|
ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
|
136198
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
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136199
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136200
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136201
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136177
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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
|
|
|
136178
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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
|
|
|
136202
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136203
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136205
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136206
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136207
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136208
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136210
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136211
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136212
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
This is a very layered linguistic landscape with lots of posters and graffiti.
Spanish
ESPABILA
LO QUE QUIERO VER
MOLA
English
SPARK
CREW
BLACK METAL DEAD PUNX
I ♥ ...
Graffiti codes / invented words (not standard language)
SHLOC
SIC51
RUTA 43 CREW
GUSA
BETA
PLOF
PW
Various unreadable tags functioning as visual signatures
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PALRA
|
|
|
136213
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136214
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136193
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
The tower is part of the Casa de los Sande, a noble family residence in Cáceres. Built in the 15th century, it originally rose higher than it does today. It is both an architectural landmark and a linguistic one: its very name encodes a history of political power, control, and memory, and it remains a cultural marker in Cáceres’ urban landscape.
Name: Torre Desmochada literally means “beheaded” or “cut down,” referring to its truncated top. The tower was shortened (desmochada) as a consequence of royal orders.
After periods of civil strife in medieval Spain, the Catholic Monarchs (Isabel and Fernando) and earlier monarchs sought to limit the power of noble families. They ordered many towers in Cáceres to be “desmochadas” (cut down), so that the nobility could not use them as fortresses or symbols of excessive power. The Torre de Sande is one of the clearest surviving examples of this architectural practice. Built in ashlar masonry, square-plan, with battlements (now reduced). Ivy and vegetation covering parts of the tower add to its iconic image in Cáceres.
Declared part of the UNESCO World Heritage ensemble of Cáceres’ Old Town (Ciudad Monumental). Symbol of Cáceres’ historical identity: many local legends and tourist narratives highlight its “beheading” as a punishment against rebellious lords.
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PALRA
|
|
|
136215
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
This is a very layered linguistic landscape with lots of posters and graffiti. Spanish “TORTURA” anti-bullfighting slogan.
|
PALRA
|
|
|
136216
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
This is a very layered linguistic landscape with lots of posters and graffiti.
Spanish
“TORTURA” (anti-bullfighting slogan, repeated several times)
“NO A LA” (part of “No a la tauromaquia” probably)
“PURO AMOR”
“PERO…” and “ES…” fragments
“VAMO DHOR PYDI” (likely intended as distorted Spanish)
Posters mentioning “FERIA RAYANA”, “INVITA”, “CÁCERES”, “AGOSTO” etc.
English
“NO” (as part of protest slogans and graffiti)
Some stylised brand/tag words like “LOVE” (partially visible in graffiti)
Graffiti tags / invented words
“GUSA”
“RATA”
“PYRO”
Other tag-like scribbles that don’t belong clearly to any standard language.
The main languages present are Spanish and English, with a strong predominance of Spanish since this is a protest / cultural poster space in Spain. There are also non-standard graffiti scripts that serve more as visual identity markers than communicative language.
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PALRA
|
|
Lingscape
