|
ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
|
135908
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136164
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135910
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Language Spanish
Top-down discourse: the plaque is clearly institutional heritage signage (commemorative brass plate, official tone). No commercial or bottom-up interventions visible (unlike stickers/posters elsewhere in Plaza Mayor).
Provides precise dates: painting originally exhibited 1865–1992. Reinstalled as a replica in 2013.
Refers to La Virgen de la Paz and its local devotional meaning (La Virgen de los Partos). Religious references in public signage = Catholic heritage embedded in urban landscape. Sign anchors collective memory and identity in a religious artwork linked to fertility beliefs.
Lexicon: devoción, profesaban, prenadas reflects both archaic religious discourse and medical-social language about women. Reinforces gendered cultural practices in heritage narratives.
|
PALRA
|
|
|
136166
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135911
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136167
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135912
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Spanish (official language, top-down)
Junta de Extremadura = regional government authority.
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.”
Centro de Mayores (repeated on green pictogram).
Braille (tactile writing system)
Appears twice: under the institutional sign and on the blue wheelchair accessibility symbol. Ensures inclusive access for blind/visually impaired people.
English (through sticker intrusion)
The pink sticker activa Tours includes the English word Tours. Represents tourism branding entering institutional space.
Visual/pictorial languages (icons)
Blue wheelchair pictogram: international symbol of accessibility.
Green pictogram: two stylized human figures at a table = symbol of a senior center.
This sign at the Plaza Mayor Senior Center demonstrates how top-down state signage (Spanish + Braille + pictograms) ensures accessibility and inclusivity, while bottom-up elements (sticker in Spanish/English) create a hybrid, layered linguistic landscape. The use of visual codes (icons, color, Braille) highlights how accessibility is as much semiotic as linguistic, expanding the concept of “language” in the public space.
|
PALRA
|
|
|
135913
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
136169
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135914
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135915
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
136171
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135916
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136172
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135917
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136173
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135918
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
136174
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
135919
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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.
|
PALRA
|
|
|
136175
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
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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|
Lingscape
