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Abstract: Structures are often perceived to be static due to their immobility, or assumed to undergo fewer physical changes when compared to mobile objects. My project counters this assumption by demonstrating that architecture is subject to numerous physical changes: modification, elimination, expansion, adaptation, and evolution. Looking at Andalusia, Spain I focused on the city of Granada where I saw the impact of how these changes presented an intricate visible layering of Spain’s history. After my experience studying abroad in Granada, interviewing professors and researching at UGR’s libraries, my instinct was to categorize these seemingly immobile buildings. But through anthropological and art historical methods I found that a structure could not be subject to one particular style of architecture nor one particular function. To confine the structure to a single function or architectural style would deny the structure’s original function and diverse composition of its crucial role in the 21st century. In fact, both architecture and the purpose of a structure transgress two modes of restriction—categorization and classification—in a fluid and figuratively mobile manner. This type of mobility allows for structures to be considered outside of a stationary and inactive standpoint. My three structures chosen from originally twenty examples demonstrate that structures also act as vehicles for visual communication derived from the architectural elements. Important decisions are made behind the scenes about what, how and why changes happen to a building. In turn, these decisions indirectly influence the end result of a structure’s use and architectural organization. In the case of Granada, the structures narrate a timeline from the past to the present as purpose is appropriated and the layers of architectural styles can be seen. To read more from this paper, email art historian, Madelyne Oliver, at: [email protected]
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UROP Presentation by:UCI Researcher Madelyne Oliver
IN THE FACE OF ARCHITECTURE: A LOOK AT ANDALUSIA
THESIS:
I have chosen three structures of Granada that are diversely composed of Islamic, Mudéjar, Renaissance, and Baroque architectural elements that narrate a timeline, enabling them to move in and out of the past with ease while the structures are reused as 21st century contemporary spaces. This timeline deconstructs the way in which we think of structures as immobile-allowing for narratives to complicate chronology, melt human made classifications, and figuratively move between fatal categories.
THE EVOLUTION OF ARCHITECTURAL STYLES
*See your guide for more terms and their corresponding definitions
KEY TERMS TO RECOGNIZE:
Example of Mudejar art: Toledo, Iglesia San Roman
Alberca
Alhondiga
Alfiz
Arco de herradura
Armadura
Capilla
Cuerda seca
Gremios
Laceria
Ladrillo
Madera
Mudéjar
Morisco
Tratado
Techumbre
Yeseria
Zaguan
Zoco
VISUALIZING THE TRANSFORMATIONS FROM THE PAST
TO THE CONTEMPORARY
IGLESIA DEL SALVADOR
Interior courtyard (sahn) of Iglesia del Salvador from its 12th-13th century Almohad mosque
Sevilla, Great Mosque, reconstruction of plan 1172-1182
Sahn/interior central court
Tower of Iglesia del Salvador
Engraving by Heylan of Tower Turpina of the Mezquita Mayor (Main mosque) 1055
Tower of San Juan de los Reyes, Granada
Facade, Diego de Siloe, 1543-46
Ordenanzas de Granada
Cathedral of Teruel, representations of the Carpenters
Tipologies of the churches of Granada
“Armaduras”/ceilings of Palacio Dal-al-horra
“Armaduras”/truss roof of Iglesia del Salvador
“Armadura”/truss roof of the chapel of Iglesia
del Salvador
“Armadura”/trussed roof of dome of
Palacio Dal-al-horra
Alhondiga:
CORRAL (CASA) DEL CARBÓN
Corral (casa) del Carbon, patio
Floor plan of Corral (casa) del Carbon
CASA DE CASTRIL/MUSEO ARQUEOLOGICO
street
Museo de Bellas Artes 1920-1946
CONCLUSION
WORKS CITED Gallego Burín, Antonio. Granada: Guía artística e histórica de la ciudad. Granada:
Comares, 1996. Gómez-Moreno Calera, José Manuel. “Glosario terminológico esencial” de
Arquitectura Mudéjar en la comarca de Guadix. Centro de Iniciativas Turísticas de la Comarca de Guadix, Barcelona, 2009, págs. 191-193
Hinojosa Montalvo, José. Los Mudéjares: La voz del Islam en la España cristiana, Estudio I. Teruel, Centro de Estudios Mudéjares Instituto de Estudios Turolenses, 2002.
López-Guzmán, Rafael. Arquitectura Domestica de Granada Moderna. Fundación Albaicín Granada, 2009.
________. “El Mudéjar de Granada.” Essay unpublished. ________. “Arte mudéjar-Arte Morisco: Consideraciones Teóricas” Essay unpublished. ________. Tradición y Clasicismo en La Granada del Siglo XVI: Arquitectura civil y
urbanismo. Granada: Diputación 1987. Págs. 333-425 Ramos Lizana, Manuel. Museo Arqueológico y Etnológico de Granada. Guía Oficial.
Sevilla: Consejería de Cultura de la Junta de Andalucía, 2005. Villafranca Jiménez, María del Mar. Los museos de Granada. Génesis y evolución
histórica (1835-1975). Granada: Diputación, 1998.
Photos courtesy of: Madelyne Oliver (researcher) Profesor Rafael Lopez Guzman, Universidad de Granada Antonio Gallego Burin, “Granada: Guia artistica e historica de al ciudad”
