The accurate graphic survey of an archaeological site is fundamental for its analysis and research. Furthermore, if this site is to be covered by a building and will not be accessible or visible, its documentation is essential, not only to continue with the research, but also to disseminate and enhance the discoveries. An example of this is the "Hoya de los Molinos" archaeological site in Caravaca de la Cruz (Region of Murcia, Spain). This is where the first mark of the wheel of a Roman vertical watermill in the Iberian Peninsula has been found. This fact is crucial because remains of Roman vertical-wheeled watermills have been found across the Mediterranean but not in the Iberian Peninsula. Moreover, the fact that this watermill still has all its structural elements makes this archaeological site in Caravaca de la Cruz very interesting. Due to these facts, it is essential to disseminate this discovery, so that it can be recognized and considered as archaeological and cultural heritage. To that end, the researchers have carried out a three-dimensional (3D) reconstruction of the most characteristic elements, such as the vertical wheel, the gears that allowed grinding the grain, and the building protecting them. A virtual recreation was carried out, based on the historical and building research, which is displayed in an explanatory video. Furthermore, two reproductions were created: one made to scale of the archaeological site with a 3D printer and another one of the hypothetical structure of the Roman watermill. To achieve this result, historians, archaeologists and engineers have collaborated, thus enabling not only its adequate dissemination, but also its accurate documentation, in an inclusive manner. Thanks to all the work that this paper describes, the Roman watermill found in Caravaca de la Cruz can be known, studied and assessed.Highlights:The first Roman watermill in the Iberian Peninsula has been found with all its structural elements, from the imprints left in the stone by the wheel.Virtual reconstruction of the first vertical wheel watermill discovered in Hispania has been made.An animated video of the hydraulic watermill gears performance has been created for documentation and dissemination.

The Negro Tower or Arráez Tower, in El Algar (Cartagena, Spain), dates from 1585. This tower was part of an extensive network of watch and defense towers built along the coastline of Murcia between the sixteenth and seventeenth centuries. It is an inland rural tower, in visual contact with the coastal towers. Its objective was to receive and transfer warnings from onshore towers to protect the population, especially farmers. The tower is protected as a monument but is currently in a dilapidated state of conservation. Therefore, this building has been chosen as the object of an integral study, which can serve as a reliable basis for its correct conservation and restoration. Through historical analysis, light has been shed upon the evolution of the Tower from the social, cultural, and architectural points of view. The graphic documentation has been made using digital photogrammetry and a 3D laser scanner, compatible with classical topography. Based on all this information, an integral project of consolidation and volumetric recomposition of the tower has been proposed. As a result of this research, we intend to contribute to the conservation and recovery of the heritage value of the Tower, as well as the integration of the historic monument in its natural environment.

A principios del siglo XVI, el Reino de Murcia experimenta un notable aumento de población que conlleva la construcción de numerosas iglesias. En general, estos nuevos templos se caracterizarán por el sistema de techumbre de madera a base de carpintería de armar con lacería. En muchos textos, a estas construcciones históricas se les ha denominado como “iglesias mudéjares” o “iglesias moriscas”, y su tipología ha sido relacionada con los modelos granadinos, sevillanos, levantinos (por el uso de arcos transversales o diafragma) o castellanos, dependiendo del autor que analizara estas construcciones. El presente texto pretende exponer las características formales y constructivas de estas iglesias y sus techumbres de madera, los sistemas de aprendizaje y trabajo de los autores de las cubiertas (bajo el control de los gremios de carpinteros y regulado por las correspondientes ordenanzas), y justificar por qué no se deben atribuir estas edificaciones a carpinteros mudéjares o moriscos sino a carpinteros procedentes de áreas de Castilla y por qué deberíamos denominar estos trabajos como carpintería de lazo. Con ello, se pretende contribuir al conocimiento y difusión de estas magníficas soluciones estructurales y decorativas de carpintería de armar, con lacería, que aún se conservan el nuestra Región, contribuyendo así a su conservación. At the beginning of the 16th century, the Kingdom of Murcia experienced a notable increase in population that led to the construction of numerous churches. In general, these new temples will be characterized by the carpentry-based wooden roof system of arming with lacework. In many texts, these historical constructions have been called "mudejar churches" or "moorish churches", and their typology has been related to the Granada, Sevilla, Levantine (due to the use of transverse arches or diaphragm) or Castilian models, depending on the author who analyzed these constructions. This text aims to expose the formal and constructive characteristics of these churches and their wooden roofs, the learning and work systems of the authors of the roofs (under the control of the carpenters' unions and regulated by the corresponding ordinances), and justify why these buildings should not be attributed to “mudejar” or moorish carpenters but to carpenters from areas of Castile and why we should call these works as laced carpentry. With this, it is intended to contribute to the knowledge and dissemination of these magnificent structural and decorative carpentry solutions to be assembled, with lacework, which are still preserved in our Region, thus contributing to their conservation.

[ENG] Hispano-Muslim architecture has one of its references in carpentry to be assembled with laced carpentry, which was used to construct many wooden roofs in churches and palaces. However, the rules for the layout and construction of these roof frameworks, decorated with the typical "cut and pass" interlacing, are largely unknown to architects and technical architects, with what this entails when it comes to intervening for their conservation. Their university training does not usually include the construction technique of laced carpentry. The Church of the Immaculate Conception, in Caravaca de la Cruz, stands out for presenting a roof truss, in independent sections supported by transverse arches, and "almizates" (central and horizontal cover panels) resolver with polychrome laced carpentry. A magnificent example of laced carpentry, with its typical geometric layout and modulation, which deserves to be known and can serve as an example of how these frameworks were traced and built. Something that at first glance seems very complex but that, once you know the rules of layout, development and construction, are easy to understand. The communication will focus on exposing these rules of trace, geometry and construction and their practical application in the central "almizate" of the aforementioned church of Caravaca de la Cruz. This is intended to promote the technical and constructive knowledge of laced carpentry; something that will certainly contribute to the best training of technical specialists in Architectural Heritage and, at the same time, to the correct conservation of these historical structures. [SPA] La arquitectura hispanomusulmana tiene en la carpintería de armar con lacería (carpintería de lazo), con la que se resolvían muchas techumbres de madera de iglesias y palacios, uno de sus referentes. Sin embargo, las reglas de trazo y construcción de estos entramados de cubierta, ornamentados con los típicos entrelazados de "corta y pasa", son los grandes desconocidos para arquitectos y arquitectos técnicos, con lo que ello conlleva a la hora de intervenir para su conservación. Su formación universitaria no suele incluir la técnica constructiva de la carpintería de lazo. La iglesia de La Purísima Concepción, en Caravaca de la Cruz, destaca por presentar una armadura de cubierta, en tramos independientes apoyados en arcos transversales, y almizates (paños centrales y horizontales) resueltos con lacería policromada. Un magnífico ejemplo de carpintería de lazo, con su típico trazado geométrico y modulación, que merece ser conocido y que puede servir como ejemplo de cómo se trazaban y construían estos entramados. Algo que a simple vista parece muy complejo pero que, una vez conocidas las reglas de trazo, desarrollo y construcción, son fáciles de entender. La comunicación se centrará en exponer esas reglas de traza, geometría y construcción y su aplicación práctica en el almizate central de la citada iglesia de Caravaca de la Cruz. Con ello, se pretende fomentar el conocimiento técnico-constructivo de la carpintería de lazo; algo que, a buen seguro, contribuirá a la mejor formación de técnicos especialistas en Patrimonio Arquitectónico y, en paralelo, a la correcta conservación de estos entramados históricos.

El uso de las columnas de hierro colado como principal elemento estructural, pero también como recurso ornamental, puede considerarse como una más de las características de las construcciones modernistas que aún hoy día encontramos en el Ensanche de Barcelona. La gran aceptación y el uso generalizado del hierro colado, o fundición gris, como material para la fabricación de elementos de gran riqueza decorativa como columnas, escaleras, barandillas, farolas, fuentes, etc