Spain early 20th century architecture in Gothic. Architectural heritage of Spain. Gothic period in Spanish architecture

Thanks to its long history and the influence of various movements, Spanish architecture is represented by a variety of architectural forms and styles. Gothic, Renaissance, Baroque - modern Spain is full of unique creations by world-famous masters. The various cities reflect the periods of development of Spain: from ancient times through graceful medieval Gothic to Plateresque and modern movements. The architecture of Spain annually attracts millions of tourists who come to see the distinctive sites included in the UNESCO World Heritage List.

Characteristic features of Spanish architecture

The architectural heritage of Spain includes buildings not only on its territory, but also the creations of Spanish architects around the world. Spanish architecture begins its history with the early settlements of the peoples of the Mediterranean and is significantly ahead in the pace of development of the ancient cultures of the Iberians and Cantabres. Ancient Roman architecture, which flourished in Spain at the beginning of our era, had a particular influence.

The appearance of Muslims in these lands in the 8th century led to the dominance of religious construction over secularism. At the same time, independent architectural movements began to develop on the territory of Christian lands, which laid the foundation for Gothic and Romanticism.

To this day, the influence of the Mudejar style, which is a mixture of European and Arab architecture, remains noticeable. The architecture of Madrid and Barcelona most clearly represents the styles existing in Spain - from the most ancient to the modern.

The decision to use glass and concrete materials in decorative architecture was revolutionary for the culture of construction in these territories. Eclecticism and modernism are clearly expressed in the works of Antonio Gaudi, who determined the style of development of Barcelona for many decades. The architect built the most famous houses in Barcelona.

In terms of the number of historically valuable buildings, Spain is in second place after Italy.

Modern architecture in Spain differs from world cultures in its technology and boldness of solutions. The most famous architects of Barcelona, ​​such as Luis Montaner (Casa Lleo Morera, Palace of Catalan Music), Enrique Mirayes (Santa Catarina Market) enriched not only the national architectural fund, but also worked in other countries.

Ancient Roman style

Beginning in the 2nd century AD, Roman rule in Spanish territories led to rapid progress in construction. Small settlements have become big cities, a network of roads was built between them. Some architectural monuments of that time are not inferior in value and quality of construction to the best Roman monuments.

The Roman building traditions are strongest in Tarragona. This port city was the capital of the Catalan territorial unit. The features of Roman architecture are clearly visible here: splendor, symmetry, practicality. Many arches, domed ceilings and colonnades emphasize the durability and complexity of construction.

The ancient Roman period was characterized by such complex engineering structures as the Merida aqueduct, the Corduba, Merida, and Alcantara bridges.

Some monuments of Roman architecture are still functioning today - for example, the lighthouse Tower of Hercules. Entertainment ancient Roman complexes are represented by amphitheatres, theaters and circuses on the streets of Merida, Cordoba, Toledo, Italica. The masters of the Roman era are unknown, but their work had an influence on Spain equal to that of the Muslims.

Mudejar style

The name of this style comes from the Arabic word mudaǧǧan, which means “domesticated”. It is typical for Spain of the 10th-12th centuries; it appeared after the Visigoth raids and the multiple destruction of Roman architectural monuments. This is a synthetic style created from Arab and European architectural traditions.

Mudejar is characterized by secondary artistic features, which negatively affects the originality and quality of buildings.

The characteristic features of the style are considered to be Moorish architectural elements: horseshoe-shaped arches, carved wooden ceilings made of inlaid blocks, gypsum slabs and colorful tiles. Construction was carried out from natural, inexpensive materials; the finished buildings were distinguished by their simplicity and functionality. Mudejar is typical for both residential buildings and office premises.

The most characteristic buildings in this style are the citadel and the House of Pilate in Seville, and the Church of El Transito in Toledo. Mudejar is most clearly represented in Sahagun, Toledo and Granada. The names of the masters who worked in the Mudejar style are unknown today.

Romanesque architecture

Romanesque architecture was built simultaneously in Italy, Spain and the Pyrenees around the 13th century. The Romanesque style is characterized by primitivism: thick walls, arched galleries as a decorative element of architecture, a complete absence of sculptures and stained glass windows.

Romanesque architecture developed along with Arabic and French styles. The influence of these two cultures is especially noticeable in the facade of the Church of Santa Domingo in the province of Soria.

Other representatives of Spanish Romanesque can be considered the Soria monastery of San Juan, the Basilica of Isidoro in Leon, the cathedrals of Salamanca, Zamora, and Placencia. In total, there are more than 600 churches built during this period in Spain.

The formation of the Romanesque style was significantly contributed by the monastic congregation of Cluny, which became the founder of the Way of Jacob, consisting of monasteries built during that period to serve pilgrims going to the relics of St. James.

Gothic style

The origin occurred during the heyday of Romanesque culture (around the 14th century). This period is characterized by an active struggle against Arab culture and no less active development of the Spanish language, architecture, and fine arts.

The Arabic influence can be seen in the walls covered with voluminous decorative ornaments, heavy facades and pointed bell towers like a minaret. The patio in Spanish houses becomes the central element of the project; the entire structure is built around it.

The best groups of monuments of Gothic art are considered Castilian and Catalan. They include the famous cathedrals in Toledo, Burgos and Girona, the Barcelona church of Santa Maria del Mar, and the Silk Trade Exchange in Valencia. The architecture of Valencia and its development were determined by the Gothic style for a long period after the first buildings.

The Royal Chapel in the city of Granada is one of the most visited Gothic attractions in Spain.

Famous architects of this time: Guillaume Beaufil, Ventura Rodriguez, Juan de Cologna, Enrique Egas.

Renaissance in Spain

Borrowing certain Gothic forms, the Renaissance began to emerge as an artistic style in the late 15th century. Then several architectural styles emerged, one of which was Plateresque, and the other was Renaissance. The Renaissance differed from Plateresque in the severity of its decorative elements and the restraint of its layout.

The symmetry of the compositions and classical arched forms alienated the Renaissance from the sophisticated and aggressive Gothic.

The most memorable representatives of the Spanish Renaissance are considered to be the Charles Palace in Granada by master Pedro Machuca, a Catalan artist and architect. The Escorial Monastery and Jaen Cathedral are also widely known. Both monuments belong to the hand of Spanish masters - Juan de Herrera and Andres Vandelvira, respectively.

Diego de Siloe is another famous Renaissance architect who designed the façade of the Royal University of Salamanca.

Baroque style

The restraint and symmetry of the Renaissance were supplanted by the frivolous and decorative Italian Baroque. Translated from Italian, baroque means “excess, whimsicality.”

The Reformation had a great influence on the formation of this trend. catholic church and the emergence of the teachings of Copernicus. At the beginning of the 18th century, the first elements of the Baroque era appear on the façade of the Cathedral in Granada.

Decorative forms, elements of small stucco molding, arched windows, a small garden at a residential building - all this gives the Baroque style the artistry characteristic of Spanish culture.

The Cathedral in Valencia is one of the best examples of the grandeur of the Baroque style, a mixture of real and fictional images.

Another defining structure is the Cathedral of St. James in the city of Santiago de Compostella.

Simultaneously with the growing pretentiousness of architecture, landscape gardening art is developing in the style of geometricism: park areas are divided into even blocks. The best Baroque architects include Gomez de Mora (Madrid's Plaza Mayor), Carlo Fontana (Salamanca Cathedral), Francesco Hurtado (Paular Monastery in Granada).

Colonial architecture

The Spanish colonial style in architecture was formed mainly in the territories of the Spanish colonies in Latin America. It prevailed from the end of the 17th to the middle of the 18th century, and was replaced by Plateresque style at the beginning of the 19th century. Distinctive features of the colonial orientation are a mixture of baroque pretentiousness with the reliability and squatness of buildings.

A characteristic feature of the colonial style is the use of stucco material, which was used for baroque stucco molding and plastering of houses. Stucco is a durable artistic material, artificial marble, consisting of gypsum, glue and marble chips. Sometimes alabaster, stone powder and chalk were added to the mixture.

Over time, the colonial style received a subtype - exaggerated baroque called “churrigueresco”.

The colonial style first appeared in the construction of a temple in Cusco.

The Church of St. Francis in Lima, Peru, is complemented by provincial buildings that can also be seen in La Paz and Potosi. The best architect of this style is Lorenzo Rodriguez, who built the unique Metropolitan Cathedral (Mexico City).

Plateresque style

The style got its name from the Spanish word platero - jeweler. Plateresco is an eclectic style that combines the features of Mudejar, Gothic, and Italian Baroque, which is an artistic accumulation of decorative elements with floral and fantastic motifs.

Characteristic features are facades with multi-tiered turrets, divided into three vertical parts, as well as columns in the neoclassical style.

Plateresque can be recognized by the many medallions and heraldic symbols on the facades of buildings.

The most striking buildings of the Plateresque style are the University of Salamanca with its complex stucco moldings, the Seville Cathedral, the Infantado Palace in Guadalajara, and the University of Alcala de Henares.

Diego de Riollo and Juan de Guas are recognized as the best masters who worked in the Plateresque style. They defined the mature stage of development of Plateresque and made it one of the most memorable Spanish architectural styles.

Development of modern architecture

This period dates back to the 80s of the last century. The flow of European investment into the country's economy and the growing number of tourists prevented an architectural crisis. Modern architecture in Spain has the following characteristic features: the use of glass and concrete materials, geometric shapes, conciseness and functionality of design.

Among the objects of modern architecture, you should pay attention to the Auditorio Cursaal in Donostia, the Auditorio Tenerife, located in the Canaries, and the Guggenheim Museum in Bilbao.

Between 2006 and 2010 inclusive, a complex of four skyscrapers was built in Spain, mentioned in almost every modern guidebook: Torre Cepsa, PwC, Espacio and Cristal.

These business centers contain restaurants and entertainment centers, but the area is not rented out for living. Santiago Calatrava, Zaha Hadid, and Frank Gehry earned fame as great architects of our time.

Conclusion

The architecture of Spain is a mixture of different styles that appeared on its territory as a result of the seizure of land by representatives of different nations. Each subsequent style determined a direction in architecture, harmoniously developing from the previous style.

Before you go to Spain for sightseeing, learn more about the features of Spanish architecture. This is the only way you can fully appreciate the level of development of architecture in this beautiful country.

Spain. About the country, history, architecture, tourism: Video

The architecture of Spain was influenced by various historical events and the development of the cultural life of the population.

The architecture of Spain is distinguished by three main styles: Moorish, Romanesque and Gothic, the features of which we will introduce you to.

Moorish architecture of Spain of the 8th-11th centuries

The architecture of Spain in the Moorish style represents truly fabulous structures that create a feeling of airiness and unreality of what is happening.

In construction, the Moors used domed, arched, columnar forms and ornaments from the Arabic alphabet, since depicting people and animals is prohibited by the Koran.

The Moors are children of the desert, therefore, they treated water with special reverence. As a result, Moorish architecture in Spain is replete with courtyards with fountains and ponds. These elements emphasize the sophistication and luxurious beauty of palaces, fortresses and mosques.

Buildings in the style of Moorish architecture in Spain

• Mezquita Mosque in Cordoba;
• Generalife in Granada;
• Harilda Minaret in Seville;
• Mezquita Mosque in Cordoba;

Romanesque architecture of Spain of the 11th-13th centuries

During the period XI-XIII centuries. One of the most significant historical events in Spain takes place - the Reconquista. These are Christian crusades against the Moors in order to regain their territories. At this time, the influence of the church increases, and the spread of religious dogmas occurs most intensively. And constant armed clashes prompted construction impregnable fortresses. Thus, a new style arose in the architecture of Spain - romance.

The Romanesque style of architecture in Spain is characterized by a harsh, and at the same time, picturesque appearance. The structures were erected from large stones, the walls were decorated not with beautiful, ornate stucco, but with battlements in order to protect the fortress in case of attack. The large number of towers created emphasizes the anxious mood of the time.

Buildings in the Romanesque style of architecture in Spain

• Cathedral of Saint James in Santiago de Compostela;
• the fortress of Avila in Castile;
• Alcazar fortress in Segovia;

Gothic architecture of Spain XIII-XVI centuries

At the turn of the 13th century, a new direction in Spanish architecture began to develop in the construction of religious buildings - Gothic. This direction was created by the Catholic monastic order of the Cistercians, who preach an ascetic lifestyle aimed at the spiritual development of man, without using the benefits of civilization.

The architecture of Spain in the Gothic style is characterized by the shape of the ribs of the vault and the use of pointed arches. One of the features of Gothic style is a large number of chapels and sacristies surrounding cathedrals, therefore, buildings in the Gothic style, as a rule, grew in width, losing the feeling of high flight and monumentality.

In the Gothic architecture of Spain, a smooth surface of the walls was created, against which the decoration was made in the form of vague ornaments. This feature becomes fundamental in all subsequent architecture of Spain.

Buildings in the Gothic style of architecture in Spain of the 13th-16th centuries

• Monastery of San Juan de los Reyes in Toledo;
• Monastery of San Tome in Avila;
• Church of Santa Maria del Mar in Barcelona;
• Cathedral in Burgos;
• Cathedral in Leon.

Many buildings in the country have mixed styles, since the construction of cathedrals lasted for several centuries. Therefore, the architecture of Spain is the historical embodiment of the will of rulers and the desires of ordinary people.

Modern architecture of Barcelona: purpose and difference

The modern architecture of Barcelona successfully combines with ancient buildings, without introducing any disharmony into the appearance of the cultural capital of Spain.

Despite the fact that the outstanding architect of most buildings in Barcelona is the great and unique Antonio Gaudi, modern developers have been able to introduce a lot of new and interesting things into the development of architecture. We would like to introduce you to the most famous buildings of modern architecture in Barcelona.

Agbar Tower

The features of modern architecture in Barcelona are reflected most clearly in this building, which is why the Agbar Tower was recognized as a symbol of the 21st century. At night, the structure illuminates the entire city thanks to LED technology, although it was built by architect Jean Nouvel using conventional building materials: cement, steel rods and glass.

You can only enter the Agbar Tower from the first floor hall, but it’s worth it! Small windows let in thin lines of light, creating the feeling of being in a Gothic church with colored stained glass windows.

Frank Gehry's fish

Incomprehensible forms, the brilliant appearance of the building and the shock experienced by tourists after viewing his creations - all this is the modern architecture of Barcelona in the person of Frank Gehry. The structure in the form of a shimmering fish swimming underwater is in the nature of a sculpture and has no functional use.

But the Spaniards like to surprise others, and therefore Gehry’s construction takes place. The fact is that upon closer examination of the building, it immediately becomes clear that the fish sparkling from afar, which seemed golden, is in fact absolutely transparent and empty inside!

And, as they say in Barcelona, ​​this is just the beginning! Therefore, you can expect even more original and unique structures of modern architecture in Barcelona, ​​where not only Spanish, but also European famous architects work with pleasure.

Experimental architecture of Madrid

The architecture of Madrid is represented not only by ancient buildings of various styles and eras, but also by modern buildings in residential areas, which many will be interested in visiting.

The working-class neighborhood of Valle Cas and the expat neighborhood of Carabanchel are made up of original buildings with incredibly cheerful and positive colors.

The architecture of Madrid here is represented by social real estate, which creates only a positive mood among the poor people living here.

Bin Laden's house

This building is an example of the unique architecture of Madrid, which has no analogues yet. The residential building, with an unusual open space in the middle, aims to break the stereotype of building social housing for low-income families.

Thus, a residential building, 21 floors high, received an observation deck for free use. In addition, the house is divided into 9 zones, which differ in color and texture of the materials used. Because of the open space, the residents of the house named it after the leader of the terrorist group Al-Qaeda.

Unique project

The management of the famous football club Real Madrid is developing the project “Resort Island of Real Madrid”. The island in the form of the club's emblem will be located near the United United Arab Emirates. Villas, a five-star hotel, an amusement park and a museum of Real Madrid and the world's first stadium, one side open to the sea, will be built here. According to the project, the island will begin functioning in 2015.

VENTURA Rodriguez (Rodriguez Ventura, 1717-1785). Spanish architect, one of the founders and first professors of the Academy of St. Ferdinand. He worked mainly in the field of church architecture.

He began his career as an assistant to E. Marchand on the construction of the palace in Aranjuez (1731), and later, under the leadership of F. Juvarra and G. Sacchetti, he designed the Royal Palace of Madrid (1735). In the project of the cathedral in Zaragoza, the restraint characteristic of Ventura’s work is compensated by the grandiose dimensions and unusual appearance of the building with ten domes and two towers crowning the entire structure.

His first major work was the Church of San Marco in Madrid (1747-1753). Since the 1760s, its architecture has acquired increasingly academic features.

Until the death of Ferdinand VII (1759) he was a court architect. Then he lost his patronage at court. From 1768 he supervised the construction of the cathedral in Valladolid. In 1783 he began his largest work recent years creative activity - the façade of the cathedral in Pomplona. The ideals of grandeur, simplicity and rigor replaced the complex and relaxed play of architectural forms.

The buildings: Church of San Marco, Madrid (1749-1753); Cathedral of Nuestra Señora del Pilar, Zaragoza (1750, designed by J. Herrera); anatomical theater of the Royal College of Medicine, Barcelona (1761); facade of the cathedral, Pamplona (1783); Church of Encarnacion, Madrid (1755, restoration); Church of San Isidro, Madrid (now the cathedral, façade); portal of the Parish of the Cathedral of St. John of Compostela; church of the Augustinian monastery, Valladolid (1760); choir of the cathedral, Segovia; Church of the Benedictine monastery of Santo Domingo de Silos (near Burgos); Church of Santa Victoria, Cordoba; cathedral tower; Liria Palace in Plaza España, Madrid (1773); Apollo's fountain English park(1780); Artimoc fountain in Retiro Park, Madrid; restoration of the Alcazar, Toledo.

VILLANUEVA Juan de (Villanueva Juan de, 1739-1811). Spanish architect, representative of classicism.

Born in Madrid. He studied at the Madrid Academy, later graduated from the Academy of St. Luke in Rome (1759-1765). Since 1786 - chief architect of Madrid. In 1789-1808 - chief royal court architect. The most famous building is the Prado Natural History Museum in Madrid (1785-1787).

The buildings: cathedral sacristy, Burgo de Osma (1770-83); colonnade of Ayuntamento, Madrid (1780); reconstruction and restoration of individual parts of the Escorial (1771); Church of Caballero de Gracia (1789-1795); residence of the Marquis de Llano, Madrid (1775); neo-Greek temple in the Royal Park, Aranjuez; small villas – Casita del Principe and Casita Arriba in royal park Escorial (1772-1777); Casita del Principe in El Pardo (1784); Casita Abajo (1773); Academy of History, Madrid (1788-1811, completed 1847); Observatory, Madrid (1790, finished 1847 - Colomer); Plaza Mayor, Madrid (1791, restoration).

GAUDI-I-CORNET Antonio (Gaudi at Cornet Antonio, 1852-1926). The largest representative of Spanish modernism, whose work represents one of the most controversial phenomena in European architecture at the turn of the century.

Born in Reus (Barcelona) into a family of hereditary masons. He graduated from the Higher Technical School of Architecture (1878), while working as a draftsman and studying crafts in the workshop of E. Punti.

His work is divided into two periods - early buildings and buildings in the National Art Nouveau style (after the 1900s). From 1870 to 1882 he worked under the supervision of the architect Emilio Sala and Francisco Villar, performing many small works (fences, lanterns, etc.) and participating in competitions without success. The early period of his work was marked by the influence of the Spanish architect J. Martorel.

The first major work is the House of Vicens (1878-1888), whose plastic design uses figures of the Mudejar style, Moorish and oriental (in paintings) motifs. However, the Vicens house is not a building in the Mudejar style, but rather resembles it; in 1925, after alterations, the house received an award as the best building of the year. A number of researchers attribute Gaudí's early richly decorated buildings to early modernism.

Gaudí's entire creative life was influenced by his meeting with E. Güell (1883), his future friend and patron. For him, Gaudí created the Guell estate (1884-1887) - with gates and a gatekeeper's house, stables, arena, fencing and observation decks. It was a free interpretation of the Mudejar style with bizarre volumes of uninhibited plastic decorations. The Count de Güell also ordered his next work - the Güell Palace (1886-1888), which became a landmark of Barcelona. The building, although small in size, is very rich in detail; it opens a short series of Gaudi buildings, which are sometimes classified as neo-Gothic. Here the architect first used concrete parabolic arches. Narrow windows and the powerful outline of the paired entrance arches create the impression of a symbolic relationship with the Renaissance palazzo. Big hall The palace, around which the rooms are grouped, is surrounded by galleries. Gaudi used 127 columns of various types in the palace, and also designed the furniture. Currently, the palace houses a museum of performing arts.

A number of Gaudí's buildings are transitional in nature. This is the Episcopal Palace in Astorga (1887-1893), Collegio Teresiano (1888-1890), Botines House in Leon (1891-1894). The Palace of Astorga is the most neo-Gothic of all Gaudí's buildings.

The master's handwriting, distinguished by its originality, is noticeable in two small works - the design of the building of the Franciscan missions in Tangier (1892-1893) and the Güell warehouses in Garaffa (1895-1900); here Gaudi completely freed himself from any tradition. The mission building, made with amazing imagination, also bears features of African architecture (the project was not realized). The second apartment building - the Calvet House (1898-1900) - was noted as the best building of 1900. The decorative design of the house with two different facades develops a pseudo-baroque theme. For the Calvet house, Gaudi developed the entire decorative system (patterns of floors, ceilings, furniture, wallpaper).

In 1898-1915, Gaudí designed a church and crypt for the Güell Santa Coloma estate (the church was not realized). Here, for the first time, the architect’s favorite motif – inclined columns without entasis – was used.

In 1903, Gaudí completed the creation of a one-of-a-kind park at the Güell Palace, which was later acquired by the municipality of Barcelona. This park is laid out on the site where Güell planned to locate a “garden city” type village - Gaudí’s unrealized plan. What remained of the idea was a road, a number of buildings (the so-called Doric temple, intended for the market, a contractor’s house). The three-kilometer route provides unexpected vantage points, unifying the entire composition. The complicated spatial planning solution differs sharply from the regular gardens common at that time. Colored majolica and untreated stone are widely used in the design. The entrance is marked by two pavilions with fancy-shaped decor. The “Doric Temple” with 86 columns at the level of the upper terrace is surrounded by an “endless” bench lined with ceramics. Road structures have been transformed into a world of stone sculpture. The park presents almost all possible combinations of organic stone supports with living greenery, right up to petrified forest. Nature and construction here are organically linked into a single whole.

One of Gaudí's most popular buildings is the Batlot House (1904-1906). The theme of the house in its decorative solution - at first glance, the fruit of a whimsical fantasy - has its source of purely literary origin. It is subordinated to the development of the plot about St. George slaying the dragon. The use of materials characteristic of Art Nouveau is represented by a combination of textured surfaces, ceramics and metal.

Gaudí's last completed work was the Casa Mila (1906-1910), one of the famous Art Nouveau buildings, which received the name "La Pedrera" (quarry), due to the strangeness of this structure. This is a six-story apartment building located on a corner plot with two courtyards and six light wells. The building plan has a complex curvilinear outline. New design solutions were used in the Mila house. There are no internal load-bearing walls here; all interfloor ceilings are supported by columns and external walls, in which balconies play a constructive role. This is one of the first attempts to create a new planning solution, later known as the “free plan”.

The “architectural walk” along the roof of the Mila House is not inferior in the abundance of impressions to Park Güell. Expressive in nature, the sculptural details are faced with majolica. In general, the decorative design of the house reflects the theme of natural motifs (caves, sea, underwater world), characteristic of the Art Nouveau architectural style.

Interior of Casa Vicens. Arch. Antonio Gaudi

In 1914, Gaudí abandoned all architectural practice except for his main building, the Sagrada Familia (Holy Family) in Barcelona. The cathedral was founded in 1882. The construction was led by Gaudi from 1883 until his death; the model of the cathedral was completed by him by 1916. The remaining unfinished construction was completed using an abundance of new structural elements. Points of view on the Sagrada Familia are different; some researchers find in it features of primitivism and naive symbolism characteristic of Catalonia. This is a completely original interpretation of a medieval cathedral with an impressionistic perception of late Gothic. The building, which has gone down in the history of architecture, is located on the transitional line between eclecticism and modernism.

Gaudi himself monitored the implementation of his ideas, spending a lot of time on the construction site; it often required a lot of rework, ruinous for the contractors. Only such work made it possible to create all his works, which constituted national pride. In 1925, he generally moved to the construction site of the Sagrada Familia. Gaudi was completely absorbed in the construction of the cathedral. On June 7, 1926, near a construction site, he was hit by a tram and died three days later.

His work, which became widely known after the anniversary exhibition in 1952, had a decisive influence on the architecture of the 20th century, predetermining many architectural discoveries of the new century and the work of such masters as Le Corbusier, O. Frei (the direction of architectural bionics), P. Soleri, Yu. Dahinden et al.

The buildings: Vicens House, Barcelona (1878-1888); Villa El Capriccio (1883-1885); Manor Guell, Barcelona (1884-1887); Palace Güell (1886-1888); Episcopal Palace, Astorga (1887-1893); Collegia Teresiano, Barcelona (1888-1890); house Botines, Leon (1891-1894); mission building, Tangier (project, 1892-1893); house of Fernandez and Anders, Leon (1891-1894); warehouses Guell, Garrafa (1895-1900); Sagrada Familia, Barcelona (1882 – not finished); tenement house Calvet, Barcelona (1898-1900); crypt of the church of Santa Coloma, near Barcelona (1898-1915); Belseguard estate (1900-1916); House of Batlot, Barcelona (1905-1907); Casa Mila, Barcelona (1905-1910); Park Güell, Barcelona (1900-1914).

Guas Huan (d. 1496). Spanish architect, one of the most prominent masters of Plateresque and Isabellaine - the earliest version of the ornamental style that came to Spain after the Reconquista.

Born in Brittany, from where he went to Flanders. The first mention of him dates back to 1543, when he moved to Spain. Here he worked as an assistant to the architect Jan van der Eijen in Toledo.

Only a few works can be reliably attributed to his work - the Infantado Palace in Guadalajara (1480-1483) - an early example of a large urban estate, which became the prototype for similar buildings in Spain. Designed the Church of St. Juan in Toledo (1476). By the end of his life he became the main builder of the cathedrals in Segovia and Toledo. He also owns the late Gothic façade of the Church of San Gregorio in Valladolid (1487-1496).

The buildings: Church of St. Juana, Toledo (1476); Palace of the Infantado, Guadalajara (1480-1483); facade of the church of San Gregorio, Valladolid (1487-1496).

DE SANCTIS Francesco (Sanstis Francesco de, 1693-1740).

The most significant work is the Spanish Steps in Rome (1723-1725, together with Siecchi) - an example of the architectural use of relief and the combination of a whole group of urban planning elements in a single ensemble. It is a kind of amphitheater square, the steps of which are used as benches. By connecting the area marked by the obelisk in front of the church of Santa Trinita del Monti and Piazza di Spagna, the staircase connected the two thoroughfares (via Sietina and via Babuino) and formed a new axis crossing them, marked by the stairs and via Condotti.

CANDELA Felix (Candela Felix, 1910-1997). Outstanding Spanish architect and engineer.

Born in Madrid. Graduated from the Higher School of Architecture and the Academy of Fine Arts of San Fernando in Madrid. By the end of his studies, he was lucky enough to observe the construction of two of E. Torrojo's most famous buildings - the grandstand of the La Zarzuela racecourse (1935), a bold design of a cantilevered canopy over the grandstands from a series of segmented reinforced concrete shells, and the cantilevered canopy structure of the Fronta Recoletos, which was just beginning to be built. The latter's double drum vault, covering an area of ​​60 by 30 meters, and other works by Torrojo may have aroused Candela's interest in the armored vault, a construction method which combines creative and refined calculation and is unparalleled.

After participating in the Spanish Civil War on the Republican side, Candela arrived in Mexico in the summer of 1939. After 12 years, he and his brother Antonio began working as architects and builders.

The construction of the Radiation Laboratory of the University of Mexico City, which required a thin fence capable of transmitting rays, is striking in its grace and boldness.

A particular advantage of spatially curved parabolic and hyperbolic shell vaults (compared to a sphere or other types of ceilings) is that the required ceiling can be made from straight forms. Candela's structures are more economical than other rigid roofs, he builds his architectural forms on the use of monolithic reinforced concrete shells, and all his efforts are aimed "at the development of structural forms corresponding to the new material." His ceilings increased in each successive project, and he became bolder in the development of the armored vault. Candela defends the right of the architect to an intuitive interpretation of any construction task and demands from him an instinctive understanding of the distribution of forces. As an architect and designer, Candela became famous for his Cathedral of Santa Maria Miraculosa in Mexico City (1954-1955), built together with Enrico de la Mora. Later, non-industrial buildings were built: several churches and pavilions in Mexico City and Cuernavaca, restaurants in Los Manantiales in Xochimilco and the Olympic Stadium in Mexico City (1968).

From 1953 to 1970 Candela was a professor at National University in Mexico City, and from 1971 to 1978 at the University of Chicago, where he also worked as an architect.

CANO Alonso (Cano Alonso, 1601-1667). Spanish painter, sculptor, architect, draftsman.

Born in Granada. Initially he studied with his father, an altar designer. In 1614 he moved to Seville, where he studied painting with Francisco Pacheco and sculpture under the direction of Juan Martinez Montanez. In 1638 he moved to Madrid, where he received orders for the royal palace and became a drawing teacher for Crown Prince Baltasar Carlos. In 1644 he was forced to flee to Valencia, and from there to Granada, where he was ordained a priest. He made sketches of massive silver altar chandeliers, pulpits (1652-1656) and altars, as well as picture frames and illustrations for the book “Spanish Parnassus” by Quevedo Villegues (Madrid, 1648). He worked in the traditional genres of religious sculpture of his time, turning mainly to painted wood, and created majestic monumental and more intimate statues. The author of many drawings, he gave preference to architectural motifs (Madrid, National Library; London, British Museum; Paris, Louvre). Shortly before his death, Cano created one of the most unusual and daring monuments of Spanish architecture of the 17th century - the main facade of the Cathedral in Granada (Cano's project was carried out in 1703 by J. Granados).

COVARRUBIAS Alonso de (Covarrubias Alonso de, 1488-1570). Spanish architect and sculptor, representative of the early Renaissance.

His work is characterized by the use of Gothic motifs. First mentioned as a consultant on the construction of the cathedral in Salamanca (1512). Architect of the Toledo Cathedral and royal castles (1537).

The buildings: Church of Piedad, Guadalajara (1526); Chapel of the New Kings in the Cathedral, Toledo (1531-1534); staircase in the episcopal palace, Alcala (1530).

MACHUCA Pedro (Machuca Pedro, 1485-1550). Spanish painter and architect. Representative of the Renaissance.

Accurate biographical information is not available. What is known is that he worked or studied in Rome for some time (possibly with Michelangelo).

The most famous building is the Palace of Charles V in the Alhambra (beginning 1526, near Granada), a square building in plan, inside of which there is a round courtyard with a diameter of about 30 meters - the main compositional core of the entire structure. The facades are divided into two tiers by pilasters. The stonework is emphasized by rustication.

The volumetric-spatial design, the division of the facade, the development of details and the nature of the sculptural decorations are combined into a single artistic organism. It is distinguished by its widespread use of the order as an integral compositional system and understanding of its tectonic meaning, which is characteristic of the mature Renaissance style.

The buildings: Palace of Charles V, Alhambra (1526).

MONEO VALLES Jose Rafael (Moneo Valles Jose Rafael, b. 1937). Spanish architect.

Born in Spain. Graduated from the Technical School in Madrid (1961). From 1980 to 1984 he was professor of composition at the Technical School of Madrid. In 1985-1990 - Dean of the Faculty of Architecture at Harvard University. Since 1990 he returned to private practice in Madrid.

The buildings: Museum of Roman Art, Merida (1980-1985); office building, Seville (1982-87); Bank of Spain, Gine (1983-1988).

MORA Juan Gomez de (Mora Juan Gomez de, ca. 1580-1648). Spanish architect.

Born in Madrid. Nephew of the architect Francisco de Mora, son of a court painter.

At the age of 24 he was appointed chief architect of the Alcazar and architect of Philip III. Among his most outstanding works are the Plaza Mayor, the Madrid courthouse, and the Casa de la Villa. He created the altarpiece of the Basilica of Guadalupe in Caceres. Most of his buildings are in Madrid.

The buildings: Plaza Mayor (1617-1619); City Council (until 1644); courthouse; Monastery of San Gil; Church of Our Lady of Loreto; reconstruction of the choir of the Descalzas Reales monastery; rebuilding of the English College, now St. Ignatius of Loyola.

RIBERA Pedro de (Ribera Pedro de, ca. 1683 – 1742). Spanish architect and sculptor. Representative of the late Baroque and Spanish Rococo.

Student of the Churriguera family. From 1719 he worked in the city council of Madrid. From 1726 he was the chief architect of the city.

All buildings, with the exception of the tower of the Cathedral in Salamanca (1733-1768) and the chapel of the Church of St. Antonia in Avila (1731), are located in Madrid. The master's most famous work is the portal of the Madrid almshouse of St. Fernando (1722). In the center of the calm, monotonous facade of the almshouse, a two-tiered portal of exceptional complexity and splendor stands out. Its entire surface is filled with floral patterns, enriched with heraldic emblems and figures of children. In the second tier there is a semicircular niche with a sculptural group. This technique – a combination of the ascetic simplicity of the facade with a lush portal – is fundamental in the architect’s work.

Church of San José in Madrid. Arch. Pedro de Ribera

The buildings: Convent of Nuestra Señora del Puerte (1718); Church of Our Lady of the Benedictine Order of Montserrat (1720); private palaces Miraflores, Perales, Torecia; bridge over the Manzares River; Church of St. Cayetano (1722-1732); Chapel of St. Hospital Fernando (1722); portal of the Madrid almshouse of St. Fernando (1722); Chapel Nuestra Señora de la Parteria of the Church of St. Antonia, Avila (1731); tower of the cathedral, Salamanca (1733-1768).

SACCHETTI Giovanni Battista (Sacchetti Giovanni Battista, 1700-1764). Italian architect, worked in Spain.

Born in Turin. Student of F. Juvarra. Followed him to Spain. Based on his design, he completed the park façade of the La Granja Palace in San Ildefonso (1738). After Yuvarra's death he finished his work.

The buildings: monument on the tomb of the Princess of Carignano (1722); monument to the Queen (1728) and the King of Savoy (1732); Church of San Filippo, Turin; Palazzo Granja, San Ildefonso (1736); Palazzo Paesana, Turin (beginning 1736); Royal Palace, Madrid (1738-1764, designed by Juvarra); plans for the construction of Las Salesas Reales (1750); fountains at Rosa de la Villa, Madrid (1753-1754).

SILOE Diego de (Siloe Diego de, ca. 1495 - 1563). Spanish architect and sculptor. A representative of the Spanish Renaissance, who played a major role in the spread of classicism in Spain.

Born in Burgos. Apparently, the son and student of the sculptor Gil de Siloe. Until 1519 he worked in Italy, where he was influenced by Michelangelo and the Florentine school.

He began his activity in Naples with the church of San Giovanni a Carbonara (1515). In 1519 he returned to Burgos, where he received a very prestigious order for the cathedral - the tombstone of Bishop Luis de Acuña.

In April 1528 he was summoned to Granada, where his career suddenly changed direction. If until this moment he worked mainly as a sculptor, then in Granada he is engaged exclusively in architecture. This was partly due to the fact that the main construction activity of that era was concentrated in Granada at that time. The largest architects of their time worked here and a lot of construction was carried out. The most significant work is the Cathedral in Granada. The council was started by E. de Egas. Siloe led the construction in 1529 and radically revised the plan of Aegas. In 1528-1532 a wooden model of the cathedral was made. But the architect’s project was so different from the traditional ones that he had to go to the king’s court in Toledo to obtain special permission to build the cathedral in the forms he had in mind. As a result, his project was approved. The originality of the building lies in the plan, which skillfully combines a rotunda with two wings. The architect managed to introduce the centricity characteristic of the Renaissance into the traditional Gothic scheme. The architect died in Granada.

The buildings: Church of San Giovanni a Carbonara, Naples (1515); "Golden Staircase" of the Cathedral, Burgos (1519-1526); tower of Santa Maria del Campo, near Burgos (1527); College of Fonseca, Salamanca (1529-1534); Cathedral, Granada (1529); Church of San Salvador, Úbeda (1536); cathedral, Guadix (1549, rebuilding); Church of Santa Anna, Burgos (1537); mansion Casa de Castril, Granada (1539); Church of San Gabriel, Loja near Seville (1552-1568); main sacristy of the cathedral, Seville; plans for the cathedral, Almerna (1524); plans of the cathedral, Malaga.

TOLEDO Juan Bautista de (Toledo Juan Bautista de, ca. 1500-1567). Spanish architect, sculptor and mathematician of the Renaissance.

Born in Spain. At an early age he went to Rome, where he became a student of Michelangelo and participated in the construction of St. Petra. Until 1559 - architect of the Spanish Viceroy in Naples. In this capacity, he participated in the construction of Via Toleda (now Via Roma) - the central street of the city. In 1559, at the invitation of King Philip II, he returned to his homeland and was appointed court architect and builder of the El Escorial palace-monastery (1562).

The buildings: Church of San Giacomo degli Spagnoli, Naples (1540); the main building of the royal palace, Aranjuez (1561); Monastery of Descalzas Reales, Madrid; the Escorial project (in 1563 he began construction of the ensemble, but did not have time to finish); Monastery of San Lorenzo.

TOME Narciso (Tome Narciso, died 1742). Spanish architect, sculptor and artist, representative of the Baroque.

The first mention dates back to 1715, when the architect worked on the sculptural design of the facade of the university in Valladolid (coats of arms, flower garlands and figured pinnacles).

The most famous work is the chapel El Transparente (Transparent) of the Cathedral in Toledo (1721-1732). To illuminate the retablo, an opening was made in the arches of the circular gallery of the cathedral, which seems to be an accidental collapse of the dome, opening a view into the heavenly space depicted by means of painting. The composition uses a transition from real space to illusory space with the help of volumetric figures in the foreground.

TORROJA Miret Eduardo (Torroja Miret Eduardo, 1899-1961). Spanish architect and engineer.

A civil engineer by training, he studied in Madrid. One of the pioneers of the use of prestressed concrete in Spain. Founded and directed the Technical Institute of Construction and Concrete in Costillares.

The most famous and typical example of his work is the Zarzuela Hippodrome (1933, near Madrid) - concrete structures topped with spectacular corrugated covers with wide consoles; it is a perfect combination of the functional, structural and aesthetic merits of the project, the perfection of the engineering properties of which was demonstrated during the civil war, when none of the structures were damaged by bombing.

Toroja's late work is the vault of the Tahir Club in Caracas (Venezuela, 1957), which has been compared to a receding sail, full of enchanting grace.

The buildings: Church of Xeraglio; Church of Sant'Espirit; Church of Pont de Suert (1952); railway bridge over Esla (1940) - arch span width 632 feet; numerous bridges, viaducts, hangars; shopping pavilion (1933).

HURTADO IZQUIERDO Francisco (Hurtado Izquierdo Francisco, 1669-1725). Spanish architect, representative of the Baroque.

Studied in Cordoba. As an army captain, he may have visited Sicily. From 1697 he was the chief architect of the Cathedral in Cordoba. From 1705 - the cathedral in Granada, where he completed the Santa Teresa Chapel.

From 1712 - state royal representative in Priego. He founded a large workshop of architects, decorators and artists here. This position gave Hurtado the opportunity to choose work as he saw fit.

Hurtado's work is distinguished by an abundance of polychrome effects achieved by combining multi-colored marble and other materials. Being an architect of the early period of the Spanish Baroque, he foresaw many later trends. The two most famous works were created by order of the Carthusian order: the sacristy (1703-1720, Granada), the walls are decorated with marble, mime, porphyry; the sacristy of Nuesta Señora del Pilar (1719, Rescafria) is decorated with gray and coral marble and lapis lazuli.

The buildings: chapel-tomb of the Counts of Buenavista, Malaga (1693); series of houses on the street Bagno, Cordoba, (1700); hospital for the poor, Cordoba (1701-1703); parish church, Belaskasar, first floor of the bell tower (1703); sacristy, Granada (1703-1720).

FIGUEROA Leonardo de (Figueroa Leonardo de, ca. 1650-1730). Spanish architect, creator of the Baroque style.

Lived and worked in Seville, where all his works are located.

The first known work is a hospital in Seville (1687-1697). Its ornamentation is rather modest compared to Figueroa's later works. However, already in his next work - the church of St. Paul (1691-1697), rebuilt from an earlier building, its language is fully formed: intensive use of polychrome and ceramics.

The pinnacle of the ornamental style was the monastery of San Telmo (1724-1734) in Seville. The most significant work is the building of the Institute of Navigation Corporation (project of the main portal), which uses the technique of brightly highlighting the main decorative spot against the background of the facade plane. The portal is a 3-tier structure. The upper tier rises above the line of the main cornice and is crowned with a complex pediment in silhouette. The composition of the portal tiers uses paired columns. The Baroque appearance is emphasized by filling the smooth surface with ornaments typical of the Spanish tradition.

The buildings: Palace of San Telmo (1682-1796); hospice de Venerables, Sacerdotes (1687-1697); Church of Santa Magdalena (1692-1724); Church of San Salvador (1671-1712); Church of the Hospital of Saint Louis (1709-1730).

Gil de Hontanion Rodrigo, 1500-1577. Spanish architect. The last of the major Spanish Gothic architects, who participated in the construction of all the last Gothic cathedrals in Spain, and at the same time one of the most original Spanish bearers of the Italian Renaissance.

The most famous work is the facade of the College of San Ildefonso University in Alcalá de Henares (1537-1553).

In the Guzmanes Palace in Leon, the architect first used a balcony - a feature that has become characteristic of Spanish architecture.

The buildings: Church of Santiago, Medina de Rioseco (1533); Palace of the Dukes of Monterrey, Salamanca (1539, jointly with Martin of Santiago); Bernardine Convent, Salamanca (1552); Church of St. Magdalene, Valladolid (1566-1572); Palace Guzmanes, Leon (1559-1566).

Gil de Hontanion Juan (1480-1531). Spanish architect. Representative of late Gothic.

From 1512 - head of the construction of the cathedral in Salamanca. In 1524 he designed and began to supervise the construction of the cathedral in Segovia.

The buildings: chapel of the church of San Antolin, Valladolid (1503-1521); chapel of the Church of Santa Clara, Burgos (1503-1523); churches of San Cristobale, Almorox, Toledo (1509-1519); cathedral, Salamanca (1512-1526); Cathedral, Seville (1513-1517); Cathedral, Segovia (1524-1526).

Churriguera (Churriguera de, XVII-XVIII centuries). A family of Spanish sculptors and architects.

Representatives of the Spanish Baroque, creators of the Churriguerism style.

The Spanish Baroque style of the 17th-18th centuries created by this family is distinguished by figured ornamentation, abundant sculptural decoration, individual elements of which are inspired by the original art of the peoples of Central and South America. In the work of the founders of this style, there is always respect for the clarity of constructive and compositional techniques of the Herrera school, and all creative courage is manifested mainly in details and ornamentation.

Churriguera Jose Benito (Churriguera Jose Benito de, 1665-1725). An architect and sculptor whose name personifies an entire movement in the art of Castile.

In 1689 - winner of the competition to design a hearse for Queen Marie Louise of Orleans. At the beginning of his career he settled in Madrid, where he worked as a retablo carver, and from 1692 in Salamanca together with the brothers Joaquin and Alberto.

The most significant work of the architect is the ensemble of the city of Nuevo Bastan near Madrid (1709-1713, near Alcala de Henares), which combines a glass factory, residential buildings and the main square with the palace of Juan de Goyeneche located on it. The town was based on a regular master plan.

Palace Nuevo Bastán. Arch. Jose Benito Churriguera

The buildings: palace, Madrid (after 1689, now the Academy of Fine Arts Nuevo Palace Bastán San Fernando); Convent of San Tomas, Madrid (1724, completion of the facade pediment, three portals of the lower tier have not survived); Cathedral of San Gaetano, Madrid (facade). He performed a large number of decorative works: retablo of the Dominican Church of Saint-Esteban, Salamanca (1693-1696); retablo of the church in Leganzo; Retablo of the Church of San Tomas, Madrid.

Churriguera Joaquin de, 1674-1724), brother Jose Benito, worked on the construction of the cathedral in Salamanca. His best works are the courtyard of the College of Anaya and the College of the Order of Calatrava, Salamanca (1717). However, he was able to prove himself as an architect only after the death of his two older brothers. The first major work was the Plaza Mayor (Main Square) in Salamanca (1729).

The buildings: hotel of the College of San Bartolome (shared with brothers); Plaza Mayor (Main Square), Salamanca (1729); Church of the Assumption, Rueda (1738-1747, portal and façade); College of San Ambrosino, Salamanca (1720); Church of San Sebastian, Salamanca (1731); Church of Carmen de Abajo, Salamanca; Chapel of San Ten Cathedral, Burgos; Church of Orgaz, near Toledo (1744).

EGAS de, a family of Spanish architects.

EGAS Enrique (Egas Enrique, d. 1534). Spanish architect, belonged to a Spanish family of architects and sculptors. Representative of late Gothic and Plateresque style.

Student of H. Guas. Since 1498 - chief architect of Toledo. He was a consultant on the construction of cathedrals in Zaragoza (1500) and Seville (1512-1534). The most significant work is the chapel of the royal hospital in Santiago de Compostela (1501-1517), built in the late Gothic style with Plateresque features.

The buildings: Cathedral, Toledo (1508); Chapel Major, reconstruction (1500-1504, jointly with P. Gugliel); hospital, Santiago (1501-1511); Monastery of San Juan de los Reyes (1504); Holy Cross Hospital, Toledo (1504-1515); royal chapel, Granada (1506-1507); royal hospital, Granada (1506-1507); Cathedral, Granada (1521-1528).

HERRERA Juan Bautista (Herrera Juan Bautista de, ca. 1530-1597). Spanish architect, representative of the late Renaissance. He created the “herreresco” (“desornamentado”) style, characteristic of Spanish architecture of the era of Philip II, characterized by ascetic severity and severity of architectural forms, devoid of decor, and laconic artistic language.

Born in Mobellan, province of Santander. He completed his studies at the University of Valladolid in the spring of 1548. In October of that year he joined the retinue of Prince Philip (later Philip II) on a trip to Italy, Germany and the Netherlands. He spent the next 5 years from 1553 in Italy. Followed Charles V into exile in a monastery; after the death of the emperor (1558) he entered the service of Philip II.

In 1563, Philip II appointed Herrera as assistant to the architect Juan Bautista de Toledo on the construction of the Escorial (1561–1584), which the monarch planned as "a palace for God and a small house for me."

In 1572, after the death of the teacher, he headed the construction of the palace. El Escorial is a complex formed by a monastery, a church, a royal mausoleum and a palace. The construction site was chosen in the foothills of Guadarrama in the small town of El Escorial.

Applied new system ceilings - cylindrical vaults on semicircular girth arches and a spherical dome (in the temple). From 1579 he was the king's architect.

The buildings: Alcazar Castle, Toledo. (1571-1585, jointly with J. Gilly); Exchange "Casa Lonja", Seville (1583-1598); design of the cathedral, Valladolid (1585); royal palace, Aranjuez near Madrid (1571).

Thanks to its rich history, many interesting architectural monuments from different eras have been preserved. The architectural heritage of Spain is represented by magnificent monuments that attract many tourists to the country. The mixture of cultures and styles allowed for the formation of interesting combinations of elements, and the collision of East and West led to the formation of its own style, unique to Spain.

Primitive Spain

To see traces of primitive Spain, we recommend visiting:

• Altamira caves Cantabria;
• caves near Ribadesella in Asturias;
• caves in Nerja;
• dolmens in Antekere;
• Megaliths of the Guanche tribe Canary Islands.

Roman Spain

Roman aqueduct in Segovia

Monuments of the Roman era can be seen in most cities in Spain; almost every museum houses Roman statues and tombstones. The most interesting traces of Roman rule:

• aqueduct in Segovia;
• theater in Merida;
• arches, aqueduct and amphitheater in ;
• Roman cemetery in Carmone;
• excavations of the city of Italica under.

Visigothic Spain

Visigothic Church of S. Pedro de la Nave. Zamora

The few surviving traces of Visigothic culture can be seen:

• in the Museum of Visigothic Art in Merida;
• in the Visigothic church of Baños de Serrato under .

Arab Spain

Granada

Monuments from the Moorish era are characteristically scattered throughout many cities in southern and eastern Spain; the most famous monuments of Arab architecture are concentrated in. The most interesting among them are:

• Alhambra and Generalife gardens;
• Arab fortresses () in Malaga, , ;
• excavations of the city around .

Romanesque Spain

Romanesque frescoes in the Basilica of San Isidro, Leon

To get acquainted with Romanesque architecture, you should visit:

• Segovia(more than 15 Romanesque churches);
• Leon(Basilica of San Isidro, whose frescoes are considered the best in Romanesque art in Spain);
• Avila(about 10 Romanesque churches);
• Santiago de Compostela(Palace of Helmyres);
• Monastery of Santo Domingo de Silos Burgos.

Gothic Spain

Gothic Cathedral in Barcelona

The Gothic style was born in, and therefore many Spanish buildings were built according to French models. By decree of Ferdinand of Castile, the two main Gothic cathedrals of Spain were built - in Burgos (construction began in 1221) and in (started in 1227); a little later, in the 1250s, the construction of the Leon Cathedral began. The best Gothic cathedrals in Spain can be seen in the following cities:

• Leone;
• Burgos;
• Pamplona;
• Palma.

Spain during the Renaissance

Cathedral and Plaza de Santa María in Baeza (Spain) Published: October 20, 2014

Architecture of Spain

Spanish architecture refers to architecture created anywhere in the region that is now Spain, and by Spanish architects throughout the world. The term includes buildings within the current geographical boundaries of Spain that were located there before that name was given to these territories (whether they were called Iberia, Roman Hispania, Al-Andalus, or were formed from several Christian kingdoms). Due to its historical and geographical diversity, Spanish architecture has come under many influences. Iberian architecture began to take shape in parallel with other types of architecture around Mediterranean Sea and in Northern Europe.

Real development began with the arrival of the Romans, who left behind some of their most outstanding monuments to Roman Spain. The arrival of the Visigoths led to a sharp deterioration in the situation in the field of construction technology, which occurred in parallel in the rest of the former empire. The Moorish conquest in 711 AD brought about radical changes, and over the next eight centuries there were significant advances in culture, including architecture. For example, Cordoba was established as the cultural capital of its time under the Muslim Umayyad dynasty. At the same time, Christian kingdoms gradually emerged, creating their own styles, at first largely isolated from European architectural influences, but later they were integrated into the Romanesque and Gothic streams, reaching their highest level with numerous examples throughout the territory. The Mudejar style, which existed from the 12th to the 17th centuries, is characterized by a mixture of European and Arab cultural influences.

Towards the end of the 15th century and before the influence of Latin America with its colonial architecture, Spain itself experimented with Renaissance architecture created mainly by local architects. The Spanish Baroque style featured exuberant Churrigueresco decoration and the most austere Herrera style, both of which developed separately from later international influences. The colonial style, which has been around for centuries, still shows a strong influence in Latin America. Neoclassicism reached its peak in the work of Juan de Villanueva and his students.

There were two outward manifestations in the 19th century: engineering efforts to achieve a new language and make structural improvements using iron and glass as the main building materials, and an academic focus, primarily on revivalism and eclecticism, and later on regionalism. The arrival of modernism in the academic arena led to the emergence of figures such as Gaudí, and most of architecture of the 20th century. The international style was led by groups such as GATEPAC (Grupo de Artistas y Técnicos Españoles para el Progreso de l"Arquitectura Contemporánea). Spain is currently experiencing a revolution in modern architecture, and Spanish architects such as Rafael Moneo, Santiago Calatrava, Ricardo Bofill, as well as many others.

Because of their artistic significance, many architectural sites in Spain, and even parts of cities, have been declared UNESCO World Heritage Sites. Spain has the second largest number of World Heritage sites in the world; There are more of them only in Italy. They are listed on the List of World Heritage Sites in Europe: Spain

Background

Megalith architecture

Naveta d'Es Tudons, Menorca, photo: public domain

During the Stone Age, the most common megalith (a structure made from huge blocks of stone) on the Iberian Peninsula was the dolmen. The plan of these burial chambers was a pseudo-circle or trapezoid formed by huge stones standing on the ground, with others above them forming a roof. As the typology developed, the entrance corridor appeared, and gradually it gained prominence and became almost as large as the room. Roofed corridors and false domes were common at a very late stage. The Antequera complex contains the largest dolmens in Europe. The best preserved dolmen Cueva de Menga twenty-five meters deep and four meters high, it was built from thirty-two megaliths.

The best preserved examples of Bronze Age architecture are located in the Balearic Islands, where three types of designs arose: the T-shaped taula, the talayot ​​and the naveta. Talayots were defensive towers in the shape of a truncated cone and a truncated pyramid. They had a central pillar. Navetas were structures made of large stones, their shape was similar to the hull of a ship.

Iberian and Celtic architecture

Celtic settlements in Galicia: Castro de Baroña, photo: Locutus Borg,

The most characteristic designs of the Celts were fortifications (Castros) - walled villages, usually located on the tops of hills or mountains. They were built in the areas occupied by the Celts in the Duero Valley and Galicia. Examples of such settlements are Las Cogotas in Avila and Santa Tecla to Pontevedra.

The houses of these fortifications were approximately 3.5 to 5 meters in length, they were mostly round, some were rectangular, they were built from natural stone, the roof was thatched and supported by a wooden column in the center of the building. Their streets were quite regular, hinting at some form of central organization.

The cities built by the Arevac tribes (Arévacos) were associated with Iberian culture, and some of them achieved significant development, such as Numantia. Other settlements were more primitive and usually carved out of rock, such as Termantia.

Roman period

Urban planning

Roman theater in Merida, photo: Ikiwaner,

The Roman conquest of Hispania, which began in 218 BC, involved the almost complete Latinization of the Iberian Peninsula. The local population deeply absorbed Roman culture: Former military cantonments and Iberian, Phoenician and Greek settlements were transformed into large cities, where urbanization developed well in the provinces: Emerita Augusta in Lusitania, Corduba (Cordova), Italica, Hispalis (today Seville), Gades in Betica, Tarraco, Caesar Augusta, Asturica Augusta (Astorga), Legio Septima Hemina and Lucus Augusti in the Tarraconne Province were quite important cities, connected by a complex network of roads. The development of construction includes some monuments comparable in quality to those in the capital, Rome.

Constructions

Alcantara Bridge, era of Trajan, photo: Para, GNU Free Documentation License (FDL)

Civil engineering is represented in imposed structures, such as the Aqueduct of Segovia or Merida (Aqueduct de los Milagros), bridges, such as the Alcantara Bridge and the Merida Bridge over the Tagus River, or the Cordoba Bridge over the Guadalquivir River. Construction work was widely developed in Hispania under the Emperor Trajan (98-117 AD). Lighthouses were also built, such as the Tower of Hercules in A Coruña, which is still in use.

Play architecture is represented by buildings such as the theaters of Mérida, Sagunto or Tiermes, amphitheaters, for example in Mérida, Italica, Tarragona or Segobriga, and circuses were built in Mérida, Cordoba, Toledo, Sagunto and many other settlements.

Religious architecture also spread throughout the peninsula: examples are the temples in Cordoba, Vic, Merida (Diana and Mars) and Talavera la Vieja. The main funerary monuments are the Tower of the Scipios in Tarragona, the distil (portico with two columns) at Salamea de la Serena in Badajoz, and the mausoleums of the Atili family in Sadaba and the Fabara family in Ampurias, both in Zaragoza. Triumphal arches are found in Capara (tetrahedral), Bara and Medinachali.

Pre-Romanesque period in Spanish architecture

The term "pre-Romanesque" refers to Christian art after the classical period and before Roman art and architecture. It covers very diverse artistic manifestations that were created in different centuries and in different cultures. The territory of Spain boasts a rich variety of pre-Romanesque architecture: some of its branches, such as Asturian art, reached high level sophistication for its era and cultural context.

Visigothic architecture in Spain

Asturian art

Santa Maria del Naranco, photo: Rafaelj,

The Kingdom of Asturias came into existence in 718 when the Asturian tribes rallied and decided to appoint Pelayo as their leader. Pelayo united local tribes and Visigoth refugees under his command with the goal of gradually restoring the Gothic order.

Asturian pre-Romanesque art is a special feature of all of Spain, it combined elements of other styles, features of both Visigothic and local traditions, creating and developing its own identity and characteristics, achieving a significant level of sophistication not only in terms of construction, but also and from an aesthetic point of view.

Regarding its evolution, in terms of appearance, Asturian pre-Romanesque art followed "a stylistic sequence closely related to the political evolution of the kingdom, its stages were clearly defined." It is mainly represented by court architecture, in its development there are five periods: the first period (737-791) from the reign of King Fafila to Bermudo I. The second stage includes the reign of Alfonso II (791-842), entering the stage of stylistic definition . These first two periods were called Pre-Ramirense. The most important church is San Julián de los Prados in Oviedo, with interesting volumetry and a complex program of iconographic frescoes closely related to Roman wall painting. The characteristic grilles and triple window in the altar part of the temple first appeared at this stage. The Camara Santa in the Cathedral of Oviedo, San Pedro de Nora and Santa Maria de Bendones also belong to this period.

Interior of San Julian de los Prados, photo: Sitomon, public domain

The third period includes the reigns of Ramiro I (842-850) and Ordoño I (850-866). It is called Ramirsky and is considered highest point style, thanks to the work of an unknown architect who introduced new structural and decorative achievements, such as the barrel vault, and the consistent use of transverse arches and buttresses, which made this style quite close to the structural achievements of the Romanesque style, which arose two centuries later. Some authors point to an inexplicable Syrian influence, expressed in rich ornaments. Most of the masterpieces of the style were created during this period: Palace pavilions the Naranco mountains (Santa Maria del Naranco and San Miguel de Lillo) and the church of Santa Cristina de Lena were built during this period.

The fourth period falls on the reign of Alfonso III (866-910), where the Mozarabs (Christians who lived in the territories of the Iberian Peninsula under Muslim control) had a strong influence on the architecture of Asturias, and horseshoe arches also began to be used more widely. The fifth and final period coincided with the move of the court to Leon, the disappearance of the kingdom of Asturias, and at the same time, from Asturian pre-Romanesque art.

Architecture of the repopulation period

From the late 9th to the early 11th centuries, several churches were built in the northern Christian kingdoms. They are popularly, but incorrectly, known as Mozarabic architecture. This architecture is a collection of unevenly distributed elements of different origins, often predominant in form of early Christian, Visigothic or Asturian origin, while in other cases Muslim influence is emphasized.

Churches are usually basilicas or churches with an axial plan, sometimes with opposing apses. The main chapels were rectangular in plan on the outside and ultra-semicircular in the interior. Horseshoe arches of Muslim origin are used, they are somewhat more closed and inclined than the Visigothic ones, and alfiz (rectangular framing of the upper part of the arch) is also used. Double and triple windows of the Asturian tradition and grouped columns forming composite columns, with Corinthian capitals, decorated with stylized elements.

The decoration is similar to the Visigothic, mainly using scrolls, swastikas and plant and animal motifs, creating predictable boundaries and restraint of the external decoration. Some innovations have been proposed, such as large lobed corbels supporting very pronounced eaves overhangs.

One can observe a clear control over technology in construction, using crushed stone, walls reinforced with external supports and covered with sectional vaults, including traditional barrel vaults.

Architecture of Al-Andalus

Cordoba Caliphate

Maksura of the Great Mosque of Cordoba, photo: Mats Halldin,

The Moorish conquest of the former Hispania by the forces of Musa ibn Nusair and Tariq ibn Ziyad and the overthrow of the Umayyad dynasty in Damascus led to the creation of an independent emirate by Abd al-Rahman I, the only surviving prince, who fled the Abbasids and established his capital at Cordoba. It became the cultural capital of the West from 750 to 1009. The architecture created in Al-Andalus under the Umayyads was derived from the architecture of Damascus with the addition of aesthetic achievements of local influence: horseshoe arches, a hallmark of Spanish Arab architecture, were borrowed from the Visigoths. Architects, artists and craftsmen came from the East to build cities such as Madina az-zahra, the splendor of which could not be imagined by the European kingdoms of that era.

The most prominent Umayyad structure in Cordoba is the Great Mosque, which was built in successive stages by Abd al-Rahman I, Abd al-Rahman II, Al-Hakam II and Al-Mansur.

Taifa

Aljaferia in Zaragoza, photo: Ecelan,

The caliphate disappeared and was divided into several small kingdoms called taifa. Their political weakness was accompanied by cultural decline, and along with the rapid development of the Christian kingdoms, the Taifas clung to the authority of the structures and forms of the Cordovan style. The decline was felt in construction technologies and materials, but not in the abundance of decorations. The blades of the multi-lobed arches were multiplied and thinned, turned into lambrequins, and all the caliphic elements were overemphasized. Some magnificent examples of Taifa architecture have survived to this day, such as the Aljaferia Palace in Zaragoza, or the small mosque of Bab Mardum in Toledo, later transformed into one of the first examples of Mudejar architecture (the Church of Cristo de la Luz).

Almoravids and Almohads

The Almohad tower and the Renaissance bell section merge into one harmonious whole in the Bell Tower of La Giralda, Seville, photo: Makinal,

The Almoravids invaded Al-Andalus from North Africa in 1086 and unified the Taifas under their rule. They developed their own architecture, but very few examples of it survive, due to the next invasion, now the Almohads, who imposed Islamic ultra-Orthodoxy and destroyed almost every significant Almoravid building, including Madina al-Zahra and other structures of the caliphate. Their art was extremely austere and simple, and they used brick as their main building material. Literally, their only external decoration, the “sebka,” is based on a grid of diamonds. The Almohads also used palm-patterned jewelry, but this was nothing more than a simplification of the much more luxuriant Almoravid palms. As time went on, the art became a little more decorative. The most famous example of Almohad architecture is the Giralda, the former minaret of the Seville mosque. It is classified as Mudejar, but this style is absorbed here by Almohad aesthetics; the synagogue of Santa Maria la Blanca in Toledo is a rare example of architectural collaboration between the three cultures of medieval Spain.

Nasrid Architecture of the Kingdom of Granada

Alhambra: Court of the Lions, photo: Wzwz,

After the collapse of the Almohad Empire, the scattered Moorish kingdoms in the south of the peninsula were reorganized, and in 1237 the Nasrid rulers established their capital at Granada. The architecture they created was some of the richest created by Muslims in any period. She owed a lot cultural heritage former Moorish Al-Andalus styles, which the Nasrids were able to combine eclectically, and close contact with the northern Christian kingdoms. The Alhambra and Generalife palaces are the most outstanding buildings of this period. Structural and decorative elements were taken from Cordoban architecture (horseshoe arches), from the Almohads (sebka and palm decorations), but there were also elements created by them themselves, such as prismatic and cylindrical capitals and Mozarabic arches, in a motley combination of interior and exterior spaces , gardening and architecture that sought to please all the senses. Unlike Umayyad architecture, which was built on the use of expensive and imported materials, the Nasrids used only modest materials: clay, plaster and wood. However, the aesthetic result is full of complexity, it seems to intrigue the beholder: Multiple decorations, skillful use of light and shadow and the inclusion of water in the architecture are several key features of the style. On the walls of different rooms there are also inscriptions with allegorical poems about the beauty of spaces.

Mudejar style

Courtyard of the Dolls in the Alcazar of Seville, photo: Dubaduba,

The architecture of the Moors and indigenous Andalusians who remained in Christian territory but were not converted to Christianity is called "Mudejar style". It developed mainly from the 12th to the 16th centuries and was strongly influenced by Moorish taste and craftsmanship, but was created for the use of Christian owners. Thus, it is not an entirely pure style: Mudejar architects often combined their methods and artistic language with other styles depending on the historical moment. Thus, we can talk not only about the Mudejar style, but also about Romanesque Mudejar, Mudejar Gothic or Mudejar Revival.

The Mudejar style is a symbiosis of methods and ways of understanding architecture that arose from Jewish, Muslim and Christian cultures that lived side by side, it emerged as an architectural style in the 12th century. It is characterized by the use of brick as the main building material. Mudejar did not envision the creation of new structures (unlike Gothic or Romanesque styles), but reinterpreted the styles of Western cultures through Islamic influences. A dominant geometric character, distinctly Islamic, appeared prominently in minor crafts, using cheap, carefully crafted materials - tiles, brickwork, wood carving, plaster carving and decorative metals. Even after the Muslims ceased to exert their influence, much of their heritage remained an integral part of Spanish architecture.

Mudejar-style Sahagún Church, León, photo: Josemanuel,

It is generally accepted that the Mudejar style originated in the city of Sahagún. This style spread to the rest of the Kingdom of Leon, Toledo, Avila, Segovia and then to Andalusia, especially Seville and Granada. The rooms of the Mudejar Alcazar of Seville, although classified as Mudejar, are more closely related to the Nasrid Alhambra than other buildings of this style, as they were created by Pedro of Castile, who brought architects from Granada who had very little Christian influence. Mudejar art centers are also found in other cities, such as Toro, Cuellar, Arévalo and Madrigal de las Altas Torres. It was largely developed in Aragon, with 3 main areas: Zaragoza, Calatayud and Teruel during the 13th, 14th and 15th centuries. Was built in Teruel large group majestic churches and towers. Other fine examples of the Mudejar style can be found in Casa Pilatos (Seville), the Monastery of Santa Clara in Tordesillas or in the church in Toledo, one of the oldest and most prominent centers of the Mudejar style. In Toledo, the synagogues of Santa Maria la Blanca and El Transito (both Mudejar, although not Christian) deserve special mention.

Romanesque period in Spanish architecture

Interior view of the Cathedral of Santiago de Compostela, photo: Lmbuga,

The Romanesque style first appeared in Spain in the 10th and 11th centuries, before the influence of Cluny, in Lleida, Barcelona, ​​Tarragona and Huesca and the Pyrenees, contemporaneous with northern Italy, the style is called "First Romanesque" or "Lombard Romanesque". It is a very primitive style, characterized by thick walls, the absence of sculptures and the presence of rhythmic decorative arches, typified by the churches of Val de Boi.

Full Romanesque architecture appeared near Cluny on the Way of St. James, which ends at the Cathedral of Santiago de Compostela. The model of the Spanish Romanesque style in the 12th century was the Cathedral of Jaca, with its characteristic plan and apse and "checkerboard" striped decoration called taqueado Jaqués. As Christian kingdoms expanded southward, this model spread throughout the reconquered areas, with some variations. The Spanish Romanesque style also shows influence from Spanish Pre-Romanesque styles, mainly Asturian and Mozarabic. But a strong Moorish influence is also noticeable, especially in the vaults of the mosques of Cordoba and in the use of multi-lobed arches. In the 13th century, some churches alternated in style between Romanesque and Gothic. Aragon, Navarre and Castile and Leon are some of the areas with the best examples of Spanish Romanesque architecture.

Gothic period in Spanish architecture

Cathedral in Burgos, photo: FAR,

The Gothic style arrived in Spain as a result of European influence in the 12th century, when late Romanesque alternated with several manifestations of pure Gothic architecture, such as the Cathedral of Avila. High Gothic arrived in full force through the Way of St. James in the 13th century, with several of the most authentic Gothic cathedrals, with German and French influences: for example, in the cathedrals of Burgos, Leon and Toledo.

The most important Gothic styles after the 13th century in Spain are Levantino and Isabelline Gothics. Levantino Gothic is characterized by structural achievements and their integration of space, its masterpieces being La Seu (the Cathedral) in Palma de Mallorca, the Silk Exchange of Valencia (Lonja de Valencia) and Santa Maria del Mar (Barcelona).

Isabellino Gothic, created during the time of the Catholic Monarchs, was part of the transition to the Renaissance in architecture; it also expressed strong resistance to the style of the Italian Renaissance. The main examples of this style are the Monastery of San Juan de los Reyes in Toledo and the Royal Chapel of Granada.

Renaissance

Palace of Charles V in Granada, photo: Manuel González Olaechea,

Palace of the Conquest, Trujillo, photo: Bernard bill5,

In Spain, the Renaissance first emerged in addition to Gothic forms in the last decades of the 15th century. This style began to be spread mainly by local architects: which is the reason for the creation of the distinctive Spanish Renaissance, which brought with it the influence of the architecture of Southern Italy, sometimes from illuminated books and paintings, mixed with the Gothic tradition and local style features. The new style was called Plateresque because of the richly decorated facades, which were reminiscent of the decorative motifs of the work of silversmiths with the smallest details - "Plateros" (Spanish: plata, silver). Classical orders and candelabra motifs (candelieri) were freely combined into a symmetrical whole.

In this setting, Pedro Machuca's Palace of Charles V in Granada was an unexpected achievement in the most advanced Renaissance style of the time. The palace can be described as the threshold of Mannerism, thanks to the predominance of classical language and breakthrough aesthetic achievements. It was built before the major works of Michelangelo and Palladio. Its influence was very limited and misunderstood; Plateresque forms were introduced into the general panorama.

Over the decades, the Gothic influence disappeared and the study of Orthodox classicism reached a high level. Although Plateresque is a widely used term to define most architectural works of the late 15th and first half of the 16th centuries, some architects created a more sober style of their own, among them Diego Siloe and Rodrigo Gil de Hontañon.

Examples of this style are the facades of the University of Salamanca and the Monastery of San Marcos in León.

The highlight of the Spanish Renaissance is the Royal Monastery of El Escorial, designed by Juan Bautista de Toledo and Juan de Herrera, with a very close adherence to art Ancient Rome was overcome by the use of an extremely moderate style. The influence of the roofs of Flanders, the symbolism of a few decorations and the precise cutting of granite were the basis of a new style that influenced Spanish architecture for a century: Herrera architecture (Herreresco) Herrera's student Juan Bautista Villalpando influenced the interpretation of the recently restored text of Vitruvius to suggest the origins of the classical warrants in Solomon's Temple.

El Escorial, photo: Magnus Manske,

Baroque period in Spanish architecture

As Italian baroque influences permeated the Pyrenees, they gradually surpassed in popularity the restrained, classically imitative approach of Juan de Herrera, which had been in vogue since the late 16th century. As early as 1667, the facades of the Granada Cathedral (Alonso Cano) and the Jaén Cathedral (designed by Eufrasio Lopez de Rojas) marked the freedom of artists to interpret the traditional motifs of Spanish cathedral architecture in a baroque aesthetic idiom.

The national Baroque style, with its roots in the Herrera style and traditional brick construction, developed in Madrid throughout the 17th century. Examples are Plaza Mayor and the Baker's House (Casa de la Panaderia, Casa Mayor).

Modern facade of the Cathedral of Santiago de Compostela, photo: Lmbuga,

Unlike the art of northern Europe, Spanish art of this period appealed to the emotions rather than seeking to please the intellect. The Churriguero family, which specialized in the design of altars and altar shelves, rebelled against the sobriety of Herreresco classicism and promoted the development of a complex, exaggerated, almost strange style of surface decoration known as "Churrigueresco". Over the course of half a century, they turned Salamanca into a model city in the Churrigueresque style.

The evolution of this style consisted of three stages. Between 1680 and 1720, Churriguera popularized a mixture of Guarini Solomonic pillars and a composite order known as the "high order". Between 1720 and 1760, the churrigueresco or estipite column, shaped like an inverted cone or obelisk, became a central decorative element. From 1760 to 1780 there was a gradual shift in interest from the twisted direction and excessive ornamentation to neoclassical balance and sobriety.

Two of the most attractive creations of the Spanish Baroque are the energetic facades of the University of Valladolid (Diego Tomé, 1719) and the Refuge de San Fernando in Madrid (Pedro de Ribera, 1722), whose curvilinear extravagance seems to be a harbinger of Antoni Gaudí and the Art Nouveau style. In this case, as in many others, the design involves a play of tectonic and decorative elements with little regard for structure and function. However, the Baroque Churrigueresco style offered some of the most impressive combinations of space and light in buildings such as the Carthusian Monastery in Granada, which is considered the apotheosis of the Churrigueresco styles applied to interior spaces, or the Cappella Transparente of the Cathedral of Toledo, designed by Narciso Tomé, where sculpture and architecture combined to achieve noticeable dramatic lighting effects.

Royal Palace of Madrid, photo: Kadellar,

The Royal Palace in Madrid and the design work of the Paseo del Prado (Salon del Prado and Alcala Gate) in the same city deserve special mention. They were built by the Bourbon kings Philip V and Charles III in the international moderate Baroque style, which is often mistaken for the neoclassical style. The Royal Palaces of La Granja de San Ildefonso in Segovia and Aranjuez in Madrid are good examples of Baroque integration of architecture and landscaping with a noticeable French influence (La Granja is known as the Spanish Versailles) but with indigenous spatial concepts that in some respects reflect the heritage of the Moorish occupation.

The Rococo style was first demonstrated in Spain in the Cathedral of Murcia, west facade, 1733. The greatest representative of the Spanish Rococo style was the local master Ventura Rodriguez, who created the dazzling interior of the Basilica of Our Lady of Pilar in Zaragoza (1750).

Translation of the English Wikipedia article.

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