Spanish architecture

Spanish architecture refers to architecture in any area of what is now Spain, and by Spanish architects worldwide. The term includes buildings which were constructed within the current borders of Spain prior to its existence as a nation, when the land was called Iberia, Hispania, or was divided between several Christian and Muslim kingdoms. Spanish architecture demonstrates great historical and geographical diversity, depending on the historical period. It developed along similar lines as other architectural styles around the Mediterranean and from Central and Northern Europe, although some Spanish constructions are unique.

A real development came with the arrival of the Romans, who left behind some of their most outstanding monuments in Hispania. The arrival of the Visigoths brought about a profound decline in building techniques which was paralleled in the rest of the former Roman Empire. The Muslim conquest in 711 CE led to a radical change and for the following eight centuries there were great advances in culture, including architecture. For example, Córdoba was established as the cultural capital of its time under the Umayyad dynasty. Simultaneously, Christian kingdoms such as Castile and Aragon gradually emerged and developed their own styles, at first mostly isolated from other European architectural influences, and soon later integrated into Romanesque and Gothic and Renaissance streams, they reached an extraordinary peak with numerous samples along the whole territory. There were also some samples of Mudéjar style, from the 12th to 16th centuries, characterised by the blending of Romanesque, Gothic and Renaissance architectural styles with constructive, ornamental, and decorative motifs derived from those that had been brought to or developed in Al-Andalus.

Towards the end of the 15th century, and before influencing Latin America with its Colonial architecture, Spain itself experimented with Renaissance architecture, developed mostly by local architects. Spanish Baroque was distinguished by its exuberant Churrigueresque decoration and the most sober Herrerian style, both developing separately from later international influences. The Colonial style, which has lasted for centuries, still has a strong influence in Latin America. Neoclassicism reached its peak in the work of Juan de Villanueva and his disciples.

The 19th century had two faces: the engineering efforts to achieve a new language and bring about structural improvements using iron and glass as the main building materials, and the academic focus, firstly on revivals and eclecticism, and later on regionalism. The arrival of Modernisme in the academic arena produced figures such as Gaudí and much of the architecture of the 20th century. The International style was led by groups like GATEPAC. Spain is currently experiencing a revolution in contemporary architecture and Spanish architects like Rafael Moneo, Santiago Calatrava, Ricardo Bofill as well as many others have gained worldwide renown.

Many architectural sites in Spain, and even portions of cities, have been designated World Heritage sites by UNESCO. Spain has the third highest number of World Heritage Sites in the world; only Italy and China have more. These are listed at List of World Heritage Sites in Europe: Spain.

Prehistory

Megalithic architecture

In the Stone Age, the most common megalith found in the Iberian Peninsula was the dolmen. The plans of these funerary chambers used to be pseudocircles or trapezoids, formed by huge stones stuck on the ground, and others over them, forming the roof. As the typology evolved, an entrance corridor appeared, and gradually took prominence and became almost as wide as the chamber. Roofed corridors and false domes were common in the most advanced stage. The complex of Antequera contains the largest dolmens in Europe. The best preserved, the Cueva de Menga, is twenty-five metres deep and four metres high, and was built with thirty-two megaliths.

The best preserved examples of architecture from the Bronze Age are located in the Balearic Islands, where three kinds of construction appeared: the T-shaped taula, the talayot and the naveta. The talayots were troncoconical or troncopiramidal defensive towers. They used to have a central pillar. The navetas, were constructions made of great stones and their shape was similar to a ship hull.

Iberian and Celtic architecture

The most characteristic constructions of the Celts were the castros, walled villages usually on the top of hills or mountains. They were developed at the areas occupied by the Celts in the Douro valley (Portugal) and in Galicia. Examples include Las Cogotas, in Ávila, the Castro of Santa Tecla, in Pontevedra in Spain.
The houses inside the castros are about 3.5 to 5 meters long, mostly circular with some rectangular, stone-made and with thatch roofs which rested on a wood column in the centre of the building. Their streets are somewhat regular, suggesting some form of central organization.

The towns built by the Arévacos were related to Iberian culture, and some of them reached notable urban development like Numantia. Others were more primitive and usually excavated into the rock, like Termantia.

Roman

Urban development

The Roman conquest, started in 218 BC, promoted the almost complete romanization of the Iberian Peninsula. Roman culture was fully assimilated by the local population. Former military camps and Iberian, Phoenician and Greek settlements were transformed into large cities where urbanization highly developed in the provinces; Augusta Emerita in the Lusitania, Corduba, Italica, Hispalis, Gades in the Hispania Baetica, Tarraco, Caesar Augusta, Asturica Augusta, Legio Septima Gemina and Lucus Augusti in the Hispania Tarraconensis were some of the most important cities, linked by a complex network of roads. The construction development includes some monuments of comparable quality to those of the capital, Rome.

Constructions

Roman civil engineering is represented in imposing constructions such as the Aqueduct of Segovia and the Acueducto de los Milagros in Mérida, in bridges like the Alcántara Bridge, Puente Romano over Guadiana River, and the Roman bridge of Córdoba over the Guadalquivir. Civil works were widely developed in Hispania under Emperor Trajan (98-117 AD). Lighthouses like the one still in use Hercules Tower in A Coruña, were also built.

Ludic architecture is represented by such buildings as the theatres of Mérida, Sagunto, Cádiz, Cartagena, and Tarraco, amphitheaters in Mérida, Italica, Tarraco or Segóbriga, and circuses in Mérida, Toledo, and many others.

Religious architecture also spread thougout the Peninsula; examples include the Roman temples of Barcelona, Córdoba, Vic, and Alcántara,

The main funerary monuments are the Torre dels Escipions in Tarraco, the distyle in Zalamea de la Serena, and the Mausoleum of the Atilii in Sádaba, Zaragoza. Roman triumphal arches can be found in Cabanes, Castellón, Medinaceli, and the Arc de Berà near Roda de Berà.

Pre-Romanesque

The term Pre-Romanesque refers to the Christian art after the Classical Age and before Romanesque art and architecture. It covers very heterogeneous artistic displays for they were developed in different centuries and by different cultures. Spanish territory boasts a rich variety of Pre-Romanesque architecture: some of its branches, like the Asturian art reached high levels of refinement for their era and cultural context.

Visigothic architecture

From the 6th century, it is worth mentioning the remains of th
Cabeza de Griego
basilica, in Cuenca and the small church of San Cugat del Vallés, in Barcelona. This one, although very deteriorated, clearly shows a single nave plan that ends in an apse. From the following century are those of San Pedro de la Nave, San Juan de Baños, Santa María de Quintanilla de las Viñas, whose layout will later be repeated in other later temples belonging to the " repopulation style" (misnamed "Mozarab»). For the rest, at this time the early Christian tradition is basically followed in religious architecture. The most representative buildings can be related to the following:

Church of San Pedro de la Nave in San Pedro de la Nave-Almendra ( Zamora)

Church of Santa Comba de Bande ( Orense)

Church of San Juan Bautista de Baños de Cerrato ( Palencia)

Crypt of San Antolín in the cathedral of Palencia ( Palencia)

Church of San Pedro de la Mata de Sonseca ( Toledo)

Chapel of Santa María de Quintanilla de las Viñas (Burgos)

Asturian architecture

The kingdom of Asturias arose in 718, when the Astur tribes, rallied in assembly, decided to appoint Pelayo as their leader. Pelayo joined the local tribes and the refuged Visigoths under his command, with the intention of progressively restoring Gothic Order.

Asturian Pre-Romanesque is a singular feature in all Spain, which, while combining elements from other styles as Visigothic and local traditions, created and developed its own personality and characteristics, reaching a considerable level of refinement, not only as regards construction, but also in terms of aesthetics.

As regards its evolution, from its appearance, Asturian Pre-Romanesque followed a "stylistic sequence closely associated with the kingdom's political evolution, its stages clearly outlined". It was mainly a court architecture, and five stages are distinguished: a first period (737–791) from the reign of the king Fáfila to Vermudo I, a second stage comprises the reign of Alfonso II (791–842), entering a stage of stylistic definition. These two first stages receive the name of 'Pre-Ramirense'. The most important example is the church San Julián de los Prados in Oviedo, with an interesting volume system and a complex iconographic fresco program, related narrowly to the Roman mural paintings. Lattices and trifoliate windows in the apse appear for the first time at this stage. The Holy Chamber of the Cathedral of Oviedo, San Pedro de Nora and Santa María de Bendones also belong to it.

The third period comprises the reigns of Ramiro I (842–850) and Ordoño I (850–866). It is called 'Ramirense' and is considered the zenith of the style, due to the work of an unknown architect who brought new structural and ornamental achievements like the barrel vault, and the consistent use of transverse arches and buttresses, which made the style rather close to the structural achievements of the Romanesque two centuries later. Some writers have pointed to an unexplained Syrian influence of the rich ornamentation. In that period, most of the masterpieces of the style flourished: the palace pavilions of Naranco Mountain (Santa Maria del Naranco and San Miguel de Lillo), and the church of Santa Cristina de Lena were built in that period.

The fourth period belongs to the reign of Alfonso III (866–910), where a strong Mozarabic influence arrived to Asturian architecture, and the use of the horseshoe arch expanded. A fifth and last period, which coincides with the transfer of the court to León, the disappearance of the kingdom of Asturias, and simultaneously, of Asturian Pre-Romanesque.

Mozarabic architecture

Mozarabic architecture was carried out by the Mozarabs, Christians who lived in Muslim Spain from the Arab invasion (711) until the end of the 11th century, and who maintained their distinct personality also against the Christians of the northern kingdoms, to them that were emigrating in successive waves or being incorporated during the ''Reconquista''. An example of this architecture is the church of Bobastro, a cave temple found in the place known as Mesas de Villaverde, in Ardales (Málaga), of which only a few ruins remain. Another representative building of this architecture is the church of Santa María de Melque, located in the vicinity of La Puebla de Montalbán ( Toledo). Regarding this temple, there is doubt in its stylistic affiliation, since it shares Visigoth features with others more properly Mozarabic, its dating being not clear either. The hermitage of San Baudelio de Berlanga presents an unprecedented typology, including in its rectangular plan a tribune over a small hypostyle hall, in the manner of mosques, and its roof is supported by a single central pillar shaped like a palm tree. Both this pillar and the interior walls are profusely decorated with frescoes depicting hunting scenes and exotic animals. A certain typological connection can be established as an initiatory temple, already in Romanesque times, with the church of Santa María de Eunate and other centralized Templar buildings, such as Torres del Río or Vera Cruz de Segovia.

Repopulation architecture

Between the end of the 9th century and the beginning of the 11th century, a number of churches were built in the Northern Christian kingdoms. They are widely but incorrectly known as Mozarabic architecture. This architecture is a summary of elements of diverse extraction irregularly distributed, of a form that in occasions predominate those of paleo-Christian, Visigothic or Asturian origin, while at other times emphasizes the Muslim impression.

The churches have usually basilica or centralized plans, sometimes with opposing apses. Principal chapels are of rectangular plan on the exterior and ultra-semicircular in the interior. The horseshoe arch of Muslim evocation is used, somewhat more closed and sloped than the Visigothic as well as the alfiz. Geminated and tripled windows of Asturian tradition and grouped columns forming composite pillars, with Corinthian capital decorated with stylized elements.

Decoration has resemblance to the Visigothic based in volutes, swastikas, and vegetable and animal themes forming projected borders and sobriety of exterior decoration. Some innovations are introduced, as great lobed corbels that support very pronounced eaves. A great command of the technique in construction can be observed, employing ashlar, walls reinforced by exterior buttresses and covering by means of segmented vaults, including by the traditional barrel vaults.

The architecture of Al-Andalus

Emirate and Caliphate of Córdoba

The Muslim conquest of the former Visigothic Kingdom by the troops of Musa ibn Nusair and Tariq ibn Ziyad, and the overthrowing of the Umayyad dynasty in Damascus, eventually led to the creation of an independent emirate by Abd ar-Rahman I, the only surviving Umayyad prince who escaped from Abbasids, and established his capital city in Córdoba. It served as the capital of Al-Andalus from 750 to 1010, with its political and cultural apogee taking place during the new Caliphate period in the 10th century.

In Cordoba, Abd ar-Rahman I built the Great Mosque in 785. It was expanded multiple times up until the 10th century, and after the ''Reconquista'' it was converted into a Catholic cathedral. Its key features include a hypostyle hall with marble columns supporting two-tiered arches, a horseshoe-arch mihrab, ribbed domes, a courtyard (''sahn'') with gardens, and a minaret (later converted into a bell tower). Abd ar-Rahman III, at the height of his power, began construction of Madinat al-Zahra, a luxurious palace-city to serve as a new capital. It played a major role in formulating a more distinct "caliphal" style which was crucial in the development of subsequent Andalusi architecture. On a smaller scale, the Bab al-Mardum Mosque (later converted to a church) in Toledo is a well-preserved example of a small neighbourhood mosque built at the end of the Caliphate period.

The Taifas

The Caliphate disappeared and was split into several small kingdoms called ''taifas''. During this period, art and culture continued to flourish despite the political fragmentation of Al-Andalus. The Aljaferia Palace of Zaragoza is the most significant palace preserved from this period, featuring complex ornamental arcades, multifoil and mixtilinear arches, and stucco decoration. In other cities, a number of important palaces or fortresses were begun or expanded by local dynasties such as the Alcazaba of Málaga and the Alcazaba of Almería. Other examples of architecture from around this period include the Bañuelo of Granada, an Islamic bathhouse.

Almoravids and Almohads

The late 11th century saw the significant advance of Christian kingdoms into Muslim al-Andalus, particularly with the fall of Toledo to Alfonso VI of Castile in 1085, and the rise of major Berber empires originating in present-day Morocco. The latter included first the Almoravids (11th–12th centuries) and then the Almohads (12th–13th centuries), both of whom created empires that stretched across large parts of western and northern Africa and took over the remaining Muslim territories of al-Andalus in Europe. This period is considered one of the most formative stages of western Islamic (or "Moorish") architecture, establishing many of the forms and motifs that were refined in subsequent centuries.

Relatively little survives of Almoravid architecture but much more has survived of Almohad architecture. In Seville, the Almohad rulers built a new Great Mosque (later transformed into the Cathedral of Seville), which consisted of a hypostyle prayer hall, a courtyard (now known as the ''Patio de los Naranjos'' or Court of Oranges), and a massive minaret tower now known as the Giralda. The minaret was later expanded after being converted into a bell tower for the current cathedral. Other examples of Almohad architecture are found in various fortifications and smaller monuments in southern Spain today, as well as in traces of the former Almohad palace in the Alcazar of Seville. Almohad architecture promoted new forms and decorative designs such as the multifoil arch and the '' sebka'' motif, probably influenced by the Caliphate-period architecture of Cordoba.

Nasrid Emirate of Granada

As the Almohad authority retreated from al-Andalus in the early 13th century, the Christian kingdoms of the north advanced again and Muslim al-Andalus was eventually reduced to the much smaller Nasrid Emirate centered in Granada, where much of the Muslim population took refuge. The palaces of the Alhambra and the Generalife in Granada, built under the Nasrid dynasty, are the most iconic monuments of this period and reflect the last great period of art and architecture in al-Andalus before its final end. The Alhambra complex was begun by Ibn al-Ahmar, the first Nasrid emir, and the last major additions were made during the reigns of Yusuf I (1333–1353) and Muhammad V (1353–1391).

Nasrid architecture continued the earlier traditions of Andalusi architecture while also synthesizing them into its own distinctive style, which had many similarities with the architecture of contemporary dynasties in North Africa such as the Marinids. It is characterized by the use of the courtyard as a central space and basic unit around which other halls and rooms were organized. Courtyards typically had water features at their center, such as a reflective pool or a fountain. Decoration was focused on the inside of buildings and was executed primarily with tile mosaics on lower walls and carved stucco on the upper walls. The multiplicity of decoration, the skillful use of light and shadow and the incorporation of water into the architecture are some of the keys features of the style. Geometric patterns, vegetal motifs, and calligraphy were the main types of decorative motifs, typically carved in wood and stucco or crafted with mosaic tilework known as ''zellij''. Additionally, "stalactite"-like sculpting, known as ''muqarnas'', was used for three-dimensional features like vaulted ceilings, particularly during the reign of Muhammad V and after. Epigraphic inscriptions were carved on the walls of many rooms and included allusive poems to the beauty of the spaces.

Romanesque

Romanesque architecture first developed in Spain in the 10th and 11th centuries, before Cluny's influence, in Lérida, Barcelona, Tarragona and Huesca, and in the Pyrenees, simultaneously with the north of Italy, as what is called First Romanesque or Lombard Romanesque. It is a very primitive style, whose characteristics are thick walls, lack of sculpture and the presence of rhythmic ornamental arches, typified by the churches in the Valle de Bohí.

The full Romanesque architecture arrived with the influence of Cluny through the Way of Saint James, that ends in the Cathedral of Santiago de Compostela. The model of the Spanish Romanesque in the 12th century was the Cathedral of Jaca, with its characteristic plan and apse, and its "chessboard" decoration in stripes, called ''taqueado jaqués''. As the Christian Kingdoms advanced southwards, this model spread throughout the reconquered areas with some variations. Spanish Romanesque also shows the influence of Spanish pre-Romanesque styles, mainly Asturian and Mozarabic, but there is also a strong Moorish influence, especially the vaults of Córdoba's Mosque, and the multifoil arches. In the 13th century, some churches alternated in style between Romanesque and Gothic. Aragón, Navarra and Castile-Leon are some of the best areas for Spanish Romanesque architecture.

Gothic

The Gothic style arrived in Spain in the 12th century. In this time, late Romanesque alternated with a few expressions of pure Gothic architecture like the Cathedral of Ávila. The High Gothic arrived in all its strength through the Way of St. James in the 13th century, with some of the purest Gothic cathedrals, with French and German influences: the cathedrals of Burgos, León and Toledo.

The most important post-13th century Gothic styles in Spain are the Levantine and Isabelline Gothic. Levantine Gothic is characterised by its structural achievements and their unification of space, with masterpieces as La Seu in Palma de Mallorca; the Valencian Gothic style of the Lonja de Valencia (Valencia's silk market), and Santa Maria del Mar (Barcelona).

Isabelline Gothic, created during the times of the Catholic Monarchs, was part of the transition to Renaissance architecture, but also a strong resistance to Italian Renaissance style. Highlights of the style include the Monastery of San Juan de los Reyes in Toledo and the Royal Chapel of Granada.

Mudéjar

Mudéjar style or art is Christian architecture with Islamic influenced decoration that emerged in the Christian kingdoms of the north in the 12th century and spread with the Christian reconquest of the Iberian Peninsula. The reconquest brought Moorish craftsmen under Christian rule who then influenced architecture in the expanding Christian kingdoms. It is not a style of architecture; ''Mudéjar style'' refers to the application of Moorish style decorations or materials to whatever Christian architecture existed at the time, producing Mudéjar-Romanesque, Mudéjar-Gothic and Mudéjar-Renaissance.

Mudéjar art influenced Christian architecture through Islamic and Jewish constructive and decorative methods and was highly variable from region to region. Mudéjar is characterised by the use of brick as the main building material. The dominant geometrical character, distinctly Islamic, emerged conspicuously in the accessory crafts using cheap materials elaborately worked – tilework, brickwork, wood carving, plaster carving, and ornamental metals. Even after the Muslims were no longer employed, many of their methods and decorative styles continued to be applied to Spanish architecture.

Mudéjar style was born in the northern town of Sahagún. It spread to the rest of the Kingdom of León; Toledo, Ávila, Segovia, and later was spread to southern Spain by the Castile, especially Seville and Granada. However, the famous ''Mudéjar Rooms'' of the Alcázar of Seville, although often classified as Mudéjar style, are actually closely related to the Moorish Nasrid palace architecture of the Alhambra; the Christian king, Pedro of Castile commissioned Moorish architects from Granada to build them. Centers of Mudéjar art are found in other cities Toro, Cuéllar, Arévalo and Madrigal de las Altas Torres. A separate tradition of Mudéjar style became highly developed in Aragon, with three main focuses at Zaragoza, Calatayud, and Teruel, during the 13th, 14th and 15th centuries. In Teruel a wide group of imposing churches and towers were built. Other fine examples of Mudéjar can be found in Casa de Pilatos in Seville, Santa Clara Monastery in Tordesillas, or the churches of Toledo, one of the oldest and most outstanding Mudéjar centers. In Toledo, the synagogues of Santa María la Blanca and El Tránsito (both Mudéjar though not Christian) deserve special mention.

Renaissance

In Spain, Renaissance styles began to be grafted onto Gothic forms in the last decades of the 15th century. The forms that started to spread were made mainly by local architects: that is the cause of the creation of a specifically Spanish Renaissance that brought the influence of southern Italian architecture, sometimes from illuminated books and paintings, mixed with the gothic tradition and local idiosyncrasies. The new style was called Plateresque because of the extremely decorated façades that brought to the mind the decorative motifs of the intricately detailed work of silversmiths, the "plateros". Classical orders and candelabra motifs (''a candelieri'') were combined freely into symmetrical wholes.

In that scenery, the Palace of Charles V by Pedro Machuca in Granada was an unexpected achievement in the most advanced Renaissance of the moment. The palace can be defined as an anticipation of the Mannerism, due to its command of classical language and its breakthrough aesthetic achievements. It was constructed before the main works of Michelangelo and Palladio. Its influence was very limited and poorly understood, the Plateresque forms prevailed in the general panorama.

As decades passed, the Gothic influence disappeared and the research of an orthodox classicism reached high levels. Although Plateresque is a commonly used term to define most of the architectural production of the late 15th and first half of 16th century, some architects acquired a more sober personal style, like Diego Siloe and Rodrigo Gil de Hontañón. Examples include the façades of the University of Salamanca and of the Convent of San Marcos in León.

The highlight of Spanish Renaissance is represented by the Royal Monastery of El Escorial, built by Juan Bautista de Toledo and Juan de Herrera, where a much closer adherence to the art of ancient Rome was overpassed by an extremely sober style. The influence from Flanders roofs, the symbolism of the scarce decoration and the precise cut of the granite established the basis for a new style, the Herrerian. A disciple of Herrera, Juan Bautista Villalpando was influential for interpreting the recently revived text of Vitruvius to suggest the origin of the classical orders in Solomon's Temple.

Baroque

As Italian Baroque influences grew, they gradually superseded in popularity the restrained classicizing approach of Juan de Herrera, which had been in vogue since the late sixteenth century. As early as 1667, the façades of Granada Cathedral (by Alonso Cano

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