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Spanish architecture refers toarchitecture in any area of what is nowSpain, and bySpanish architects worldwide, influencing mainly areas of what was once part of theSpanish Empire. The term includes buildings which were constructed within the current borders of Spain prior to its existence as a nation, when the land was calledIberia,Hispania, or was divided between severalChristian andMuslim kingdoms. Spanish architecture demonstrates great historical and geographical diversity, depending on the historical period.[1] 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 theRomans, who left behind some of their most outstanding monuments inHispania. The arrival of theVisigoths brought about a profound decline in building techniques which was paralleled in the rest of the formerRoman Empire. TheMuslim 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 theUmayyad dynasty. Simultaneously, Christian kingdoms such asCastile andAragon gradually emerged and developed their own styles, at first mostly isolated from other European architectural influences, and soon later integrated intoRomanesque andGothic andRenaissance streams, they reached an extraordinary peak with numerous samples along the whole territory. There were also some samples ofMudéjar 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 with itsColonial architecture, Spain itself experimented withRenaissance architecture, developed mostly by local architects.Spanish Baroque was distinguished by its exuberantChurrigueresque decoration and the most soberHerrerian style, both developing separately from later international influences. The Colonial style, which has lasted for centuries, still has a strong influence.Neoclassicism reached its peak in the work ofJuan 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 andeclecticism, and later onregionalism. The arrival ofModernisme in the academic arena produced figures such asGaudí and much of the architecture of the 20th century. TheInternational style was led by groups likeGATEPAC. Spain is currently experiencing a revolution incontemporary architecture and Spanish architects likeRafael 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 designatedWorld Heritage Sites byUNESCO. Spain has the third highest number of World Heritage Sites in the world; only Italy and China have more. These are listed atList of World Heritage Sites in Europe: Spain.
In theStone Age, the most common megalith found in the Iberian Peninsula was thedolmen. The plans of these funerary chambers used to bepseudocircles ortrapezoids, formed by huge stones stuck on the ground, and others over them, forming the roof. As thetypology evolved, an entrance corridor appeared, and gradually took prominence and became almost as wide as the chamber. Roofed corridors and falsedomes were common in the most advanced stage. The complex ofAntequera contains the largest dolmens in Europe. The best preserved, theCueva de Menga, is twenty-five metres deep and four metres high, and was built with thirty-twomegaliths.
The best preserved examples of architecture from theBronze Age are located in theBalearic Islands, where three kinds of construction appeared: the T-shapedtaula, thetalayot and thenaveta. 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.
The most characteristic constructions of the Celts were thecastros, walled villages usually on the top of hills or mountains. They were developed at the areas occupied by the Celts in theDouro valley (Portugal) and inGalicia. Examples include Las Cogotas, inÁvila, the Castro of Santa Tecla, inPontevedra 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 likeNumantia. Others were more primitive and usually excavated into the rock, likeTermantia.
TheRoman conquest, started in 218 BC, promoted the almost completeromanization 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 theLusitania,Corduba,Italica,Hispalis,Gades in theHispania Baetica,Tarraco,Caesar Augusta,Asturica Augusta,Legio Septima Gemina andLucus Augusti in theHispania 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.[2]
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Romancivil engineering is represented in imposing constructions such as theAqueduct of Segovia and theAcueducto de los Milagros inMérida, in bridges like theAlcántara Bridge,Puente Romano overGuadiana River, and theRoman bridge of Córdoba over theGuadalquivir. Civil works were widely developed in Hispania under EmperorTrajan (98-117 AD).Lighthouses like the one still in useHercules Tower inA Coruña, were also built.
Ludic architecture is represented by such buildings as the theatres ofMérida,Sagunto,Cádiz,Cartagena, andTarraco, amphitheaters inMérida,Italica,Tarraco orSegóbriga, and circuses inMérida,Toledo, and many others.
Religious architecture also spread throughout the Peninsula; examples include the Roman temples ofBarcelona,Córdoba,Vic, andAlcántara,
The main funerary monuments are theTorre dels Escipions in Tarraco, thedistyle inZalamea de la Serena, and theMausoleum of the Atilii inSádaba,Zaragoza. Roman triumphal arches can be found inCabanes, Castellón,Medinaceli, and theArc de Berà nearRoda de Berà.
The term Pre-Romanesque refers to the Christian art after theClassical Age and beforeRomanesque art andarchitecture. 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 theAsturian art reached high levels of refinement for their era and cultural context.
From the6th century, it is worth mentioning the remains of theCabeza de Griego basilica, inCuenca and the small church ofSan Cugat del Vallés, inBarcelona. This one, although very deteriorated, clearly shows a single nave plan that ends in anapse. 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 latertemples 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 inSan 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)
Thekingdom of Asturias arose in 718, when the Astur tribes, rallied in assembly, decided to appointPelayo 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 asVisigothic 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 acourt architecture, and five stages are distinguished: a first period (737–791) from the reign of the kingFáfila toVermudo I, a second stage comprises the reign ofAlfonso 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 churchSan Julián de los Prados inOviedo, 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 theCathedral of Oviedo, San Pedro de Nora andSanta María de Bendones also belong to it.
The third period comprises the reigns ofRamiro I (842–850) andOrdoño 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 thebarrel vault, and the consistent use oftransverse arches andbuttresses, 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 ofNaranco Mountain (Santa Maria del Naranco andSan Miguel de Lillo), and the church ofSanta Cristina de Lena were built in that period.
The fourth period belongs to the reign ofAlfonso III (866–910), where a strongMozarabic influence arrived to Asturian architecture, and the use of thehorseshoe arch expanded. A fifth and last period, which coincides with the transfer of the court toLeón, the disappearance of the kingdom of Asturias, and simultaneously, of Asturian Pre-Romanesque.
Mozarabic architecture was carried out by theMozarabs, Christians who lived in Muslim al-Andalus from the Arab invasion (711) until the end of the11th 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 theReconquista. An example of this architecture is the church ofBobastro, a cave temple found in the place known as Mesas de Villaverde, inArdales (Málaga), of which only a few ruins remain. Another representative building of this architecture is the church ofSanta María de Melque, located in the vicinity ofLa 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. Thehermitage 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 thechurch of Santa María de Eunate and other centralizedTemplar buildings, such asTorres del Río orVera Cruz de Segovia.
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 asMozarabic 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 opposingapses. Principal chapels are of rectangular plan on the exterior and ultra-semicircular in the interior. Thehorseshoe arch of Visigothic evocation is used, somewhat more closed and sloped than the Visigothic as well as thechambranle. 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 lobedcorbels that support very pronouncedeaves. 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.
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TheMuslim conquest of the formerVisigothic Kingdom by the troops ofMusa ibn Nusair andTariq ibn Ziyad, and the overthrowing of theUmayyad dynasty inDamascus, eventually led to the creation of anindependent emirate byAbd ar-Rahman I, the only surviving Umayyad prince who escaped fromAbbasids, and established his capital city inCórdoba. It served as the capital ofAl-Andalus from 750 to 1010, with its political and cultural apogee taking place during the newCaliphate period in the 10th century.[3][4]
In Cordoba, Abd ar-Rahman I built theGreat Mosque in 785. It was expanded multiple times up until the 10th century, and after theReconquista it was converted into a Catholic cathedral. Its key features include ahypostyle hall with marble columns supportingtwo-tiered arches, ahorseshoe-archmihrab, ribbed domes, a courtyard (sahn) with gardens, and aminaret (later converted into abell tower).[5]: 17–21, 61–79 [6] Abd ar-Rahman III, at the height of his power, began construction ofMadinat 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.[7][5]: 51–58 [8]: 68 On a smaller scale, theBab 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.[5]: 79
The Caliphate disappeared and was split into several small kingdoms calledtaifas. During this period, art and culture continued to flourish despite the political fragmentation of Al-Andalus.[4] TheAljaferia Palace of Zaragoza is the most significant palace preserved from this period, featuring complex ornamentalarcades,multifoil and mixtilinear arches, andstucco decoration. In other cities, a number of important palaces or fortresses were begun or expanded by local dynasties such as theAlcazaba of Málaga and theAlcazaba of Almería. Other examples of architecture from around this period include theBañuelo of Granada, anIslamic bathhouse.[8]: 116–128
The late 11th century saw the significant advance of Christian kingdoms into Muslim al-Andalus, particularly with the fall of Toledo toAlfonso VI ofCastile in 1085, and the rise of majorBerber empires originating in present-day Morocco. The latter included first theAlmoravids (11th–12th centuries) and then theAlmohads (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.[9] 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.[7][10][9][11]
Relatively little survives of Almoravid architecture but much more has survived of Almohad architecture.[5] In Seville, the Almohad rulers built a new Great Mosque (later transformed into theCathedral of Seville), which consisted of a hypostyle prayer hall, a courtyard (now known as thePatio de los Naranjos or Court of Oranges), and a massive minaret tower now known as theGiralda. The minaret was later expanded after being converted into a bell tower for the current cathedral.[12]: 130–133 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 theAlcazar of Seville.[8] Almohad architecture promoted new forms and decorative designs such as themultifoil arch and thesebka motif, probably influenced by the Caliphate-period architecture of Cordoba.[13]: 232–234, 257–258
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 smallerNasrid Emirate centered in Granada, where much of the Muslim population took refuge. The palaces of theAlhambra and theGeneralife in Granada, built under theNasrid 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.[5] The Alhambra complex was begun by Ibn al-Ahmar, the first Nasrid emir, and the last major additions were made during the reigns ofYusuf I (1333–1353) andMuhammad V (1353–1391).[14]: 152
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 theMarinids.[15]: 219, 224 [5]: 149–168 [16]: 78–82 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 areflective pool or a fountain. Decoration was focused on the inside of buildings and was executed primarily withtile mosaics on lower walls and carved stucco on the upper walls.[17][14]: 164–167 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.[18]Geometric patterns,vegetal motifs, andcalligraphy were the main types of decorative motifs, typically carved in wood and stucco or crafted with mosaic tilework known aszellij. Additionally, "stalactite"-like sculpting, known asmuqarnas, was used for three-dimensional features likevaulted ceilings, particularly during the reign of Muhammad V and after.[17][14]: 164–167 Epigraphic inscriptions were carved on the walls of many rooms and included allusive poems to the beauty of the spaces.[19]
Romanesque architecture appeared early in Spain, in the 10th and 11th centuries, in Lérida,Barcelona,Tarragona,Huesca, and in the Pyrenees, simultaneously with its appearance in northern Italy, what is called theFirst Romanesque or Lombard Romanesque. It is a very simple style, whose characteristics are thick walls, lack of sculpture and the presence ofrhythmic ornamental arches, typified by the churches in theValle de Bohí.
Later Romanesque architecture arrived with the influence ofCluny through theWay of Saint James, that ends in theCathedral of Santiago de Compostela. The model of the Spanish Romanesque in the 12th century was theCathedral of Jaca, with its characteristic plan and apse, and its "chessboard" decoration in stripes, calledtaqueado 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 ofCórdoba's Mosque, and themultifoil arches. In the 13th century, some churches alternated in style between Romanesque and Gothic.Aragón,Navarra andCastile-Leon are some of the best areas for Spanish Romanesque architecture.
The Gothic style arrived in Spain in the 12th century. In this time, late Romanesque alternated with a few expressions of pureGothic architecture like theCathedral of Ávila. The High Gothic arrived in all its strength through theWay of St. James in the 13th century, with some of the purest Gothic cathedrals, with French and German influences: the cathedrals ofBurgos,León andToledo.
The most important post-13th century Gothic styles in Spain are theLevantine andIsabelline Gothic. Levantine Gothic is characterised by its structural achievements and their unification of space, with masterpieces asLa Seu inPalma de Mallorca; theValencian Gothic style of theLonja de Valencia (Valencia's silk market), andSanta Maria del Mar (Barcelona).
Isabelline Gothic, created during the times of theCatholic Monarchs, was part of the transition toRenaissance architecture, but also a strong resistance to Italian Renaissance style. Highlights of the style include theMonastery of San Juan de los Reyes in Toledo and theRoyal Chapel of Granada.
Mudéjar art, also known as Mudéjar style, emerged in the Christian kingdoms of the north in the 12th century and spread with theChristian reconquest of the Iberian Peninsula. The reconquest brought Moorish and Jewish craftsmen under Christian rule who then influenced the architecture of the expanding Christian kingdoms. It is not a style of architecture, the termMudéjar style refers to the application of Moorish and Jewish styles of decoration or materials to whatever Christian architecture existed at the time. This produced Mudéjar-Romanesque, Mudéjar-Gothic and Mudéjar-Renaissance.
Mudéjar style was highly variable from region to region as different Islamic and Jewish influences were adopted into the Christian architecture of different regions. Mudéjar is characterised by the use ofbrick 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 and Jews 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 ofSahagún.[20] It spread to the rest of theKingdom of León;Toledo, Ávila,Segovia, and later was spread to southern Spain by Castile. However, the famousMudéjar Rooms of theAlcázar of Seville, although often described as Mudéjar style, are actually closely related to the Moorish Nasrid palace architecture of the Alhambra, as the Christian kingPedro of Castile commissioned Moorish architects from Granada to build them. Centers of Mudéjar art are found in other citiesToro,Cuéllar,Arévalo andMadrigal de las Altas Torres. A separate tradition of Mudéjar style became highly developed in Aragon, with three main focuses atZaragoza,Calatayud, andTeruel, 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 inCasa 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, thesynagogues ofSanta María la Blanca andEl Tránsito (both Mudéjar though not Christian) deserve special mention.[21]
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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 specificallySpanish 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 calledPlateresque because of the extremely decorated façades that brought to the mind the decorative motifs of the intricately detailed work ofsilversmiths, the "plateros". Classical orders and candelabra motifs (a candelieri) were combined freely into symmetrical wholes.
In that scenery, thePalace of Charles V byPedro Machuca in Granada was an unexpected achievement in the most advanced Renaissance of the moment. The palace can be defined as an anticipation of theMannerism, due to its command of classical language and its breakthrough aesthetic achievements. It was constructed before the main works ofMichelangelo andPalladio. 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, likeDiego Siloe andRodrigo Gil de Hontañón. Examples include the façades of theUniversity of Salamanca and of theConvent of San Marcos inLeón.
The highlight of Spanish Renaissance is represented by the Royal Monastery ofEl Escorial, built byJuan Bautista de Toledo andJuan de Herrera, where a much closer adherence to the art of ancient Rome was overpassed by an extremely sober style. The influence fromFlanders roofs, the symbolism of the scarce decoration and the precise cut of the granite established the basis for a new style, theHerrerian. A disciple of Herrera,Juan Bautista Villalpando was influential for interpreting the recently revived text ofVitruvius to suggest the origin of theclassical orders inSolomon's Temple.[22]
AsItalian 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 ofGranada Cathedral (byAlonso Cano) andJaén Cathedral (byEufrasio López de Rojas) suggest the artists' fluency in interpreting traditional motifs of Spanish cathedral architecture in the Baroque aesthetic idiom.
Vernacular Baroque with its roots still in the Herrerian style and in traditional brick construction was developed in Madrid throughout the 17th century. Examples includePlaza Mayor and the Major House.
In contrast to the art of Northern Europe, the Spanish art of the period appealed to the emotions rather than seeking to please the intellect. TheChurriguera family, which specialized in designing altars and retables, revolted against the sobriety of the Herrerian classicism and promoted an intricate, exaggerated, almost capricious style of surface decoration known as theChurrigueresque. Within half a century, they transformedSalamanca into an exemplary Churrigueresque city.
The evolution of the style passed through three phases. Between 1680 and 1720, the Churriguera popularizedGuarini's blend ofSolomonic columns andComposite order, known as the "supreme order". Between 1720 and 1760, the Churrigueresque column, orestipite, in the shape of an inverted cone or obelisk, was established as a central element of ornamental decoration. The years from 1760 to 1780 saw a gradual shift of interest away from twisted movement and excessive ornamentation toward a neoclassical balance and sobriety.
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Two of the most eye-catching creations of Spanish Baroque are the energetic façades of theUniversity of Valladolid (Diego Tomé, 1719) andHospicio de San Fernando in Madrid (Pedro de Ribera, 1722), whose curvilinear extravagance seems to heraldAntonio Gaudí andArt Nouveau. In this case as in many others, the design involves a play of tectonic and decorative elements with little relation to structure and function. However, Churrigueresque Baroque offered some of the most impressive combinations of space and light with buildings likeGranada Charterhouse, considered to be the apotheosis of Churrigueresque style applied to interior spaces, orEl Transparente of the Cathedral of Toledo byNarciso Tomé, where sculpture and architecture are integrated to achieve notable light dramatic effects.
TheRoyal Palace of Madrid and the interventions ofPaseo del Prado (Salón del Prado andAlcalá Doorgate) in the same city, deserve special mention. They were constructed in a sober Baroque international style, often mistaken for neoclassical, by the Bourbon kingsPhilip V andCharles III. The Royal Palaces ofLa Granja de San Ildefonso, inSegovia, andAranjuez, in Madrid, are good examples of Baroque integration of architecture and gardening, with noticeable French influence (La Granja is known as theSpanish Versailles), but with local spatial conceptions which in some ways display the heritage of the Moorish occupation.
Rococo was first introduced to Spain in the (Cathedral of Murcia, west façade, 1733). The greatest practitioner of the Spanish Rococo style was a native master,Ventura Rodríguez, responsible for the dazzling interior of theBasilica of Our Lady of the Pillar inZaragoza (1750).
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The extremely intellectual postulates ofNeoclassicism succeeded in Spain less than the much more expressive of Baroque. Spanish Neoclassicism was spread by theRoyal Academy of Fine Arts of San Fernando, founded in 1752. The main figure wasJuan de Villanueva, who adaptedEdmund Burke's achievements about the sublime and the beauty to the requirements of Spanish clime and history. He built thePrado Museum that combined three programs - an academy, an auditorium and a museum - in one building with three separated entrances. This was part of the ambitious program ofCharles III, who intended to make Madrid the Capital of Art and Science. Very close to the museum, Villanueva built theRoyal Observatory of Madrid. He also designed several summer houses for the kings inEl Escorial andAranjuez and reconstructed thePlaza Mayor of Madrid, among other important works. Villanuevas´ pupilsAntonio López Aguado andIsidro González Velázquez expanded the Neoclassical style in Spain.
The combination of the Native American and Moorish decorative influences with an extremely expressive interpretation of the Churrigueresque idiom may account for the full-bodied and varied character of the Baroque in the American kingdoms and provinces of the Spanish Monarchy. Even more than its Spanish counterpart, American Baroque developed as a style of stucco decoration. Twin-towered façades of many American cathedrals of the seventeenth century had Renaissance roots and the full-fledged Baroque did not appear until 1664, when the Jesuit shrine onPlaza de Armas inCusco was built.
In the Viceroyalty ofPeru, theAndean Baroque was particularly lush, as evidenced by the monastery of San Francisco inLima (1673), which has a dark intricate façade sandwiched between the twin towers of local yellow stone. While the rural Baroque of the Jesuite missions (estancias) inCórdoba, Argentina, followed the model ofIl Gesù, provincial "mestizo" (crossbred) styles emerged inArequipa,Potosí andLa Paz. In the eighteenth century, the architects of the region turned for inspiration to theMudéjar art of medieval Spain. The late Baroque type of Peruvian façade first appears in the Church of Our Lady of La Merced, Lima (1697–1704). Similarly, the Church of La Compañia,Quito (1722–65) suggests a carved altarpiece with its richly sculpted façade and a surfeit of theSolomonic column.
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To the north, by 18th-century the richest Viceroyalty ofNew Spain – from nowadays Costa Rica to Mexico – produced some fantastically extravagant and visually frenetic architecture known as New Spanish Churrigueresque. This ultra-Baroque approach culminates in the works ofLorenzo Rodríguez, whose masterpiece is theSagrario Metropolitano inMexico City (1749–69). Other fine examples of the style may be found in the remote silver-mining towns. For instance, the Sanctuary atOcotlán (begun in 1745) is a top-notch Baroque cathedral surfaced in bright red tiles, which contrast delightfully with a plethora of compressed ornament lavishly applied to the main entrance and the slender flanking towers.
The true capital ofNew Spanish Baroque isPuebla,Mexico, where a ready supply of hand-painted glazed tiles (talavera) and vernacular gray stone led to its evolving further into a personalised and highly localised art form with a pronounced Indian taste.
Spanish Chinese influence exclusive toSpanish East Indies was born when Spain invaded what's now thePhilippines, inSouth East Asia. Pre-Spanish Philippine architecture was based on the nativenipa hut, which corresponds to the tropical climate, stormy seasons, and earthquake prone environment of the archipelago. This native architecture was combined with the influences of the Spanish invaders and Chinese traders to form a hybrid Austronesian, Chinese and Spanish architecture.
During the second half of the 19th century, theRevivalism dominated the scene in Europe, and so happened in Spain. Architects focused in choosing which was the most appropriated historical style for each use or occasion. Neoclassicism opened the gates toNeo-Byzantine,Neo-Gothic,Neo-Renaissance,Neo–Baroque,Egyptian Revival,Neo-Mudéjar, and so on.
This led to a particular new style made of the mixture of several old styles in the same construction: theEclecticism. It is difficult to trace a clear line to separate styles as Modernisme, Industrial iron architecture and Eclecticism, as very often architects took some features of several of them for their works. This is the case ofAntonio Palacios, co-designer with Joaquín Otamendi of thePalace of Communications of Madrid, inaugurated in 1909. Other works of Palacios include theCírculo de Bellas Artes, the Río de la Plata Bank, theHospital of Maudes, all of them in Madrid.
In the first half of the 20th century, another wave of revivals emerged, mainly after the Iberoamerican Exhibition of Seville in 1929: the Regionalism. Features of the different regional vernacular architectures took then the protagonism.
In the late 19th century a new architectural movement emerged in Madrid as a revival of theMudéjar architecture. TheNeo-Mudéjar soon spread to other regions of the country. Architects such asEmilio Rodríguez Ayuso perceived the Mudéjar as a characteristic and exclusive Spanish style. They started to construct buildings using some of the features of the ancient style, as horseshoe arches and the use of the abstract shaped brick ornamentations for the façades. It became a popular style forbull rings and for other public constructions, but also for housing, due to its cheap materials, mainly brick for exteriors.
The Neo-Mudéjar was often combined withNeo-Gothic features.
During theIndustrial Revolution, the new use of iron and glass as the main materials for building construction was, as in the rest of Europe, applied specially in train stations, winterhouses, industrial buildings and pavilions for exhibitions. The architects who most developed this style in Spain wereRicardo Velázquez Bosco andAlberto del Palacio, although glass for façades and iron for structures were used to some extent by other architects, such as Antonio Palacios, Enrique María Repullés y Vargas or Narciso Pascual y Colomer. A notable example is thePalacio de Cristal del Retiro in Madrid.
When the city ofBarcelona was allowed to expand beyond its historic limits in the late 19th century, the resultingEixample district byIldefons Cerdà became the site of a burst of architectural energy known as theModernisme movement. Modernisme broke with past styles and used organic forms for its inspiration in the same way as the concurrentArt Nouveau andJugendstil movements in the rest of Europe. Most famous among the architects represented there isAntoni Gaudí, whose works in Barcelona and spread in other parts ofCatalonia,León andCantabria, mixing traditional architectural styles with the new, were a precursor tomodern architecture. Perhaps the most famous example of his work is the still-unfinishedSagrada Família basilica, the largest building in the Eixample.
Other notable Catalan architects of that period includeLluís Domènech i Montaner andJosep Puig i Cadafalch, although their approach to Modernisme was largely more linked toNeo-Gothic shapes.
The creation in 1928 of theGATCPAC group in Barcelona, followed by the foundation ofGATEPAC (1930) by architects mainly from Zaragoza, Madrid, San Sebastián and Bilbao, established two groups of young architects practicingModern architecture in Spain.Josep Lluis Sert,Fernando García Mercadal,Jose María de Aizpurúa andJoaquín Labayen among others were organised in three regional groups.[23]Other architects explored the Modern style with their personal views: Casto Fernández Shaw with his visionary work, most of it on paper,Josep Antoni Coderch, with his integration of the Mediterranean housing and the new style concepts orLuis Gutiérrez Soto, mostly influenced by theExpressionist tendencies.
At the1929 Barcelona International Exposition, theGerman pavilion designed byLudwig Mies van der Rohe became an instant icon, amalgamating Rohe'sminimalism and notions oftruth to materials with aDe Stijl influenced treatment of planes in space. The largeoverhanging roof famously 'hovers' apparently unsupported.
During and after theSpanish Civil War and World War II, Spain found herself both politically and economically isolated. The consequent effect of which, in tandem withFranco's preference for "a deadening, nationalistic sort of classical kitsch", was to largely suppress progressive modern architecture in Spain.[24] Nevertheless, some architects were able to reconcile advances in construction with official approval, notably in the prolific output of Gutiérrez Soto whose interest in topology and rational distribution of space effectively alternated historical revivals and rationalist imagery with ease. Luis Moya Blanco's achievements in the construction with brick vaults deserve also a mention. His interest in traditional brick construction led him to a deep investigation into the modern formal possibilities of that material.
In the last decades of the Franco's life, a new generation of architects rescued the legacy of the GATEPAC with strength:Alejandro de la Sota was the pioneer in that new way, and young architects asFrancisco Javier Sáenz de Oiza,Fernando Higueras andMiguel Fisac, often with modest budgets, investigated in prefabrication and collective housing typos.
The death of Franco and the return of democracy brought a new architectural optimism to Spain in the late 1970s and 1980s.Critical regionalism became the dominant school of thought for serious architecture.[25] The influx of money from EU funding, tourism and a flowering economy strengthened and stabilised Spain's economic base, providing fertile conditions for Spanish architecture. A new generation of architects emerged, amongst whom wereEnric Miralles,Carme Pinós, and the architect/engineerSantiago Calatrava. The 1992Barcelona Olympics and theWorld's Fair in Seville, further bolstered Spain's reputation on the international stage, to the extent that many architects from countries suffering from recessions, moved to Spain to assist in the boom. In recognition of Barcelona's patronage of architecture, theRoyal Institute of British Architects awarded theRoyal Gold Medal to Barcelona in 1999, the first time in its history the award was made to a city.[26]
Bilbao attracted theSolomon R. Guggenheim Foundation to construct a newart museum, which opened in 1997. Designed byFrank Gehry in adeconstructivist manner, theGuggenheim Museum Bilbao became world-famous and single-handedly raised the profile of Bilbao on the world stage. Such was the success of the museum that the construction of iconic architecture in towns aspiring to raise their international profile has become a recognised town planning strategy known as the "Bilbao effect".[27]
In 2003, thePrince of Asturias,Felipe de Borbón opened in the city ofSanta Cruz de Tenerife (Canary Islands), the modern building of theAuditorio de Tenerife, designed by Santiago Calatrava between 1997-2003. For this event was attended by various correspondents and newspapers around the world.[28]
In 2006, the exhibition "On-Site: New architecture in Spain" was held in theMoMA. It defined Spain as a country that has lately become known as an international center for design innovation and excellence,[29] as shown in the fact that sevenPritzker awarded architects were selected for the exhibition. As Terence Riley, then in charge of the Architectural Department of the MoMA, said: "There is not a 'Spanish' architectural style. But there is an increasing level of quality and beauty within the new projects, probably more than in any other part of the world".The curator also stated that in Spain there is a lot of construction while there is even more in China. "However, while in China you can find hardly any interesting proposal, there are a lot in Spain. Their variety and open-minded lines are surprising."[citation needed]
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In 2006, Terminal 4 ofBarajas Airport byRichard Rogers andAntonio Lamela won the BritishStirling Prize. In Barcelona, theTorre Glòries by French architectJean Nouvel combines different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a façade of glass, with its window openings cut out of the structural concrete. TheMarqués de Riscal Hotel inElciego, designed byFrank Gehry using methods previously employed in the Guggenheim Museum Bilbao, is completed. Between 2006 and 2009, four skyscrapers were built in Madrid, of which the tallest is 250 meters. This business park is calledCuatro Torres Business Area, and theTorre de Cristal, which is the tallest in all of Spain, is designed byCésar Pelli. From 2008, Spain experienced thelate-2000s recession in a particularly severe way and especially in construction, which suffered a sharp drop. Many of the public and private architectural developments were cancelled or indefinitely delayed.[30]
In 2011 theOscar Niemeyer International Cultural Centre was inaugurated inAvilés,Asturias. This is the only work of the Brazilian architectOscar Niemeyer in Spain. It has five elements: an open square, a dome, a tower, an auditorium and a multi-purpose building.
Due to the climatic and topographic differences throughout Spain, thevernacular architecture shows a plentiful variety.Limestone,slate,granite, clay (cooked or not),wood, andgrass are used in the different regions. Structure and distribution differ depending on regional customs. Some constructions are houses (likealqueria,casa montañesa,caserío,cortijo,palloza,pazo, as well as the pictured ones:
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