The Centelles' Palace of Oliva

buildings

Article The Centelles’ Palace of Oliva: The Recovery of Architectural Heritage through Its Plundering

Joaquín A. Martínez-Moya ID

Department of Industrial Systems Engineering and Design, Universitat Jaume I, Avda. Sos Baynat s/n, 12071 Castellón de la Plana, Spain; [email protected]; Tel.: +34-625-430-787

Received: 10 December 2017; Accepted: 29 January 2018; Published: 6 February 2018

Abstract: At the beginning of the 20th century, the Danish architects Egil Fischer and Vilhelm Lauritzen carried out a rigorous graphic documentary study of one of the most important late-Gothic—Renaissance palaces in the Kingdom of Valencia, the Centelles’ Palace of Oliva, with the aim of later taking many of its architectural elements to Denmark. After numerous complaints, the Palace was declared a National Monument in 1920 and the exportation of its pieces was suspended. In 1932, due to heavy rain, a part of the Palace collapsed. The Spanish Civil War increased the deterioration of the Palace, and after some attempts to retrieve it, the remains of the Palace were demolished in the 1950s, and all traces of this large building disappeared with them. Thanks to the graphic documentation carried out by Danish architects, today we are able to know and study this Palace of great cultural and patrimonial interest, which has now almost completely disappeared. The work carried out by these architects, far from destroying the Palace, has helped to preserve it through this graphic legacy which allows us to carry out a highly detailed graphical restoration of many of its elements, as well as a hypothetical physical restitution of them.

Keywords: Centelles’ Palace; late-Gothic-Renaissance; graphic legacy; graphical restoration

1. Introduction In 1932, José Mª Vidal published an article in the 11th edition of the scientific, literary and agricultural information weekly magazine Patria Chica [1], in which he reports that, during the night of 19 January 1932, the main and second floors of the west side of the Palace collapsed because of the rain. The government administration had been informed because the Palace was already a National Monument at that time, and the building was visited by the provincial architect D. Luis Albert together with other technicians. Although at the date of this article the definitive technical report had not been issued, everything indicated that it would recommend the demolition of the parts that threatened ruin, because they consider it was impossible its restoration. The article criticized the dismantling works and mercantilism of the Palace by its former owners and the lack of interest in the preservation of artistic and cultural heritage at that time. It also documents that the origin of the Palace might be the “Torre Maestral” or “Torre del Homenaje”, an imposing defensive tower of 120 spans’ height (27.6 m.) located on the lots of houses of numbers 18 and 20 on Palacio Street and numbers 10, 12 and 14 on Torres Street. This tower was demolished in 1882 to open Palacio Street. According to the document, on that date the two marble slabs dated in 1545 and 1546 already cited by other authors and referring to the fortification of the Palace at the time of Francesc de Centelles, 3rd Oliva’s Earl were kept in the Palace, although outside its original location. The document relates also the great artistic interest of the Palace for its style of transition between the Gothic and Renaissance. In 1946, seven years after the ending of the Spanish Civil War, the architect conservator of monuments of the 4th Zone of the Ministry of Education, Alejandro Ferrant, developed the Project of

Buildings 2018, 8, 26; doi:10.3390/buildings8020026 www.mdpi.com/journal/buildings Buildings 2018, 8, 26 2 of 19

Buildings 2018, 8, x 2 of 18 Conservation of Decorative Elements of the Earls’ Oliva Palace, which is currently in the archive of the theInstitute Institute of Cultural of Cultural Heritage Heritage of Spain of Spain (IPCE), (IPCE), in Madrid in Madrid (see Figure (see 1Figure)[ 2]. This1) [2]. brief This project brief consistsproject consistsof a memory, of a memory, a budget a andbudget a ﬂoor and plan a floor of theplan remains of the remains of the Palace of the atPalace that at time. that The time. purpose The purpose of the projectof the project was to replacewas to thereplace cover the of thecover Weapons of the RoomWeapons due Room to its poordue condition,to its poor and condition, the extraction and the of plasterextraction decorative of plaster elements decorative that elements remained that in it, remained to be moved in it, to to a Valencianbe moved museum.to a Valencian This documentmuseum. providesThis document us with provides invaluable us with information invaluable to determineinformation the to statusdetermine of the the remains status of the remains Palace during of the Palaceits last daysduring and its helps last todays verify and the helps dimensions to verify of the the dimensions Weapons Room of the and Weapons the surrounding Room and rooms. the surroundingUnfortunately, rooms. these worksUnfortunately, were not carriedthese works out, and were some not years carried later out, the remainsand some of theyears Palace later were the remainscompletely of the demolished. Palace were completely demolished.

Figure 1. Partial plan of the main floor of the Palace. Conservation project of 1946. Figure 1. Partial plan of the main floor of the Palace. Conservation project of 1946. 2. Background 2. Background When studying architectural heritage, it is necessary to follow the previous studies and/or the When studying architectural heritage, it is necessary to follow the previous studies and/or the architectural surveys that have been carried out. Annex B of “The Charter of Restoration” (which architectural surveys that have been carried out. Annex B of “The Charter of Restoration” (which sets out instructions for the execution of architectural restorations), written in 1972 [3], established sets out instructions for the execution of architectural restorations), written in 1972 [3], established that the drafting of projects involving the restoration of a piece of architecture must be preceded by a that the drafting of projects involving the restoration of a piece of architecture must be preceded by a careful study of the monument. These studies, known as previous studies, should be performed careful study of the monument. These studies, known as previous studies, should be performed from from different approaches so as to take into account aspects such as its position within the territorial context, either in the urban or in the rural setting, its typological aspects, formal properties and appearances, and the characteristics of its construction and the systems used, etc., both of the original building and of any additions and modifications carried out in later times. Moreover, Buildings 2018, 8, 26 3 of 19 different approaches so as to take into account aspects such as its position within the territorial context, either in the urban or in the rural setting, its typological aspects, formal properties and appearances, and the characteristics of its construction and the systems used, etc., both of the original building and of any additions and modifications carried out in later times. Moreover, previous studies should draw on bibliographic, iconographic, and archival research in order to collect as much historical data as possible. Moreover, any restoration project should be based not only on a complete planimetric and photographic survey, which is also interpreted under the metrological aspect, but also on the regulating lines and systems of proportions. Likewise, it must include a careful study to verify the stability conditions. A few years later, in 1998, a meeting of a group of Italian, French, and Spanish experts in Italy produced the document “Towards an Architectural Survey Charter” [4], the aim of which was to define the topics to be included in a possible architectural survey charter. The document was approved in Naples in April 1999 and that same year its content was made public. In May 2000, the Spanish version of the letter was approved in Barcelona during the 8th Congress of Architectural Graphic Expression EGA 2000 and a few months later, in November of that year, the Declaration on architectural surveying, the “Rilievo Charter” [5], which attempts to synthesize the previous document, was approved at the Sant’Angelo Castle in Rome. As stated by Professor Antonio Almagro [6]: “It is indeed in Italy where the concept of rilievo has been expanded to include everything that involves the knowledge and overall understanding of the building. We therefore believe that, in Spain, we should also extend the meaning of survey in a broader sense, to cover what until now have often been called “previous studies” because we consider that such activities do not necessarily have to be “prior” to anything; rather we are of the opinion that research aimed at furthering knowledge of our heritage, and in our particular case of its architecture, should be an autonomous activity or discipline, and not necessarily linked to restoration. A broad knowledge of heritage is the indispensable basis for successful conservation and involves far more than mere restoration, as this should be considered an exceptional activity”. In conclusion, the Architectural Survey Charter takes over the premises reflected in the Restoration Charter, and both the previous studies and the comprehensive planimetric and photographic survey recommended in the Italian Charter of 1972 were renamed with the term Architectural Survey. Indeed, any restorative or rehabilitative intervention on architectural and archaeological heritage requires, from our point of view, a survey which documents and provides rigorous evidence of its current state. The technologies used in these types of surveys oriented towards the geometric documentation of all kinds of heritage objects have advanced considerably in recent years. This has occurred despite the absence of paradigms on which to base the decisions concerning the protocols to be followed in the surveying process or the most appropriate techniques, depending on the type of object to be studied and the degree of definition required for each purpose. In this sense, the decision regarding the technology to be used should comply with the aims defined by the nature of the documentation that is required. The level of requirement may vary depending on the agents involved in each intervention [7]. Yet, as a reference to that level, we could take into consideration the fact that the different degrees of documentation should be proportional to the historical interest of the architectural or archaeological element under examination, as well as being appropriate to the purpose of the study. This work has taken as a starting point the research work developed by E. Muller [8–10] and other works related to the enhancement of heritage buildings and follows a work line based on the application of technological means in heritage graphic documentation. In this work line, there are other studies that have raised interesting results; some of them can be found in journals EGA, Virtual Archeology Review and Archeology of Architecture; and in the publications of Brusaporci [11] and Amoruso [12]. Some examples are the use of old photographs for the restitution of a ruined building Buildings 2018, 8, x 4 of 18 Buildings 2018, 8, 26 4 of 19 3. The Graphic Legacy of the Centelles’s Palace of Oliva by Angulo Fornos [13] or the virtual reconstruction of a disappeared building using BIM modeling 3.1. The Testing Ground techniques [14]. ThisSome work previous focuses works, on the about study physical and analysis models resultsof the havegraphic already documentation been developed carried and out presented by the Danishat the 5th architects INTBAU Egil International Fischer and Event Vilhelm celebrated Lauritzen at Milan between [15]. 1917 and 1920 on the Palace of the Earls of Oliva. This building was of the Flamboyant Late Gothic style with Mudejar elements that was3. The developed Graphic in Legacy Spain ofin thethe Centelles’smid-14th century. Palace ofIt also Oliva incorporated decorative elements of the first Spanish Renaissance [8]. The remains of this Palace were demolished in 1950 due to its state of ruin. 3.1. The Testing Ground 3.2. Geographical,This work focuses Historical, on and the Social study Context and analysis of the graphic documentation carried out by the Danish architects Egil Fischer and Vilhelm Lauritzen between 1917 and 1920 on the Palace of the The Palace was located in the municipality of the same name, Oliva, in the region of La Safor, in Earls of Oliva. This building was of the Flamboyant Late Gothic style with Mudejar elements that the south of the province of Valencia, in the Valencian Region (Spain). Geographically, it is located at was developed in Spain in the mid-14th century. It also incorporated decorative elements of the first a latitude of 38°55′10′′ N and a longitude of 0°07′16′′ W (see Figure 2). This Palace was the residence Spanish Renaissance [8]. The remains of this Palace were demolished in 1950 due to its state of ruin. of the Centelles family, the lords of these lands, whose income was the second largest in the Kingdom3.2. Geographical, of Valencia, Historical, due and to Social the Contextproduction of sugar cane and its manufacture, marketed throughout the Mediterranean Sea through the port of Oliva. The population of Oliva was divided into twoThe Palaceneighborhoods: was located the in “villa”, the municipality where the of Christians the same name, lived, Oliva, and inthe the “Morería”, region of Lawhere Safor, the in Muslimthe south population of the province lived until of Valencia, its expulsion, in the in Valencian 1609, by Regionorder of (Spain). King Felipe Geographically, III [16]. it is located ◦ 0 00 ◦ 0 00 at aThe latitude Palace of of 38 the55 10EarlsN of and Oliva a longitudewas, at the of height 0 07 16of itsW splendor, (see Figure one2). of Thisthe largest Palace and was most the importantresidence ofcastle-palaces the Centelles in family,the Kingdom the lords of Valenc of theseia lands,in the whoseearly 16th income century. was Its the great second promoter largest wasin the the Kingdom earl Serafin of Valencia, of Centelle dues, to a the humanist production noble, of sugarwho caneintroduced and its the manufacture, new trends marketed of the Renaissancethroughout thein his Mediterranean Palace. These Sea works, through dated the betw porteen of 1511 Oliva. and The 1515 population [10], had ofto Olivacontinue was after divided the revoltsinto two of neighborhoods: the Germanías the(1520), “villa”, their where main the objective Christians being lived, to reinforce and the “Morer the securityía”, where of the the Alcázar. Muslim Hispopulation nephew, lived Francesc until Gilabert, its expulsion, continued in 1609, these by orderworks. of King Felipe III [16].

Figure 2. Location of the old Palace of the Earls’ Oliva Palace on the current urban plot of Oliva. Figure 2. Location of the old Palace of the Earls’ Oliva Palace on the current urban plot of Oliva. Source: Source: Google Maps. Google Maps. After the death of Pere of Centelles in 1569 and the incorporation of the County into the Duchy of Gandia,The Palace the Palace of the ceased Earls ofto Oliva have was,a continuous at the height use. ofAsits a result, splendor, only one minor of the maintenance largest and work most wasimportant carried castle-palaces out on it, thus in theallowing Kingdom it to of retain Valencia its inoriginal the early Renaissance 16th century. style Its until great its promoter sale by wasthe Osunathe earl family Seraﬁn in of 1871. Centelles, From athat humanist moment noble, on the who building introduced began the its new decline, trends it ofwas the divided Renaissance into Buildings 2018, 8, 26 5 of 19 in his Palace. These works, dated between 1511 and 1515 [10], had to continue after the revolts of the Germanías (1520), their main objective being to reinforce the security of the Alcázar. His nephew, Francesc Gilabert, continued these works. After the death of Pere of Centelles in 1569 and the incorporation of the County into the Duchy of Gandia, the Palace ceased to have a continuous use. As a result, only minor maintenance work was carried out on it, thus allowing it to retain its original Renaissance style until its sale by the Osuna family in 1871. From that moment on the building began its decline, it was divided into parcels and the owners stripped it of everything that could be dismantled. When the Danish architect Egil Fischer visited the Palace for the ﬁrst time in 1917, despite its poor state, it aroused a great interest in him owing to the uniqueness of its decorative elements. In 1918, Fischer bought several sections of the Palace and, after submitting the Spanish Museum construction project to the Danish authorities and initiating the procedures for its construction, he went to Oliva to begin work on cataloguing and dismantling it with the help of Vilhelm Lauritzen. As part of his work, he made many scale plans of the most remarkable elements of the Palace, as well as drawing sketches and taking photographs [9]. After a series of misfortunes and numerous complaints from the local authorities, the Palace was declared a national monument in 1920 and the exportation of its pieces was suspended. In 1932, due to some heavy rains, a part of the Palace collapsed. Despite some attempts to retrieve it, the remains of the piano Nobile of the Palace were demolished in the 50s, and all traces of this large building disappeared with them. As of Lauritzen’s visit to Oliva in 1976, a link was established between him and the Mayor of Oliva, Salvador Cardona, with the aim of recovering the few remains of the Palace that were left in Denmark. In 1980 some parts of the Palace, including two meters of the frieze of the Hall of Weapons, went on auction in London and were acquired by the Hispanic Society of America (HSA). From that moment on intense research work on the Palace was undertaken by Priscilla E. Muller, curator of the HSA. This work was carried out in connection with the town of Oliva, with Danish museums where part of the material was deposited, and with Vilhelm Lauritzen and Olga Fischer, who discovered in her house all the plans made by her husband and by the young Lauritzen. She eventually donated all this documentation to the HSA [10]. Finally, after an agreement between the HSA and the Town Council of Oliva, all this documentation returned to Oliva in 2010 to become part of the cultural heritage of the town. This documentation of great architectural and heritage interest is currently digitized and has served as the basis for this work.

3.3. Architectonical Context The Palace belonged to the category of stately houses, palaces or castle-palaces, from the Gothic period in the ancient Kingdom of Valencia, which was not unlike the others found in the Western Christian Mediterranean. They are organized around a central courtyard, and had four floors: the ground floor, the mezzanine, the main floor, or piano Nobile, and the attic (see Figure3). The staircase of the piano Nobile was situated in a corner of the courtyard. These palaces were usually built isolated from other buildings. Greater care had been taken with the main façade and had the best quality Ashlar masonry or rammed earth works. On the ground floor, there was only a great doorway, which was the main access; the mezzanine had rectangular windows, and the piano Nobile used to have mullioned windows, with two to three small semicircular or trilobed arches that rested on columns. In the attic there was a series of small open arches to allow ventilation. The structure was completed with large eaves with carved beams. The composition of these façades did not follow any type of symmetry. In the courtyard there used to be a well and the ground floor was intended as a space to be used for service rooms, stables, storage, and the woodshed. From the lobby, another staircase led up to the mezzanine. Buildings 2018, 8, x 5 of 18

parcels and the owners stripped it of everything that could be dismantled. When the Danish architect Egil Fischer visited the Palace for the first time in 1917, despite its poor state, it aroused a great interest in him owing to the uniqueness of its decorative elements. In 1918, Fischer bought several sections of the Palace and, after submitting the Spanish Museum construction project to the Danish authorities and initiating the procedures for its construction, he went to Oliva to begin work on cataloguing and dismantling it with the help of Vilhelm Lauritzen. As part of his work, he made many scale plans of the most remarkable elements of the Palace, as well as drawing sketches and taking photographs [9]. After a series of misfortunes and numerous complaints from the local authorities, the Palace was declared a national monument in 1920 and the exportation of its pieces was suspended. In 1932, due to some heavy rains, a part of the Palace collapsed. Despite some attempts to retrieve it, the remains of the piano Nobile of the Palace were demolished in the 50s, and all traces of this large building disappeared with them. As of Lauritzen’s visit to Oliva in 1976, a link was established between him and the Mayor of Oliva, Salvador Cardona, with the aim of recovering the few remains of the Palace that were left in Denmark. In 1980 some parts of the Palace, including two meters of the frieze of the Hall of Weapons, went on auction in London and were acquired by the Hispanic Society of America (HSA). From that moment on intense research work on the Palace was undertaken by Priscilla E. Muller, curator of the HSA. This work was carried out in connection with the town of Oliva, with Danish museums where part of the material was deposited, and with Vilhelm Lauritzen and Olga Fischer, who discovered in her house all the plans made by her husband and by the young Lauritzen. She eventually donated all this documentation to the HSA [10]. Finally, after an agreement between the HSA and the Town Council of Oliva, all this documentation returned to Oliva in 2010 to become part of the cultural heritage of the town. This documentation of great architectural and heritage interest is currently digitized and has served as the basis for this work.

Buildings 2018, 8, x 6 of 18

On the ground floor, there was only a great doorway, which was the main access; the mezzanine had rectangular windows, and the piano Nobile used to have mullioned windows, with two to threeFigure small 3. North semicircular East facade or of trilobedOlive Palace. arches Differen thatt floors rested can beon seen: columns. ground Infloor, the mezzanine, attic there was a Figure 3. North East facade of Olive Palace. Different ﬂoors can be seen: ground ﬂoor, mezzanine, series of smallpiano openNobile arches and attic. to Scaleallow model ventilation. of Carlos TheMartinez. structure Archaeological was completed Museum of with Oliva large Picture: eaves with piano NobileMartínez-Moya, and attic. J.A. Scale model of Carlos Martinez. Archaeological Museum of Oliva Picture: carved beams. The composition of these façades did not follow any type of symmetry. In the courtyardMartínez-Moya, there used J.A. to be a well and the ground floor was intended as a space to be used for service rooms, stables, storage, and the woodshed. From the lobby, another staircase led up to the mezzanine.The piano Nobile looked out onto the courtyard through windows or a gallery of arches, and was where theThe nobles’ piano rooms Nobile were looked situated out onto (see the Figure courtyard4). Each through of these windows rooms or had a gallery a very of high arches, polychrome and Mudejarwas where carved the ceiling. nobles’ An rooms indoor were staircase situated provided (see Figure access 4). Each to the of attic. these This rooms was had where a very the high servants lived,polychrome and it was Mudejar also used carved to keepceiling. some An indoor food andstairc asase storage provided space. access Behind to the attic. the This house was there where was an the servants lived, and it was also used to keep some food and as storage space. Behind the house orchard-garden [17]. there was an orchard-garden [17].

Figure 4. Piano Nobile blueprint of the Palace. Numbering of rooms according to Fischer and Figure 4. Piano Nobile blueprint of the Palace. Numbering of rooms according to Fischer and Lauritzen Lauritzen layouts, and location of courtyards and towers. layouts, and location of courtyards and towers. A large number of these Valencian Gothic Palaces have been preserved, others are undergoing restoration, and some have totally disappeared. Several of them, besides the above-mentioned features, had defensive towers, some of which were protected by smaller square towers on their corners. Some examples of these so-called castle-palaces are located on Geldo Todolella, Sot de Ferrer, and Betxi in the province of Castellón, and Albalat dels Sorells (see Figure 5), Alaquas, Benisanó, Oliva, and Lluxent in the province of Valencia [18]. Buildings 2018, 8, 26 7 of 19

A large number of these Valencian Gothic Palaces have been preserved, others are undergoing restoration, and some have totally disappeared. Several of them, besides the above-mentioned features, had defensive towers, some of which were protected by smaller square towers on their corners. Some examples of these so-called castle-palaces are located on Geldo Todolella, Sot de Ferrer, and Betxi in the province of Castellón, and Albalat dels Sorells (see Figure5), Alaquas, Benisan ó, Oliva, and Lluxent in the province of Valencia [18]. Buildings 2018, 8, x 7 of 18

Figure 5. The Palace of Albalat dels Sorells (Valencia, Spain). A view from the outside. Figure 5. The Palace of Albalat dels Sorells (Valencia, Spain). A view from the outside. 3.4. Scope of the Study 3.4. Scope of theThe Study aim of the present study was to analyze and study the graphic documentation produced by the two Danish architects between 1917 and 1920, consisting of the following documents: The aim of the present study was to analyze and study the graphic documentation produced by • Notebook I and Notebook II the two Danish architects between 1917 and 1920, consisting of the following documents: • Blueprints • Large Photo Album and Small Photo Album • Notebook I and Notebook II • BlueprintsAll these documents have been digitized, which allows for better accessibility and facilitates • Largeboth Photo their Album classification and and Small their Photo later analysis Album and study. The documents have been photographed with a geometric scale and a chromatic reference scale, which makes their subsequent scaling easier. All theseThe documents notebooks havemeasure been 11 digitized,× 17 cm, and which have hard allows blue for cardboard better accessibilitycovers. The pages and have facilitates a both micro-perforation on one edge so that they can be cut or torn out from the notebook. The contents their classification and their later analysis and study. The documents have been photographed with a are handwritten notes and pencil drawings, including sketches of different architectural elements, geometricsuch scale as anddoorways, a chromatic arches, vaults, reference beams, scale, coffered which ceilings, makes stairs, their carpentry, subsequent flooring, moldings, scaling easier. etc. The notebooksThese sketches measure also have 11 ×annotations17 cm, and writte haven in hard Danish. blue Likewise, cardboard there covers. are sheets The with pages have a micro-perforationmeasurements, on one lists edge of materials, so that addresses, they can bibliographic be cut or torncitations, out etc. from [19,20]. the notebook. The contents are The blueprints are made up of 112 plans, mostly pencil-drawn, although some were done in handwritten notes and pencil drawings, including sketches of different architectural elements, such ink. Each one of them is numbered according to the following code: MAO. APD [21]. Egil Fischer as doorways,and Vilhelm arches, Lauritzen. vaults, beams,LAXXXX. coffered They contain ceilings, drawin stairs,gs of the carpentry, piano Nobile, flooring, and themoldings, roof plan of etc. These sketches alsothe Palace, have annotationsas well as plans written of coffered in Danish.ceilings, vaults, Likewise, arches, there portals, are windows, sheets withand other measurements, unique lists of materials,architectural addresses, elements bibliographic of the piano citations, Nobile of the etc. Palace. [19,20 One]. of the roof plans has a graphic scale, and some of the others show the dimensions, while others do not. In most plans of the portals, The blueprintswindows, and are arches made we have up ofa main 112 sheet plans, drawn mostly in greater pencil-drawn, detail and another although traced on some onionskin were done in ink. Eachpaper one ofthat them seems isto numberedbe a copy of th accordinge first offering to details the following of how the architectural code: MAO. elements APD were [21 ].to be Egil Fischer and Vilhelmdismantled Lauritzen. before LAXXXX.subsequently They being containshipped for drawings reassembly of in theDenmark piano [22]. Nobile, and the roof plan of the Palace, asThe well graphic as plans documentation of coffered of the ceilings, Palace that vaults, was retrieved arches, and portals, stored windows,in the Archaeological and other unique Museum of Oliva includes two photo albums: the Large Photo Album and the Small Photo Album architectural[23,24]. elements In them, of we the can piano find general Nobile photographs of the Palace. of Oliva One and of of the the roofPalace, plans photographs has a graphic of their scale, and some of theunique others architectural show the elements, dimensions, pictures whileof other others reference do buildings, not. In mostand photographs plans of theof the portals, land in windows, and archesDenmark, we have where a main Fischer sheet aimed drawn to inbuild greater the Spanish detail andArt Museum another which traced would on onionskin house the paper that seems to bedisassembled a copy of pieces the first of the offering Palace. detailsThese photogra of howphs the are architectural accompanied by elements texts in Danish. were toAll be this dismantled photographic material has an untold value when trying to understand and analyze what this before subsequentlybuilding was beinglike [25]. shipped for reassembly in Denmark [22]. The graphic documentation of the Palace that was retrieved and stored in the Archaeological Museum of Oliva includes two photo albums: the Large Photo Album and the Small Photo Buildings 2018, 8, 26 8 of 19

Album [23,24]. In them, we can find general photographs of Oliva and of the Palace, photographs of their unique architectural elements, pictures of other reference buildings, and photographs of the land in Denmark, where Fischer aimed to build the Spanish Art Museum which would house the disassembled pieces of the Palace. These photographs are accompanied by texts in Danish. All this photographic material has an untold value when trying to understand and analyze what this building was like [25]. The elevations views of the blueprints, sketches and pictures has allow us to define the elevation of the portals andBuildings windows, 2018, 8, x the cross section views of blueprints and sketches have8 permit of 18 us to define the moulds of theThe arches elevations and views jambs of (seethe blueprints, Figure 6sketch). Thees and lack pictures of detail has allow for theus to lower define plinththe and small elevation of the portals and windows, the cross section views of blueprints and sketches have permit bases of portalsBuildings and 2018 windows, 8, x in the documents makes it advisable to draw on8 of the 18 documentary us to define the moulds of the arches and jambs (see Figure 6). The lack of detail for the lower plinth material of other similar portals and windows such as La Lonja and the Cathedral of Valencia and smallThe elevations bases of portalsviews ofand the windows blueprints, in thesketch documentses and picturesmakes ithas advisable allow usto todraw define on the (see Figure7). documentaryelevation of the material portals ofand other windows, similar the portals cross and sect ionwindows views suchof blueprints as La Lonja and andsketches the Cathedral have permit of Valenciaus to define (see the Figure moulds 7). of the arches and jambs (see Figure 6). The lack of detail for the lower plinth and small bases of portals and windows in the documents makes it advisable to draw on the documentary material of other similar portals and windows such as La Lonja and the Cathedral of Valencia (see Figure 7).

(a) (b)

Figure 6. (a) Blueprint of Portal No. 15. Sheet No. LA11450. V. Lauritzen; (b) Picture No. 65 of Portal Figure 6. (a) BlueprintNo. 15 with of Egil Portal Fischer No.at the 15.end. SheetLarge Photo No. Album. LA11450. E. Fischer. V. Lauritzen; (b) Picture No. 65 of Portal No. 15 with Egil Fischer at the( end.a) Large Photo Album. E. Fischer.(b) Figure 6. (a) Blueprint of Portal No. 15. Sheet No. LA11450. V. Lauritzen; (b) Picture No. 65 of Portal No. 15 with Egil Fischer at the end. Large Photo Album. E. Fischer.

(a) (b)

Figure 7. (a) Base of a window at Lonja of Valencia.; (b) Base of Portal of the Old Library. Cathedral of Valencia. Pictures: Martínez-Moya, J.A. (a) (b)

Figure 7. (a) Base of a window at Lonja of Valencia.; (b) Base of Portal of the Old Library. Cathedral Figure 7. (a) Baseof Valencia. of a window Pictures: Martínez-Moya, at Lonja of Valencia.;J.A. (b) Base of Portal of the Old Library. Cathedral of Valencia. Pictures: Martínez-Moya, J.A. Buildings 20182018,, 88,, x 26 9 of 18 19

3.5. Approach 3.5. Approach The main objective of this work has been to develop a graphic representation of some of the architecturalThe main elements objective of ofthe this Palace work of has the beenEarls to of develop Oliva based a graphic on the representation graphic documentation of some of that the architecturalhas been retrieved: elements ofplans, the Palacesketches, of the and Earls phot of Olivaographs. based After on the ordering graphic documentation and classifying that this has beeninformation, retrieved: it was plans, analyzed sketches, andand studied. photographs. Likewise, Afterwe have ordering also used and historical classifying and this bibliographical information, itreferences was analyzed as well and as studied. similar Likewise,physical models we have that also have used helped historical us andto interpret bibliographical and define references these aselements well as from similar a formal physical and models stylistic that point have of helpedview. us to interpret and define these elements from a formalAs and a result stylistic of pointthis work, of view. we propose another twofold aim: on the one hand, its scientific diffusionAs a in result specialized of this work, media we for propose its future another study twofold by other aim: researchers on the one and, hand, on the its scientificother, the diffusion cultural indiffusion specialized of this media National for its futureMonument, study bynow other disappeared, researchers through and, on the3D other,virtual the reconstructions. cultural diffusion In ofaddition, this National there Monument,will be a subsequent now disappeared, phase of through the production 3D virtual of reconstructions. scale models that In addition, afford us there an willeffective be a subsequentvisualization phase of certain of the elements production of ofthe scale building models so thatthat affordthey can us anbe effectiveunderstood visualization by all kinds of certainof users. elements Another of objective the building is to so enhance that they the can adaptability be understood of bycertain all kinds elements of users. with Another the purpose objective of isallowing to enhance people the adaptabilitywith functional of certain diversity elements and with lack the of purposevisual perception of allowing to people enjoy with this functional heritage diversitybuilding through and lack the of visualsense of perception touch. to enjoy this heritage building through the sense of touch. The starting point of this work is the graphic ma materialterial produced by the Danish architects Fischer and Lauritzen. Once Once the the existing existing graphic graphic docume documentationntation of of each architectural element has been analyzed, the plans and photographs are rectified rectified and scaled in order to be able to dimension those elements that did include measurements in their drawings, and then draw the pieces following the pre-established methodology. PhotogrammetricPhotogrammetric rectificationrectification ASRix software has been used to rectify both photographs and plans (see Figure8 8).). ThisThis softwaresoftware allowsallows usus justjust toto rectifyrectify elementselements thatthat areare inin the samesame plane;plane; therefore,therefore, in in the the case case of of photographs, photograph its, hasit has been been only only possible possible to obtain to obtain the insidethe inside line contourline contour of the ofportal. the portal. Once Once the images the images and plansand plans had beenhad been rectified, rectified, they werethey were then scaledthen scaled in a CAD in a toolCAD (AutoCAD tool (AutoCAD 2012, Autodesk,2012, Autodesk San Rafael,, San Rafael, CA USA), CA with USA), the with help the of dimensionshelp of dimensions obtained obtained from the originalfrom the drawings original drawings and sketches and [sketches26]. [26].

Figure 8. The rectification process of Photo No. 72 using ASRix software (ASRix Digital Image Figure 8. The rectification process of Photo No. 72 using ASRix software (ASRix Digital Image Rectifier v2.Beta, http://nickerson.icomos.org/asrix/). (Left) original photograph with the four control Rectifier v2.Beta, http://nickerson.icomos.org/asrix/). (Left) original photograph with the four points located in the inside line contour of the portal, used for the rectification procedure. (Right) control points located in the inside line contour of the portal, used for the rectification procedure. rectified photograph. (Right) rectified photograph.

4. Results Once all the graphic documentation had been classified and analyzed, some of the elements of the Palace have been recovered graphically through different processes of graphic restitution, based Buildings 2018, 8, 26 10 of 19

4. Results Once all the graphic documentation had been classiﬁed and analyzed, some of the elements of the Palace have been recovered graphically through different processes of graphic restitution, based on Buildings 2018, 8, x 10 of 18 the original documents. The study of real study cases has helped us to get a deep knowledge of these gothicon architectonic the original documents. elements thatThe study allow of us real to ﬁllstud they cases lacks has of helped information us to get found a deep in knowledge the old graphical of documentation.these gothic Wearchitectonic will present elements some that examples allow us according to fill the tolacks the of different information techniques found in used the old and the graphicgraphical material documentation. obtained. We will present some examples according to the different techniques Thisused and research the graphic work material is part ofobtained. the doctoral thesis of Professor Martínez-Moya, some of whose This research work is part of the doctoral thesis of Professor Martínez-Moya, some of whose previous works have already been published. The main innovation of this work is to present globally previous works have already been published. The main innovation of this work is to present all the graphic techniques used for the graphic recovery of some pieces of the Palace, and to reconstruct globally all the graphic techniques used for the graphic recovery of some pieces of the Palace, and and visualizeto reconstruct in a graphicand visualize way one in a of graphic the main way Halls onewith of the all main their Halls architectural with all elementstheir architectural starting from the recoveredelements graphicstarting documentationfrom the recovered and somegraphic physical documentation testimonies, and allowingsome physical a holistic testimonies, view and an architecturalallowing recoverya holistic view of the and now-disappeared an architectural recovery Palace. of the now-disappeared Palace.

4.1. 2D4.1. Blueprints 2D Blueprints MostMost of the of elementsthe elements that that have have been been graphically graphically restored restored are are portals portals and and windows windows of of the the Palace. StartingPalace. from Starting the initial from documentation, the initial documentation, a graphic processa graphic has process been has carried been out carried in order out in to order obtain to some viewsobtain of the some pieces views in dihedral of the pieces projection: in dihedral elevation, projection: and horizontal elevation, andand verticalhorizontal sections, and vertical as well as detailssections, of the remarkableas well as details elements of the (bases) remarkable (see Figure elements9). For(bases) this (see purpose, Figure a9). CAD For toolthis haspurpose, been a used, CAD tool has been used, as well as photogrammetric rectification software (AutoCAD 2012, as well as photogrammetric rectiﬁcation software (AutoCAD 2012, Autodesk, San Rafael, CA, USA &. Autodesk, San Rafael, CA, USA &. ASRix Digital Image Rectifier v2.Beta, ASRixhttp://nickerson.icomos.org/asrix/). Digital Image Rectiﬁer v2.Beta, http://nickerson.icomos.org/asrix/).

FigureFigure 9. Blueprint 9. Blueprint of of Portal Portal No. No. 13: 13: elevation,elevation, horizontal horizontal section section and and vertical vertical section. section.

Buildings 2018, 8, 26 11 of 19 Buildings 2018, 8, x 11 of 18

4.2. 3D pieces Pieces Given thethe geometricalgeometrical complexity complexity of of the the pieces, pieces and, and in order in order to be ableto be to deﬁneable to them define perfectly, them someperfectly, of them some were of modeledthem were in 3D.modeled This work in 3D. was This done work with was the helpdone of with CAD the tools, help starting of CAD from tools, the orthogonalstarting from views the oforthogonal the individual views components of the individu by extrusional components and rotation by extrusion of the different and rotation elements of andthe moldingsdifferent elements that form and the moldings piece. They that were form then the put piece. together They and were assembled then put sotogether as to obtain and assembled the common so solidas to ofobtain the piece. the common This is a solid complex of the process piece. due This to theis a largecomplex number process of elements due to thatthe large make number up each of theelements pieces that (see make Figure up 10 each). of the pieces (see Figure 10).

Figure 10. 3D wire structure of Portal No. 12. Figure 10. 3D wire structure of Portal No. 12. 4.3. Graphic Restitution of Hall 12 4.3. Graphic Restitution of Hall 12 Hall 12 was chosen as a study case because of its large dimensions, the singularity of its cofferedHall ceiling, 12 was chosenand because as a study it has case one because of the ofmost its largecharacteristic dimensions, ogee the arch singularity portals of itsthe coffered Palace, ceiling,Portal 12. and This because work it allows has one us of to the visualize, most characteristic analyze, and ogee understand arch portals this of the architectural Palace, Portal space 12. Thisas a workwhole allows in a virtual us to way visualize, based analyze, on the study and understandof its parts. this architectural space as a whole in a virtual way basedThe hall on was the studylocated, of like its parts. the other noble rooms of the Palace, on the main floor (see Figure 11). WithThe its large hall wasdimensions, located, likeits Late-Gothic the other noble portals rooms and of its the rhombic Palace, coffered on the main ceiling floor it was, (see Figurewithout 11 a). Withdoubt, its one large of dimensions,the most outstanding its Late-Gothic halls in portals the Pala andce, itstogether rhombic with coffered the Hall ceiling of Arms. it was, Therefore, without it a doubt,was documented one of the mostalmost outstanding completely hallsby the in Danish the Palace, architects together [27]. with the Hall of Arms. Therefore, it was documentedOnce each of almost the elements completely had by been the Danishdrawn architectsin three dimensions, [27]. they were placed in their actualOnce position each to of produce the elements a CAD had file been containing drawn both in three the 3D dimensions, dimensions they of werethe room placed and in all their the actualthree-dimensional position to produceelements ain CAD their file positions. containing The both dimensions the 3D dimensionsof the room of were the roomobtained and allby thecontrasting three-dimensional the blueprints elements of the in coffered their positions. ceiling with The dimensionsthe roof plane of theLA1106, room werewhich obtained contains by a contrastinggraphic scale. the To blueprints locate the of portals the coffered and the ceiling window with thewe roofstarted plane out LA1106, with their which position contains on athe graphic main scale.floor plan To locate LA1109 the portals[22]. The and height the window of the weroom started was outdetermined with their by position taking onthe the proportion main floor of plan the LA1109height of [22 Portal]. The 12 height with ofrespect the room to the was total determined height of by the taking room the based proportion on picture of the No. height 77 [23]. of Portal The 12results with of respect these calculations to the total yielded height ofa total the roomheight based of the on wall picture of 5.60 No. m. 77 [23]. The results of these calculationsAlthough yielded we do a totalnot have height any of specific the wall informat of 5.60 m.ion about the design of the flooring, we know that itAlthough was covered we do with not havewhite any tiles specific decorated information in blue. about From the this design information of the flooring, and with we the know aim that of itobtaining was covered a real with idea white of what tiles the decorated hall could in blue.have Frombeen like this originally, information two and hypotheses with the aim addressing of obtaining the agraphic real idea restitution of what of the the hall flooring could were have posited been like based originally, on the twooriginal hypotheses flooring addressingof the Palace the located graphic in the Tower of the Comare, today exhibited in the Archaeological Museum of Oliva. Hypothesis 1 corresponds to the original design of this flooring as it was found there, and Hypothesis 2 was Buildings 2018, 8, 26 12 of 19 Buildings 2018, 8, x 12 of 18

Buildings 2018, 8, x 12 of 18 developedrestitution ofby the producing flooring werea new posited design based based on on the the original same flooringpieces but of theemulating Palace located the flooring in the Towerof the Goldenof thedeveloped Comare, Halls of todayby the producing Generalitat exhibited a new in Palace, thedesign Archaeological basedin Valencia on the same Museum(see Figurepieces of but Oliva.12). emulating In Hypothesisaddition the flooring to 1inserting corresponds of the the rectifiedto theGolden original images Halls design of ofthe the original of Generalitat this flooring flooring, Palace, as it it hasin was Valenciabeen found textured (see there, Figure to and give 12). Hypothesis it Inthe addition irregular 2 wasto appearanceinserting developed the that by characterizedproducingrectified a new imagesthis designkind of theof based hand-madeoriginal on flooring, the tile same flooring. it pieceshas been but textured emulating to give the it flooringthe irregular of the appearance Golden Hallsthat of the GeneralitatOncecharacterized all the Palace, information this kind in Valencia of hand-made had (seebeen Figure tileintroduced flooring. 12). In in additionto the Maxwell to inserting rendering the rectified software, images different of the viewsoriginal of flooring,theOnce hall all were it the has informationobtained been textured and had a tobeenvideo give introduced of it theits interior irregular into wasthe appearance Maxwell produced rendering that to provide characterized software, us with different this a view kind of views of the hall were obtained and a video of its interior was produced to provide us with a view of thehand-made entire Hall tile (see flooring. Figures 13 and 14). the entire Hall (see Figures 13 and 14).

Figure 11. Blueprint of north east area of Piano Nobile. Location of Room 12 with its portals and Figurewindow. 11. Blueprint of north east area of Piano Nobile. Location of Room 12 with its portals Figureand window. 11. Blueprint of north east area of Piano Nobile. Location of Room 12 with its portals and window.

(a) (b)

Figure 12. Flooring of white tiles decorated in blue. (a) Hypothesis 1, original design founded at the Tower of the Comare; (b) Hypothesis 2, new design based the flooring of the Golden Halls of the

Generalitat Palace. (a) (b)

Figure 12. Flooring of white tiles decorated in blue. (a) Hypothesis 1, original design founded at the Figure 12. Flooring of white tiles decorated in blue. (a) Hypothesis 1, original design founded at the Tower of the Comare; (b) Hypothesis 2, new design based the flooring of the Golden Halls of the Tower of the Comare; (b) Hypothesis 2, new design based the ﬂooring of the Golden Halls of the Generalitat Palace. Generalitat Palace. Buildings 2018, 8, 26 13 of 19

Once all the information had been introduced into the Maxwell rendering software, different views of the hall were obtained and a video of its interior was produced to provide us with a view of Buildingsthe entire 2018 Hall, 8, x (see Figures 13 and 14). 13 of 18 Buildings 2018, 8, x 13 of 18

Figure 13. Hall 12 rendering with white and blue flooring. Hypothesis 2. Figure 13. HallHall 12 12 rendering rendering with white and blue flooring. ﬂooring. Hypothesis 2.

Figure 14. Animation renders of Hall 12: general view and changing lights throw Window No. 4. FigureFigure 14. 14. AnimationAnimation renders renders of of Hall Hall 12: 12: general general view view and and changing changing lights lights throw throw Window No. 4. 4.4. Anaglyphs 4.4. Anaglyphs Anaglyphs To create an anaglyph, two photographs taken at the same time are needed, to ensure they To create an anaglyph, two photographs taken at the same time are needed, to ensure they have Tothe create same an light anaglyph, conditions two and photographs layout. In taken addition, at the the same two time photographs are needed, should to ensure focus they on have the have the same light conditions and layout. In addition, the two photographs should focus on the samethe same object, light moving conditions the camera and layout. sideways In addition, between the3 and two 5 photographscm to take the should second focus photograph on the same (the same object, moving the camera sideways between 3 and 5 cm to take the second photograph (the distanceobject, moving between the human camera eyes). sideways between 3 and 5 cm to take the second photograph (the distance distance between human eyes). betweenIn the human case eyes).of the photographs taken by Fischer, we have just a single photograph of most In the case of the photographs taken by Fischer, we have just a single photograph of most architecturalIn the case elements, of the and photographs only in some taken cases by do Fischer, we have we two have pictures just a singleof the photographsame element of taken most architectural elements, and only in some cases do we have two pictures of the same element taken fromarchitectural a similar elements, viewpoint. and onlyWe have in some therefore cases do tried we haveto obtain two picturesanaglyph of theimages same from element these taken pairs from of from a similar viewpoint. We have therefore tried to obtain anaglyph images from these pairs of images, even though they were not taken at the same moment, using Anaglyph Maker software images, even though they were not taken at the same moment, using Anaglyph Maker software (Anaglyph Maker 1.08, free software, https://anaglyph-maker.en.softonic.com) (see Figure 15). (Anaglyph Maker 1.08, free software, https://anaglyph-maker.en.softonic.com) (see Figure 15). Buildings 2018, 8, 26 14 of 19

a similar viewpoint. We have therefore tried to obtain anaglyph images from these pairs of images, even though they were not taken at the same moment, using Anaglyph Maker software (Anaglyph Maker 1.08, free software, https://anaglyph-maker.en.softonic.com) (see Figure 15). Buildings 2018, 8, x 14 of 18

Figure 15. Photograph No. 32 Anaglyph, corresponding to Portal No. 20. Obtained from photos No. Figure 15. Photograph No. 32 Anaglyph, corresponding to Portal No. 20. Obtained from photos No. 32 of Egil Fischer and No. 1695 of Carles Sarthou. 32 of Egil Fischer and No. 1695 of Carles Sarthou. 4.5. Physical Models 4.5. Physical Models In the field of architecture, several studies on the use of architectural tactile models produced In the ﬁeld of architecture, several studies on the use of architectural tactile models produced through 3D printing have been carried out, such as those made by Voigt & Martens [28]. From the through 3D printing have been carried out, such as those made by Voigt & Martens [28]. From the vast number of digitized buildings belonging to architectural heritage, it is possible to develop vast number of digitized buildings belonging to architectural heritage, it is possible to develop tactile tactile models oriented to everyone and especially to people with visual disabilities. Their use models oriented to everyone and especially to people with visual disabilities. Their use facilitates the facilitates the understanding of architectural elements and spaces [12]. understanding of architectural elements and spaces [12]. The physical models are created using different rapid prototyping techniques by the method of The physical models are created using different rapid prototyping techniques by the method additive manufacturing, (AM), known as 3D printing. During the process of manufacture or of additive manufacturing, (AM), known as 3D printing. During the process of manufacture or construction of its parts, the material is deposited slowly so that it progressively creates the construction of its parts, the material is deposited slowly so that it progressively creates the geometry geometry of the piece; they are also known as layered manufacturing techniques [15]. Three of the piece; they are also known as layered manufacturing techniques [15]. Three printing techniques printing techniques were used: fused deposition modeling (FDM), stereolithography (SLA), and were used: fused deposition modeling (FDM), stereolithography (SLA), and powder printing (3DP) powder printing (3DP) (see Figure 16). (see Figure 16). 4.6. Virtual Models In the case of historical buildings, a part of which has disappeared or has been damaged, this can be restored virtually and viewed using such tools. The result is an effective vision of them that is close to the real element obtained by applying different textures and searching for viewpoints that are similar to those of a real view, and which close the gap between the virtual space being represented and the original architectural space in an effective and sustainable manner [29]. This kind of graphic restitution can be applied not only to a single building in isolation, but also to its entire urban setting or surrounding landscape [30]. The same process allows us, for example, to use virtual means to situate the Palace of Oliva within a modern-day urban environment and to analyze the result from the point of view of urban and landscape planning. Buildings 2018, 8, 26 15 of 19 Buildings 2018, 8, x 15 of 18

Figure 16. Model of Portal No. 28. Technic: powder printing (3DP). Printing with Z Printer 310 Figure 16. Model of Portal No. 28. Technic: powder printing (3DP). Printing with Z Printer 310 (Z (Z Corporation, Burlington, MA, USA). Material: zp® 150 and zb® 60 binder (Z Corporation, Corporation, Burlington, MA, USA). Material: zp® 150 and zb® 60 binder (Z Corporation, Burlington, Burlington, MA, USA). MA, USA). Thus, based on these premises and the existing graphic material (plans of the layout of the 4.6. Virtual Models Palace, roof plans, sketches of the floors and façades, general and detailed photographs of the outside,In the as well case ofas historicalthe written buildings, testimonies a part that of define which some has disappearedof its elements), or has a virtual been damaged, model of thisthe outsidecan be restored of the Palace virtually was and created viewed with using the such aim tools.of reproducing The result iswhat an effective it looked vision like ofin them1917 thatwhen is Fischerclose to visited the real it element for the obtainedfirst time. by It applying is not a differentrigorous texturesscientific and model, searching as many for viewpoints data are missing, that are althoughsimilar to in those such of cases a real attempts view, and have which been close made the to gap offset between this drawback the virtual using space the being complementary represented informationand the original available. architectural The result space of inthe an work effective is a preliminary and sustainable conceptual manner virtual [29]. This model kind that of enables graphic usrestitution to understand can be appliedthis great not Palace only toas aa singlewhole building (see Figure in isolation, 17). but also to its entire urban setting or surrounding landscape [30]. The same process allows us, for example, to use virtual means to situate the Palace of Oliva within a modern-day urban environment and to analyze the result from the point of view of urban and landscape planning. Thus, based on these premises and the existing graphic material (plans of the layout of the Palace, roof plans, sketches of the floors and façades, general and detailed photographs of the outside, as well as the written testimonies that define some of its elements), a virtual model of the outside of the Palace was created with the aim of reproducing what it looked like in 1917 when Fischer visited it for the first time. It is not a rigorous scientific model, as many data are missing, although in such cases attempts have been made to offset this drawback using the complementary information available. The result of the work is a preliminary conceptual virtual model that enables us to understand this great Palace as a whole (see Figure 17).

Figure 17. Virtual model of the Palace. Axonometric view from the NE façade. Buildings 2018, 8, x 15 of 18

Figure 16. Model of Portal No. 28. Technic: powder printing (3DP). Printing with Z Printer 310 (Z Corporation, Burlington, MA, USA). Material: zp® 150 and zb® 60 binder (Z Corporation, Burlington, MA, USA).

Thus, based on these premises and the existing graphic material (plans of the layout of the Palace, roof plans, sketches of the floors and façades, general and detailed photographs of the outside, as well as the written testimonies that define some of its elements), a virtual model of the outside of the Palace was created with the aim of reproducing what it looked like in 1917 when Fischer visited it for the first time. It is not a rigorous scientific model, as many data are missing, although in such cases attempts have been made to offset this drawback using the complementary Buildingsinformation2018, 8available., 26 The result of the work is a preliminary conceptual virtual model that enables16 of 19 us to understand this great Palace as a whole (see Figure 17).

Figure 17. Virtual model of the Palace. Axonometric view from the NE façade. Figure 17. Virtual model of the Palace. Axonometric view from the NE façade.

5. Conclusions The documents drawn up by Fischer and Lauritzen were produced with the aim of restoring the building, although not in the sense that we understand this concept today. Nowadays, we would perform a graphic survey of the building with the purpose of recovering it by restoring, reconstructing or consolidating it at its original location. For some authors [31,32], the case of the Palace of Oliva is an example of the plundering of architectural heritage and of the “elginism” [33] carried out in Spain up until the end of the twentieth century [31]. It is hardly surprising that the building was added to the catalog of monuments that have disappeared in the Valencian Region [34]. However, Fischer was convinced that the only way to save that old Palace, sold by its owners, divided into pieces, and with many of its treasures dismantled, was to disassemble it piece by piece and to rebuild part of its halls in a new building in Denmark. His plan was driven by the twofold aim of saving the valuable architectural elements that were still conserved, while at the same time allowing Danish architecture students to be able to study old Spanish architecture without the need to travel abroad [35]. Paradoxically, time has conﬁrmed Fischer’s theories about the conservation of the Palace, because, despite being catalogued as a National Monument in 1920, the authorities of that time did nothing to preserve the remains of the building, and nowadays it has almost completely disappeared. If we analyze the Architectural Survey Chart, we notice that the Danish architects performed a real architectural survey of the Palace with the technical tools of their time and, in addition, Fischer took great pains to look for bibliographical documentation of the Palace with the aim of contextualizing it [19,20]. The graphic documentation carried out by E. Fischer and V. Lauritzen was produced almost a century before the publication of the document, but follows its principles, thus allowing us to know, study, disseminate, and enjoy this monument, and even making it possible to restore some of its parts. Therefore, we can say that they really did manage to preserve much of this magniﬁcent Palace thanks to their documentation work, although not in a physical sense, but in a documental way (see Figure 18). Buildings 2018, 8, x 16 of 18

5. Conclusions The documents drawn up by Fischer and Lauritzen were produced with the aim of restoring the building, although not in the sense that we understand this concept today. Nowadays, we would perform a graphic survey of the building with the purpose of recovering it by restoring, reconstructing or consolidating it at its original location. For some authors [31,32], the case of the Palace of Oliva is an example of the plundering of architectural heritage and of the “elginism” [33] carried out in Spain up until the end of the twentieth century [31]. It is hardly surprising that the building was added to the catalog of monuments that have disappeared in the Valencian Region [34]. However, Fischer was convinced that the only way to save that old Palace, sold by its owners, divided into pieces, and with many of its treasures dismantled, was to disassemble it piece by piece and to rebuild part of its halls in a new building in Denmark. His plan was driven by the twofold aim of saving the valuable architectural elements that were still conserved, while at the same time allowing Danish architecture students to be able to study old Spanish architecture without the need to travel abroad [35]. Paradoxically, time has confirmed Fischer’s theories about the conservation of the Palace, because, despite being catalogued as a National Monument in 1920, the authorities of that time did nothing to preserve the remains of the building, and nowadays it has almost completely disappeared. If we analyze the Architectural Survey Chart, we notice that the Danish architects performed a real architectural survey of the Palace with the technical tools of their time and, in addition, Fischer took great pains to look for bibliographical documentation of the Palace with the aim of contextualizing it [19,20]. The graphic documentation carried out by E. Fischer and V. Lauritzen was produced almost a century before the publication of the document, but follows its principles, thus allowing us to know, study, disseminate, and enjoy this monument, and even making it possible to restore some of its parts. Therefore, we can say that they really did manage to preserve muchBuildings of2018 this, 8 ,magnificent 26 Palace thanks to their documentation work, although not in a physical17 of 19 sense, but in a documental way (see Figure 18).

Figure 18. Hall 12 rendering. Detail of flooring close to window No. 4. Hypothesis 2. Figure 18. Hall 12 rendering. Detail of ﬂooring close to window No. 4. Hypothesis 2.

The large amount of graphic documentation developed by Fischer and Lauritzen between 1917 and 1920 has allowed us to study some of the most unique elements of the Palace of the Earls of Oliva, while also encouraging us to try to decipher certain keys of the building, such as its origin, authors, metric, layout, and architectural composition. In the process of graphic restitution, we have shown that it is possible to carry out a rigorous graphic reconstruction of some architectural elements of the Palace, allowing for a hypothetical physical reconstruction. The 3D modeling of its elements offers multiple options for visualization and reconstruction through both virtual and physical models. As a result, the architecture of this Palace can be brought closer to all kinds of audiences and its diffusion further promoted, not only in the scientiﬁc ﬁeld, but also for cultural and heritage purposes, thus allowing the recovery of this National Monument, which no longer exists.

Acknowledgments: To Vicent Bruguera, Municipal Archaeologist and Technical Manager of the Archaeological Museum of Oliva for their invaluable help and collaboration, and to my colleagues Jaume Gual and Mª Jesús Máñez for their great hepl and suport. Conﬂicts of Interest: The author declares no conﬂict of interest.

References and Notes

1. Vidal, J.M. El Palacio de los Condes de Oliva; Semanario Cientíﬁco, Literario y de Información Agrícola Patria Chica: Valencia, Spain, 1932. 2. Ferrant, A. Proyecto de Obras de Conservación de elementos Decorativos Pertenecientes al Palacio de los Condes de Oliva (Valencia); Archivo IPCE: Madrid, Spain, 1946. 3. Brandi, C.; De Angelis, G. Carta di Restauro, 1972. Circolare N◦ 117 del 6 Aprile 1972; Ministero della Pubblica Instruzione: Roma, Italy, 1972. Buildings 2018, 8, 26 18 of 19

4. Verso la “Carta del Rilievo Architecttonico”. In Proceedings of the Seminario Internazionale de Studio “Gli strumenti di Conoscenza per il Progetto di Restauro”, Valmontone, Italy, 9–11 September 1999. 5. Carta del Rilievo Architettonico; Castell Sant Angelo: Rome, Italy, 2000. 6. Almagro Gorbea, A. Levantamiento Arquitectónico; Editorial Universidad de Granada: Granada, Spain, 2004; p. 303. 7. Barrera Vera, J. Aplicación de Tecnologías Innovadoras en la Documentación Geométrica del Patrimonio Arquitectónico y Arqueológico; Unpublished doctoral dissertation, Universidad de Sevilla: Sevilla, Spain, 2006. 8. Muller, P.E. A la recerca del palau; Cabdells: revista de investigació de la Associació Cultural Centelles i Riusec: Valencia, Spain, 1999. 9. Muller, P.E. El Palacio de Oliva de los Centelles; Architectura: Copenhagen, Denmark, 1996; pp. 127–157. ISBN 0106-3030. 10. Gavara Prior, J.; Muller, P.E. El Palacio Condal de Oliva. Catálogo de los planos de Egil Fischer y Vilhelm Lauritzen; Ajuntament de Oliva: Oliva, Valencia, Spain, 2013; pp. 31–64. 11. Garfella Rubio, J.T.; Máñez Pitarch, M.J.; Martinez-Moya, J.A. Comparative Study of Graphic Representation Methods on Architectural Heritage. In Handbook of Research on Emerging Digital Tools for Architectural Surveying, Modeling, and Representation; Stefano, B., Ed.; IGI Global: Hershey, PA, USA, 2015. 12. Máñez Pitarch, M.J.; Gual Ortí, J.; Garfella Rubio, J.T.; Martinez-Moya, J.A. Renaissance-Style Architecture en El Maestrazgo: From Virtual to Tactile Models. In Handbook of Research on Visual Computing and Emerging Geometrical Design Tools; Giuseppe, A., Ed.; IGI Global: Hershey, PA, USA, 2016. 13. Angulo Fornos, R. La fotogrametría digital: Una herramienta para la recuperación de arquitecturas perdidas. Torre del Homenaje del Castillo de Constantina. Virtual Archaeol. Rev. 2013, 4, 140–144. [CrossRef] 14. Casu, P.; Pisu, C.B.I.M. Application in documenting and recreating lost Architectural Heritage. In Handbook of Research on Visual Computing and Emerging Geometrical Design Tools; Giuseppe, A., Ed.; IGI Global: Hershey, PA, USA, 2016. 15. Martínez-Moya, J.A.; Gual, J.; Máñez, M.J. Physical Scale Models as Diffusion Tools of Disappeared Heritage. In Putting Tradition into Practice: Heritage, Place and Design, Proceedings of the 5th INTBAU International Annual Event, Milan, Italy, 5–6 July 2017; Amoruso, G., Ed.; Springer: New York, NY, USA, 2017; pp. 662–670. 16. Pons Fuster, F. Estudio demográfico de Oliva. (Siglos XVI-XX). In Iniciación a la Historia de Oliva, 2nd ed.; Cardona Miralles, S., Ed.; Publicaciones del Ayuntamiento de Oliva: Oliva, Valencia, Spain, 1988; pp. 224–272. 17. Zaragozá Catalán, A. Arquitectura Gótica Valenciana. Siglos XIII–XV; Generalitat Valenciana: Valencia, Spain, 2000; pp. 206–216. 18. Martínez-Moya, J.A.; Máñez Pitarch, M.J.; Garfella Rubio, J.T. Valencian Castle-Palace Route. Ruta de los Castillos-Palacio Góticos Valencianos. In Proceedings of the III Congreso Internacional Sobre Documentación, Conservación y Reutilización del Patrimonio Arquitectónico, REUSO, Valencia, Spain, 22–24 October 2015; pp. 1708–1715. 19. Fischer, E. Notebook I; Archaeological Museum of Oliva, Public Documentary Public Archive, Earls’ Oliva Palace: Oliva, Valencia, Spain, 1917–1920. 20. Fischer, E. Notebook II; Archaeological Museum of Oliva, Public Documentary Public Archive, Earls’ Oliva Palace: Oliva, Valencia, Spain, 1917–1920. 21. MAO. APD: Museo Arqueológico de Oliva (Archaeological Museum of Oliva). Archivo del Patrimonio Ducumental, (Documentary Heritage Archive). 22. Fischer, E.; Lauritzen, V. Blueprints; Archaeological Museum of Oliva, Public Documentary Public Archive, Earls’ Oliva Palace: Oliva, Valencia, Spain, 1919–1920. 23. Fischer, E. Large Photographic Album; Archaeological Museum of Oliva, Public Documentary Public Archive, Earls’ Oliva Palace: Oliva, Valencia, Spain, 1917–1920. 24. Fischer, E. Small Photographic Album; Archaeological Museum of Oliva, Public Documentary Public Archive, Earls’ Oliva Palace: Oliva, Valencia, Spain, 1917–1920. 25. Martínez-Moya, J.A. Análisis gráfico de las portadas tardogóticas del Palacio Condal de Oliva a partir del patrimonio gráfico recuperado. In Proceedings of the XII Congreso Internacional de Expresión Gráfica Aplicada a la Edificación, Nuevas Técnicas, Mismos Fundamentos, Viilaviciosa de Odón, Madrid, Spain, 26 November 2014; Volume II, pp. 465–467. Buildings 2018, 8, 26 19 of 19

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