sal con la finalidad de que vaya
Tzortzopoulos de la University of
adaptándose progresivamente
Huddersfield la metodología de- Autor: Juan J. Martínez Portilla para alcanzar un Jardín del Turia
nominado DSR (Design Science
Directora: María Concepción accesible para todos.
Research), asi como en la toma
López González. Adolfo Alonso Durá
de datos, los principios de la
Ciencia de lo Social según los Fecha de Lectura: 21/07/2017 Universitat Politècnica de
planteamientos del doctor pro- Programa Oficial de Doctorado València
la motivación como en los en- en Tecnologías Industriales,

foques de aprendizaje de los Materiales y Edificación (Time).
estudiantes, analizándola ade- Departamento Ingeniería de
más en clave de género. Los sistemas industriales y dise-
OA creados se han validado con ño, Universidad Jaume I de
estudio de usabilidad para ga- Castellón.
rantizar su eficacia y eficiencia,
Tribunal: Jorge Luís García
lo que ha conllevado a obtener
Valldecabres (presidente), Alba
unos materiales didácticos de
Soler Estrela (secretario), Juan
calidad. La experiencia mues-
Carlos Piquer Cases (vocal).
tra que el diseño y elabora-
ción de OA en un área como la Calificación: Sobresaliente Cum
Expresión Gráfica, y su aplica- Laude.
ción en una asignatura de grado
universitario, ha resultado una
experiencia altamente positiva y
Esta tesis se enmarca dentro de
por tanto recomendable, que ha
las investigaciones para la sal-
permitido dotar al alumnado de
vaguarda y puesta en valor del
un recurso de apoyo al proceso
patrimonio arquitectónico. Su
de aprendizaje, que entendemos
objetivo es comprender y docu-
INNOVACIÓN Y PROCESOS fundamental en una metodolo-
mentar el castillo-palacio que
DE APRENDIZAJE. USO DE gía de enseñanza centrada en el
Beatriz de Borja mandó remo-
OBJETOS DE APRENDIZAJE alumno y donde el aprendizaje
delar y ampliar en Castellnovo
COMO APOYO A LA DOCENCIA autónomo con el asesoramiento
(Castellón), su contexto urba-
EN LA EXPRESIÓN GRÁFICA del profesor como guía que lo
no y territorial. Se trata de una
E INFLUENCIA EN LA acompaña en dicho proceso ha
construcción singular de origen
MOTIVACIÓN Y EN LOS adquirido gran valor.
árabe que nunca ha sido clasifi-
ENFOQUES DE APRENDIZAJE cado como tal.
Jorge Martín Gutiérrez La autora ha realizado un rigu-
Autor: Juan Alejandro Melián Universidad de La Laguna roso levantamiento de planos
Melián empleando nuevas tecnologías
Directores: José Antonio lo que le ha permitido, por una
Álvarez González, Jorge Martín parte, analizar los aspectos for-
Gutiérrez. males, morfológicos, construc-
Fecha: 07/07/2017 tivos, compositivos, geométri-
cos, económicos, metrológicos
Facultad de Ciencias Políticas,
y métricos del edificio, y por
Sociales y de la Comunicación.
otra, situar el castillo-palacio
Universidad de La Laguna.
en el contexto urbano, territo-
Tribunal: Antonio Manuel rial, social, histórico y artístico
González Marrero (presidente), correspondiente. Todo ello ha
Karle Olalde Azkorreta (secre- dado como resultado nuevas y
tario), Cristina Roca González sorprendentes especificaciones
(vocal). de los inicios de la arquitectura
Calificación: Sobresaliente Cum renacentista tan destacada en
Laude. el Reino de Valencia.
CASTILLO PALACIO BEATRIZ
DE BORJA, ANÁLISIS ARQUI- Esta investigación contribuye a
TECTÓNICO, MÉTRICA Y poner de relieve la singularidad
TRAZAS del edificio como muestra tem-
El trabajo propone una aporta-
prana del renacimiento español,
ción a la innovación educativa,
partiendo de la relación entre
con la elaboración de una serie Autor: María de la Cueva Santa la baronía de Castellnovo y la
de Objetos de Aprendizaje (OA), Morro Rueda Roma pontificia.
como instrumento de apoyo
Directoras: María Concepción La peculiaridad de sus bóvedas
a la docencia de la Expresión
López González, Beatriz Sáez y la época de su construcción
Gráfica, que pretende favore-
Riquelme. han llevado a la autora a rela-
cer el aprendizaje significativo.
Aporta un estudio de la posible Fecha de Lectura: 05/06/2017 cionarlas con artífices valen-
influencia de su uso, tanto en Programa Oficial de Doctorado cianos de la categoría de Pere
Balaguer, Francesc de Baldomar a ejecutar recintos destinados Fecha: 16/06/2017

y sobre todo con Francesc Martí al enterramiento fuera de las Departamento de Expresión
“Biulaygua”. urbes. Como apuntaba Lewis Gráfica e Ingeniería en la
Mumford: quizás las ciudades, Edificación, Escuela Técnica
en su origen, no fueran más que Superior de Ingeniería de
Concepción López González
necrópolis. Y toda ciudad es, Edificación, Universidad de
Universitat Politècnica de
cuando menos, un conjunto de Sevilla.
València
arquitecturas construidas que,
Tribunal: Álvaro Recio Mir (pre-
en el caso de los cementerios,
sidente), Carlos Cacciavillani
convocan la eternidad. Las ar-
(secretario), Carlos Rubio
quitecturas de las ciudades de
Bellido, Elena de Ortueta
la memoria y los cementerios
Hilberath y Francisco Ollero
han sido poco dibujadas, incluso
Lobato (vocales).
antes de construirse. Puede que
se conserven algunos planos Calificación: Sobresaliente Cum
de estas necrópolis, pero poco Laude.
permanece de las moradas para
siempre, muchas veces réplicas
Esta Tesis Doctoral aborda la fi-
a escala de la arquitectura de
gura y la producción de Ignacio
los vivos acusando sus mismas
de Tomás y Fábregat, situándola
aspiraciones. El trabajo de la
en el contexto de la generación
profesora Muñoz Mora recoge
de arquitectos y maestros de
nuevos dibujos de edificaciones
obras coetáneos.
funerarias de las que no existía
constancia gráfica, actual ni de El trabajo se organiza en dos
época, y, pone en valor, a través partes; la primera define el mo-
de los planos elaborados, un mento histórico en que vivió
rico y extenso patrimonio de- Ignacio de Tomás, los distintos
nostado en nuestro país. factores, sociales, económicos,
culturales y artísticos que con-
fluyeron a lo largo de su vida; y
David Navarro Moreno la segunda parte está dedicada
Universidad Politécnica de a la biografía del arquitecto y a
LA MUERTE, SU CASA Y
Cartagena su obra, en la que se realiza un
SU CIUDAD. EL DESVANE-
CIMIENTO DE LAS CIUDADES recorrido por su producción, or-
SILENTES DE CARTAGENA ganizada en tres etapas: la eta-
pa formativa en la Academia de
San Fernando, que transcurre
Autora: María José Muñoz Mora desde su ingreso en 1767 has-
Director: Andrés Martínez ta 1774 en que obtiene el grado
Medina. de Arquitecto de Mérito; la se-
Fecha lectura: 16/06/2017 gunda etapa en la que trabaja
ya como Arquitecto de Merito
Universidad de Alicante.
al servicio de la Academia,
Tribunal: Ignacio González- tanto sus primeras obras en el
Varas Ibáñez (presidente), intervalo (1776-1785), como
María Elia Gutiérrez Mozo (se- obras dentro de la Comisión de
cretaria), María del Mar Loren Arquitectura en los cuatro años
Mendes (vocal). que transcurren desde la crea-
Calificación: Cum Laude. ción de ésta hasta su traslado a
Córdoba en 1790, que son tanto
obras de arquitectura religiosa
EL ARQUITECTO IGNACIO DE y civil, como obras de ingenie-
Esta investigación ha tenido por TOMÁS Y FABREGAT ría; y la etapa andaluza, que es
objeto documentar gráficamen- (H. 1744-1812) la más importante, en la que
te el patrimonio arquitectónico realiza obras de arquitectura
de los cementerios surgidos en religiosa, tanto para el arzobis-
España con motivo de la im- Autor: Mª Dolores Rincón Millán.
pado de Córdoba como para el
plantación de la Real Cédula del Directores: Amparo Graciani de Sevilla, así como obras de
año 1787, por la que se obligaba García, Juan Rincón Millán. arquitectura civil.
En la tesis se analizan con ma-

yor detenimiento sus cinco
principales proyectos que son
el Palacio de la Mosquera en
Arenas de San Pedro (Ávila), el
puente sobre el río Alberche en
Escalona (Toledo), la iglesia de
Santa María en Cabra del Camp
(Tarragona), el murallón de la ri-
bera (Córdoba), y, de forma más
particular, la iglesia de San Juan
Bautista en Écija (Sevilla), loca-
lidad en la que fue introductor
del Neoclasicismo arquitectó-
nico, con el proyecto que, dos
años antes, realizó para la res-
tauración de la Iglesia de Santa
Bárbara, muy deteriorada, como
en el caso anterior, a conse-
cuencia de los efectos del terre-
moto de Lisboa de 1755.
En el estudio de la iglesia de
San Juan Bautista de Écija se
constata la envergadura del
proyecto y las dificultades ha-
bidas en esta localidad para la
ruptura estilística y el tránsi-
to del Barroco al Neoclásico,
como consecuencia de la gran
repercusión que en ella tuvo
el Barroco dieciochesco, sobre
todo tras la remodelación ur-
bana consiguiente al terremo-
to de Lisboa y las actuaciones
de restauración acometidas en
las edificaciones dañadas por
el seísmo, especialmente, sus
iglesias y torres.
Este conocimiento a la figura
y obra de Ignacio de Tomás ha
permitido aportar unas notas
sobre el proceso de implanta-
ción del Neoclasicismo en la
Arquitectura española más allá
del papel ejercido por los gran-
des maestros, enfatizando la
actuación de este arquitecto
itinerante, como tantos otros,
cuya labor fue determinante
para que los planteamientos de
la Academia llegaran a zonas
rurales de España.
Pablo Díaz Cañete

Universidad de Sevilla
REV I S TA D E E X P R E S I Ó N
GRÁFICA EN LA EDIFICACIÓN

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EGE

Editora Jefe / Editor-in-Chief

HALF A CENTURY DOCUMENTING THE ARCHITECTURAL

CULTURAL HERITAGE DESIGN: THEORIES AND METHODS FOR 31 – 43

MAPS AND DRAWINGS OF THE ROYAL SITES AROUND THE GUA-

THE MIES VAN DER ROHE EXHIBITION AT THE MOMA IN 1947: A

GEOMETRY OF VAULTED SYSTEMS IN THE TREATISES BY GUA-

DIGITAL SURVEY: FROM NEW TECHNOLOGY TO EVERYDAY USE,

RESEÑAS DE LIBROS Y TESIS DOCTORALES 101- 113

Concepción López González

HALF A CENTURY DOCUMENTING THE ARCHITECTURAL HERITAGE

MEDIO SIGLO DOCUMENTANDO EL PATRIMONIO ARQUITECTÓNICO

Antonio Almagro Gorbea

*Correspondence author: Antonio Almagro, aalmagro@cica.es

1. INTRODUCTION provides us with information on the shape and

3. THE ANALYTICAL be taken in a "normal" disposition (axes of the

Fig. 7. Section of the Palacio de Pedro I in the Alcázar of Seville.

Fig. 9. Eastern elevation of the cathedral of Seville.

Fig. 11. Cross section of the collegiate church of El Salvador in Seville.

Fig. 15. Elevation of the Mihrab of the mosque of

Fig. 16. Isometric vaults of the cathedral of Seville.

Fig. 19. Elevation of the Puerta de la Justicia of the

Fig. 21. Longitudinal section of the al-Qarawiyyin mosque in Fez).

How to cite this article / Citation

1. INTRODUCCIÓN través de las fotografías aéreas que él usaba en su

CULTURAL HERITAGE DESIGN: THEORIES AND METHODS

Department of Civil Engineering and Architecture, University of Pavia, Italy. daniela.besana@unipv.it

*Correspondence author: Daniela Besana, daniela.besana@unipv.it

integrated conservation, understood as action designer of functional destinations compatible

Fig. 1. knowledge design phase (Source: own’s).

technical culture” (Campioli, 1994: 9-10). So understood as a connection of elements in an

How to cite this article / Citation

MAPS AND DRAWINGS OF THE ROYAL SITES AROUND

MAPAS Y DIBUJOS DEL ENTORNO DE LOS SITIOS REALES

Pilar Chías Navarroa , Tomás Abad Balboab

* Correspondence author: Pilar Chías, pilar.chias@uah.es

1. INTRODUCTION As these roads also led to the royal sites of San

Fig. 3. Francisco Lorenzana 1783, Mapa geográfico y

true location of towns or their distances, which is

Unfortunately, these initiatives remained

7. SPANISH CARTOGRAPHY DURING THE

the National Library of Spain (Bookmark

Fig. 10. Tomás López Atelier 1810, Atlas Geográfico de

8. CARTOGRAPHY IN THE POST-WAR PERIOD

How to cite this article / Citation

1. INTRODUCCIÓN La necesidad de que España dispusiera de una

La tercera línea de actuación se concentró en la Lamentablemente estas iniciativas no llegaron a

soñaba Napoleón. agua y comida, y conocer también la posibilidad de

Commission topographique de 1802. geógrafo y naturalista, no sólo propuso una

THE MIES VAN DER ROHE EXHIBITION AT THE MOMA IN 1947:

Carlos Montes Serranoa, David Durántez Stolleb

*Correspondence author: Carlos Montes, montes@arq.uva.es

1. RESEARCH IN GRAPHIC RESTITUTION architectural exhibition, as well as in many others,

A truly original example of this type of graphic

there is information about the size and layout of

3. THE EXHIBITION AREA

Fig. 6. Installation view of the Exhibition (Herbert

The four pillars in the centre of the room were

5. NEW VISUAL IMPRESSIONS

Fig. 16. Scheme of the exposed material (David

Fig. 17. Elevation A (David Durántez)

Fig. 18. Elevation C (David Durántez)

Fig. 19. Elevation E (David Durántez)