Vestiges of the past
Roman Hispania has left us some very fine examples of architecture that advocates pragmatism and power, monumentality in the service of functionality. It was also the Romans who laid the foundations of urban planning, particularly in terms of roads, bridges and water supply. In Segovia, for example, you can admire the 813 m-long Roman aqueduct (originally 17 km long!), with its 166 two-storey arches. A monumental and elegant structure of granite blocks assembled without mortar, its origins date back to the 1st century. Another superb example of the innovative architectural typology bequeathed by the Romans is the bridge spanning the River Tomes in Salamanca. The large traditional Spanish villas built around a patio, as well as the superb cigarrales, the large properties planted with olive trees surrounding Toledo, are the great heirs of Roman villas. After the Romans, it was the Visigoths who bequeathed a major architectural legacy: the horseshoe arch, later widely used by the Moors. An embryonic form of Christian art, Visigothic architecture can be seen in certain buildings in Toledo, the capital of the Visigothic empire, although the vast majority of temples were subsequently remodeled.
Arab influence
While evidence of Arab influence is more prevalent in regions such as Andalusia, Madrid and the surrounding area are home to some superb examples of Islamic architecture, combining military pragmatism with a keen sense of decoration. In the 9th century, the Muslim lords of Madrid erected a defensive wall, sections of which can still be seen in the Mohammed I Park, the same one that built the city's original fortress. These fortresses, a mix of military fortifications and pleasure palaces, were later taken over by Christian kings, who turned them into palaces of their own. These are the famous alcazars, of which those of Toledo and Segovia are among the finest. But the style that left the greatest mark on Madrid and the surrounding area is what has come to be known as the Mudejar style. Although the Christians gradually reconquered the country, they did not drive out Moorish artists and craftsmen. Impressed by the refinement of their architecture, they called on them to erect their buildings, particularly religious ones. The Mudejar style remains faithful to Moorish tradition in terms of materials (plaster, brick, wood), construction techniques (horseshoe arches, pointed arches, blind arches) and, above all, decorative elements (geometric, calligraphic, floral or stalactite-shaped motifs known as muqarnas, stucco, ceramics, coffered wooden ceilings known as artesonados). The tower-minaret is another characteristic feature of this style. All these elements can be found in Toledo's synagogues (Transito, Santa Maria la Blanca), but also in Madrid, as witnessed by the brick towers of the 12th-century churches of San Nicolas de los Servitas and San Pedro el Viejo, the Casa-Torre de Los Lujanes with its horseshoe-arched tower, and the church of Santa Maria La Blanca, a small parish church in the Canillejas district, where recent restoration work has revealed a superb coffered wooden ceiling.
Architecture of the Reconquest
The elegant and sober Romanesque style, characterized by round arches, barrel vaults and robust structures, has left few witnesses. In Segovia, don't miss the 11th-century church of San Juan de Los Caballeros. It is the oldest church in the city. After falling into ruin, it was bought by artist Daniel Zuloaga, who transformed it into a studio-museum! And don't miss the Church of San Esteban, whose late Romanesque style can be seen in the porticos adorned with finely sculpted capitals. Romanesque sobriety then gave way to Gothic flamboyance. The ogive vault replaced the barrel vault, giving buildings greater height and lightness. The finest example of this style is undoubtedly Toledo Cathedral. Gothic was to take on a national color through the Isabelline style. Isabella the Catholic, Queen of Castile, wanted to assert her power. This is why the Isabelline style gives pride of place to coats of arms and heraldic symbols. It's also an art of decorative exuberance, multiplying free forms, curves and lace-like ornamentation. One of the finest examples of this style is the monastery of San Juan de los Reyes in Toledo. Of course, the reconquest was not only spiritual, it was also strategic and military. The Christian kings therefore increased the number of castles they built, like Coca Castle in the province of Segovia, a superb example of Mudejar Gothic, with its turreted enclosures and decorations combining ribbed vaults, azulejos and cupolas. The Manzarenes el Real castle, whose powerful turrets are decorated with an astonishing semi-set of pearls, is also a jewel of Isabeline Gothic. Civil architecture is not to be outdone by the proliferation of superb, richly decorated residences, such as those in Segovia, where you can see a wide variety of motifs created using the sgraffito technique, which consists of painting the facade with two layers of white and black plaster and then scraping off the first layer to reveal a motif. The Casa de Los Picos, named for its diamond-shaped bossed façade, is a fine example.
The art of the Habsburgs
The first Castilian Renaissance, with its rich ornamentation, is still very close to the Isabelline style. This is known as the Plateresque style. An Italian-inspired decorative art form, it gives pride of place to scrolls, arabesques and garlands. Plateresque comes from plata, silver, and above all from platero, the goldsmith. The refinement of its chiselled decorations is reminiscent of the precise work of the goldsmith. This is particularly noticeable in Salamanca, on the facade of the University or on the Monterey Palace. In Madrid, the Casa de Cisneros on the Plaza de la Villa is a prime example. The second Castilian Renaissance turned more to the pure, harmonious forms of Antiquity. This is what is known as Renaissance Classicism, of which the architect Juan de Herrera was the greatest exponent. Philip II entrusted him with the continuation of the work on the famous Escorial Palace, which reflects the Habsburgs' taste for power as well as for isolation and contemplation, and which introduced a new style, the desornamentado, all sobriety and simplicity. This style was to have a strong influence on the early forms of Baroque, the art of the celebrated Golden Age and the driving force behind the rise of Madrid as a young capital in search of legitimacy and power, with its many public buildings. The finest examples are to be admired around the Plaza Mayor, itself redesigned to break away from the tortuous pattern of the medieval city and provide the city with a strong, majestic central point. Take a look at the Town Hall or the current Ministry of Foreign Affairs. They all bear the hallmarks of this early, restrained Castilian Baroque, with slate roofs and brick facades. The Habsburgs, notably Philip II, also rethought the city, not hesitating, for example, to knock down sections of its walls to facilitate its ever-growing development. As an art form of the Counter-Reformation, Baroque was expressed with greater freedom in the religious edifices designed to edify the faithful and establish the power of Christianity. Madrid's San Isidro Cathedral is a fine example. From the mid-17th century onwards, Baroque began to transform, with more systematic use of complex ornamental forms, volumes and reliefs to animate facades in a consummate art of staging. Madrid's San Miguel basilica is a good example of this. Spanish Baroque was to reach its most flamboyant expression (described by some as outrageous) with the emergence of the Churrigueresque style, named after José de Churriguera (from a prominent family of architects). Twisted columns, plant motifs and interlacing geometric shapes characterize this style, all in praise of the prosperous, optimistic kingdom. In Madrid, the architect Pedro de Ribera was the leading exponent of this style, with masterpieces such as the Toledo Bridge and the imposing 228 m-long Conde-Duque military barracks.
Splendors of the Bourbons
It was undoubtedly during the reign of the Bourbons that Madrid underwent its most spectacular transformations. The first achievements of the new kings were a skilful blend of Spanish Baroque and French Rococo, featuring an astonishing profusion of ornamentation. This is particularly evident in the many palaces built by the sovereigns. The sobriety of the Habsburgs gave way to a splendor reminiscent of the Château de Versailles, which served as a model for the superb Palais d'Aranjuez with its immense formal gardens and the impressive Palais de la Granja, with its superb play of colors created by the juxtaposition of pink stone, gray marble and white stone on the façade. Frescoes, stucco decorations and trompe-l'oeil architecture impress the visitor. Then, in 1752, the newly-created Royal Academy of Fine Arts in San Fernando took the opposite tack from this decorative profusion, advocating order and moderation, thus paving the way for Neoclassicism. Its most famous representative is the Royal Palace in Madrid, which Philip V ordered rebuilt after the fire of 1734. The building, a blend of Guadarrama granite and white stone, follows a quadrilateral plan, organized around a courtyard, reminiscent of the Louvre. Work on the palace was completed when Charles III acceded to the throne. Known as the "Builder King", he transformed Madrid into a veritable capital of the Enlightenment, and began major urban transformations to expand the city. With the architect Ventura Rodriguez, he also designed the Paseo del Prado, "the verdant promenade of art", in the shape of a racecourse and punctuated by superb fountains, to which were added the botanical garden, the natural history cabinet and the astronomical observatory, a model of simplicity and pared-down design by the most famous exponent of neoclassicism, Juan de Villanueva. He was also responsible for the Prince's Pavilion at El Escorial and the Prado Museum. New gates were also built, such as the Alcala Gate, designed by Francesco Sabatini, another key figure of the period, who also worked on enlarging and embellishing the Pardo Royal Palace. Until the 19th century, neoclassical styles were widely used, especially as archaeological excavations and discoveries multiplied, offering a renewed interpretation of ancient codes.
Thinking the city
Parallel to the neoclassical movement, a new architectural trend began to emerge, spearheaded in particular by Antonio Zabaleta and Anibal Alvarez. These two young architects imagined a romanticism that did not advocate the antique for the antique's sake, but rather called for freedom and expressiveness, all rooted in a resolutely national architecture. It was no longer a question of focusing solely on Antiquity, but of revisiting the country's history without omitting any style or period. In 1844, Madrid's New Special School of Architecture contributed to this revival, also integrating a dialogue with science and engineering, proving that this romantic vision was also in tune with the times, while responding to the needs of the city. Markets and covered galleries, bandstands and arbors proliferated, not to mention the baths, whose neo-Mudejar style attests to the period's taste for Orientalism. Among the great achievements of the period were the Palacio de Gaviria d'Alvarez and the Palacio de los Cortes, a symbol of romantic classicism.
The 19th century was also marked by new urban transformations. The ruins of the city walls were razed to the ground, and new districts were created, such as Chamberi, Argüelles and Salamanca, named after the wealthy patron who financed the planned expansion of the city according to a grid plan known as ensanche. It was also at this time that urban planner Arturo Soria designed his "linear city". His aim was to harmonize urban and rural areas by imagining a city organized along a main street of infinite length. For Madrid, he imagined a 53 km loop around the city. He placed great importance on transport (he was a great advocate of the tramway), and on the quality of life provided by efficient water and electricity supplies. His project advocated smallholdings for all in a low-density city. Soria's plan is resolutely progressive and modernist. The 5 km of the project actually completed can be seen in the neighborhood around Arturo Soria Avenue.
Modernity
At the turn of the 20th century, the city's modernization continued. A first-rate cultural center, Madrid was also becoming a major economic hub. The city's infrastructure had to reflect this. That's why, in 1910, it was decided to build the Gran Via. Conceived as a new tertiary axis, the Gran Via saw a proliferation of theaters, cinemas and hotels, the first examples of which bear witness to the Belle Époque style that was very much in vogue at the turn of the 20th century. Strolling along this major thoroughfare is also a journey through architectural styles. The first section features eclectic architecture (Le Metropolis, the Grassy). The second section, built in the 1920s, features the city's very first skyscraper: the 88-metre-high Telefónica building. Then, on the last section, resolutely rationalist buildings from the 40s and 50s appeared. By then, the urban model had changed, and Haussmannian Paris had been supplanted by modern New York. Madrid's new university campus was also inspired by the American model, with its campus designed as a "garden university". In the 1930s, Madrilenians expressed their desire for more green spaces. One of the first measures taken by the Second Republic was to nationalize the Casa de Campo, a vast royal property, and open it to the public. Generally speaking, the Republic endeavored to develop transport and beautify the city in the Greater Madrid project, which was supposed to embody the modern values of the new government. But this project was brought to a halt by the advent of Francoism. Like all authoritarian regimes, Francoism favored monumental architecture in the classical style. The city was equipped with triumphal arches, and the buildings erected were all modelled on the gigantism of L'Escurial (Ministry of the Air, Museum of America...). But Franco's folie de grandeur is most evident in el Valle de los Caidos, a monument comprising a 245 m-deep basilica carved out of the rock and topped by a 150 m-high cross, designed by Franco to celebrate nationalist heroes and house their remains. Until the end of 2019, it will also house the remains of the dictator. A symbolism that is still debated today. Alongside this deeply nationalist architecture, Madrid has seen the emergence of some more personal examples of modern architecture tinged with functionalism, even brutalism, as witnessed by Francisco Javier Sáenz de Oiza's Torres Blancas, an astonishing assemblage of cylindrical volumes built between 1961 and 1969.
Contemporary period
In the '80s, the Movida cultural revolution transformed Madrid from Francoism to postmodernism, from rigorism to hedonism, endowing the city with a very "American" architecture of glass, concrete and steel, a symbol of its economic prosperity. Grand avenues were created, as was a ring highway, not to mention numerous ultramodern shopping malls. In the 90s, the city added its most famous buildings, the Torres Kio towers forming the Puerta de Europa. These 115 m-high towers have a 15-degree incline and seem to defy the laws of gravity. Their glass, aluminium and steel facades add to their futuristic appearance. This Puerta de Europa opens onto the Plaza de Castilla, a financial and administrative center imagined as far back as the 1920s! The city also inaugurates the Parc Linéaire du Manzanares, a redevelopment of traditional Mediterranean garden spaces. It's impossible to miss the Dama del Manzanares, a bronze and steel sculpture added in 2003, resting on a 21 m-high pyramidal platform designed by the famous Spanish architect Ricardo Bofill, a great believer in concrete. In 1997, the city expanded again with the addition of the Las Tablas, Montecarmelo and Sanchinarro districts. In the 2000s, the architectural boom accelerated. The city now boasts its own City, the CTBA, Cuatro Torres Business Area, with 4 skyscrapers all over 200 m tall. The Cepsa Tower, with its three cubes set into the facade, was designed by Norman Foster, while the Torre de Cristal, with its garden at the top, is the work of César Pelli. Antonio Lamela and Richard Rogers designed Terminal 4 at Madrid airport. This project, featuring two luminous parallel buildings with aluminum roofs whose undulation imitates the flapping of a bird's wing, has been decorated many times over. In 2008, the city entrusted Swiss architects Herzog & De Meuron with the renovation of a former industrial power plant, which, under the pencil strokes of these genius architects, became the CaixaForum Madrid, an extremely light building featuring Spain's very first vertical garden. And let's not forget the incredible Hotel Puerta America, whose construction brought together some of the world's greatest architects and designers: Jean Nouvel imagined the colorful façade and the top floor, Zaha Hadid created rooms with flowing curves, while Norman Foster gave pride of place to natural materials and organic forms. Surprises await you on every floor! The 21st century also marks the city's commitment to more sustainable development. The major Madrid Rio urban development project is a fine example. The creation of this park was made possible by burying part of the ring road. Visitors will now be able to cross the Arganzuela footbridge, designed by French architect Dominique Perrault. In the city center, the Gran Via has also been redesigned, with two lanes of traffic removed and replaced by sidewalks and bicycle paths. Today, more than ever, the city aims to be accessible and focused on its citizens, who are consulted as part of participative and innovative projects, putting downtown and the suburbs on an equal footing.
