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ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
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135913
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Laura_Pizarro_Jacinto
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Spain
Cáceres
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Spanish (text)
Centro de Mayores Plaza Mayor = “Senior Center Plaza Mayor.”
Horario: Lunes a domingo 10h. a 14h. y 16:30h. a 20:30h. = “Opening hours: Monday to Sunday, 10:00–14:00 and 16:30–20:30.”
Braille (tactile writing system)
The same information is repeated in Braille at the bottom. Ensures visually impaired users can also read the center’s function and schedule.
Sticker (English + branding):
A sticker says activa Tours. This introduces English vocabulary and a commercial intrusion into a formal sign. Shows how bottom-up signage (stickers) overlaps with top-down institutional signage.
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PALRA
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136169
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
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PALRA
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135914
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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135915
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Pictorial language (universal symbol): White wheelchair icon on blue background = globally recognized symbol for accessibility. Used in transport, public buildings, toilets, tourist areas.
Braille (tactile writing system): Below the pictogram, there is a line of Braille dots (Spanish Braille alphabet). This inclusion is crucial for visually impaired users.
Typography / Branding: Bottom right: PUNTODIS (Spanish company specializing in accessibility signage). A small square logo further emphasizes its institutional nature.
Multimodality for accessibility
Combines visual language (icon) and tactile language (Braille).
Makes the sign accessible to both sighted and visually impaired users.
Universal vs. local layers
The wheelchair icon is globally understood, part of an international semiotic system.
The Braille, however, is localized in Spanish Braille, adapting accessibility to the local language context.
Top-down institutional signage: Installed by municipal or regional authorities, reflecting legal frameworks on accessibility and inclusion in Spain.
Materiality and placement: The sign is printed on durable plastic/metal, fixed to stone — integrating modern accessibility requirements into a heritage urban landscape like Cáceres.
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PALRA
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136171
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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|
|
This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
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PALRA
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|
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135916
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136172
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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135917
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136173
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This interpretive panel, titled “Cáceres en sus Palacios: Las Casas Palacio, hoy”, is part of the exhibition inside the Museo de Semana Santa de Cáceres. It focuses on the urban palaces of Cáceres and their survival into the present day, highlighting both their architectural significance and their role in the city’s noble identity.
Upper Section:
The title situates the theme: the palatial houses (“casas palacio”) as they exist today.
A map of the historic center shows the distribution of these palaces within the walled city.
Illustrated connections branch from the map to specific examples, visually linking place, architecture, and lineage.
Individual palaces, such as the Palacio de Carvajal, Palacio de los Golfines, Palacio de Moctezuma, and Palacio de Hernando de Ovando, are identified with images and heraldic shields, situating them within the nobility of Cáceres.
Middle Section:
Textual descriptions provide historical context for each palace, describing their architectural styles, periods of construction, and later adaptations.
The text is presented in five languages (Spanish, English, Portuguese, German, and French), each clearly marked with a colored circle (s, e, p, d, f).
These multilingual explanations expand accessibility for international visitors.
A Braille transcription band runs across the panel, ensuring inclusivity for visually impaired audiences.
Lower Section:
A gallery titled “Otras casas de la hidalguía local” (Other houses of the local nobility) presents a series of smaller photographs of additional noble houses not described in detail above.
Each house is labeled with its name, visually emphasizing the density and variety of noble residences in Cáceres.
Decorative motifs and heraldic imagery frame this section, reinforcing the connection between architecture and lineage.
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PALRA
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135918
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
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136174
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Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This interpretive panel, titled “Cáceres en sus Palacios: Las principales familias cacereñas”, is part of the Museo de Semana Santa de Cáceres exhibition. It focuses on noble lineages and heraldry in Cáceres, using coats of arms as visual markers of family identity and continuity.
Upper Section:
The title situates the theme: the principal families of Cáceres.
The text explains that coats of arms are present on many façades in the historic center, symbolizing the city’s noble past and the families who shaped it.
A genealogical and heraldic chart occupies the center, with coats of arms belonging to prominent families such as los Golfines, los Carvajales, los Ovando, los Ulloa, and los Mogollones.
Each shield is accompanied by explanatory notes describing the family’s origins, social role, and notable members (for instance, Nicolás de Ovando, governor of the Indies in 1509, or families who received kings and nobles in Cáceres).
Middle Section:
Multilingual text (Spanish, English, Portuguese, German, and French) offers translations of the main content. Each language is identified by its colored circle with initial (s, e, p, d, f).
A Braille transcription band runs across the panel, ensuring that the narrative is accessible to visually impaired visitors.
Lower Section:
A section titled “Otros escudos” (Other coats of arms) displays photographs of additional heraldic emblems found on buildings across Cáceres.
Each photograph is paired with a short explanation, situating these shields within their architectural and historical context.
Decorative flourishes reinforce the heraldic theme, visually linking text, symbols, and imagery.
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PALRA
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135919
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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Alphabetic language
AT : Spanish institutional code, short for Apartamentos Turísticos (Tourist Apartments). This is a regulated accommodation category in Spain, marked with the official blue sign and key symbols.
Pictorial / symbolic language
Two key icons below the “AT” : non-verbal semiotic code. Keys = hospitality, lodging, tourism. The number of keys sometimes represents quality classification (similar to hotel stars).
Non-linguistic cultural signage
Traditional ceramic tiles with geometric and floral patterns : heritage aesthetics. These tiles are not “words,” but they communicate cultural identity. They anchor the modern tourism signage in the historic urban environment.
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PALRA
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136175
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This image shows the two interpretive panels of the “Cáceres en sus Palacios” section in the Museo de Semana Santa de Cáceres. Together, they narrate the story of the city’s noble palaces and heraldic traditions, situating architecture and lineage at the heart of Cáceres’ identity.
Left Panel – “Las Casas Palacio, hoy” (The Palatial Houses Today):
Explores the survival of noble palaces in Cáceres and their integration into the modern city.
A map of the historic center connects to illustrated branches leading to specific palaces, such as the Palacio de Carvajal, Palacio de los Golfines, Palacio de Moctezuma, and Palacio de Hernando de Ovando.
Each palace is accompanied by an image, short historical description, and heraldic reference.
A section at the bottom, “Otras casas de la hidalguía local”, shows a gallery of smaller noble houses, emphasizing the abundance of aristocratic architecture in Cáceres.
Right Panel – “Las principales familias cacereñas” (The Principal Families of Cáceres):
Focuses on heraldry as a symbol of lineage and identity.
A central heraldic chart displays the coats of arms of prominent families such as the Carvajales, Ovandos, Golfines, Ulloa, Mogollones, and others.
Explanatory notes situate these families in local and global history (e.g., Nicolás de Ovando, governor of the Indies in 1509).
The lower section, “Otros escudos”, includes photographs of additional coats of arms found on façades across the city, turning the streetscape into an archive of noble identity.
Accessibility and Multilingualism:
Both panels provide texts in Spanish, English, Portuguese, German, and French, marked with colored initials (s, e, p, d, f).
A wide Braille transcription band ensures accessibility for visually impaired visitors, making inclusivity a central design principle.
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PALRA
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135920
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Spanish (dominant, functional & regulatory)
Alarma con aviso a Policía : “Alarm with police notice.”
Zona video vigilada : “Video surveillance area.”
Alarma conectada 24 h : “Alarm connected 24h.”
Plaza Mayor 35 Apartamentos : “Plaza Mayor 35 Apartments.”
Global design influence, the apartment logo (Plaza Mayor 35) adopts international branding aesthetics, even though the language is Spanish.
Non-linguistic signage: Blue plate symbol of knife and fork : universal icon for food services (transcends language).
Spanish dominance (functional and regulatory):
Most signs are in Spanish, reflecting the local community and legal requirements (alarms, surveillance, police-linked systems).
These are top-down institutional signs, ensuring safety and compliance.
Commercial branding:
Plaza Mayor 35 Apartamentos uses modern typography and minimalist design, signaling a shift to tourist-oriented accommodation. Even though the text is in Spanish, the design targets an international audience, mirroring global boutique apartment branding.
Tourist semiotics:
The knife and fork pictogram is a non-verbal universal code pointing to food services. This allows communication without language, accommodating international visitors in a heritage-rich plaza.
Cultural layer:
The colorful ceramic tiles below are non-verbal but play an important role in the semiotic landscape. They reinforce Spanish identity and local heritage aesthetics, contrasting with the modern, minimalist signs above.
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PALRA
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136176
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This image shows two interpretive panels from the Museo de Semana Santa de Cáceres, under the thematic section “La hidráulica en la ciudad histórica”. These panels focus on water management and hydraulic heritage, presenting fountains, cisterns, baths, and mills as essential elements of Cáceres’ urban history.
Left Panel – “Las fuentes históricas” (The Historic Fountains):
Explains the role of fountains in supplying water to the population.
A map locates several key fountains in the historic center, such as the Fuente Rocha de Cordero, Fuente Concejo, Fuente Nueva, and Fuente de San Francisco.
Each fountain is described with historical notes (e.g., construction periods, uses, or restorations).
Illustrations and photographs provide visual references.
At the bottom, a section titled “Otras fuentes y charcas de la ciudad” (Other fountains and ponds of the city) expands the scope, listing additional water points such as Fuente del Rey, Fuente del Marco, and Charca de la Maltraviesa.
A Braille transcription band runs across the panel, providing accessibility.
Right Panel – “El agua en la ciudad” (Water in the City):
Introduces the importance of water management in Cáceres, describing how natural springs and constructed systems shaped urban life from antiquity to modernity.
A map highlights the distribution of water-related infrastructures, such as cisterns, aqueducts, and mills.
A section titled “Elementos singulares” (Unique Features) details specific water-related constructions:
Thermal baths located in the Palacio del Mayoralgo.
Molinos (mills) as part of agricultural and industrial production.
The Aljibe (cistern), one of Cáceres’ most distinctive hydraulic monuments, with a diagram showing its structure.
As with the left panel, multilingual translations and Braille transcription ensure accessibility.
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PALRA
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135921
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Laura_Pizarro_Jacinto
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Spain
Cáceres
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Spanish (dominant, institutional + commercial):
Martes y viernes, por 2€, botes de hasta 120.000.000 € : “Tuesdays and Fridays, for €2, jackpots up to €120,000,000.”
Cupón Extra de Verano : “Summer Extra Coupon.”
Lotería Nacional de Navidad : “National Christmas Lottery.”
Sin recargo : “No surcharge.”
Fine print: responsible gambling warnings (+18, Juega responsablemente).
English (secondary, global slogan):
EuroJackpot : brand name in English
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PALRA
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136177
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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This panel, titled “La hidráulica en la ciudad histórica: Las fuentes históricas”, is part of the interpretive display in the Museo de Semana Santa de Cáceres. It focuses on the role of public fountains and water sources in the city’s development, emphasizing their importance in supplying water for daily use, agriculture, and livestock until well into the 20th century.
Upper Section:
Title: “Las fuentes históricas” introduces the theme.
A short introduction highlights the role of the Ribera del Marco and the Arroyo de Aguas Vivas, natural watercourses that fed Cáceres’ fountains and washing places.
Historical illustration of a woman carrying a water jug reinforces the everyday function of fountains in local life.
A map pinpoints the locations of several fountains.
Main Content:
Six fountains are described in detail, each with short text and photographs:
Fuente Rocha de la Cordonera – A 15th-century fountain restored in 1993 and put back into use in 2006.
Fuente Concejo – A key supply source from the Middle Ages, noted for its abundant flow.
Fuente Nueva – Now in disuse, but historically significant.
Pilares de San Francisco – Large abreuvoirs (watering troughs) used for livestock.
Fuente Fría – Located near the former slaughterhouse.
Fuente del Rey o del Marco – Supplied by a channel of the Ribera, with long-standing use.
Below this list, an additional section titled “Otras fuentes y charcas de la ciudad” (Other fountains and ponds of the city) mentions further water sources, expanding the scope beyond the six main examples.
Accessibility:
A Braille transcription band runs horizontally across the middle of the panel, allowing visually impaired visitors to access the same information.
Design Elements:
Color-coded circles identify the multilingual translations (Spanish, English, Portuguese, German, French).
Decorative water motifs frame the lower part of the panel, reinforcing the hydraulic theme.
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PALRA
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135922
|
Laura_Pizarro_Jacinto
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Spain
Cáceres
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Spanish
TABACOS : Tobacco shop.
EXP. Nº 014 : Concession or license number.
Lotería de Navidad sin recargo (inside poster) : “Christmas lottery without surcharge.”
English (secondary, global branding)
Drink Ice Cold (Coca-Cola sign inside).
Top-down regulation: The Tabacos sign is a state-controlled franchise. In Spain, tobacco shops (estancos) are regulated by the government, and every one has a license number (Exp. Nº ...). The standardized design (yellow text on red background with the tobacco symbol “T”) shows uniformity across the country. This is not just commerce but part of the institutional landscape of the state.
Spanish as the dominant code: Clear, functional, and necessary for locals. Reinforces the national monopoly status of tobacco distribution.
English as a global commercial layer: Coca-Cola’s Drink Ice Cold adds a touch of global advertising discourse inside the shop. While the store’s main identity is highly regulated and national (Spanish state monopoly), interior advertising allows space for global consumer culture.
Visual semiotics: The bold yellow/red color scheme is part of the Spanish state’s brand identity for tobacco shops. It contrasts with the more colorful and playful commercial logos inside (lottery, Coca-Cola, etc.).
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PALRA
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136178
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Laura_Pizarro_Jacinto
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Spain
Cáceres
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This panel, titled “La hidráulica en la ciudad histórica: El agua en la ciudad”, is part of the interpretive displays in the Museo de Semana Santa de Cáceres. It interprets the relationship between the city and water, tracing how springs, cisterns, baths, and mills sustained urban life from antiquity to modern times.
Upper Section:
The main heading “El agua en la ciudad” introduces the theme.
A brief introduction explains the importance of the Ribera del Marco, a watercourse running along Cáceres, together with numerous cisterns, aljibes, and wells that supplied water to the population.
A map shows the distribution of hydraulic features, including cisterns, chambers, and ruins of water-related constructions.
A key explains the color-coded map symbols (cisterns/aljibes, chambers/buildings, ruins).
Middle Section:
A Braille transcription band runs horizontally, ensuring accessibility for visually impaired visitors.
Multilingual text (Spanish, English, Portuguese, German, French) appears in blocks, each marked with a colored circle containing its initial (s, e, p, d, f).
Lower Section – “Elementos singulares” (Unique Features):
Highlights particular hydraulic structures that survive in Cáceres:
Thermal baths (located in the Palacio del Mayoralgo), with diagrammatic reconstructions of features such as the palestra, sauna, cold-water pool, and hot rooms.
Molinos (mills) used for grinding grain, with explanatory diagrams.
The Aljibe (cistern), one of the most distinctive monuments of Cáceres, presented as a vaulted underground space built in stone and mortar.
Illustrative diagrams provide cutaway views of these structures, complementing the textual explanations.
Linguistic Landscape Analysis
Multilingualism and Accessibility
Information is offered in five European languages and Braille, ensuring international reach and inclusive access.
The colored-circle system clarifies navigation for multilingual audiences.
Multimodality
The panel combines maps, explanatory diagrams, photographs, text, and Braille, offering multiple entry points into the content.
The technical reconstructions of baths and mills are particularly striking, visually translating archaeological remains into understandable forms.
Cultural Framing
The narrative frames water not only as a basic resource but as a shaper of urban culture.
By emphasizing features like baths and mills, the panel highlights how water infrastructures were tied to social practices, hygiene, and economic production.
Semiotics of Place
The map situates hydraulic elements within Cáceres, making them part of the city’s identity and visible heritage.
The Aljibe is foregrounded as an emblematic monument, tying the local hydraulic history to the city’s UNESCO World Heritage status.
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PALRA
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135923
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
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—
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PALRA
|
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Lingscape
