View source for Spanish architecture

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{{More citations needed|date=April 2022}}[[File:Madrid Palacio Real 079.jpg|right|thumb|300px|[[Royal Palace of Madrid]]]]
[[File:9. Mai 1929, an diesem Tag wurde die Iberoamerikanische Ausstellung in Sevilla eröffnet. 02.jpg|thumb|300px|[[Plaza de España, Seville]]]]
'''Spanish architecture''' refers to [[architecture]] in any area of what is now [[Spain]], and by [[:Category:Spanish architects|Spanish architects]] worldwide, influencing mainly areas of what was once part of the [[Spanish 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 called [[Iberian Peninsula|Iberia]], [[Hispania]], or was divided between several [[Christian]] and [[Taifa|Muslim]] kingdoms. Spanish architecture demonstrates great historical and geographical diversity, depending on the historical period.<ref>{{cite web|url=http://goeurope.about.com/library/graphics/numantia_3.jpg|title=A picture of a Celtiberian .about.com/library/graphics/numantia_3.jpg}}</ref> It developed along similar lines as other architectural styles around the Mediterranean and from Central and Northern Europe, although some Spanish constructions are unique.

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

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

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

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

==Prehistory==
===Megalithic architecture===
[[File:Tudons01.jpg|thumb|220px|right|[[Naveta d'Es Tudons]], in [[Menorca]]]]
In the [[Stone Age]], the most common megalith found in the Iberian Peninsula was the [[dolmen]]. The plans of these funerary chambers used to be [[pseudocircle]]s or [[trapezoid]]s, formed by huge stones stuck on the ground, and others over them, forming the roof. As the [[typology (urban planning and architecture)|typology]] evolved, an entrance corridor appeared, and gradually took prominence and became almost as wide as the chamber. Roofed corridors and false [[dome]]s were common in the most advanced stage. The complex of [[Antequera]] contains the largest dolmens in Europe. The best preserved, the [[Cueva de Menga]], is twenty-five metres deep and four metres high, and was built with thirty-two [[megalith]]s.

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

===Iberian and Celtic architecture===
{{main|Castros (Spain)|Iberians}}
[[File:Castro de Viladonga vue aérienne de la colline.jpg|thumb|250px|left|Celtic settlements in [[Galicia (Spain)|Galicia]]: Castro de Viladonga]]

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

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

==Roman==
===Urban development===
[[File:Ancient Roman theatre in Mérida 2023.jpg|thumb|280px|right|[[Roman Theatre (Mérida)|Roman theater]] in [[Mérida, Spain|Mérida]]]]
The [[Roman conquest of the Iberian Peninsula|Roman conquest]], started in 218 BC, promoted the almost complete [[Romanization (cultural)|romanization]] of the Iberian Peninsula. [[Culture of ancient Rome|Roman culture]] was fully assimilated by the local population. Former military camps and Iberian, Phoenician and Greek settlements were transformed into large cities where urbanization highly developed in the provinces; [[Augusta Emerita]] in the [[Lusitania]], [[Córdoba (Spanish province)|Corduba]], [[Italica]], [[Hispalis]], [[Cádiz|Gades]] in the [[Hispania Baetica]], [[Tarraco]], [[Zaragoza|Caesar Augusta]], [[Asturica Augusta]], [[León, Spain|Legio Septima Gemina]] and [[Lugo|Lucus Augusti]] in the [[Hispania Tarraconensis]] were some of the most important cities, linked by a complex network of roads. The construction development includes some monuments of comparable quality to those of the capital, Rome.<ref>Chueca Goitia, Fernando. ''De Grecia al Islam.'' Seminarios y Ediciones, 1974. {{ISBN|84-299-0054-3}} Pages 172-174, 179 DOSSAT, 2000, {{ISBN|84-95312-32-8}}</ref>

===Constructions===
[[File:Acueducto de Segovia (4).JPG|thumb|left|[[Aqueduct of Segovia]], of Domitian, Nerva and Trajan epoque]]
Roman [[civil engineering]] is represented in imposing constructions such as the [[Aqueduct of Segovia]] and the [[Acueducto de los Milagros]] in [[Mérida (Spain)|Mérida]], in bridges like the [[Alcántara Bridge]], [[Puente Romano, Mérida|Puente Romano]] over [[Guadiana]] River, and the [[Roman bridge of Córdoba]] over the [[Guadalquivir]]. Civil works were widely developed in Hispania under Emperor [[Trajan]] (98-117 AD). [[Ancient Roman lighthouses|Lighthouses]] like the one still in use [[Hercules Tower]] in [[A Coruña]], were also built.

[[File:Amphithéâtre de Tarragona.jpg|thumb|[[Tarragona Amphitheatre]] and the Mediterranean Sea]]
Ludic architecture is represented by such buildings as the theatres of [[Roman Theatre of Mérida|Mérida]], [[Sagunto Roman theatre|Sagunto]], [[Roman Theatre (Cádiz)|Cádiz]], [[Roman theatre, Cartagena|Cartagena]], and [[Roman theatre of Tarraco|Tarraco]], amphitheaters in [[Amphitheater of Mérida|Mérida]], [[Roman amphitheatre of Italica|Italica]], [[Tarragona Amphitheatre|Tarraco]] or [[Archaeological Park of Segóbriga|Segóbriga]], and circuses in [[Roman circus of Mérida|Mérida]], [[Roman circus of Toledo|Toledo]], and many others.

Religious architecture also spread throughout the Peninsula; examples include the Roman temples of [[Temple of Augustus, Barcelona|Barcelona]], [[Roman temple of Córdoba|Córdoba]], [[Roman temple of Vic|Vic]], and [[Roman temple of Alcántara|Alcántara]],

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

==Pre-Romanesque==
{{Main|Iberian pre-Romanesque art and architecture}}

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

===Visigothic architecture===
{{Main|Visigothic art and architecture}}
From the [[:es:Siglo VI|6th century]], it is worth mentioning the remains of the [https://es.wikipedia.org/w/index.php?title=Cabeza_de_Griego&action=edit&redlink=1 Cabeza de Griego] basilica, in [[:es:Cuenca (España)|Cuenca]] and the small church of [[:es:San Cugat del Vallés|San Cugat del Vallés]], in [[:es:Provincia de Barcelona|Barcelona]]. This one, although very deteriorated, clearly shows a single nave plan that ends in an [[:es:Ábside|apse]]. From the following century are those of San Pedro de la Nave, San Juan de Baños, Santa María de Quintanilla de las Viñas, whose layout will later be repeated in other later [[:es:Templo|temples]] belonging to the "[[:es:Arte de repoblación|repopulation style]]" (misnamed "[[:es:Arte mozárabe|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:

[[:es:Iglesia de San Pedro de la Nave|Church of San Pedro de la Nave]] in [[:es:San Pedro de la Nave-Almendra|San Pedro de la Nave-Almendra]] ([[:es:Provincia de Zamora|Zamora]])

[[:es:Iglesia de Santa Comba (Bande)|Church of Santa Comba de Bande]] ([[:es:Provincia de Orense|Orense]])

[[:es:Iglesia de San Juan (Baños de Cerrato)|Church of San Juan Bautista de Baños de Cerrato]] ([[:es:Provincia de Palencia|Palencia]])

[[:es:Cripta de San Antolín (Palencia)|Crypt of San Antolín in the cathedral of Palencia]] ([[:es:Provincia de Palencia|Palencia]])

[[:es:Iglesia de San Pedro de la Mata|Church of San Pedro de la Mata de Sonseca]] ([[:es:Provincia de Toledo|Toledo]])

[[:es:Ermita de Santa María (Quintanilla de las Viñas)|Chapel of Santa María de Quintanilla de las Viñas]] ([[:es:Provincia de Burgos|Burgos]])

===Asturian architecture===
{{Main|Asturian architecture}}
[[File:Oviedo St Juliàn Prados nef.jpg|thumb|upright|Interior of [[San Julián de los Prados]]]]
The [[kingdom of Asturias]] arose in 718, when the Astur tribes, rallied in assembly, decided to appoint [[Pelagius of Asturias|Pelayo]] as their leader. Pelayo joined the local tribes and the refuged Visigoths under his command, with the intention of progressively restoring Gothic Order.

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

[[File:Santa María del Naranco, Oviedo edited.jpg|thumb|250px|upright|left|[[Santa María del Naranco]]]]
As regards its evolution, from its appearance, Asturian Pre-Romanesque followed a "stylistic sequence closely associated with the kingdom's political evolution, its stages clearly outlined". It was mainly a [[court]] architecture, and five stages are distinguished: a first period (737–791) from the reign of the king [[Favila of Asturias|Fáfila]] to [[Bermudo I of Asturias|Vermudo I]], a second stage comprises the reign of [[Alfonso II of Asturias|Alfonso II]] (791–842), entering a stage of stylistic definition. These two first stages receive the name of 'Pre-Ramirense'. The most important example is the church [[San Julián de los Prados]] in [[Oviedo]], with an interesting volume system and a complex iconographic fresco program, related narrowly to the Roman mural paintings. Lattices and trifoliate windows in the apse appear for the first time at this stage. The Holy Chamber of the [[Cathedral of Oviedo]], San Pedro de Nora and [[Church of Santa María de Bendones|Santa María de Bendones]] also belong to it.

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

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

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

===Repopulation architecture===
{{Main|Repoblación art and architecture}}
[[File:Iglesia de San Pedro, Lárrede, Huesca, España, 2015-01-07, DD 07.JPG|thumb|left|The Church of San Pedro in [[Lárrede]]]]
Between the end of the 9th century and the beginning of the 11th century, a number of churches were built in the Northern Christian kingdoms. They are widely but incorrectly known as [[Mozarabic art and architecture|Mozarabic architecture]]. This architecture is a summary of elements of diverse extraction irregularly distributed, of a form that in occasions predominate those of paleo-Christian, Visigothic or Asturian origin, while at other times emphasizes the Muslim impression.

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

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

==Al-Andalus==
{{further|Moorish architecture}}
===Emirate and Caliphate of Córdoba===
[[File:Córdoba (5157827355).jpg|thumb|right|Hypostyle hall with Moorish columns in the [[Mosque-Cathedral of Córdoba]]]]
The [[Umayyad conquest of Hispania|Muslim conquest]] of the former [[Visigothic Kingdom]] by the troops of [[Musa ibn Nusair]] and [[Tariq ibn Ziyad]], and the overthrowing of the [[Umayyad dynasty]] in [[Damascus]], eventually led to the creation of an [[Emirate of Córdoba|independent emirate]] by [[Abd ar-Rahman I]], the only surviving Umayyad prince who escaped from [[Abbasids]], and established his capital city in [[Córdoba, Spain|Córdoba]]. It served as the capital of [[Al-Andalus]] from 750 to 1010, with its political and cultural apogee taking place during the new [[Caliphate of Córdoba|Caliphate period]] in the 10th century.<ref>{{Cite book |last=Kennedy |first=Hugh |title=Muslim Spain and Portugal: A Political History of al-Andalus |publisher=Routledge |year=1996 |isbn=9781317870418 |location= |pages=}}</ref><ref name=":0">{{Cite book |last=Catlos |first=Brian A. |url=https://books.google.com/books?id=xKBfDwAAQBAJ&dq=kingdoms+of+faith&pg=PP1 |title=Kingdoms of Faith: A New History of Islamic Spain |publisher=Basic Books |year=2018 |isbn=9780465055876 |location=New York}}</ref>

In Cordoba, Abd ar-Rahman I built the [[Mosque–Cathedral of Córdoba|Great Mosque]] in 785. It was expanded multiple times up until the 10th century, and after the ''Reconquista'' it was converted into a Catholic cathedral. Its key features include a [[hypostyle]] hall with marble columns supporting [[two-tiered arch]]es, a [[Horseshoe arch|horseshoe-arch]] [[mihrab]], ribbed domes, a courtyard (''[[sahn]]'') with gardens, and a [[minaret]] (later converted into a [[bell tower]]).<ref name=":10">{{Cite book |last=Bloom |first=Jonathan M. |url=https://books.google.com/books?id=IRHbDwAAQBAJ&dq=Architecture+of+the+Islamic+West%3A+North+Africa+and+the+Iberian+Peninsula%2C+700-1800&pg=PP1 |title=Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700-1800 |publisher=Yale University Press |year=2020 |isbn=9780300218701 |location= |pages=}}</ref>{{Rp|pages=17–21, 61–79}}<ref name=":52">{{Cite book |last=Ruggles |first=D. Fairchild |url=https://books.google.com/books?id=848k_veh0IkC&q=generalife&pg=PA155 |title=Islamic Gardens and Landscapes |publisher=University of Pennsylvania Press |year=2011 |isbn=9780812207286 |location= |pages=90–93}}</ref> Abd ar-Rahman III, at the height of his power, began construction of [[Madinat al-Zahra]], a luxurious palace-city to serve as a new capital. It played a major role in formulating a more distinct "caliphal" style which was crucial in the development of subsequent Andalusi architecture.<ref name=":02">{{Cite book |last=Marçais |first=Georges |title=L'architecture musulmane d'Occident |publisher=Arts et métiers graphiques |year=1954 |isbn= |location=Paris |pages=}}</ref><ref name=":10" />{{Rp|pages=51–58}}<ref name=":1">{{Cite book |last1=Barrucand |first1=Marianne |title=Moorish architecture in Andalusia |last2=Bednorz |first2=Achim |publisher=Taschen |year=1992 |isbn=3822896322 |location= |pages=}}</ref>{{Rp|page=68}} On a smaller scale, the [[Mosque of Cristo de la Luz|Bab al-Mardum Mosque]] (later converted to a church) in Toledo is a well-preserved example of a small neighbourhood mosque built at the end of the Caliphate period.<ref name=":10" />{{Rp|page=79}}

===The Taifas===
[[File:Estancias testero norte aljaferia.jpg|left|thumb|[[Multifoil arch]]es at the [[Aljafería|Aljafería Palace]], Zaragoza]]
The Caliphate disappeared and was split into several small kingdoms called [[taifa|''taifas'']]. During this period, art and culture continued to flourish despite the political fragmentation of Al-Andalus.<ref name=":0" /> The [[Aljafería|Aljaferia Palace]] of Zaragoza is the most significant palace preserved from this period, featuring complex ornamental [[Arcade (architecture)|arcades]], [[Multifoil arch|multifoil and mixtilinear arches]], and [[stucco]] decoration. In other cities, a number of important palaces or fortresses were begun or expanded by local dynasties such as the [[Alcazaba of Málaga]] and the [[Alcazaba of Almería]]. Other examples of architecture from around this period include the [[El Bañuelo|Bañuelo]] of Granada, an [[Hammam|Islamic bathhouse]].<ref name=":1" />{{Rp|pages=116–128}}

===Almoravids and Almohads===
[[File:Giralda 2015-4.JPG|thumb|The [[Giralda]], an Almohad minaret later converted into a cathedral bell tower with a [[Renaissance architecture|Renaissance]] belfry]]
The late 11th century saw the significant advance of Christian kingdoms into Muslim al-Andalus, particularly with the fall of Toledo to [[Alfonso VI of León and Castile|Alfonso VI]] of [[Kingdom of Castile|Castile]] in 1085, and the rise of major [[Berbers|Berber]] empires originating in present-day Morocco. The latter included first the [[Almoravid dynasty|Almoravids]] (11th–12th centuries) and then the [[Almohad Caliphate|Almohads]] (12th–13th centuries), both of whom created empires that stretched across large parts of western and northern Africa and took over the remaining Muslim territories of al-Andalus in Europe.<ref name=":23">{{Cite book |last=Bennison |first=Amira K. |title=The Almoravid and Almohad Empires |publisher=Edinburgh University Press |year=2016 |isbn=9780748646821}}</ref> 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.<ref name=":02" /><ref name=":123">{{Cite book |last=Salmon |first=Xavier |title=Maroc Almoravide et Almohade: Architecture et décors au temps des conquérants, 1055–1269 |publisher=LienArt |year=2018 |location=Paris}}</ref><ref name=":23" /><ref>{{Cite book |last1=Basset |first1=Henri |title=Sanctuaires et forteresses almohades |last2=Terrasse |first2=Henri |publisher=Larose |year=1932 |location=Paris}}</ref>

Relatively little survives of Almoravid architecture but much more has survived of Almohad architecture.<ref name=":10" /> In Seville, the Almohad rulers built a new Great Mosque (later transformed into the [[Seville Cathedral|Cathedral of Seville]]), which consisted of a hypostyle prayer hall, a courtyard (now known as the ''Patio de los Naranjos'' or Court of Oranges), and a massive minaret tower now known as the [[Giralda]]. The minaret was later expanded after being converted into a bell tower for the current cathedral.<ref name=":102">{{Cite book |last=Bloom |first=Jonathan M. |url=https://books.google.com/books?id=IRHbDwAAQBAJ&dq=Architecture+of+the+Islamic+West%3A+North+Africa+and+the+Iberian+Peninsula%2C+700-1800&pg=PP1 |title=Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700-1800 |publisher=Yale University Press |year=2020 |isbn=9780300218701 |location= |pages=}}</ref>{{Rp|pages=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 the [[Alcázar of Seville|Alcazar of Seville]].<ref name=":1" /> Almohad architecture promoted new forms and decorative designs such as the [[multifoil arch]] and the ''[[sebka]]'' motif, probably influenced by the Caliphate-period architecture of Cordoba.<ref name=":022">{{Cite book |last=Marçais |first=Georges |title=L'architecture musulmane d'Occident |publisher=Arts et métiers graphiques |year=1954 |location=Paris |language=fr}}</ref>{{Rp|pages=232–234, 257–258}}

===Nasrid Emirate of Granada===
[[File:Alhambra Löwenhof mit Löwenbrunnen 2014.jpg|thumb|left|The Alhambra: [[Court of the Lions]]]]
As the Almohad authority retreated from al-Andalus in the early 13th century, the Christian kingdoms of the north advanced again and Muslim al-Andalus was eventually reduced to the much smaller [[Emirate of Granada|Nasrid Emirate]] centered in Granada, where much of the Muslim population took refuge. The palaces of the [[Alhambra]] and the [[Generalife]] in Granada, built under the [[Nasrid dynasty]], are the most iconic monuments of this period and reflect the last great period of art and architecture in al-Andalus before its final end.<ref name=":10" /> The Alhambra complex was begun by Ibn al-Ahmar, the first Nasrid emir, and the last major additions were made during the reigns of [[Yusuf I of Granada|Yusuf I]] (1333–1353) and [[Muhammad V of Granada|Muhammad V]] (1353–1391).<ref name=":103">{{Cite book |last=Bloom |first=Jonathan M. |url=https://books.google.com/books?id=IRHbDwAAQBAJ&dq=Architecture+of+the+Islamic+West%3A+North+Africa+and+the+Iberian+Peninsula%2C+700-1800&pg=PP1 |title=Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700-1800 |publisher=Yale University Press |year=2020 |isbn=9780300218701 |location= |pages=}}</ref>{{Rp|page=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 the [[Marinid Sultanate|Marinids]].<ref name=":322">{{Cite book |last=Arnold |first=Felix |url=https://books.google.com/books?id=bXjXDQAAQBAJ&dq=Islamic+Palace+Architecture+in+the+Western+Mediterranean&pg=PP1 |title=Islamic Palace Architecture in the Western Mediterranean: A History |publisher=Oxford University Press |year=2017 |isbn=9780190624552 |location= |pages=}}</ref>{{Rp|pages=219, 224}}<ref name=":10" />{{Rp|pages=149–168}}<ref>{{Cite book |last=Irwin |first=Robert |url=https://books.google.com/books?id=M64VYn8Qq-QC&dq=robert+irwin+alhambra&pg=PP1 |title=The Alhambra |publisher=Harvard University Press |year=2004 |isbn=9780674063600 |location= |pages=}}</ref>{{Rp|pages=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 a [[Reflecting pool|reflective pool]] or a fountain. Decoration was focused on the inside of buildings and was executed primarily with [[Zellij|tile mosaics]] on lower walls and carved stucco on the upper walls.<ref name=":44">{{Cite book |last=López |first=Jesús Bermúdez |title=The Alhambra and the Generalife: Official Guide |publisher=TF Editores |year=2011 |isbn=9788492441129 |location= |pages= |chapter=}}</ref><ref name=":103" />{{Rp|page=|pages=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.<ref>Chueca Goitia, Fernando: ''Invariantes castizos de la Arquitectura Española. Manifiesto de la Alhambra'' {{ISBN|84-237-0459-9}}</ref> [[Islamic geometric patterns|Geometric patterns]], [[Arabesque|vegetal motifs]], and [[Islamic calligraphy|calligraphy]] were the main types of decorative motifs, typically carved in wood and stucco or crafted with mosaic tilework known as ''[[zellij]]''. Additionally, "stalactite"-like sculpting, known as ''[[muqarnas]]'', was used for three-dimensional features like [[Vault (architecture)|vaulted]] ceilings, particularly during the reign of Muhammad V and after.<ref name=":44" /><ref name=":103" />{{Rp|page=|pages=164–167}} Epigraphic inscriptions were carved on the walls of many rooms and included allusive poems to the beauty of the spaces.<ref>Garcia Gomez, Emilio: ''Poemas árabes en los muros y fuentes de la Alhambra'' {{ISBN|84-600-4134-4}} / 8460041344 Instituto Egipcio de Estudios Islámicos en Madrid</ref>

==Romanesque==
{{Main|Romanesque architecture in Spain}} 
[[File:Jaca, Catedral de San Pedro-PM 32162 adj.JPG|thumb|South facade of [[Jaca Cathedral]]]]
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 the [[First Romanesque]] or Lombard Romanesque. It is a very simple style, whose characteristics are thick walls, lack of sculpture and the presence of [[lombard band|rhythmic ornamental arches]],  typified by the churches in the [[Valle de Bohí]].

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

==Gothic==
[[File:Catedral de Burgos - Parte Frontal 4 - panoramio.jpg|thumb|180px|upright|[[Burgos Cathedral]]]]
{{main|Spanish Gothic architecture}}
{{See also|Catalan Gothic|Levantine Gothic|Valencian Gothic|Isabelline Gothic}}
The Gothic style arrived in Spain in the 12th century. In this time, late Romanesque alternated with a few expressions of pure [[Gothic architecture]] like the [[Cathedral of Ávila]]. The High Gothic arrived in all its strength through the [[Camino de Santiago|Way of St. James]] in the 13th century, with some of the purest Gothic cathedrals, with French and German influences: the cathedrals of [[Cathedral of Burgos|Burgos]], [[Cathedral of León|León]] and [[Cathedral of Toledo|Toledo]].

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

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

==Mudéjar==
{{Main|Mudéjar art}}
Mudéjar art, also known as Mudéjar style, emerged in the Christian kingdoms of the north in the 12th century and spread with the [[Reconquista|Christian 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 term ''Mudéjar 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.

[[File:La Seo-Zaragoza - P1410452.jpg|thumb|left|upright|[[Cathedral of the Savior of Zaragoza|La Seo of Zaragoza]]]]

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 of [[brick]] as the main building material. The dominant geometrical character, distinctly Islamic, emerged conspicuously in the accessory crafts using cheap materials elaborately worked – [[tile]]work, [[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 of [[Sahagún]].<ref>{{cite web|url=http://www.arteguias.com/mudejar.htm|title=Arquitectura Mudejar (ARTEGUIAS)|first=David de la|last=Garma|website=www.arteguias.com|url-status=live|archive-url=https://web.archive.org/web/20160205090302/http://arteguias.com/mudejar.htm|archive-date=2016-02-05}}</ref> It spread to the rest of the [[Kingdom of León]]; [[Toledo, Spain|Toledo]], Ávila, [[Segovia]], and later was spread to southern Spain by Castile. However, the famous ''Mudéjar Rooms'' of the [[Alcázar of Seville]], although often described as Mudéjar style, are actually closely related to the Moorish Nasrid palace architecture of the Alhambra, as the Christian king [[Pedro of Castile]] commissioned Moorish architects from Granada to build them. Centers of Mudéjar art are found in other cities [[Toro (Spain)|Toro]], [[Cuéllar]], [[Arévalo]] and [[Madrigal de las Altas Torres]]. A separate tradition of Mudéjar style became highly developed in Aragon, with three main focuses at [[Zaragoza]], [[Calatayud]], and [[Teruel]], during the 13th, 14th and 15th centuries. In Teruel a wide group of imposing churches and towers were built. Other fine examples of Mudéjar can be found in [[Casa de Pilatos]] in Seville, Santa Clara Monastery in Tordesillas, or the churches of Toledo, one of the oldest and most outstanding Mudéjar centers. In Toledo, the [[synagogue]]s of [[Santa María la Blanca]] and [[Synagogue of El Transito|El Tránsito]] (both Mudéjar though not Christian) deserve special mention.<ref>López Guzmán, Rafael. ''Arquitectura mudéjar.'' Manuales Arte Cátedra. {{ISBN|84-376-1801-0}}</ref>

==Renaissance==
{{main|Spanish Renaissance architecture|Plateresque}}
[[File:Trujillo (12040224473).jpg|thumb|left|Renaissance Plaza Mayor square of [[Trujillo, Spain|Trujillo]]]]
In Spain, Renaissance styles began to be grafted onto Gothic forms in the last decades of the 15th century. The forms that started to spread were made mainly by local architects: that is the cause of the creation of a specifically [[Spanish Renaissance architecture|Spanish Renaissance]] that brought the influence of southern Italian architecture, sometimes from illuminated books and paintings, mixed with the gothic tradition and local idiosyncrasies. The new style was called [[Plateresque]] because of the extremely decorated façades that brought to the mind the decorative motifs of the intricately detailed work of [[silversmith]]s, the "plateros". Classical orders and candelabra motifs (''a candelieri'') were combined freely into symmetrical wholes.

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

[[File:Monasterio de El Escorial 03.jpg|thumb|280px|[[El Escorial]]]]
As decades passed, the Gothic influence disappeared and the research of an orthodox classicism reached high levels. Although Plateresque is a commonly used term to define most of the architectural production of the late 15th and first half of 16th century, some architects acquired a more sober personal style, like [[Diego Siloe]] and [[Rodrigo Gil de Hontañón]]. Examples include the façades of the [[University of Salamanca]] and of the [[Convent of San Marcos, León|Convent of San Marcos]] in [[León, Spain|León]].

The highlight of Spanish Renaissance is represented by the Royal Monastery of [[El Escorial]], built by [[Juan Bautista de Toledo]] and [[Juan de Herrera]], where a much closer adherence to the art of ancient Rome was overpassed by an extremely sober style. The influence from [[Flanders]] roofs, the symbolism of the scarce decoration and the precise cut of the granite established the basis for a new style, the [[Herrerian style|Herrerian]]. A disciple of Herrera, [[Juan Bautista Villalpando]] was influential for interpreting the recently revived text of [[Vitruvius]] to suggest the origin of the [[classical orders]] in [[Solomon's Temple]].<ref>Alberto Pérez-Gómez. ''Juan Bautista Villalpando's Divine Model in Architectural Theory''. In Alberto Pérez-Gómez, Stephen Parcell. ''Chora 3: Intervals in the Philosophy of Architecture''. McGill-Queen's Press. 1999. {{ISBN|0-7735-1712-X}}</ref>

==Baroque==
{{Main|Spanish Baroque architecture|Churrigueresque}}
[[File:Palacio_Real_Jardines.jpg|thumb|right|North facade of the Royal Palace and view of the Sabatini Gardens, Madrid, Spain]]

As [[Italian Baroque architecture|Italian Baroque]] influences grew, they gradually superseded in popularity the restrained classicizing approach of Juan de Herrera, which had been in vogue since the late sixteenth century. As early as 1667, the façades of [[Granada Cathedral]] (by [[Alonso Cano]]) and [[Jaén, Spain|Jaén Cathedral]] (by [[Eufrasio 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 include [[Plaza Mayor de Madrid|Plaza Mayor]] and the Major House.
[[File:Santiago.de.Compostela.Catedral.Noche.jpg|thumb|left|upright|''Obradoiro'' façade of the [[Cathedral of Santiago de Compostela]]]]
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. The [[Churriguera]] 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 the [[Churrigueresque]]. Within half a century, they transformed [[Salamanca]] into an exemplary Churrigueresque city.

The evolution of the style passed through three phases. Between 1680 and 1720, the Churriguera popularized [[Guarino Guarini|Guarini]]'s blend of [[Solomonic column]]s and [[Composite order]], known as the "supreme order". Between 1720 and 1760, the Churrigueresque column, or [[estipite]], 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.

[[File:Palacio_del_Infante_don_Luis_(Boadilla_del_Monte)_03.jpg|thumb|right|250px|Dome of the chapel of the Palace of Infante don Luis in Boadilla del Monte (Community of Madrid, Spain)]]
Two of the most eye-catching creations of Spanish Baroque are the energetic façades of the [[University of Valladolid]] ([[Diego Tomé]], 1719) and [[Hospicio de San Fernando]] in Madrid ([[Pedro de Ribera]], 1722), whose curvilinear extravagance seems to herald [[Antonio Gaudí]] and [[Art 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 like [[Granada Charterhouse]], considered to be the apotheosis of Churrigueresque style applied to interior spaces, or [[El Transparente]] of the Cathedral of Toledo by [[Narciso Tomé]], where sculpture and architecture are integrated to achieve notable light dramatic effects.

The [[Royal Palace of Madrid]] and the interventions of [[Paseo del Prado]] (''Salón del Prado'' and ''Alcalá'' Doorgate) in the same city, deserve special mention. They were constructed in a sober Baroque international style, often mistaken for neoclassical, by the Bourbon kings [[Philip V of Spain|Philip V]] and [[Charles III of Spain|Charles III]]. The Royal Palaces of [[La Granja (palace)|La Granja de San Ildefonso]], in [[Segovia]], and [[Palacio Real de Aranjuez|Aranjuez]], in Madrid, are good examples of Baroque integration of architecture and gardening, with noticeable French influence (La Granja is known as the ''Spanish 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 the [[Basilica of Our Lady of the Pillar]] in [[Zaragoza]] (1750).

==Rococo==
{{Main|Rococo in Spain}}
==Neoclassical==
[[File:Museo del Prado 2016 (25185969599).jpg|thumb|200px|left|[[Prado Museum]] in [[Madrid]], by Juan de Villanueva]]
The extremely intellectual postulates of [[Neoclassical architecture|Neoclassicism]] succeeded in Spain less than the much more expressive of Baroque. Spanish Neoclassicism was spread by the [[Royal Academy of Fine Arts of San Fernando]], founded in 1752. The main figure was [[Juan de Villanueva]], who adapted [[Edmund Burke]]'s achievements about the sublime and the beauty to the requirements of Spanish clime and history. He built the [[Prado 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 of [[Charles III of Spain|Charles III]], who intended to make Madrid the Capital of Art and Science. Very close to the museum, Villanueva built the [[Royal Observatory of Madrid]]. He also designed several summer houses for the kings in [[El Escorial]] and [[Aranjuez]] and reconstructed the [[Plaza Mayor, Madrid|Plaza Mayor]] of Madrid, among other important works. Villanuevas´ pupils [[Antonio López Aguado]] and [[Isidro González Velázquez]] expanded the Neoclassical style in Spain.

==Spanish Viceroyal architecture in America and Pacific==
{{Main|Spanish Colonial architecture}}
[[File:Taxco Santa Prisca.jpg|thumb|left|The [[Santa Prisca Church (Taxco)|Santa Prisca Church]] in [[Taxco]], [[Mexico]], is an example of New Spanish [[Churrigueresque]]]]

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 on [[Plaza de Armas (Cusco)|Plaza de Armas]] in [[Cusco]] was built.

In the Viceroyalty of [[Viceroyalty of Peru|Peru]], the [[Andean Baroque]] was particularly lush, as evidenced by the monastery of San Francisco in [[Lima]] (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'') in [[Córdoba, Argentina]], followed the model of [[Il Gesù]], provincial "mestizo" (crossbred) styles emerged in [[Arequipa]], [[Potosí]] and [[La Paz]]. In the eighteenth century, the architects of the region turned for inspiration to the [[Mudéjar]] 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 the [[Solomonic column]].

[[File:Paoay Church, Paoay, Ilocos Norte, Philippines - panoramio (1).jpg|thumb|The [[Paoay Church]] in [[Paoay]], [[Philippines]], is an example of [[Earthquake Baroque]] architecture.]]
To the north, by 18th-century the richest Viceroyalty of [[New 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 of [[Lorenzo Rodríguez]], whose masterpiece is the [[Sagrario Metropolitano]] in [[Mexico City]] (1749–69). Other fine examples of the style may be found in the remote silver-mining towns. For instance, the Sanctuary at [[Ocotlán, Tlaxcala|Ocotlán]] (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 of [[New Spanish Baroque]] is [[Puebla (city)|Puebla]], [[Mexico]], where a ready supply of hand-painted glazed tiles ([[talavera (pottery)|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 to [[Spanish East Indies]] was born when Spain invaded what's now the [[Philippines]], in [[South East Asia]]. Pre-Spanish Philippine architecture was based on the native [[nipa 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.

==19th century==
===Eclecticism and Regionalism===
{{main|Eclecticism in architecture}}
[[File:Palacio de Comunicaciones - 47.jpg|thumb|The [[Cybele Palace|Palace of Communications]] in Madrid]]

During the second half of the 19th century, the [[Revivalism (architecture)|Revivalism]] 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 to [[Byzantine Revival architecture|Neo-Byzantine]], [[Gothic Revival architecture|Neo-Gothic]], [[Renaissance Revival architecture|Neo-Renaissance]], [[Baroque Revival architecture|Neo–Baroque]], [[Egyptian Revival architecture|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: the [[Eclecticism in architecture|Eclecticism]]. 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 of [[Antonio Palacios]], co-designer with Joaquín Otamendi of the [[Cybele Palace|Palace of Communications]] of Madrid, inaugurated in 1909. Other works of Palacios include the [[Círculo de Bellas Artes]], the Río de la Plata Bank, the [[Hospital 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.
[[File:Iglesia_de_San_Pedro,_Teruel,_España,_2014-01-10,_DD_11-12_HDR.JPG|thumb|right|Interior of [[St. Peter's Church, Teruel]], Aragón. The 14th century Mudéjar-Gothic church was declared World Heritage in 1986. Neo-Mudejar decoration was added in 1896–1902.]]

===Neo-Mudéjar===
{{Main|Neo-Mudéjar}}
In the late 19th century a new architectural movement emerged in Madrid as a revival of the [[Mudéjar]] architecture. The [[Neo-Mudéjar]] soon spread to other regions of the country. Architects such as [[Emilio 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 for [[Bullfighting|bull 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 with [[Neo-Gothic]] features.

===Architecture of glass and iron===
During the [[Industrial 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 were [[Ricardo Velázquez Bosco]] and [[Alberto 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 the [[Palacio de Cristal del Retiro]] in Madrid.

==20th century==
[[File:Spain_Sagrada_Familia.jpg|thumb|upright|Basilica [[Sagrada Família]] in Barcelona]]
===Catalan Modernisme===
{{main|Modernisme}}
When the city of [[Barcelona]] was allowed to expand beyond its historic limits in the late 19th century, the resulting [[Eixample]] district by [[Ildefons Cerdà]] became the site of a burst of architectural energy known as the [[Modernisme]] movement. Modernisme broke with past styles and used organic forms for its inspiration in the same way as the concurrent [[Art Nouveau]] and [[Jugendstil]] movements in the rest of Europe. Most famous among the architects represented there is [[Antoni Gaudí]], whose works in Barcelona and spread in other parts of [[Catalonia]], [[León (historical region)|León]] and [[Cantabria]], mixing traditional architectural styles with the new, were a precursor to [[modern architecture]]. Perhaps the most famous example of his work is the still-unfinished [[Sagrada Família]] basilica, the largest building in the Eixample.

Other notable Catalan architects of that period include [[Lluís Domènech i Montaner]] and [[Josep Puig i Cadafalch]], although their approach to Modernisme was largely more linked to [[Neo-Gothic]] shapes.

===Contemporary architecture===
The creation in 1928 of the [[GATCPAC]] group in Barcelona, followed by the foundation of [[GATEPAC]] (1930) by architects mainly from Zaragoza, Madrid, San Sebastián and Bilbao, established two groups of young architects practicing [[Modern architecture]] in Spain. [[Josep Lluis Sert]], [[Fernando García Mercadal]], [[Jose María de Aizpurúa]] and [[Joaquín Labayen]] among others were organised in three regional groups.<ref>{{cite web |url=http://bibliotecnica.upc.es/bib210/consultesib/GATCPAC_GATEPAC.pdf |title=Archived copy |access-date=2006-12-20 |url-status=dead |archive-url=https://web.archive.org/web/20061206121438/http://bibliotecnica.upc.es/bib210/consultesib/GATCPAC_GATEPAC.pdf |archive-date=2006-12-06 }}</ref>
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 or [[Luis Gutiérrez Soto]], mostly influenced by the [[Expressionist architecture|Expressionist]] tendencies.

[[File:The Barcelona Pavilion, Barcelona, 2010.jpg|thumb|right|The [[Barcelona Pavilion]] designed by Ludwig Mies van der Rohe,  1929]]

At the [[1929 Barcelona International Exposition]], the [[Barcelona Pavilion|German pavilion]] designed by [[Ludwig Mies van der Rohe]] became an instant icon, amalgamating Rohe's [[minimalism]] and notions of [[truth to materials]] with a [[De Stijl]] influenced treatment of planes in space. The large [[Overhang (architecture)|overhang]]ing roof famously 'hovers' apparently unsupported.

During and after the [[Spanish Civil War]] and World War II, Spain found herself both politically and economically isolated. The consequent effect of which, in tandem with [[Francisco Franco|Franco]]'s preference for "a deadening, nationalistic sort of classical kitsch", was to largely suppress progressive modern architecture in Spain.<ref>{{cite web|url=https://www.washingtonpost.com/wp-dyn/content/article/2006/02/10/AR2006021000408.html|title=Gains in Spain: Once-Staid Architecture Soars Ahead of the Curve|first=Benjamin|last=Forgey|date=12 February 2006|via=www.washingtonpost.com|url-status=live|archive-url=https://web.archive.org/web/20060617221829/http://www.washingtonpost.com/wp-dyn/content/article/2006/02/10/AR2006021000408.html|archive-date=17 June 2006}}</ref> 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 (architect)|Alejandro de la Sota]] was the pioneer in that new way, and young architects as [[Francisco Javier Sáenz de Oiza]], [[Fernando Higueras]] and [[Miguel Fisac]], often with modest budgets, investigated in prefabrication and collective housing typos.
{{Clear}}

[[File:Auditorio de Tenerife, Santa Cruz de Tenerife, España, 2012-12-15, DD 03.jpg|thumb|right|The [[Auditorio de Tenerife]], by [[Santiago Calatrava]], 2003]]

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.<ref>Zabalbeascoa</ref> 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 were [[Enric Miralles]], [[Carme Pinós]], and the architect/engineer [[Santiago Calatrava]]. The 1992 [[1992 Summer Olympics|Barcelona Olympics]] and the [[Seville Expo '92|World'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, the [[Royal Institute of British Architects]] awarded the [[Royal Gold Medal]] to Barcelona in 1999, the first time in its history the award was made to a city.<ref>[http://www.architecture.com/fileLibrary/pdf/RG.pdf list of medal winners (PDF)] {{webarchive|url=https://web.archive.org/web/20061216192112/http://www.architecture.com/fileLibrary/pdf/RG.pdf |date=2006-12-16 }}</ref>

[[File:Atardecer en Bilbao.jpg|thumb|left|The [[Guggenheim Museum Bilbao|Guggenheim Museum]] in Bilbao, 1997]]
[[Bilbao]] attracted the [[Solomon R. Guggenheim Foundation]] to construct a new [[art museum]], which opened in 1997. Designed by [[Frank Gehry]] in a [[deconstructivism|deconstructivist]] manner, the [[Guggenheim 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 "[[Starchitect#The Bilbao Effect|Bilbao effect]]".<ref>[http://www.newcolonist.com/bilbao.html Bacharach, Jacob (2002) ''The Bilbao Effect''] {{webarchive|url=https://web.archive.org/web/20061113223620/http://www.newcolonist.com/bilbao.html |date=2006-11-13 }}</ref>

In 2003, the [[Prince of Asturias]], [[Felipe de Borbón]] opened in the city of [[Santa Cruz de Tenerife]] ([[Canary Islands]]), the modern building of the [[Auditorio de Tenerife]], designed by Santiago Calatrava between 1997-2003. For this event was attended by various correspondents and newspapers around the world.<ref>{{cite web|url=http://www.eldia.es/2003-09-28/actualidad/actualidad0.htm|title=De Nueva York a Sidney|date=28 September 2003|website=eldia.es|url-status=live|archive-url=https://web.archive.org/web/20110716063431/http://www.eldia.es/2003-09-28/actualidad/actualidad0.htm|archive-date=16 July 2011}}</ref>
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===Famous Spanish architects of the 20th century===
{{colbegin}}
*[[Antoni Gaudí]] (1852–1926)
*[[Lluis Domenech i Montaner]] (1850–1923)
*[[Secundino Zuazo]] (1887–1971)
*[[Antonio Palacios]] (1874–1945)
*{{ill|Casto Fernández-Shaw|es}} (1896–1978)
*[[Josep Lluis Sert]] (1902–1983)
*[[Josep Antoni Coderch]] (1913–1984)
*[[Luis Gutiérrez Soto]] (1890–1977)
*[[Alejandro de la Sota (architect)|Alejandro de la Sota]] (1913–1996)
*[[Miguel Fisac]] (1913–2006)
*[[Francisco Javier Sáenz de Oiza]] (1918–2000)
*[[Julio Cano Lasso]] (1920–1996)
*[[Fernando Higueras]] (1929–2008)
*[[Rafael Moneo]] (1937), [[Pritzker Prize]] in 1996
*[[Ricardo Bofill]] (1939–2022)
*[[Mariano Bayón]] (1942)
*[[Alberto Campo Baeza]] (1946)
*[[Santiago Calatrava]] (1951)
*[[Adolfo Moran]] (1953)
*[[Enric Miralles]] (1955–2000)
*[[Mansilla+Tuñón]]
*[[Alejandro Zaera]] (1963)
* [[Carme Pigem]], [[Ramón Vilalta]] and [[Rafael Aranda]]; Pritzker Prize in 2017
{{colend}}

==21st century==
In 2006, the exhibition "On-Site: New architecture in Spain" was held in the [[MoMA]]. It defined Spain as a country that has lately become known as an international center for design innovation and excellence,<ref>{{cite web|url=http://www.moma.org/explore/multimedia/audios/25/561|title=Museum of Modern Art - MoMA|website=www.moma.org|url-status=live|archive-url=https://web.archive.org/web/20100122224140/http://www.moma.org/explore/multimedia/audios/25/561|archive-date=2010-01-22}}</ref> as shown in the fact that seven [[Pritzker Architecture Prize|Pritzker]] 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|date=April 2022|reason=Any quotes MUST have a citation for attribution, even if the author's name is mentioned inline.}}

[[File:Bodega Marqués de Riscal en Elciego (Álava) - panoramio.jpg|thumb|[[Marqués de Riscal Hotel]] in Elciego, 2006]]
In 2006, Terminal 4 of [[Barajas Airport]] by [[Richard Rogers]] and [[Antonio Lamela]] won the British [[Stirling Prize]]. In Barcelona, the [[Torre Glòries]] by French architect [[Jean 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. The [[Marqués de Riscal Hotel]] in [[Elciego]], designed by [[Frank 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 called [[Cuatro Torres Business Area]], and the [[Torre de Cristal]], which is the tallest in all of Spain, is designed by [[César Pelli]]. From 2008, Spain experienced the [[late-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.<ref>{{cite web|url=http://www.elmundo.es/elmundo/2010/06/24/suvivienda/1277362962.html|title=España se olvida del 'ladrillo' - Vivienda - elmundo.es|first=Unidad Editorial|last=Internet|website=www.elmundo.es|url-status=live|archive-url=https://web.archive.org/web/20100626113143/http://www.elmundo.es/elmundo/2010/06/24/suvivienda/1277362962.html|archive-date=2010-06-26}}</ref>

In 2011 the [[Oscar Niemeyer International Cultural Centre]] was inaugurated in [[Avilés]], [[Asturias]]. This is the only work of the Brazilian architect [[Oscar Niemeyer]] in Spain. It has five elements: an open square, a dome, a tower, an auditorium and a multi-purpose building.

==Vernacular architecture==
Due to the climatic and topographic differences throughout Spain, the [[vernacular architecture]] shows a plentiful variety. [[Limestone]], [[slate]], [[granite]], clay (cooked or not), [[wood]], and [[grass]] are used in the different regions. Structure and distribution differ depending on regional customs. Some constructions are houses (like [[alqueria]], [[casa montañesa]], [[Baserri|caserío]], [[cortijo]], [[palloza]], [[pazo]], as well as the pictured ones:

<gallery mode="packed">
File:Horreo-Gonzar-Galicia-2010.jpg|The [[hórreo]] is an elevated granary from [[Galicia (Spain)|Galicia]] and [[Asturias]].
File:Casa de Quijano.jpg|The [[casona montañesa]], stone house typical of [[Cantabria]].
File:San Agustin roofs B.jpg|An apartment with [[Monk and Nun]] roof tiles in [[Las Palmas de Gran Canaria]], [[Canary Islands]].
File:Paloma Olocau del Rey 47.JPG|A [[Masia]], in [[Castellón de la Plana|Castellón]]. Masies evolved from Roman houses.
File:Campo de Criptana Molinos de Viento 1.jpg|[[Windmills]] of [[Campo de Criptana]], [[La Mancha]].
</gallery>

== See also ==
* [[Architecture of Madrid]]
* [[Architecture of Cantabria]]
* [[List of missing landmarks in Spain]]
*[[Rafael Manzano Prize]]
* [[Superior Technical School of Architecture of Madrid]]
* [[Spanish art]]
* [[The Cerdá Plan]]

==Further reading==
* '' New Architecture in Spain (PB)'' - Edited and with essay by Terence Riley. {{ISBN|0-87070-499-0}}
* Carver, Norman F. Jr. (1982) ''Iberian Villages Portugal & Spain''. Document Press Ltd. {{ISBN|0-932076-03-3}}
* Chueca Goitia, Fernando: ''Historia de la arquitectura española'', two volumes. Diputación de Ávila, 2001. {{ISBN|84-923918-7-1}}
* [[George Kubler|Kubler, George]]. ''Building the Escorial''. Princeton NJ 1982.
* Newcomb, Rexford (1937). ''Spanish-Colonial Architecture in the United States''. J.J. Augustin, New York. Dover Publications; Reprint edition (April 1, 1990). {{ISBN|0-486-26263-4}}
* Rosenthal, Earl. ''The Palace of Charles V in Granada''. Princeton NJ 1985.
* Soria, Martín and George Kubler, ''Art and Architecture in Spain and Portugal and their American Dominions, 1500-1800''. Harmondsworth 1959.
* {{cite book| last = Zabalbeascoa | first = Anatxu | title = Igualada Cemetery: Barcelona, 1986-90 - Enric Miralles and Carme Pinos (Architecture in Detail S.) | year = 1996 | type = Paperback| publisher = Phaidon Press | isbn = 0-7148-3281-2 | page = 60 pages }}

==References==
{{reflist|2}}

==External links==
{{commons category|Architecture of Spain}}
*[https://web.archive.org/web/20110421015047/http://www.myfurnitureshowroom.net/modern-spain-architecture.html Modern Spain Architecture]
*[http://virtualcoloniaguell.com Gaudi's Colonia Güell Church Virtual Visit]

{{Architecture of Spain}}
{{Archhistory}}
{{Spain topics}}
{{Architecture of Europe}}

{{DEFAULTSORT:Spanish Architecture}}
[[Category:Architecture in Spain| ]]