|
ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
|
135900
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135901
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Spanish:
Institutional: Ayuntamiento Cáceres, Cáceres patrimonio de la humanidad, Calle Paneras.
Commercial: Artesanía el Anta, Los Ibéricos, Mármoles Vivas, Mercería Maeva, Moda, Vaqueros Sol.
English (minor, visual):
Parking 80m., Moda could be read as Italian/Spanish but internationally linked to “fashion”; graffiti tags sometimes use English letters or neutral global hip-hop styles.
Multimodal protest language: Sticker “No a la mina – ¡Defiende Cáceres!” (Spanish, activist discourse).
Heritage vs. commerce: Signboard originally designed to guide visitors in the historic city (UNESCO site), blending cultural identity (Cáceres as heritage city) with everyday commerce.
Resistance discourse: “No a la mina” sticker transforms the commercial/official board into a site of political struggle, connecting local economy with environmental defense.
Semiotic battle: Graffiti tags partially obscure shop names : reflects youth/street culture presence challenging institutional order.
Spatial hierarchy: Official/municipal logos sit on top; grassroots layers accumulate below and across, literally overwriting heritage and commerce narratives.
|
PALRA
|
|
|
135902
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135903
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135904
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135905
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135906
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135907
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135908
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
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
|
|
|
135911
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
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
|
|
|
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
|
|
|
135916
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135917
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
135918
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
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
|
|
|
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.
|
PALRA
|
|
Lingscape
