The episcopal complex of Eio-El Tolmo de Minateda (Hellín, Albacete, Spain). Architecture and spatial organization. 7th to 8th centuries AD

The episcopal complex of Eio, located in El Tolmo de Minateda, was built between the end of the 6th century and the beginning of the 7th century, possibly as a political decision taken by the ecclesiastical authority in the capital of the Visigothic kingdom (Toletum). With the comprehensive study of the whole complex presented below (construction cycles, furniture, decoration and location of spaces), we can interpret the function of each space in the basilica and the domus episcopi, the liturgical and general movement routes, the existence of some hierarchical environments, and specify the chronological development of the buildings. After the Arab-Berber conquest of Hispania in the early 8th century, the whole complex will experience a series of transformations that will convert the religious and monumental public area into a private, residential and industrial Islamic quarter.

L’episcopio del Tolmo de Minateda (Albacete, Spagna). Architettura e funzione degli ambienti tra la fine del VI e l’inizio dell’VIII secolo

The episcopal complex of Eio, located at El Tolmo de Minateda, was built between the end of the sixth century and the beginning of the seventh century. It may have been created as a result of a political decision taken by the authority of the Visigothic kingdom (based at Toletum) to control the Byzantine territories of south-east Hispania. With a comprehensive study of the construction phases, and of the decoration and location of spaces, we can recreate and interpret the function of each space in the episcopal palatium or episcopium, and detail the chronological development of the building. After the Arab-Berber conquest of Hispania in the early eight century, the whole complex underwent alterations that converted the religious and monumental public area into a private, residential and artisan Islamic quarter.

Improving the Photoelectrochemical Response of TiO2 Nanotubes upon Decoration with Quantum-Sized Anatase Nanowires

TiO2 nanotubes (NTs) have been widely used for a number of applications including solar cells, photo(electro)chromic devices, and photocatalysis. Their quasi-one-dimensional morphology has the advantage of a fast electron transport although they have a relatively reduced interfacial area compared with nanoparticulate films. In this study, vertically oriented, smooth TiO2 NT arrays fabricated by anodization are decorated with ultrathin anatase nanowires (NWs). This facile modification, performed by chemical bath deposition, allows to create an advantageous self-organized structure that exhibits remarkable properties. On one hand, the huge increase in the electroactive interfacial area induces an improvement by 1 order of magnitude in the charge accumulation capacity. On the other hand, the modified NT arrays display larger photocurrents for water and oxalic acid oxidation than bare NTs. Their particular morphology enables a fast transfer of photogenerated holes but also efficient mass and electron transport. The importance of a proper band energy alignment for electron transfer from the NWs to the NTs is evidenced by comparing the behavior of these electrodes with that of NTs modified with rutile NWs. The NT-NW self-organized architecture allows for a precise design and control of the interfacial surface area, providing a material with particularly attractive properties for the applications mentioned above.

Los manuscritos ilustrados de la Biblioteca de la Junta

El hallazgo de más de un centenar de manuscritos de origen mudéjar y morisco al tirar una de las paredes de una casa de la población de Almonacid de la Sierra, situada en la provincia de Zaragoza, ha sido uno de los más importantes descubrimientos de manuscritos hispano-árabes, hasta ahora. En este artículo se analizan las ilustraciones de dichos manuscritos, sus funciones y posiciones del texto. Así se quiere mostrar la importancia del ornamento y decoración de manuscritos en la Península durante la dominación árabe, y cómo este concepto se ve reforzado por la continuidad de los moriscos en decorar sus libros; una continuidad que se puede ver estilística y formalmente, desde los andalusíes hasta los últimos moriscos antes de ser expulsados.

Are drawings dead? …and performance over aesthetics?

When the act of 'drawing' became what can only be called formalised, (whose growth can be said to have blossomed during the Renaissance), there developed a separation between the drawing and its procurement. Recently, David Ross Scheer, in his book ‘The Death of Drawing, Architecture in the Age of Simulation’ wrote: ‘…whereas architectural drawings exist to represent construction, architectural simulations exist to anticipate building performance.’ Meanwhile, Paolo Belardi, in his work ‘Why Architects Still Draw’ likens a drawing to an acorn, where he says: ‘It is the paradox of the acorn: a project emerges from a drawing – even from a sketch, rough and inchoate - just as an oak tree emerges from an acorn.’ He tells us that Giorgio Vasari would work late at night ‘seeking to solve the problems of perspective’ and he makes a passionate plea that this reflective process allows the concept to evolve, grow and/or develop. However, without belittling Belardi, the virtual model now needs this self-same treatment where it is nurtured, coaxed and encouraged to be the inchoate blueprint of the resultant oak tree. The model now too can embrace the creative process going through the first phase of preparation, where it focuses on the problem. The manipulation of the available material can then be incubated so that it is reasoned and generates feedback. This paper serves to align this shift in perception, methodologies and assess whether the 2D paper abstraction still has a purpose and role in today’s digital world!

Rehabilitating, repairing and restoring against demolishing, tearing down and destroying: the recovery of the military fort for the Santa Pola town museum

This communication develops the process of interventions of the Renaissance fortress of a new plant built in 1554–57 in Santa Pola. It is one of the earliest examples built with reference to military architecture theoretical treaties (XV–XVI) and best preserved. The study runs its own story from its initial military use, through the use of civil equipment until the final cultural and Museum Center. First, the project of Italian origin is examined and its use as barracks for troops for a duration of three centuries (1557–1850), pointing out the architectural constants of war machinery in a defense position and its origin as a rainwater collector and cistern: a perfect square with two bastions in which a plan of the uprising is preserved (1778). Secondly, we study the changes in the mentioned architecture throughout a century and a half (1850–1990) after its change of ownership (from the state to the municipality), and as a result of the new use as a city hall and public endowment: a market and health and leisure centre, which meant the demolition of defensive elements and the opening up to the outside of the inner parade ground. And thirdly, the new transfer of the municipal offices brings in the beginning of a project of transformations (1990–2015) that retrieves the demolished elements at the same time as it assigns the entire fort for a cultural centre: exhibition, research and history museum, promoting the identity between the citizens and the building which stands in the foundations of their city. The conclusions take us through an interesting route that goes from the approach of defensive tactics, its use as administrative headquarters to the current cultural policy of preservation. In addition, all the known plans of the fort are recovered (of military, civil and cultural use), some unpublished, as well as the project of the North wing that has guided the last operation and which has been set as a pattern of reference.