266 Apuntes del Alcázar de Sevilla
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nglish
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This way, the Restoration Plan concentrates on the area of activity
and the zoning established in the Study of Architectural Planning. It
divides the area in eight zones based on the architectural planning cri-
teria, instead of a chronological division—figure 1. These zones are:
• Zone 1: “axis crossing from the
Patio del León
to the
Patio de laMon-
tería”
. It includes the
Patio del León
, the
Casa del Militar
, the
Patio de
la Contratación
, the Patio de laMontería, the Patio del Yeso and its
surroundings —Sala de la Justicia y
Patio del Yeso
, attached house
number 10 and part of the house number 9 of the
Patio de Banderas
,
the alleyway leading to them and the kitchens of the
Cuarto del
Maestre
—, and the two floors of the
Cuarto de laMontería
.
• Zone 2: “
Palacio del Crucero”
. It is composed by the current
Palacio Gótico
, the two levels of the
Patio del Crucero
, the
Cuarto
del Maestre
(except for the previously-mentioned kitchens, that
are integrated in the Zone 1) and the corridor connecting the
Apeadero
with the
Patio de la Montería
.
• Zone 3: “
Apeadero
and the eastern sector”. It is constituted by
the
Apeadero
, the house number 10 of the
Patio de Banderas
, the
Cuarto del Sol
, the
Jardín de la Alcubilla
, the
Pabellón de la China
,
the
Jardín del Chorrón
, the corridor connecting the
Apeadero
with
the
Jardín del Chorrón
and the National-Heritage rooms. These
rooms are in the western side of the corridor.
• Zone 4: “
Patio de Banderas
. Archaeological site”. It contains the
house number 16 of the
Patio de Banderas
, the squares interior
floor plan, that is to say, the part that is not occupied by the
buildings, and the part of the alleyway leading to the houses
number 6, 7-8, 9 and 10.
• Zone 5: “
Patio de Banderas. Primitive Muslim palace. Houses
.” It
includes every building built inside the enclosure that is demar-
cated by the walls and the access to the
Real Alcázar
, excluding
the house number 10, the attached house number 10 and the
house number 16 of the
Patio de Banderas
, which have already
been assigned to other zones. Currently, the ensemble of the
houses number 7-8 is subject of archaeological investigation.
Thanks to some excavations, the existence of a palace has been
proved. This palace belongs to the Enclosure I of the
Real Alcázar
or Primitive Enclosure.
• Zone 6: “
Palacio Mudéjar
”. In addition to the
Palacio del Rey Don
Pedro
and due to a direct visual relationship, we can find here the
Jardín del Príncipe
and the residential buildings which access is
located in
Calle Deán Miranda
.
• Zone 7: “
Cuarto del Asistente
”. It comprises the
Patio de Romero
Murube
, the
Patio del Asistente
, the
Patio de Levíes
, the building
of kitchens and other rooms for household services that were
attached to the previously-mentioned building.
• Zone 8: “gardens and exterior walls”. This zone convers the
Hispanic-Muslim gardens, the
Jardín de las Damas
, the
Jardín de
la Alcoba
, the
Jardín de la Cruz
, the
Jardín del Laberinto
, the
Jardín
Inglés
and the
Jardín Rústico
, all of them located to the east of the
Galería del Grutesco
. On the eastern side, we can find the
Jardines
del Retiro
and the
Jardín de los Poetas
. Here we find too the walls
and their towers, linked to the
Galería del Grutesco
, to the
Torre
de la Alcubilla
and to the
Muralla del Agua
. Finally, in the extreme
east of the zone we can find the municipal day-care center.
2. DEVELOPMENT AND ELABORATION OF THE
INTERVENTIONS RECORD
Selection process
The aim of the inventory was not to incorporate every element
or ensemble where a conservation and/or restoration interven-
tion could be made in the new area of activity, larger than the cur-
rent limits of the
Real Alcázar
. Although we had wanted to do it, it
would have been unmanageable taking into consideration the pre-
established timelines. On the contrary, we knew from the begin-
ning that a selection of interventions had to be made. According to
this, we tried to cover as many elements as we had selected. The
work tables remained changeable during the whole process of the
elaboration of the document.
There were several selection criteria and the contributions made
by the Direction, the team of archaeologist or the restoration
teams were taken into account. Also, we carried out many vis-
its and inquiries all around the enclosure and it helped us make
some “discoveries”, it is, some elements that could be catalogued
and that, although they were already known, they usually go un-
noticed, mainly because of being placed in restricted or unrepre-
sentative areas. As an example of this, we could mention the
alfarje
ceiling (paneled) and the tiles of the
Cocinas del Maestre
, which is
referred to in the document 1.3 of the Interventions Record, the
mural painting of the
Torre del Agua
, which is the document 3.3, or
the mural painting placed in the basement of the
Palacio Mudéjar
,
which is referred to in the document 6.7 of the Interventions Re-
cord —figure 2.
The notation chosen for every catalogued reference is simple: it is
composed by two numbers and the denomination. The first num-
ber will be the number belonging to the zone where the object was
found (from 1 to 8, according to the explained zoning) and the sec-
ond number will be the one that designated the order of interven-
tion within every zone.
Subordinated interventions
However, the notation of some documents is composed by one
number and done letter. Those documents have been called
“subordinated interventions”, as the intervention to which they
are referred depends on the carrying out of the proposal that
has been put forward by the Study of Architectural Planning -
figure 3. This is the case, for example, of the ceramic tiles made
by Cristóbal de Augusta, included in the Document of National
Heritage — document 2.a. Here, the Study of Architectural Plan-
ning suggests the cession of this room to the Board of Trustees.
If this should occur, and according to the specific project for the
recovery of this room, an intervention on these tiles would be
performed.
Paper document or computer application
Once the phase of cataloguing had been started, we thought that
dropping all the information into a visual support would be the
best option due to the great amount of elements that would be in-
cluded in the inventory. By this, we wanted to meet the agreed re-
quirement of making an adaptable work. Thus, in comparison with
an immutable paper document, the possibility of using some sort
of application that could be controlled by any computer was more
