Graphic reconstruction of a vanished architectural heritage: The 'Puerta de la Carne' in Seville
Seville was at the height of its commercial prosperity in the 16th century. It was then decided to renovate the gates of its walled enclosure using a Renaissance architectural language, following a report by the architect Hernán Ruiz II from 1560. The Puerta de la Carne was located near the Judería...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Estado: | Versión aceptada para publicación |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:idus.us.es:11441/168329 |
| Acceso en línea: | https://hdl.handle.net/11441/168329 https://doi.org/10.4995/var.2024.22578 |
| Access Level: | acceso abierto |
| Palabra clave: | historical images terrestrial laser scanning 3D reconstruction disappeared heritage city gate Hernán Ruiz imágenes históricas escaneado láser terrestre reconstrucción 3D patrimonio desaparecido puerta de la ciudad |
| Sumario: | Seville was at the height of its commercial prosperity in the 16th century. It was then decided to renovate the gates of its walled enclosure using a Renaissance architectural language, following a report by the architect Hernán Ruiz II from 1560. The Puerta de la Carne was located near the Judería district and close to the city’s slaughterhouse. Asensio de Maeda directed the work execution around 1577. After being deemed an urban obstacle, the gate was demolished in 1864. For its graphic reconstruction, the 2006 London Charter, the 2012 Seville Principles, and other bibliographic references have been considered. To document and illustrate significant architectural and urban transformations, important historical images have been gathered and analysed for the first time: Bambrilla (1585–1588), Hoefnagel (1598), Olavide (1771), Hurtado (1786), an anonymous oil painting (c. 1800), Ford (1831), Domínguez Bécquer (1838), and Vigier (1851), among others. A photograph commercialised by Gaudin Frères (c. 1855) served as the basis for the three-dimensional (3D) graphic reconstruction. Treatises on 16th-century architecture have been consulted to sketch architectural details of its composition, which was similar to the Puerta Real, attributed to Hernán Ruiz II. A plan of urban alignments from the late 19th-century has helped to determine its position, supported by the 3D scanning of the current environment. Game-engine rendering technology was used to integrate and visualise all these data. Thus, the aim is to highlight the Puerta de la Carne, an important sample of vanished architectural heritage. This research will facilitate debate regarding its potential material reconstruction as a symbol of identity and a source of progress for the city. |
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