The aim of the present study was to evaluate the relative attenuation of VIS, UV and NIR solar radiation through a large pond skylight into the interior of the l’Almoina Archaeological Museum (Valencia, Spain), and to determine how relative attenuation varied throughout the year and time of day. Measurements were taken at 9:00 a.m., 12:00 p.m. and 3:00 p.m. during July 2019 and January 2020. Relative attenuation values were obtained from the measurement of spectral irradiance in the exterior and at different points in the interior by means of two Ocean Optics spectrometers: HR4000CG-UV-NIR for VIS (400–700 nm) and NIR (700–1000 nm) bands, and FLAME-S-UV-VIS for UV-A (280–315 nm) and UV-A (315–400 nm) bands. The central points of the skylight had relative attenuation at 520 nm, reaching a value of 50% in summer at noon and 38% in the afternoon. At noon in winter, there were two relative attenuation peaks above 33% at 520 nm and at 900 nm. For mean relative attenuation, in the UVB range, the highest relative attenuation (20%) was inside the ruins in the morning in both summer and winter, and the UVA band relative attenuation was quite constant throughout the museum, but lower than that of the UVB band, in the range 0–3%.

Orientalism, as a variant of exoticism in the Romantic period, adopted a series of topics linked to distant countries and oriental cultures, including Spanish lands, especially Andalusian. This phenomenon was especially prolific in the world of the arts around the Alhambra, «doubly romantic for its medieval and oriental origin» (Raquejo, 1989).Alhambrism was developed by traveling writers in the early 19th century, eager for suggestive scenarios in which to recreate their poems and stories. Later it spread to the plastic arts, with painters such as François Antoine Bossuet, John Frederick Lewis, David Roberts, Gustave Doré or Jenaro Pérez Villaamil. In the case of architecture, Alhambrism was nourished by parallel sources. On the one hand, the awakening to the conservation of the Alhambra as a monument witness to a dreamy period in the history of Spain, and the first interventions by Rafael Contreras, still under babbling and unscientific criteria. On the other hand, the impulse to decorativism through the seminal studies of Owen Jones and Jules Goury, convinced that «in the Alhambra the exemplary paradigm of the most perfect ornamental and chromatic system of all historical styles had existed was hidden» (Villafranca).Music also found fertile ground for creativity in the Alhambra between the mid-19th and early 20th centuries, within the nationalist romantic movement. However, it was mainly the Spanish composers who chose the Alhambra to reflect the national identity: Tárrega, Turina, Albéniz, Bretón, De Monasterio, to which we should add a Debussy influenced by Falla.The communication aims ultimately to investigate through analysis the musical resources used by the last-mentioned composer, Claude Debussy, to evoke with sounds the architecture and the sensual atmosphere of the Alhambra in one of the most representative works of Alhambrism in music: La Puerta del Vino (The Wine Gate).

The First Industrial Revolution brought about the attraction to the cities of much labor force coming from the countryside. In Spain, this migratory phenomenon accelerated during the period of development of the 1960s. Today, even it seems not to have reached bottom: there are already many deserted areas in the so called "empty Spain" and more the nuclei that will disappear in the coming years if nothing remedies. This territorial imbalance has led, on the one hand, to the pollution and overpopulation of large metropolitan areas, often located on the coast, and on the other, to the progressive extinction of an ancestral way of life that has been maintaining a tight balance with the natural environment through agricultural exploitation.It is in this context that the Empty Spain teaching initiative arises, applicable to several subjects of the degree in Fundamentals of Architecture taught at the ETS of Architecture (Universitat Politècnica de València, Spain), and encouraged by the Sustainable Development Goals of the 2030 Agenda promoted by United Nations, especially with regard to No. 10 "Reduce inequality", No. 11 "Sustainable cities and communities", and No. 12: "Responsible production and consumption". A team of professors with a long teaching and research career linked to the course on Architectural Restoration promotes this idea.The experience was developed in two phases: learning and dissemination. In order to undertake the learning phase, a triple challenge was proposed: raising awareness of the seriousness of the problem and the urgency of finding viable solutions; fostering knowledge of vernacular architecture, predominant in the affected area; and acting through an incipient architectural project applied to a traditional building. In short, knowing vernacular architecture and learning from it.For its part, the dissemination phase is being deployed in parallel through several channels. A temporary exhibition is organized with a selection of the most suggestive works aimed at the students and teachers of the School. This strategy is joined by participation in two international congresses, one on research and the other on teaching.