Progressive transformation architecture | Construpedia

Progressive transformation architecture

Introduction

The architecture of Madrid is the set of architectural and construction styles that, throughout the history of Madrid, have appeared in the city. Madrid architecture is an important part of Spanish architecture and reflects relevant aspects of its evolution.

The character of Madrid's architectural styles begins during the 19th century, with the beginning of the city as its own entity. Previously, the municipality was made up of an architecture very similar to that of any defensive town from the medieval period of Castile. The preparations of Charles I and the final decision of Philip II to make it the capital of Spain turn the city into a constructive space where the court, state power and the various religious orders can be installed. Architecture is a way of expressing the political ambitions of the time, and it is at this moment when the first palaces, convents and other constructions of state power appear. In its first moments as the Spanish capital, Madrid assumed the style that the Habsburgs would mark (Herrerian architecture). Examples from this period are the Casa de la Villa, the Segovia bridge or the Casa de la Panadería. The arrival of the Bourbons and their close relationship with French and Italian architects brought about changes in architectural trends, leading to the introduction of the Baroque in Madrid and its progressive transformation to an architecture of a neoclassical character that will remain in force until the end of the century. The Prado Museum are exponents of neoclassicism.

At the end of the century and the beginning of the century there was a lack of its own architectural style, giving rise to eclectic architecture, unlike other Spanish cities such as Barcelona, where the so-called Catalan modernism emerged strongly. The appearance of new architectural needs at the beginning of the century, with the massive increase in population and the appearance of department stores, offices, banks and new communication systems (tram, metro, telephone) means that buildings for this purpose emerge on the streets of Madrid. From the beginning of the century, samples of historicist architecture spread through the streets until the 1950s, with the Brussels Expo (1958) "First-class General Exhibition of Brussels (1958)"). Contrary to current historicism, colonies are built in peripheral neighborhoods such as Viso and the city begins to project itself towards its periphery. On this date the so-called 'modern architecture' and its various proposals emerged. From 1956 to 1970, what was called 'Madrid School' was created.[2] In the mid-sixties, the city was projected to a radius of twelve kilometers, promoting the development of Leganés, Getafe, Alcorcón, Alcobendas, Parla and Alcalá de Henares.

Progressive transformation architecture

Introduction

Construction materials

Contenido

Los materiales empleados en la arquitectura madrileña no han variado mucho desde el siglo hasta finales del .[3] Esto hace que las construcciones de este periodo tengan una característica propia, debido principalmente al empleo exclusivo de materiales autóctonos. Los materiales tradicionales de la arquitectura madrileña se han elegido en torno a dos elementos principales: el ladrillo y la piedra. El ladrillo posee diversas variantes autóctonas como es el ladrillo toledano, los adobes, las tejas. La piedra puede ser granítica, caliza o sílex. Dentro de los elementos constructivos secundarios cabe destacar el empleo de yesos, debido en parte a las abundantes afloraciones de aljez en las cercanías de la ciudad.[4] Antiguamente se empleaba en las yeserías mudéjares, posteriormente como material de relleno y revoco. En cada época se empleaba uno u otro material (o combinación de ambos) en función de la disponibilidad, de los gustos, o de las modas imperantes. La mejora de los sistemas de transporte en el siglo permitió la llegada de nuevos materiales de procedencia más lejana. Es en este nuevo periodo cuando, además, la mejora de las tecnologías constructivas y la investigación en nuevos materiales introduce el hierro y posteriormente el hormigón armado. Estos nuevos materiales marcarán un punto de inflexión en la arquitectura madrileña.

bricks

The nobility of the materials used in Madrid construction depended largely on the type of building, that is, whether they were rural, urban or palace buildings. Among the construction materials of a lesser nobility and used in the most humble houses, is adobe. It is common until the century to make these primitive bricks with the earth imprisoned in modules formed into planks, and later dried in the sun, to be prepared on the ramparts. Adobe used the riverside soil of the Manzanares and was common in the construction of Madrid homes until the 19th century.[5] The Madrid soil is of good quality, cheap, and with the improvement of kiln technology it soon became suitable for the production of tiles and bricks. The tiles from the city's artisan tiles are commonly found on the roofs of Madrid houses. Brick is relatively common in the city, but not so much in the surrounding towns. The so-called soap bricks are famous and have been used in Castilian buildings for centuries. Regarding the use and standardization of brick, in 1719, Ardemans published his proposal for new ordinances providing instructions for brick manufacturers for Madrid. Brick during these times was combined with masonry in what is called Toledo rigging. Numerous homes and palaces from the medieval period show this equipment on their exterior walls.

Starting in the 19th century, the use of brick in housing construction suffered a decline that did not return to normal until the 19th century.[7] During this period, the various "framings" (mixture of wood, adobe and even plaster) were used as a substitute. The structural elements consisted mainly of wooden beams. These houses formed what was called "party wall loom" which consisted of a wooden frame, which left openings called "barracks" that were filled with masonry (cascote).[8] The use of brick experienced a new boom starting in the 19th century,[9] being a very common element in the construction of homes throughout the 19th century.

Stone

Stone was used in various Madrid buildings until the beginning of the century, from then on other materials entered the scene. It is used as a structural element in basements and usually comes from flint or flint. It is common in Madrid architecture for the canvases "Lienzo (architecture)") and walls to be composed of a mixture of brick and roughly hewn stone (Toledan rig). The flint is extracted from the Manzanares basin, and used in the construction of walls. Other Madrid origins are: Vicálvaro, Vallecas, Coslada and Paracuellos de Jarama. The Madrid flint has shiny veins that, when used in ancient times in the construction of the walls of the walls of Madrid, provided a shine in the sun, this being the reason for the popular sayings of the city being surrounded by fire.[10] Flint is a stone of high hardness and low porosity. It is very difficult to carve, much less to be sized. It is for this reason that it is used in crude oil. It has been used as masonry in walls. Flint stones were used in the "Fábrica (construction)" factory, and also in the primitive paving of Madrid streets. For this paving, those from the Vicálvaro quarries were used until the reign of Carlos III, from this moment onwards granite was used.

The other characteristic stone of Madrid architecture is granite. It is usually called berroqueña stone and generally comes from the quarries of Colmenar Viejo near the Guadarrama mountain range. It is possible at the beginning of the century to find active quarries in Colmenar Viejo, Zarzalejo, Alpedrete, Galapagar and Cadalso de los Vidrios. The granite used in Madrid is very resistant, has low porosity and is difficult to handle when worked, which is why it is usually used in ashlar masonry, in baseboards "Plinth (construction)") and walls. It has a relative frequency of gabarros (dark masses made up of microcrystals of ferromagnesian composition). Noble, institutional buildings and monuments with a vocation for durability have been built with this stone.

Limestone and dolomite stones are used abundantly in Madrid architecture. They are usually referred to generically as Redueña Stone, and the limestone from the underground quarries of Colmenar de Oreja as Colmenar Stone or Limestone.[4] The construction of the Royal Palace marks a new use, beginning the use of Colmenar stone. The presence of livestock trails and ravines through areas of Cretaceous outcrop caused this type of white stone to spread, reaching its splendor of use in Madrid architecture in the 2nd centuries. This type of stone is usually used in both structural and decorative elements. It is usually easy to machine and size. The hardness of limestone is very variable and depends on its recrystallization. As a general rule, the Redrueña stone is usually lower in resistance than the Colmenar de Oreja limestone. The "Novelda stone" (from Novelda) was used in the capital at the dawn of the century, this opening to stones from other places being caused by the improvement of rail transport.[11].

Plaster, lime and sand

Gypsum from Miocene deposits is abundant in the area of Vallecas and Vicálvaro where there were abundant quarries (called aljezares).[12] Gypsum deposits are frequent, they were made in circular tank ovens, generally built with masonry. These ovens, which in other regions are called Moorish ovens, have been in service until the 1st century. In this century, as in previous centuries, it is a cheap product, produced for local consumption. The production of this material is increasing, the extraction of the mineral was measured in cahíces, which was the weight measure used in Madrid for gypsum (one cahíz had an equivalent of 690 kg). During the first trams in Madrid there was a line that took the plaster to the Pacífico neighborhood "Pacífico (Madrid)"). There was also a special railway line that transported gypsum to the city for construction purposes until the century.[13] The lime used as whitewash in the city's buildings came from the Alcarria limestone rocks. The sand used in the mortars "Mortero (construction)") was very common and came from the sandboxes of Manzanares (currently covered by buildings), whose access gave rise to the name cuesta de sandboxes (which currently correspond to Calle de Quintana or Calle del Marqués de Urquijo).

modern materials

New materials appear in Madrid architecture with the advent of new forms of transportation such as the railway. Materials can be moved from the quarries over greater distances and it is for this reason that the white Novelda stone appeared at the beginning of the century, used in numerous Madrid buildings. Other materials appear due to the improvement in extractive and mineral processing technologies, such as iron, giving rise to what is called iron architecture.[14] It will soon be used in increasingly larger bridges and viaducts, as well as in the construction of markets. Research into new construction materials has allowed reinforced concrete to proliferate since the end of the century, being used massively in construction since the middle of the century. The appearance of aluminosis (known at the time as concrete disease) in the construction elements of some buildings caused alarm in the 1990s, the first cases being homes on Paseo de la Castellana. The use of ceramic materials in the ornamentation of facades appears at the beginning of the century.

In the middle of the century, new materials began to be used to make up the textures of the facades, thus glass and glass were introduced into modern buildings. The use of metals such as steel and aluminum provides lightness.

Villa period

Los primeros asentamientos en Madrid se determinan en un instante del pleistoceno medio dentro del valle del Manzanares. La organización de estas primitivas sociedades madrileñas, desde el punto de vista arquitectónico, no se diferencia de otras existentes en la península ibérica. Los ejemplos de arquitectura visigoda solo se conocen en la mitad norte de la península y prácticamente no existen restos en Andalucía.

Las viviendas madrileñas durante el periodo altomedieval, generalmente de la época visigoda, muestran el empleo de materiales constructivos perecederos. Generalmente obtenidos en canteras muy cercanas a los asentamientos.[15] Los restos encontrados en excavaciones arqueológicas muestran edificaciones de viviendas con planta rectangular provistas de zócalos de piedra sin concertar ni apenas desbastar, alzados preferentemente en tapial y cubiertas de teja curva. Los zócalos apenas muestran cimentación.

A comienzos del siglo en la península ibérica el grado de decaimiento, abandono y de reutilización de las antiguas ciudades romanas era muy habitual. Esto supone que las piedras y edificaciones se reutilizaran una y otra vez. Es muy posible que ocurriese lo mismo en la primitiva ciudad de Madrid. La llegada de los musulmanes hizo que la arquitectura de al-Ándalus supusiera un punto de ruptura con todo lo anterior, inicialmente organizada como una ciudad defensiva en la retaguardia avanzada de los califatos del sur de la península ibérica.

Medieval period

Madrid is described by different Andalusian authors as a madina "Medina (neighborhood)") (city).[16] Among them it is worth highlighting the geographer al Himyari (century), who, with the name of Mayrit, refers to it as "a notable city of al-Andalus founded by the emir Muhammad ibn Abd ar-Rahman."[16] In the second half of the century there was already a city with its defensive wall. Since the last quarter of the century, the Roman Manzanares road has been the one usually traveled by the Christian armies of the north. This route was guarded by Mayrit, and was also an advanced position of a network of watchtowers "Atalaya (construction)").

The wall was built between the years 852 and 886 and currently some sections of it can be seen in the Park of Mohamed I, where the Narigües albarrana tower was, as well as in the Museum of Royal Collections. underground parking in the Plaza de Oriente. The wall had different gates, such as the Vega gate, the Mosque gate (or the Almudena gate) and the Xagra gate, which must have been used for military purposes as it was located near the primitive Alcázar.

Most of the monumental architecture built on the peninsula during the Islamic era, whether in religious, military or civil buildings, was made of ashlar. The excavations and studies carried out on its layout and its technical characteristics show us that they were made of flint ashlar in its foundation and limestone in its back, locked in the Caliphal way in "rope and brand" (called calipal rig).[18] The existence of trades related to construction grew during this Muslim period, some of them are adoberos, weavers and potters. The ovens for firing bricks and the so-called tiles were in the Xagra. The Xagra was a kind of open space made up of various orchards and growing areas inside the walled enclosure.

Among the civil constructions are the qanats, which in Madrid were used in later centuries as water trips. The town passes to the Kingdom of Castile in a period that goes from 1083 to 1085. The city soon erects a new wall with a larger radius, it is called the Christian wall. Suburbs appear and in them parishes. The Madrid charter mentions ten temples of Romanesque and Mudejar style. The only one within the military complex is Santa María de la Almudena, the rest remain in the suburbs. The nine are: San Miguel de la Andrés "Church of San Andrés (Madrid)"). The first religious convents are those of San Martín, from the end of the century, San Francisco and Santo Domingo el Real, both built at the beginning of the century. The city must have deteriorated considerably until the 19th century, the walls of the walls in danger with the towers demolished.[19].

In the century, the commission by Álvaro de Luján" for what is currently called the Lujanes house and tower"), located in the Plaza de la Villa "Plaza de la Villa (Madrid)") appears as notable. Suburbs emerge that grow in size, such as those of San Ginés and San Martín.

Renaissance architecture

During the reign of the Catholic Monarchs, the city built mainly administrative buildings, to which stately homes were added, such as the Vargas palace "Palacio de los Vargas (Madrid)"). One of the first municipal provisions is the paving of some streets. In some cases, stone from the masonry of the wall itself is used in this type of urban maintenance and improvement of roads. During this period the construction is monopolized by the Mozarabic builders, who are concentrated around two families, San Salvador and Gormaz (some of them are Council officials). Perhaps this is why the architectural styles of the end of the century reflect a mixture of Islamic and late Gothic traditions, as can be seen in the Hospital de la Latina, founded by Beatriz Galindo in 1499.

But typically Renaissance features also appear in some buildings. This is the case of the Jerónimos monastery, whose first headquarters was built near the Manzanares River, next to the Camino de El Pardo (current Paseo de la Florida "Paseo de la Florida (Madrid)")). Due to the unhealthy conditions in the area, the convent was later moved to the eastern sector of the town, next to the Valnegral stream, thanks to the support of the Catholic Monarchs. Los Jerónimos will be the subject of successive extensions dedicated to royal stays, until in the century the Buen Retiro palace is built around it, by order of Felipe IV.[20].

Madrid's Renaissance architecture was fully consolidated during the reign of Charles I (r. 1516-1556), thanks to different works promoted by the monarchy itself. In the Real Alcázar, residence of the kings since the Trastamara family, the emperor carried out different improvements and extensions, the layouts of which were designed by the imperial architect Luis de Vega, in collaboration with his nephew, Gaspar de Vega. The transformation of the Alcázar continued with the arrival to the throne of Philip II, who not in vain converted this building into the official residence of the royal family and headquarters of the governing bodies, after establishing the capital in Madrid in 1561. One of his contributions is the Golden Tower, completed in 1560, when he was still a prince. Built in the southwest corner of the Alcázar, based on a design by Juan Bautista de Toledo, this tower lays the foundations of the so-called Austrian style, years before the construction of the El Escorial monastery began.

Another of the construction focuses of the monarchy is the Royal Site of El Pardo and, more specifically, its primitive medieval castle, which Charles I transformed into a palace. Although the building was intervened in the 19th century, elements from the 19th century are still preserved, such as doorways and a two-story porticoed patio. Next to the Royal Palace of El Pardo, the Casa de Campo stands out, a Renaissance villa "Palacio de los Vargas (Casa de Campo)") that Philip II purchased in 1562 from the Vargas family. The king's architect, Juan Bautista de Toledo, carried out a pioneering landscape intervention in Spain around it, introducing Italian Renaissance models for the first time.[21] One of the most unique elements of this Royal Site is the Gallery of the Grottoes, considered the most artistically relevant decorated artificial grotto of the Spanish Renaissance.[22] Toledo also undertook different urban interventions, such as the Caños del Peral fountain.

The Madrid of the Austrians

One of the first architectural dedications of Felipe II in Madrid was the renovation of the Plaza del Arrabal (also called "Plaza de la Leña") near the Puerta de Guadalajara, in the so-called Lagunas de Luján (see: History of the Plaza Mayor of Madrid).[31] The project initiated by Felipe II through the construction of the Casa de la Panadería (due to the designs of the architect Diego Sillero) would not be completely seen completed until the arrival of his son, Philip III, to the throne. One of the main architects of King Philip II during this stage is Francisco de Mora, a disciple of Juan de Herrera, who was succeeded, in the time of Philip III, by his nephew Juan Gómez de Mora. The latter built the Mayor's Chamber of the House and Court near the Plaza Mayor, which would later be the Cárcel de Corte (this is the Santa Cruz Palace "Palacio de Santa Cruz (Madrid)"), where today the Ministry of Foreign Affairs has its headquarters).

We have an idea of the urban layout of Madrid and its buildings in the middle of the century, since in the year 1565 the Flemish cartoonist Anton Van den Wyngaerde (also known in Spain as Antonio de las Viñas), portrayed in a drawing a vision of Madrid from the vicinity of the current Puerta del Ángel "Puerta del Ángel (gate of the Casa de Campo)"), in which a densely built city can be seen.[30] The The beginning of construction of the El Escorial monastery would spread an architectural style called escurialense architecture throughout the new capital. Philip II, during his stay in Flanders, decided to promote in Madrid the style of slate spiers, so popular in Dutch architecture of the time. These slate roofs, with a steep slope, with skylights and towers topped by sharp spires, (the typical Madrid spire) achieved great diffusion in Castilian architecture, especially the Madrid architecture of the 19th century.[29] Being the style of the buildings personally sponsored by Philip II. This new style represented a strong change in the Spanish construction style that linked it to northern Europe rather than to the continental south, abandoning the traditional tile roofs of Arab influence.

The convent of Santo Domingo el Real located on the border with the Peral pipes. The architect Juan de Herrera began work on the Segovia bridge (known at the time as Puente Segoviana), giving way to what would be the first monumental entrance to the city.[32] The merit that the city became a courtly city is due to Philip III and his prime minister, the Duke of Lerma. The great architects, planners and urban planners of the Crown who guide the city's transformative process are Francisco de Mora. During this period, the city's urban planning developed around the Plaza Mayor. As a consequence of the room royalty, the so-called houses of malice (also called "houses of difficult/uncomfortable partition") appear in Madrid, modifying the facades of some of the houses in the center of Madrid.

During the reign of Philip III, numerous constructions were carried out in the city, some of them, such as the works on the Plaza Mayor, were completed, completing its perimeter with the designs of Juan Gómez de Mora. This architect had learned the trade from his uncle Francisco de Mora (and this in turn from Juan de Herrera). Juan Gómez de Mora works intensely in the city and spreads Herrera's style in what will be called the Madrid of the Austrias. The Royal Monastery of La Encarnación, by Alberto de la Madre de Dios, is built next to the Alcázar. This monastery was born as a religious extension of the fortress. After the Incarnation was the Colegio de María de Aragón ("College of María de Aragón") of the Order of Saint Augustine (currently it corresponds to the Senate building). The Duke of Uceda decided to build a palace next to the fortress in 1613, and commissioned the design of the building to the military man Alonso Turrillo"). The Uceda palace is located on Calle Mayor "Calle Mayor (Madrid)"), right in front of the church of Santa María (one of the first temples in Madrid). The Carboneras del Corpus Christi Convent dates from this same period.

During the reign of Philip IV, the works on the Buen Retiro Palace were completed, the only civil construction of importance being the Court prison "Palacio de Santa Cruz (Madrid)"), inspired by the architecture of El Escorial. Among the religious buildings built are the Imperial College of the Company of Jesus and the church of San Antonio de los Portugueses as part of the hospital of the same name. The Casa de la Villa was built over a long period of time with the best architects of the time taking part in it: started by Juan Gómez de Mora and later directed by José de Villareal, it was finally executed by José del Olmo and Teodoro de Ardemans at the end of the century.

• - Palace of Santa Cruz "Palacio de Santa Cruz (Madrid)").

• - Bakery House.

• - Palace of Councils.

• - Royal Monastery of La Encarnación.

• - Abrantes Palace "Abrantes Palace (Madrid)").

Bourbon period

Con Carlos II se termina el reinado de la Casa de Habsburgo y tras él queda finalizado un estilo arquitectónico que dejó huellas en lo que en la actualidad se denomina el Madrid de los Austrias. El primero de los reyes de la Casa de los Borbones es Felipe V y con él comienza un periodo de exaltación por los lenguajes ornamentales: periodo churrigueresco. De Italia proviene el Barroco y este estilo al gusto de la nueva monarquía será la moda imperante en la arquitectura madrileña a comienzos del siglo . El barroco madrileño, no obstante, muestra en sus primeras expresiones de mediados del siglo una clara herencia del anterior periodo herreriano. No será hasta llegado el siglo , con la plena aceptación del barroco en la arquitectura real y palaciega madrileña, hasta que pueda verse exaltado este estilo. La incorporación de nuevos arquitectos procedentes de Francia e Italia influye en la aparición de nuevos estilos, mientras que relega a un segundo plano a dos generaciones de arquitectos españoles.[1].

Madrid Baroque

The baroque begins to emerge in the Madrid temples in its first characteristics in the century until its splendor in the . From this last period, it is worth highlighting the coexistence of the baroque coming from foreign currents, as well as those purely from Madrid.[33] One of the first manifestations of the baroque falls on the church of San Isidro "Colegiata de San Isidro (Madrid)") under the design of Pedro Sánchez "Pedro Sánchez (architect)"). The Madrid architect of this period is Pedro de Ribera, who undertook numerous works in the city. By order of the Marquis of Vadillo, he built an important access to the south across the Manzanares River: the Toledo Bridge. In the middle of the reforms of the Spanish army, Felipe V ordered the construction of the Conde-Duque Barracks as a space for the quartering of the Madrid troops. This building will be the largest to date.[34] Ribera makes his baroque style fashionable on the "Front (architecture)" covers of the buildings, giving rise to the so-called Madrid baroque. This Madrid baroque was later reproduced in the great buildings of Madrid at the beginning of the century. Pedro de Ribera built some palaces in Madrid such as the Miraflores palace (1730-1733), the palace of the Marquis of Ugena (1730-1734), the palace of the Marquis of Perales (1732). Among the religious temples are: Monserrat (1720), the hospice of San Fernando (1722), San Cayetano "Church of San Cayetano (Madrid)") (1722), San José "Church of San José (Madrid)") (1730-1742). The brothers José Benito Churriguera, Alberto Churriguera and Joaquín Churriguera work in Madrid and their influence is noticeable on the architects of the Baroque period. One of the heirs of this ornamental style is Pedro de Ribera himself, being the successor of Teodoro de Ardemans. All of these baroque styles were highly criticized later in the century.

Other architects of this period were Bartolomé Hurtado. The Basilica of Saint Michael "Basilica de San Miguel (Madrid)") (1739-1746) by Giacomo Bonavia. During the reign of Ferdinand VI, the Royal Salesas "Convento de las Salesas Reales (Madrid)") (1750-1758) by Francisco Carlier were completed. It is at this time that the Royal Academy of San Fernando was established not only as an academy for training architects, but as a permanent jury with its critical opinion on the artistic works carried out in the capital. The objective of the academy was to exalt the figure of the Crown through the renewal and beautification of the city through the Fine Arts, and among them was architecture. His weight and power, in the architectural field, will last until the beginning of the century, being a jury in many of the public competitions presented in the capital.

On Christmas Eve of the year 1734, with the Court moved to the El Pardo palace, a great fire broke out in the Real Alcázar of Madrid. The fire, which could have originated in a room of the Corte painter Jean Ranc, spread quickly, without being controlled at any time. In 1735, Philip V and Isabella de Farnese commissioned the project for the new royal palace to the architect Filippo Juvara. A year into his stay, Juvara died and his disciple Giovanni Battista Sachetti took over in 1738. Sachetti was inspired by Bernini's palaces. New Italian and French architects appear on the Madrid architectural scene, due to the king's personal interest. Thanks to them, a generation of architects was formed who would later promulgate the triumph of neoclassical academic models.

• - Basilica of Saint Michael.

• - Royal Salesians.

• - Palace of the Marquis of Perales.

• - Church of San José "Iglesia de San José (Madrid)").

• - Monte de Piedad.

• - Church of San Cayetano "Iglesia de San Cayetano (Madrid)").

• - Fountain of Fame "Fountain of Fame (Madrid)").

Italianizing classicist baroque

The entry of Charles III into Madrid was a milestone in Madrid architecture. The new king brought his own architects, among them was Francesco Sabatini. Sabatini became the chamber architect of the Crown. One of his first works is the Puerta de Alcalá, although he soon carried out other works such as: Real Casa de la Aduana (1769) on Alcalá street, the Real Casa de Correos (1768) in Puerta del Sol "Puerta del Sol (Madrid)"), the convent of the Comendadoras of Santiago, the Royal Basilica of San Francisco el Grande, the Godoy palace. Some Spanish architects were forced to compete with the new trends brought by the new monarch. San Francisco el Grande is built (1761) designed by Francisco Cabezas.

One of the architects most affected by the arrival of Carlos III to the kingdom was Ventura Rodríguez, enjoying royal favor under Fernando VI, with Carlos III being dismissed from the works that he himself had designed, one of the clearest examples being the Royal Post Office. Sabatini's presence affected his career in the first years, and after that his new clients were the Madrid City Council, the Council, and the Chamber of Castile. Ventura was the one who had best known how to assimilate the teachings of the Italian architects living in Spain. He was a disciple of Juvara and was linked to Juan Bautista Sachetti. He was certainly one of the architects with the greatest architectural knowledge in the Spain of the century.

The neoclassical period appears in its maximum splendor in the capital when the Spanish architect Juan de Villanueva returns from his Roman boarding school,[35] His first works were carried out in El Escorial and when he reached his architectural knowledge he was commissioned to build the Botanical Garden. Sabatini was initially entrusted with the design, but it finally fell to Villanueva. Among his first works are the oratory of the Knight of Grace, the Astronomical Observatory and the Prado Museum building. We owe it to him the current appearance of the Plaza Mayor in Madrid. Juan de Villanueva leaves a legacy of architects behind him who will spread neoclassicism throughout the century.

Among the most representative architects of this neoclassical era at the beginning of the century after Juan de Villanueva were: Manuel Martín Rodríguez, Juan Antonio Cuervo, Antonio López Aguado, Silvestre Pérez (Juan de Villanueva's successor at his death), Ignacio Haan and Custodio Teodoro Moreno. Of them, Velázquez and Aguado, belonged to the generation of 1765, possibly the last of neoclassical training and the first to know the direction produced by the romantic movement. Through professional censuses it is known that in 1809 there were a total of fifty architects and master builders in Madrid, graduated from the Academy of San Fernando, to which must be added sixty-eight "intruders in this class", that is, people who practiced architecture to different degrees without having passed the Academy tests required by current legislation.

nineteenth-century architecture

El siglo comienza con un nuevo estilo arquitectónico, sin embargo la falta de medios materiales hizo difícil llevar a la práctica la arquitectura que, como la neoclásica, es de por sí ya costosa. Esta nueva arquitectura fernandina sobrevive posteriormente al periodo de reinado del monarca y se difunde en la arquitectura madrileña durante la minoría de edad de Isabel II. Destaca de este periodo de la creación de la nueva Escuela Superior de Arquitectura de Madrid (cuya sede se ubica en las cercanías del colegio imperial de la calle de Toledo), reemplazando a la Academia de San Fernando como lugar de formación de los futuros arquitectos. El primer plan de estudios de la Escuela de arquitectos data del año 1845. En España existían por esa época otros centros para el estudio y enseñanza de la arquitectura ya finales del siglo . La ciudad queda desierta de nuevos proyectos arquitectónicos a mediados del siglo , algunos autores mencionan la sensación general que ofrece el Madrid decimonónico de «poblachón mal construido».[36] A diferencia de otras capitales europeas que afrontaron cambios radicales a finales del siglo , Madrid no sufrió cambio alguno apreciable.

Neoclassicism

The culmination of some of the architectural and urban projects that began during the reign of Charles III in Madrid had to be abruptly interrupted in the final days of the reign of Charles IV due to the French invasion of 1808. During this war period (1808-1813) building activities in the capital were completely interrupted. During this period, the San Fernando Academy of Fine Arts was the academy where future architects were trained, a place that served as a breeding ground for the neoclassical movement. At that time the cities of Pompeii and Herculaneum had been discovered, and these discoveries had an impact on the arts of the time, being one of the reasons why neoclassicism emerged. Little by little the baroque ornament gives way to the study of proportion.

During the government of Joseph Bonaparte, no major works were carried out due to the precarious economic situation of the nation. This affects the population of architects who are forced to go unemployed at the beginning of the century. Some of the architects of Madrid had a distant attitude towards the new Napoleonic government, this is the case of the now elderly Juan de Villanueva. The only important work that Villanueva carried out in these Napoleonic years was the General Northern Cemetery "Cementerio del Norte (Madrid)") (now missing), which served as a guideline for the Madrid cemeteries that would be built later in the time of Ferdinand VII. Starting in 1810, José Bonaparte became involved in an urban reform of the interior of the city. During this period, ecclesiastical assets were expropriated, churches and convents were demolished: convents such as those of Santa Catalina, Santa Ana, Padres Mostenses, de la Pasión and San Gil, while the churches of San Martín, San Ildefonso, San Miguel, San Juan and Santiago were demolished. In its place, small squares are built that preserve the name of the religious temple already demolished: Plaza de Santa Ana "Plaza de Santa Ana (Madrid)") (created in 1810 to empty the Teatro del Príncipe), Plaza de San Miguel (created in 1811 to relieve the market in the Plaza Mayor by placing the exclusive sale of fish there). These demolitions meant the departure of Madrid's architectural heritage. Some of these demolitions were carried out by Silvestre Pérez (author of the Puerta de Toledo "Puerta de Toledo (Madrid)")). This architect is in charge of designing and executing the union of the Royal Palace with the convent of San Francisco el Grande, through a high viaduct that would save the basin of Segovia Street "Calle de Segovia (Madrid)"), a project that will be carried out several decades later through the construction of the Segovia viaduct.

One of the most active architects during this period is Juan Antonio Cuervo, in charge of the only major work during the period of Joseph I: the church of San Nicolás "Iglesia de San Nicolás (Madrid)"). Goya portrays him with a floor plan "Plan (architecture)") of this work in his hand. Upon the arrival of Ferdinand VII, the architectural projects continued, opening a second period of architectural neoclassicism: 1814-1833. One of the outstanding architects of this second period, a student of Villanueva, is Isidro González Velázquez who returned to the capital in exile from Mallorca. Velázquez would be chief architect of the Royal Works and López Aguado would obtain the appointment of chief master of Madrid. At the initiative of the Cortes in 1814, the first thing to be built was a monument to the fallen in Madrid on May 2, 1808. The Academy of San Fernando would fail the competition and the City Council would award two gold medals of different weights to the authors of the first two prizes. The winner of the contest is Isidro González Velázquez. The work took a long time to be executed, and it could not be inaugurated until 1840. Velázquez carried out the large-scale work corresponding to the Plaza de Oriente, also designing the facades that face it on the outside.

In 1830, León Gil de Palacio developed a topographic model of the city in the Royal Cabinet of Topographic Studies, which is currently preserved in the Municipal Museum of Madrid. This model clearly shows the effects of the demolitions and squares of the new Madrid. Being a material of great value for researchers of Madrid urbanism"). Madrid neoclassicism finds its end in the middle of the century, the architecture tries to search for a Spanish origin and historicist architectures appear that look to the past. It is a period of the "neos": neobaroque, neomedieval, neomudejar, neogothic. Of all of them, the one that affects Madrid architecture to the greatest extent is the neomudejar.[37].

The historicisms

The architecture of the Elizabethan era made a certain taste for the Arab fashionable, imitating as much as possible the popular monuments of cities in Al-Andalus such as Granada, Seville and Córdoba "Córdoba (Spain)"). In these cases the Mudejar style of brick architecture is imitated. This period opens in the city with the popularity of neo-Mudejar architecture influenced by Toledo.[37].

This style appears as a result of the combination of elements from the new European architectural trends and the Spanish architectural tradition in its most artisanal aspect. At the Vienna Universal Exposition "Vienna Universal Exhibition (1873)") of 1873 it was decided that the Spanish pavilions would have a neo-Mudejar style. The architect Emilio Rodríguez Ayuso is the initiator of the Mudejar movement in popular buildings such as the old bullring (1874) located on the Aragón highway. "Giving rise to a construction fashion that will be used in the Spanish bullrings, taking the Madrid bullring as a reference. Ayuso evolves neo-Mudejarism until it reaches an eclecticism that is fully expressed in the Aguirre Schools building. Other followers of the neo-Mudejar style in the capital are Lorenzo Álvarez Capra who designed the church of La Paloma. The architect Carlos Velasco Peinado who, with Eugenio Jiménez Correa, designed the church of San Fermín de los Navarros (1891).

This Mudejar style and its neo-Moorish decoration appear in recreational places such as the Frontón Beti-Jai (1894), as well as in Madrid theaters such as the Alhambra, the María Guerrero. The style spread to religious temples such as the church of Santa Cristina "Iglesia de Santa Cristina (Madrid)"), by Repullés and Vargas. Some civil buildings such as the missing Fábrica Gal (1813-1915) which is the work of Amos Salvador y Carreras. Among the architectural styles that can be observed in the expansions, and that promoted the urban growth of the city during the last quarter of the century and the first of the century, one of the most characteristic is the neo-Mudejar. In 1859, upon entering the Academia José Amador de los Ríos, he made a speech titled: "The Mudejar style in architecture" that paved the way for the future neo-Mudejar architecture rooted in the Madrid style of the following years. The popularity of the style was evident in the Spanish Pavilion at the Paris Universal Exhibition (1878) "Paris Universal Exhibition (1878)"), the work of Agustín Ortiz de Villajos.

• - Aguirre Schools.

• - Church of the Holy Cross "Church of the Holy Cross (Madrid)").

• - Xifré Palace.

• - Church of San Fermín de los Navarros.

• - Valencia de Don Juan Institute.

• - Paloma Church.

• - Fuente del Berro bullring.

New designs appear, such as the Madrid School of Mines, built in 1888, and the Ministry of Public Works (now Agriculture) building by Ricardo Velázquez Bosco (author of the Façade of the Casón del Retiro). At the end of the century, high-income housing houses were built in the space that goes from the Retiro to the Paseo del Prado. Two great works arose at the end of the century, the first is the building of the Bank of Spain "Edificio del Banco de España (Madrid)"), the other is that of the Madrid Stock Exchange. A public competition was called for the design of the Bank of Spain building, which Eduardo de Adaro won after being deserted in later editions. The same year that the Bank of Spain building began to be built, the Stock Exchange building went out to public tender. The winner of the competition was the architect Repulles y Vargas. Its hexastyle portico of the Corinthian order is the latest columnar solution in Madrid architecture. The Royal Spanish Academy assigned to Miguel Aguado de la Sierra is built. The construction work of this architect is not very great because he dedicated himself to being director of the Madrid School of Architecture. Fernando Arbós y Tremanti built works such as the church of San Manuel and San Benito "Iglesia de San Manuel y San Benito (Madrid)"), the Eastern Cemetery (1877) and various buildings for the Caja de Ahorros y Monte de Piedad of Madrid: the headquarters of the Caja de Ahorros de Madrid, in the Plaza de Celenque (demolished), the Sala de las Alhajas, in the neighboring Plaza de San Martín (today an exhibition hall), the Ronda de Valencia Pawnshop (1870, the current Casa Encendida) and a twin building to this one on Eloy Gonzalo Street (demolished).

Romantic architecture

The crisis of neoclassicism as a unique style coincided with that of political absolutism, although its disappearance was not instantaneous. Some of the architects of the period of Fernandino neoclassicism continued to practice at the beginning of the reign of Isabel II, mainly during the regency of María Cristina. One of the examples is the building of the Congress of Deputies, being one of the most relevant works at the beginning of the century. A national public call was held in 1842, with the San Fernando Academy being a jury, awarding the first prize to Narciso Pascual y Colomer, and the second to Antonio Zabaleta. Both representatives of the neoclassical currents.

The Almudena Cathedral was first born as a Madrid temple that replaced the old church of Santa María demolished for urban reforms. The first architect in charge is the Marquis of Cubas. His first designs are close to neo-Gothic. Political and diocesan interests made this initial project of the Marquis of Cubas transform into a larger idea when the diocese of Madrid was created. A Royal Order of 1880 approved the marquis' project and the first stone was laid in 1883. The Madrid crypt of the new cathedral was built with great effort due to the economic cost of the work and the ambition of the project. The project will suffer several interruptions, a change of architects, criteria, budget dedicated to the work and architectural styles.

Among the first Spanish architects who designed iron structures was Eugenio Barrón, who built the first iron bridge over the Manzanares in 1861. This bridge served the Madrid-Alicante (MZA) railway route. With the construction of the first closed market in the Plaza de San Ildefonso "Plaza de San Ildefonso (Madrid)") (in the San Ildefonso market) the possibility of using this material in the construction of this type of establishments opens. The iron architecture has another replica in Madrid, soon the Cebada and Mostenses markets were built (currently replaced by concrete ones). The Madrid city council asks two experienced French architects: Émile Trélat and Héctor Horeau, to design two food markets (Halles Centrales) for Madrid. The request was based on the fashion trend of Halles built in iron in Paris. Trélat's project was not carried out. Finally, Horeau's project for the Cebada market emerged as an original design with a circus tent-shaped roof, although the city council awarded the commission to the Spanish architect Mariano Calvo Pereira. The revolution of September 1868 would prevent the immediate completion of these works, delaying their construction and inauguration (1875) until the Alfonso period. New palaces appear in the city, such as the palace of the Marquis of Salamanca, which is built near the neighborhood that he founded: Barrio de Salamanca.[38] A new wealthy social class emerges in the Madrid of the time and populates the Castellana axis with elegant mansions.

Modernism

Modernism spreads through various variants through Madrid architecture. Some architects migrated from eclectic positions to moderate modernism, or modernist eclecticism. Others produced pre-modernist works, such as José Grases Riera, who designed a monument to Alfonso Grases Riera is a clear example of an architect who straddles the eclectic and modernist styles. At the end of the century he designed the La Equitativa building (1891) and evolved to the Longoria Palace in 1902, which features art nouveau details on its façade and on the staircase inside.

In 1904, the VI International Congress of Architects was held in Madrid, taking the Ateneo building as its headquarters. During this congress the so-called modernist style was debated. One of the buildings that dates back to this period of transition is the Madrid Casino, which turns out to be a mixture of several designs, including those by Guillaume Tronchet, Farge (father and son), Martínez Ángel, Tomás Gómez Acebo, Otamendi y Palacios, and Jesús Carrasco, finally delivered with the signature of Luis Esteve.

Some architects echo modernism, such as Eduardo Reynals Toledo, who developed it in Pérez Villaamil's house. Other young people such as Carlos de Luque López and García Calleja "adopted modernism from the beginning. There are also examples of modernism in industrial buildings, such as the two headquarters of the Madrid Telephone Company of Enrique Martí Perla, with a strong Viennese influence, or the headquarters of the Peninsular Telephone Company, of Manuel Costilla Pico"), which had a mosaic by Lluís Brú i Salelles, one of the great ceramists of Catalan modernism.[42]

20th century

A principios de siglo los censos arrojan la cifra de 539.835 habitantes, treinta años después esa cifra casi se ha doblado (arrojando la cifra de 952 832). Antes de la guerra civil la ciudad poseerá un millón de habitantes. Este crecimiento de población se traduce en una fuerte demanda de viviendas, surgen las primeras colonias (barrio de la Prensa") en 1910), los nuevos barrios, los poblados. En esta época regresa de nuevo el gusto por la construcción con ladrillo, influenciada por las corrientes de expresionismo en ladrillo del norte de Europa. El comienzo del siglo pone de manifiesto la búsqueda de una identidad nacional dentro de la arquitectura. Aparece a comienzos de siglo una nueva tipología de edificios: el hotel de lujo. Se construye el Hotel Ritz "Hotel Ritz (Madrid)") en 1910 y el Hotel Palace dos años después. Dentro de estas nuevas tipologías se incluyen los centros comerciales, las oficinas, los grandes bancos, las centrales telefónicas y de comunicaciones. Madrid se convierte, a comienzos del siglo , desde una Corte a una moderna metrópoli. Todo ello se ve favorecido por la apertura de una gran calle denominada popularmente: la Gran Vía, como un puente entre el este y el oeste de la ciudad pretendiendo descongestionar el tráfico de la Puerta del Sol. Se habla en los círculos arquitectónicos del «Gran Madrid».

Eclecticism

The construction of the 1,316-meter-long Gran Vía was initially approved in 1901 and later required the endorsement of the Royal Order of August 27, 1904. The official completion occurred in 1932, while its construction lasted until the post-war years. Its planning and construction was controversial in many aspects: social, political, urban and architectural. The Gran Vía is organized into three sections and two hinges, along which the historical sequence of architectural styles crystallized from the monarchy of Alfonso It is for this reason that the architectural styles along the street are certainly diverse.

Beginning, already in the first section of the 400-meter-long avenue of the Conde de Peñalver, the La Unión y el Fénix building (current Metrópolis building), some of the buildings have their own personality, such as the Hotel Roma"), La Gran Peña, the Military Casino (Army and Navy Center), the Caballero de Gracia oratory, etc. The style found in this first section coincides with the eclectic architecture typical of the beginning of the century.

The second section, 360 meters long, or Avenida de Pi y Margall (known at that time as the boulevard of Madrid) contains the Telefónica building, which is supposed to be the first skyscraper in the city, built by Ignacio Cárdenas in 1929. In this section, the first cinemas and theaters that will make Gran Vía popular begin to be installed: the Palacio de la Música, the Callao Cinema. Other buildings are installed as large warehouses, as is the case of the Paris-Madrid Warehouses, the Casa del Libro, the Casa Matesanz. The third section of 556 meters, also called Eduardo Dato Avenue, was the last to be built, interrupted by the evolution of the civil war. This section was built in the post-war period and stands out for the verticality of its buildings. The beginning of this section has the Capitol building as a "symbolic entrance" and ends in the Plaza de España "Plaza de España (Madrid)"), ending with the España Building (in 1953) conceived as the tallest building in Europe at the time.

The Galician architect Antonio Palacios, in collaboration with Joaquín Otamendi, developed the Communications Palace in 1919. This building was a milestone in Madrid architecture at the beginning of the century. The evolution of this architect is anomalous in the Madrid scene, for mixing diverse styles with a very particular vision. Palacios is at the same time classicist and traditionalist, he uses historicist languages, but with a strong influence of American and secessionist architecture.[43] Despite everything, he developed his own and unmistakable style, based on his great construction knowledge, and marked the architecture of the first quarter of the century. Part of his emblematic works in Madrid are built in the Puerta del Sol axis to Plaza de Cibeles along Alcalá Street. During the first moments of the Primo de Rivera dictatorship, the Corps of Municipal Architects of Spain (CAME) was created and this had repercussions on Madrid architecture due to the Municipal Statute.

In addition, Palacios was the architect of the Compañía Metropolitano Alfonso On the surface, he designed the access temples with elevators in Sol and Gran Vía, and was the author, together with the team of engineers, of the Cuatro Caminos Garages (1918), the Pacífico Power Plant (1923) and the Castelló and Olid Electrical Substations (1924-26).

Madrid rationalism

A new style began to appear in the buildings erected in Spain during the late 1920s. Rationalism appeared as a new architectural language, some of its greatest exponents being the French architect Le Corbusier and Lloyd Wright. Some artistic currents such as cubism, art deco, Mendelsohnian expressionism, Sezession, Bauhaus futurism and others, influenced the appearance of this new architectural current in the capital. The last years of the Primo de Rivera dictatorship defined a period called new eclecticism that opened a period of architectural avant-garde.[44] One of the architects who most stands out and propagates rationalist ideas is García Mercadal. During the advent of the Second Republic, the so-called Madrid rationalism appears in certain places in the city, closely related to the Salmón style (named after the Salmón Law).[44] It is characterized by the absence of ornamentation, predominance of prismatic volumes "Prism (geometry)") with predominance of horizontality, the presence of aerodynamic elements, naval references such as railings and portholes (influence of machinery at the beginning of the century), appearance of large openings through the design of horizontal windows. Brick is used again as a construction element. The style is usually shown in buildings after 1929. This architectural style has been identified with the advent of the Second Republic by some authors,[45] The influence of Erich Mendelsohn on many of the architects of the time is reflected in Madrid buildings.

The architects of the so-called generation of '25 flatly reject previous historicist architectures of different origins; this generation marked the end of academicism and historicism. Of all of them, the one who most reflects the ideas of ultraism is the Aragonese García Mercadal.[46] The rest of them adapt the norms of the avant-garde to the Madrid style, despite the fact that rationalism was born as an anti-stylistic movement. Finally this rationalist style was as eclectic as the previous period. They coexist with the writers and poets of the generation of '27. The rationalist current affected housing, buildings in the tertiary sector and new buildings such as cinemas (an example is the Barceló Cinema), gas stations (Gasolinera Gesa), and food markets. It is the time in which some of the faculties of the University City begin to be built, the Faculty of Philosophy and Letters of Agustín Aguirre (1931-33). In the heart of Madrid and near the Pozas neighborhood, the architect Secundino Zuazo designed what would be one of the canonical buildings of Madrid rationalism: the Casa de las Flores "Casa de las Flores (Madrid)") (1930-1932), the Colonia de El Viso by Rafael Bergamín (1933-36) or the Colonia Parque-Residencia by Luis Blanco-Soler (1929).

Between an eclectic historicism very nuanced in the finishes and pure rationalism, there are two architects characteristic of the physiognomy of Madrid, Antonio Flórez Urdapilleta and Bernardo Giner de los Ríos. They are known in particular for their school constructions and for having created a rational model of school construction that unfortunately was not continued.[47].

In 1924, Luis Lacasa presented construction issues for the first time to the problem of rationalization of housing in Spain and proposed giving shape to construction with a truly coherent meaning based on standardization criteria. A trend of promoting affordable housing centers and estates aimed at working-class families and the poorest classes began to materialize already at the end of the Restoration period with the first Cheap Houses Law of 1908, and was consolidated with the social policies of the Second Republic and above all with the post-war crisis and the great migrations from the countryside to the city of the 1950s. The amount of population that lived in shanties in Madrid in the middle of In the 1950s it would reach 10% of the city's population, so numerous models of residential neighborhoods were tested to provide housing for the growing urban population. The different management formulas such as cheap houses, managed and absorption towns, "minimal towns", "agricultural towns"), neighborhood units, residential units, as well as experimental housing competitions in Madrid, were aimed at creating fields of real experimentation in the second half of the century. It will be young architects such as Sáenz de Oiza, L. Cubillo, Romany"), M. Fisac, F. J. Carvajal, among others, who will reflect in their proposals a new cultural openness and a new attitude of critical experimentation favored by a state regulatory framework of progress.[48][49][50][51][52].

Concern about housing and high construction unemployment since 1930 caused the different governments of the Second Republic to make various efforts to reactivate the sector. From this idea, Indalecio Prieto, Minister of Public Works, conceived the three great projects of the Republic: the transformation of Madrid (the development of a Regional Plan in which the extension of Castellana became, in accordance with Zuazo's proposal of 1929, the articulating axis); organize, in Alicante, the residential and leisure space that would be known as Playa de San Juan "Playa de San Juan (Alicante)") and coordinate the activity of the different hydrographic confederations in what was called the National Plan for Hydraulic Works"). The right-wing governments during this period made laws with tax exemptions in construction, an example was the Salmón Law (in reference to Federico Salmón, Minister of Labor at that time) which gave rise to the so-called style Salmon.[53] Due to the period in which it was built, many of the houses from this era have a variant of rationalism.

The continuous growth of the city means that the formation of workers' towns on the outskirts of Madrid is beginning to be considered; their construction falls within the powers of the City Council. Within this evolution, the concept of "urban zoning" was born in the city and rural land was reclassified as developable. Due to this increase in construction demand, companies such as the Compañía Madrileña de Urbanización (owned by the Otamendi brothers), a housing cooperative of the "V.E.M." were born, all of them in charge of raising and building new colonies. The city is projected towards the north, at the junction with Fuencarral, Chamartín and Ciudad Lineal, and along the south with Vallecas and Carabanchel, while moving away from the Abroñigal stream.

postwar architecture

During the period of the Civil War (1936-1939) the city of Madrid had a combat front that caused severe devastation in some areas due to the intense artillery bombardment from the Casa de Campo for a couple of years. The war represented a drastic turning point in the capital's construction style. Institutions emerged with constructive purposes such as the National Service for Devastated Regions (created at the end of 1938) and others such as the General Directorate of Architecture (whose direction falls to Pedro Muguruza, Franco's personal architect) whose objective is to unify the official post-war architecture.[54] Both institutions, dependent on the Ministry of the Interior, are responsible for restoring Madrid after the Civil War. In the same way, the old organizations such as the National Institute for Agrarian Reform (converted into the Instituto de Colonización) and the Patronato de Casas Baratas (converted into the National Housing Institute "Instituto Nacional de la Vivienda (Spain)") are modified, subjecting to the ideology and purposes of the new state.

The architecture of this first decade of the forties is controlled by the National Assemblies of Architects that are organized by the Technical Services of FET-JONS.[55] Large-scale urban planning is carried out by the urban planner Pedro Bidagor in charge of the imperial reorganization plan for Madrid, called drafting of the new General Urban Planning Plan for Madrid") (continuer of the Zuazo-Jansen project of the year 1929).

The first post-war years were the development of Francoist ideology through the establishment of an identity in the arts. In June 1939, the I Assembly of Architects was held in Madrid. The architects attached to the new regime attended it, under the presidency of the new mayor of the city, Alberto Alcocer and Ribacoba. Part of this post-war architecture was to represent Francoist ideology. From this assembly, laws were drafted that would regulate architectural performance in the city.[56] Some of the architects loyal to the new regime such as Víctor d'Ors had already begun to develop doctrines with the aim of homogenizing styles around a common ideology in order to "build a nation."[57] Falange tried to lead the process of national reconstruction and reflected in the new architecture and urbanism the ideals expressed in its political program.[55] They appear the first buildings of great verticality in the area around the Plaza de España "Plaza de España (Madrid)"): the España Building and the Madrid Tower.

In 1953 there was a large avalanche of population from rural areas to Madrid. Many of them want an improvement in living conditions, caused in part by the "pull effect" of urban improvements. The new inhabitants of the city begin to settle on the outskirts of Madrid. The shanty towns around Madrid and the marginal neighborhoods are growing exponentially. An attempt is made by all means to stop peripheral growth, due in part to the fact that these towns limited the expansion of the city itself. The growth of marginal neighborhoods is mitigated in what are called absorption towns (dedicated to absorbing population from scattered areas of low construction quality). In 1959, the managed towns (towns with self-constructive capacity, that is, self-managed) of Fuencarral and Caño Roto began to be built. One of the first managed towns was Pozo del Tío Raimundo, as well as Palomeras, which brought together numerous Andalusian immigrants on the outskirts of the city. After these initiatives, the towns of Canillas "Canillas (Hortaleza)") and Orcasitas were launched. These initiatives were part of the activities of the National Housing Institute. The targeted towns corresponded to population centers with housing blocks of similar characteristics around a main street that acts as the main axis. The housing blocks are developed in a reticulated manner. The first were blocks of four homes. They were designed with the idea of accommodating families from the countryside, and facilitating their adaptation to the urban environment. It is for this reason that a type of patio-garden is incorporated. In charge of these projects are several architects, including José María García de Paredes and Francisco Javier Sáenz de Oiza, along with Manuel Sierra Nava"), Jaime Alvear Criado"), José Luis Íñiguez de Onzoño, Antonio Vázquez de Castro and José Luis Romany"). The architects of the time practiced with different forms of housing, experimenting with various styles. An Experimental Housing Competition was formed in 1956. This type of innovative architecture It contrasted with the formal and historicist current of the Franco government. The style of these modest homes is considered a new version of the homes designed by the European rationalists of the 1920s. It seems that the architects of the targeted towns adopted the criteria of the : rationalism and minimalism.[58][59].

modern architecture

The awakening of modern architecture in Spain has been set at the end of the fifties. Moment in which the academic eclecticism and conservative style of the first period of the regime disappear. Modernity is seen in Madrid with the construction of the Casa de Sindicatos (current Ministry of Health and Consumer Affairs), headquarters of what was the National Delegation of Unions on Paseo del Prado by the architects Francisco de Asís Cabrero and Rafael de Aburto.[60] This building marked the end of post-war architecture. A new generation of architects appeared (that is, those who finished their studies in the 1940s) and a contribution from the old architects, among whom it is worth highlighting Luis Gutiérrez Soto, who in 1949 designed the building of the High Staff in the extension of Castellana. In this building the transition from official historicist architecture to modernity occurs.

However, among the new architects there appears an attachment to what comes from outside, creating what is called international style, among these movements the organic style emerges that soon has some allies among the new architects of the sixties. Many of them are trained in the housing proposals of the targeted towns, such as the case of Caño Roto") (1962). In February 1957, El Paso "El Paso (group)") was founded in Madrid, in the house of the architect José Luis Fernández del Amo.

Over the years it will be necessary to highlight the church of Alcobendas&action=edit&redlink=1 "Church of San Pedro Apóstol (Alcobendas) (not yet written)"), by Miguel Fisac (1959), the Seat building) in the extension of the Castellana, Madrid (1964, by Manuel Barbero Rebolledo and Rafael de la Joya Castro"), the Centro building on Orense street (1965), by Pedro Casariego and Genaro Alas (designer of the Windsor building destroyed in a fire in 2005 and replaced by the Titania Tower), the residential building in Vigo (1963, by José Barboa), the building of the newspaper Pueblo "Pueblo (newspaper)") in Madrid (1964), by Rafael de Aburto, or the Banco de Madrid, on the Carrera de San Jerónimo (1964), by Antoni Bonet.

In the sixties it was the organic concept that printed the designs of Madrid architecture. One of its promoters is Antonio Fernández Alba through his Colegio de Santa María (1960), another of the followers is José Antonio Corrales who built the Huarte house in Puerta de Hierro (1958), the architect José Antonio Coderch with his Girasol building (1967).

Already at the end of the sixties, an exacerbated organicism occurred in some of the architectural designs.[60] One of its greatest representatives is Francisco Sáenz de Oiza, who built the Torres Blancas building (1962-1967). The construction of this building marks the end of an era of search for modernity. Javier Carvajal is supposed to be a more moderate side of plasticism and examples of this can be found in the homes on Marqués de Riscal Street, as well as in the controversial Torre de Valencia (1976).

Architecture at the end of the 20th century

Urban growth causes skyscrapers to be built without analyzing the consequences. One of the most controversial cases while Carlos Arias Navarro was in the mayor's office in the seventies was the construction of the Torre de Valencia. This tower visually affected the aesthetics of the Puerta de Alcalá seen from the Plaza de la Independencia "Plaza de la Independencia (Madrid)").

One of the protagonists of the late seventies is Miguel Fisac, considered one of the architects of the first post-war generation, he designed and executed a large number of buildings in Madrid. But it is popular for its original design, the headquarters of the "JORBA Laboratories" (popularly called the pagoda due to its appearance), which appeared in the sixties as one of the most formally daring works. The building was demolished at the end of the century.

In the sixties, as a resurgence of organic architecture from Europe, the White Towers building was built on Avenida de América "Avenida de América (Madrid)"). The architect Francisco Javier Sáenz de Oiza carried out other works in Madrid, the most well-known being the pavilions of the IFEMA (Juan Carlos I Fairgrounds), Madrid, 1987. In 1981, the so-called Edificio los Cubos (also called "Edificio Fénix Directo") was built; the project was carried out in France and is owned by the Assurance Gènerale de France. The building consists of six parallelepipeds distributed in three heights. This same year, Torrespaña (popularly known as the “Pirulí”) was built. This tower rises to a height of 232 (including the communications tower).

The business urban complex called AZCA (acronym for Asociación Mixta de Compensación de la Manzana A de la Zona **Commercial de la Avenida del Generalísimo) on Paseo de la Castellana begins to be built under the expansive urban design already designed in the Bigador plan").[62] The Picaso Tower in the complex was designed in 1974, its construction did not begin until the end of 1982, and was inaugurated in December 1988. This building began the construction of skyscrapers in Madrid. At the end of the century, the architect Rafael Moneo carried out several renovations and rehabilitation of classical buildings in Madrid. One of the first was the renovation of the Atocha Station (1985-1988), the Villahermosa palace "Palacio de Villahermosa (Madrid)") at the headquarters of the Carmen Thyssen-Bornemisza Collection. (1992) and the renovations of the Prado Museum. In the Plaza de Colón "Plaza de Colón (Madrid)") in 1976 the Torres Colón, skyscrapers similar to those of AZCA, were built.

In the Plaza de Castilla "Plaza de Castilla (Madrid)"), Puerta de Europa (popularly known as Kio Towers) are built (because they were promoted by the Kuwaiti company KIO, Kuwait Investments Office), they are two towers inclined towards each other, 15° with respect to the vertical, with a height of 114 m and 26 floors. The Puerta de Europa are the second tallest twin towers in Spain, after the Torres de Santa Cruz in Santa Cruz de Tenerife.

References

[1] ↑ a b Virginia Tovar Martín, (1979), La arquitectura olvidada madrileña de la primera mitad del siglo XVIII, Aula de Cultura - Ciclo de Conferencias sobre Madrid en el siglo XVIII, Artes Gráficas Municipales.
[2] ↑ González Capitel, Antón (1982). La Aventura Moderna de la Arquitectura Madrileña. Arquitectura (Madrid. 1959) (237). pp. 11-21. ISSN 0004-2706.: tel:0004-2706
[3] ↑ Fernández García, Antonio (director) (1994). Instituto de Estudios Madrileños, ed. Historia de Madrid (Tercera edición). Madrid: ORMAG. ISBN 84-7491-474-4.
[4] ↑ a b Del Prado, Casiano (1864). «Descripción física y geológica de la provincia de Madrid». Ed. Junta General de Estadística (Madrid).
[5] ↑ Tal y como narra Peyron en su Travels in Spain, Londres, 1789, Volumen III.
[6] ↑ Lasheras Merino, Félix (2007). «Ladrillos madrileños tradicionales. El caso del ladrillo fino jabonero». Revista electrónica ReCoPar (Madrid) II (4): 3-18. ISSN 1886-2497.: https://es.wikipedia.org//portal.issn.org/resource/issn/1886-2497
[7] ↑ Esperanza González. Redondo, Ricardo Aroca Hernández-Ros (2003). «Wooden framed structures in Madrid domestic architecture of 17th to 19th centuries». First International Congress on Construction History (Madrid).
[8] ↑ Esperanza González. Redondo, Ricardo Aroca Hernández-Ros (2003). «Wooden framed structures in Madrid domestic architecture of 17th to 19th centuries». First International Congress on Construction History (Madrid).
[9] ↑ Josep María Adell Argilés, (1987), Arquitectura de ladrillos del siglo {{SIGLO|XIX, técnica y forma, Fundación Universidad-Empresa, Madrid, ISBN 84-86227-76-3, pág. 23.
[10] ↑ a b Fort González, Rafael; Pérez-Monserrat, Elena M.; Varas, María José; Álvarez de Buergo, Mónica (2007). «Ruta Geomonumental: la piedra tradicional utilizada en la construcción del patrimonio arquitectónico de Madrid». Consejo Superior de Investigaciones Científicas (CSIC). IV Congreso de la Comunicación Social de la Ciencia: "Cultura Científica y Cultura Democrática" (Madrid).
[11] ↑ Fort, Rafael (2002). «La piedra de Novelda: una roca muy utilizada en el patrimonio arquitectónico». Materiales de construcción (266). ISSN 0465-2746.: https://es.wikipedia.org//portal.issn.org/resource/issn/0465-2746
[12] ↑ Sánchez Rodríguez, A. (1995). Ed. IGTE, ed. Libro Blanco de la Minería de la Comunidad de Madrid (Primera edición). Madrid.
[13] ↑ González Yanci, Mª Pilar (1977). Biblioteca de Estudios Madrileños XXI, ed. Los accesos ferroviarios a Madrid - Su impacto en la Geografía de la ciudad (Primera edición). Madrid: Gr. Nilo. ISBN 84-00-03690-5.
[14] ↑ Navascués Palacio, Pedro (2007). Arquitectura e ingeniería del hierro en España (1814-1936). Madrid: El Viso y Fundación Iberdrola. ISBN 978-84-95241-54-2. Archivado desde el original el 27 de junio de 2012.: https://web.archive.org/web/20120627100205/http://www.fundacioniberdrola.org/webfund/gc/prod/es_ES/contenidos/docs/hierro_espania.pdf
[15] ↑ Vigil-Escalera Guirado, Alfonso (2003), Arquitectura de tierra, piedra y madera en Madrid (ss. V-IX d. C.). Variables materiales, consideraciones sociales, Arqueología de la Arquitectura, 2, pp. 287-291.
[16] ↑ a b Mazzoli-Guintard, Christine. Ciudades de al-Ándalus: España y Portugal en la época musulmana (siglos VIII-XV), Almed Ediciones, Madrid, 2002.
[17] ↑ Fraguas, Rafael. «Un gigante excavado entre el Palacio Real y la Almudena.» 1 de marzo de 2010. El País.: http://elpais.com/diario/2010/03/01/madrid/1267446255_850215.html#despiece2
[18] ↑ Caballero, L. et al. (1983): "Las murallas de Madrid. Excavaciones y estudios arqueológicos (1972 a 1982)", Estudios de Prehistoria y Arqueología Madrileñas, 1, 9-182.
[19] ↑ Fernández García (director), Antonio (2007). Instituto de Estudios Madrileños, ed. Historia de Madrid (Tercera edición). Madrid: ORMAG. ISBN 978-84-935195-2-0.
[20] ↑ Mariblanca, Rosario (2008). Historia del Buen Retiro, Madrid, ed. La Librería.
[21] ↑ Sanz Hernando, Alberto. [1] El jardín clásico en España, Universidad Politécnica, Madrid, 2006.: http://oa.upm.es/35031/6/ALBERTO_SANZ_HERNANDO_02.pdf
[22] ↑ Luengo Añón, Ana. Aranjuez, utopía y realidad: la construcción de un paisaje, Consejo Superior de Investigaciones Científicas, Instituto de Estudios Madrileños, Ediciones Doce Calles, Madrid, 2008.
[23] ↑ Estella Marcos, Margarita. Artistas madrileños en el palacio del Tesorero (Descalzas Reales), el palacio de Pastrana y otros monumentos de interés, Consejo Superior de Investigaciones Científicas (CSIC), Madrid, 1985.
[24] ↑ Toajas Roger, M. Ángeles. «Capiteles del primer Renacimiento en las Descalzas Reales de Madrid: estudio del patio del Tesorero.» Anales de Historia del Arte, Madrid, 2003.
[25] ↑ M. Ángeles Toajas Roger, El tesorero Alonso Gutiérrez y su capilla en San Martín. Notas y documentos sobre patronazgo artístico en el Madrid del Quinientos, Departamento de Historia del Arte II (Moderno), Universidad Complutense, Madrid, 2005.
[26] ↑ Margarita Estella Marcos, Los artistas de las obras realizadas en Santo Domingo el Real y otros monumentos madrileños de la primera mitad del siglo XVI, Anales del Instituto de Estudios Madrileños XVII, Instituto de Estudios Madrileños, Madrid, 1980.
[27] ↑ Guerra de la Vega, Ramón (1984). Ed. del Autor, ed. Historia de la Arquitectura en el Madrid de los Austrias (Primera edición). Madrid.
[28] ↑ Ávila, Ana; José Rogelio Buendía, Luis Cervera Vera, María Concepción García Gaínza y Joan Sureda, El siglo del Renacimiento en España, Ediciones AKAL, Madrid, 1998.
[29] ↑ a b José Luis Cano de Gardoqui García, (1991), Las cubiertas de pizarra en las obras reales de Felipe II y su tránsito al siglo XVII: antecedentes de la arquitectura barroca española,Congreso de la Carl Justivereinigung, Múnich, con el título "Spanische und Potugiesische Kust des 17. Jahrhunderts".
[30] ↑ a b Chueca Goitia, Fernando (1974). Pico Sacro, ed. Madrid, Ciudad con vocación de Capital (Primera edición). Santiago de Compostela. p. 149. ISBN 84-85170-00-8.
[31] ↑ Tovar Martin, Virginia (1999). Instituto de Estudios Madrileños, ed. Urbanismo y plaza mayor de Madrid en la segunda república (primera edición). Madrid. pp. 19-23.
[32] ↑ Alvar Ezquerra, Alfredo (coordinador) (1993). Consejo Superior de Investigaciones Científicas, ed. Relaciones Topográficas de Felipe II. Transcripción de los Manuscritos (Primera edición). Madrid. ISBN 978-84-451-0651-8.
[33] ↑ Tamayo, Alberto (1946). Las Iglesias Barrocas Madrileñas (primera edición). Madrid.
[34] ↑ Guerra de la Vega, Ramón (1980), Del Palacio Real al Museo del Prado - Guía de Arquitectura (1700-1800), Madrid, ISBN 84-300-3599-0.
[35] ↑ Moleón Gavilanes, Pedro (1998). Juan de Villanueva, Akal, Madrid, ISBN 84-460-0732-0.
[36] ↑ Francisco Sánchez Pérez, (1994), Madrid, 1914-1923: los problemas de una capital en los inicios del siglo XX, Mélanges de la Casa de Velázquez, Vol 30, 3, doi : 10.3406/casa.1994.2711, pp. 37-69.
[37] ↑ a b Toajas Roger, Ángeles M. (1997). El neomudéjar en Madrid - (1900-1930), Madrid, Artes Gráficas Municipales, Ciclo de Conferencias: El Madrid de Alfonso XIII, nº 21.
[38] ↑ Navascués Palacio, Pedro (1992). «Palacios madrileños del Ochocientos». Casa de América. Rehabilitación del Palacio de Linares. Electa. pp. 23-28.: http://oa.upm.es/8012/1/7.025_CAS_1.pdf
[39] ↑ De San Antonio Gómez, Carlos (1998). Col. Biblioteca Madrileña de Bolsillo, ed. Madrid del 98, El. Arquitectura para una crisis 1874-1918 (Primera edición). Madrid. ISBN 8445114859.
[40] ↑ Navascués Palacio, 1976, pp. 29-31.
[41] ↑ Navascués Palacio, 1976, pp. 43-44.
[42] ↑ García Algarra, Javier; Da Rocha Aranda, Óscar; Saliné i Perich, Marta (2012) Los orígenes de la arquitectura telefónica en España: las centrales madrileñas del Grupo Peninsular, Espacio, Tiempo y Forma, Serie VII, Hª del Arte, t. 25, págs. 275-294.: https://revistas.uned.es/index.php/ETFVII/article/view/9293/8865
[43] ↑ Armero, Jacobo (2001). «Catálogo de Exposición». En Círculo de Bellas Artes, ed. Antonio Palacios, constructor de Madrid. et al. (primera edición). Madrid: Ediciones La Librería.
[44] ↑ a b Castillo Cáceres, Fernando (2011). La Librería, ed. Madrid y el Arte Nuevo (1925-1936) Vanguardia y Arquitectura. Damián Flores Llanos (ilustraciones) (Primera edición). Madrid. pp. 111-115. ISBN 978-84-9873-163-7.
[45] ↑ a b Oriol Bohigas, (1998), Modernidad En La Arquitectura De La España Republicana, Tusquets, Barcelona, ISBN 8483106124.
[46] ↑ De San Antonio Gómez, Carlos (2000). Col. Biblioteca Madrileña de Bolsillo, ed. El Madrid del 27. Arquitectura y vanguardias: 1818-1936 (Primera edición). Madrid. ISBN 84-451-1742-4.
[47] ↑ «Antonio Flórez Urdapilleta, arquitecto de colegios.» En Urban Idade: http://urbancidades.wordpress.com/2008/10/07/antonio-florez-urdapilleta-arquitecto-de-colegios/.: http://urbancidades.wordpress.com/2008/10/07/antonio-florez-urdapilleta-arquitecto-de-colegios/
[48] ↑ Ros García, Juan Manuel. «Factores de progreso en la vivienda subvencionada madrileña de los años cincuenta. Reseña histórica y normativa». rita_ Revista Indexada de Textos Académicos (4): 102-109. doi:10.24192/2386-7027(2015)(v4)(06).: http://ojs.redfundamentos.com/index.php/rita/article/view/75
[49] ↑ «Chabola – REDIVISS». Consultado el 15 de octubre de 2024.: https://rediviss.com/chabola/
[50] ↑ H. Castellanos, Luis (2015). Madrid, Villa y puente. Historia de Vallecas. Ediciones La Libreria. p. 179. ISBN ISBN: 9788498730463 |isbn= incorrecto (ayuda).
[51] ↑ Echegaray, Carlos Sambricio Rivera (2003). Un siglo de vivienda social. 1903-2003: [catálogo de la exposición organizada por el Ministerio de Fomento, el Ayuntamiento de Madrid-EMV y el Consejo Económico y Social (CES)]. Nerea. ISBN 978-84-89569-91-1. Consultado el 25 de octubre de 2024.: https://dialnet.unirioja.es/servlet/libro?codigo=774453
[52] ↑ Fariña Tojo, José (2003). Sambricio, Carlos, ed. Los poblados mínimo, de absorción y dirigido II. E.T.S. Arquitectura (UPM). pp. 62-64. ISBN 978-84-89569-91-1. Consultado el 23 de octubre de 2024.: https://oa.upm.es/49380/
[53] ↑ Sambricio, Carlos (2008) Viviendas de alquiler para la clase media. La Ley Salmón de 1935 y el Madrid de la Segunda República. Ilustración de Madrid (9). pp. 29-36. ISSN 1886-7766.: tel:1886-7766
[54] ↑ González Capitel, Antón, (1977) Madrid, los años 40, ante una moderna arquitectura. En: Arquitecturas para después de una guerra. 1939-49. COAC, pp. 8-13.
[55] ↑ a b Servicios Técnicos de F.E.T. y de las J.O.N.S, (1939), Ideas generales sobre el plan nacional de ordenación y reconstrucción, Sección de Arquitectura, Madrid.
[56] ↑ Ley del 23 de septiembre de 1939. BOE, 30 de septiembre de 1939.
[57] ↑ Víctor D’Ors, (1938), “Confesión de un arquitecto”, F.E. Doctrina del Estado nacionalsindicalista, 2, págs. 220-221.
[58] ↑ Moneo, «Madrid: los últimos veinticinco años.» Hogar y Arquitectura 75, marzo-abril 1968.
[59] ↑ Esteban Maluenda, Ana (Septiembre de 2009). «Poblados dirigidos de Madrid». VPOR2 Revista de vivienda (6): 18-23. ISSN 1885-0766. Consultado el 25 de octubre de 2024.: https://oa.upm.es/6555/
[60] ↑ a b Capitel, Antón (1986). Arquitectura española años 50 años 80, ISBN 84-7433-446, Madrid, Ed. MOPU.: tel:84-7433-446
[61] ↑ Antón González Capitel (1984), La arquitectura de los hermanos Casas. El Croquis (15/16).
[62] ↑ Mas Hernández, Rafael; Javier Espiago González, (1985), El centro comercial AZCA, Madrid, Urbanismo e historia urbana en el mundo hispano: segundo simposio, 1982 / coord. por Antonio Bonet Correa, Vol. 2, 1985, ISBN 84-7491-182-6, págs. 1367-1386.

Construction materials

Contenido

bricks

Stone

Plaster, lime and sand

modern materials

Villa period

Medieval period

Renaissance architecture

The Madrid of the Austrians

• - Palace of Santa Cruz "Palacio de Santa Cruz (Madrid)").

• - Bakery House.

• - Palace of Councils.

• - Royal Monastery of La Encarnación.

• - Abrantes Palace "Abrantes Palace (Madrid)").

Bourbon period

Madrid Baroque

• - Basilica of Saint Michael.

• - Royal Salesians.

• - Palace of the Marquis of Perales.

• - Church of San José "Iglesia de San José (Madrid)").

• - Monte de Piedad.

• - Church of San Cayetano "Iglesia de San Cayetano (Madrid)").

• - Fountain of Fame "Fountain of Fame (Madrid)").

Italianizing classicist baroque

nineteenth-century architecture

Neoclassicism

The historicisms

• - Aguirre Schools.

• - Church of the Holy Cross "Church of the Holy Cross (Madrid)").

• - Xifré Palace.

• - Church of San Fermín de los Navarros.

• - Valencia de Don Juan Institute.

• - Paloma Church.

• - Fuente del Berro bullring.

Romantic architecture

Modernism

20th century

Eclecticism

Madrid rationalism

postwar architecture

modern architecture

Architecture at the end of the 20th century

References

[1] ↑ a b Virginia Tovar Martín, (1979), La arquitectura olvidada madrileña de la primera mitad del siglo XVIII, Aula de Cultura - Ciclo de Conferencias sobre Madrid en el siglo XVIII, Artes Gráficas Municipales.
[2] ↑ González Capitel, Antón (1982). La Aventura Moderna de la Arquitectura Madrileña. Arquitectura (Madrid. 1959) (237). pp. 11-21. ISSN 0004-2706.: tel:0004-2706
[3] ↑ Fernández García, Antonio (director) (1994). Instituto de Estudios Madrileños, ed. Historia de Madrid (Tercera edición). Madrid: ORMAG. ISBN 84-7491-474-4.
[4] ↑ a b Del Prado, Casiano (1864). «Descripción física y geológica de la provincia de Madrid». Ed. Junta General de Estadística (Madrid).
[5] ↑ Tal y como narra Peyron en su Travels in Spain, Londres, 1789, Volumen III.
[6] ↑ Lasheras Merino, Félix (2007). «Ladrillos madrileños tradicionales. El caso del ladrillo fino jabonero». Revista electrónica ReCoPar (Madrid) II (4): 3-18. ISSN 1886-2497.: https://es.wikipedia.org//portal.issn.org/resource/issn/1886-2497
[7] ↑ Esperanza González. Redondo, Ricardo Aroca Hernández-Ros (2003). «Wooden framed structures in Madrid domestic architecture of 17th to 19th centuries». First International Congress on Construction History (Madrid).
[8] ↑ Esperanza González. Redondo, Ricardo Aroca Hernández-Ros (2003). «Wooden framed structures in Madrid domestic architecture of 17th to 19th centuries». First International Congress on Construction History (Madrid).
[9] ↑ Josep María Adell Argilés, (1987), Arquitectura de ladrillos del siglo {{SIGLO|XIX, técnica y forma, Fundación Universidad-Empresa, Madrid, ISBN 84-86227-76-3, pág. 23.
[10] ↑ a b Fort González, Rafael; Pérez-Monserrat, Elena M.; Varas, María José; Álvarez de Buergo, Mónica (2007). «Ruta Geomonumental: la piedra tradicional utilizada en la construcción del patrimonio arquitectónico de Madrid». Consejo Superior de Investigaciones Científicas (CSIC). IV Congreso de la Comunicación Social de la Ciencia: "Cultura Científica y Cultura Democrática" (Madrid).
[11] ↑ Fort, Rafael (2002). «La piedra de Novelda: una roca muy utilizada en el patrimonio arquitectónico». Materiales de construcción (266). ISSN 0465-2746.: https://es.wikipedia.org//portal.issn.org/resource/issn/0465-2746
[12] ↑ Sánchez Rodríguez, A. (1995). Ed. IGTE, ed. Libro Blanco de la Minería de la Comunidad de Madrid (Primera edición). Madrid.
[13] ↑ González Yanci, Mª Pilar (1977). Biblioteca de Estudios Madrileños XXI, ed. Los accesos ferroviarios a Madrid - Su impacto en la Geografía de la ciudad (Primera edición). Madrid: Gr. Nilo. ISBN 84-00-03690-5.
[14] ↑ Navascués Palacio, Pedro (2007). Arquitectura e ingeniería del hierro en España (1814-1936). Madrid: El Viso y Fundación Iberdrola. ISBN 978-84-95241-54-2. Archivado desde el original el 27 de junio de 2012.: https://web.archive.org/web/20120627100205/http://www.fundacioniberdrola.org/webfund/gc/prod/es_ES/contenidos/docs/hierro_espania.pdf
[15] ↑ Vigil-Escalera Guirado, Alfonso (2003), Arquitectura de tierra, piedra y madera en Madrid (ss. V-IX d. C.). Variables materiales, consideraciones sociales, Arqueología de la Arquitectura, 2, pp. 287-291.
[16] ↑ a b Mazzoli-Guintard, Christine. Ciudades de al-Ándalus: España y Portugal en la época musulmana (siglos VIII-XV), Almed Ediciones, Madrid, 2002.
[17] ↑ Fraguas, Rafael. «Un gigante excavado entre el Palacio Real y la Almudena.» 1 de marzo de 2010. El País.: http://elpais.com/diario/2010/03/01/madrid/1267446255_850215.html#despiece2
[18] ↑ Caballero, L. et al. (1983): "Las murallas de Madrid. Excavaciones y estudios arqueológicos (1972 a 1982)", Estudios de Prehistoria y Arqueología Madrileñas, 1, 9-182.
[19] ↑ Fernández García (director), Antonio (2007). Instituto de Estudios Madrileños, ed. Historia de Madrid (Tercera edición). Madrid: ORMAG. ISBN 978-84-935195-2-0.
[20] ↑ Mariblanca, Rosario (2008). Historia del Buen Retiro, Madrid, ed. La Librería.
[21] ↑ Sanz Hernando, Alberto. [1] El jardín clásico en España, Universidad Politécnica, Madrid, 2006.: http://oa.upm.es/35031/6/ALBERTO_SANZ_HERNANDO_02.pdf
[22] ↑ Luengo Añón, Ana. Aranjuez, utopía y realidad: la construcción de un paisaje, Consejo Superior de Investigaciones Científicas, Instituto de Estudios Madrileños, Ediciones Doce Calles, Madrid, 2008.
[23] ↑ Estella Marcos, Margarita. Artistas madrileños en el palacio del Tesorero (Descalzas Reales), el palacio de Pastrana y otros monumentos de interés, Consejo Superior de Investigaciones Científicas (CSIC), Madrid, 1985.
[24] ↑ Toajas Roger, M. Ángeles. «Capiteles del primer Renacimiento en las Descalzas Reales de Madrid: estudio del patio del Tesorero.» Anales de Historia del Arte, Madrid, 2003.
[25] ↑ M. Ángeles Toajas Roger, El tesorero Alonso Gutiérrez y su capilla en San Martín. Notas y documentos sobre patronazgo artístico en el Madrid del Quinientos, Departamento de Historia del Arte II (Moderno), Universidad Complutense, Madrid, 2005.
[26] ↑ Margarita Estella Marcos, Los artistas de las obras realizadas en Santo Domingo el Real y otros monumentos madrileños de la primera mitad del siglo XVI, Anales del Instituto de Estudios Madrileños XVII, Instituto de Estudios Madrileños, Madrid, 1980.
[27] ↑ Guerra de la Vega, Ramón (1984). Ed. del Autor, ed. Historia de la Arquitectura en el Madrid de los Austrias (Primera edición). Madrid.
[28] ↑ Ávila, Ana; José Rogelio Buendía, Luis Cervera Vera, María Concepción García Gaínza y Joan Sureda, El siglo del Renacimiento en España, Ediciones AKAL, Madrid, 1998.
[29] ↑ a b José Luis Cano de Gardoqui García, (1991), Las cubiertas de pizarra en las obras reales de Felipe II y su tránsito al siglo XVII: antecedentes de la arquitectura barroca española,Congreso de la Carl Justivereinigung, Múnich, con el título "Spanische und Potugiesische Kust des 17. Jahrhunderts".
[30] ↑ a b Chueca Goitia, Fernando (1974). Pico Sacro, ed. Madrid, Ciudad con vocación de Capital (Primera edición). Santiago de Compostela. p. 149. ISBN 84-85170-00-8.
[31] ↑ Tovar Martin, Virginia (1999). Instituto de Estudios Madrileños, ed. Urbanismo y plaza mayor de Madrid en la segunda república (primera edición). Madrid. pp. 19-23.
[32] ↑ Alvar Ezquerra, Alfredo (coordinador) (1993). Consejo Superior de Investigaciones Científicas, ed. Relaciones Topográficas de Felipe II. Transcripción de los Manuscritos (Primera edición). Madrid. ISBN 978-84-451-0651-8.
[33] ↑ Tamayo, Alberto (1946). Las Iglesias Barrocas Madrileñas (primera edición). Madrid.
[34] ↑ Guerra de la Vega, Ramón (1980), Del Palacio Real al Museo del Prado - Guía de Arquitectura (1700-1800), Madrid, ISBN 84-300-3599-0.
[35] ↑ Moleón Gavilanes, Pedro (1998). Juan de Villanueva, Akal, Madrid, ISBN 84-460-0732-0.
[36] ↑ Francisco Sánchez Pérez, (1994), Madrid, 1914-1923: los problemas de una capital en los inicios del siglo XX, Mélanges de la Casa de Velázquez, Vol 30, 3, doi : 10.3406/casa.1994.2711, pp. 37-69.
[37] ↑ a b Toajas Roger, Ángeles M. (1997). El neomudéjar en Madrid - (1900-1930), Madrid, Artes Gráficas Municipales, Ciclo de Conferencias: El Madrid de Alfonso XIII, nº 21.
[38] ↑ Navascués Palacio, Pedro (1992). «Palacios madrileños del Ochocientos». Casa de América. Rehabilitación del Palacio de Linares. Electa. pp. 23-28.: http://oa.upm.es/8012/1/7.025_CAS_1.pdf
[39] ↑ De San Antonio Gómez, Carlos (1998). Col. Biblioteca Madrileña de Bolsillo, ed. Madrid del 98, El. Arquitectura para una crisis 1874-1918 (Primera edición). Madrid. ISBN 8445114859.
[40] ↑ Navascués Palacio, 1976, pp. 29-31.
[41] ↑ Navascués Palacio, 1976, pp. 43-44.
[42] ↑ García Algarra, Javier; Da Rocha Aranda, Óscar; Saliné i Perich, Marta (2012) Los orígenes de la arquitectura telefónica en España: las centrales madrileñas del Grupo Peninsular, Espacio, Tiempo y Forma, Serie VII, Hª del Arte, t. 25, págs. 275-294.: https://revistas.uned.es/index.php/ETFVII/article/view/9293/8865
[43] ↑ Armero, Jacobo (2001). «Catálogo de Exposición». En Círculo de Bellas Artes, ed. Antonio Palacios, constructor de Madrid. et al. (primera edición). Madrid: Ediciones La Librería.
[44] ↑ a b Castillo Cáceres, Fernando (2011). La Librería, ed. Madrid y el Arte Nuevo (1925-1936) Vanguardia y Arquitectura. Damián Flores Llanos (ilustraciones) (Primera edición). Madrid. pp. 111-115. ISBN 978-84-9873-163-7.
[45] ↑ a b Oriol Bohigas, (1998), Modernidad En La Arquitectura De La España Republicana, Tusquets, Barcelona, ISBN 8483106124.
[46] ↑ De San Antonio Gómez, Carlos (2000). Col. Biblioteca Madrileña de Bolsillo, ed. El Madrid del 27. Arquitectura y vanguardias: 1818-1936 (Primera edición). Madrid. ISBN 84-451-1742-4.
[47] ↑ «Antonio Flórez Urdapilleta, arquitecto de colegios.» En Urban Idade: http://urbancidades.wordpress.com/2008/10/07/antonio-florez-urdapilleta-arquitecto-de-colegios/.: http://urbancidades.wordpress.com/2008/10/07/antonio-florez-urdapilleta-arquitecto-de-colegios/
[48] ↑ Ros García, Juan Manuel. «Factores de progreso en la vivienda subvencionada madrileña de los años cincuenta. Reseña histórica y normativa». rita_ Revista Indexada de Textos Académicos (4): 102-109. doi:10.24192/2386-7027(2015)(v4)(06).: http://ojs.redfundamentos.com/index.php/rita/article/view/75
[49] ↑ «Chabola – REDIVISS». Consultado el 15 de octubre de 2024.: https://rediviss.com/chabola/
[50] ↑ H. Castellanos, Luis (2015). Madrid, Villa y puente. Historia de Vallecas. Ediciones La Libreria. p. 179. ISBN ISBN: 9788498730463 |isbn= incorrecto (ayuda).
[51] ↑ Echegaray, Carlos Sambricio Rivera (2003). Un siglo de vivienda social. 1903-2003: [catálogo de la exposición organizada por el Ministerio de Fomento, el Ayuntamiento de Madrid-EMV y el Consejo Económico y Social (CES)]. Nerea. ISBN 978-84-89569-91-1. Consultado el 25 de octubre de 2024.: https://dialnet.unirioja.es/servlet/libro?codigo=774453
[52] ↑ Fariña Tojo, José (2003). Sambricio, Carlos, ed. Los poblados mínimo, de absorción y dirigido II. E.T.S. Arquitectura (UPM). pp. 62-64. ISBN 978-84-89569-91-1. Consultado el 23 de octubre de 2024.: https://oa.upm.es/49380/
[53] ↑ Sambricio, Carlos (2008) Viviendas de alquiler para la clase media. La Ley Salmón de 1935 y el Madrid de la Segunda República. Ilustración de Madrid (9). pp. 29-36. ISSN 1886-7766.: tel:1886-7766
[54] ↑ González Capitel, Antón, (1977) Madrid, los años 40, ante una moderna arquitectura. En: Arquitecturas para después de una guerra. 1939-49. COAC, pp. 8-13.
[55] ↑ a b Servicios Técnicos de F.E.T. y de las J.O.N.S, (1939), Ideas generales sobre el plan nacional de ordenación y reconstrucción, Sección de Arquitectura, Madrid.
[56] ↑ Ley del 23 de septiembre de 1939. BOE, 30 de septiembre de 1939.
[57] ↑ Víctor D’Ors, (1938), “Confesión de un arquitecto”, F.E. Doctrina del Estado nacionalsindicalista, 2, págs. 220-221.
[58] ↑ Moneo, «Madrid: los últimos veinticinco años.» Hogar y Arquitectura 75, marzo-abril 1968.
[59] ↑ Esteban Maluenda, Ana (Septiembre de 2009). «Poblados dirigidos de Madrid». VPOR2 Revista de vivienda (6): 18-23. ISSN 1885-0766. Consultado el 25 de octubre de 2024.: https://oa.upm.es/6555/
[60] ↑ a b Capitel, Antón (1986). Arquitectura española años 50 años 80, ISBN 84-7433-446, Madrid, Ed. MOPU.: tel:84-7433-446
[61] ↑ Antón González Capitel (1984), La arquitectura de los hermanos Casas. El Croquis (15/16).
[62] ↑ Mas Hernández, Rafael; Javier Espiago González, (1985), El centro comercial AZCA, Madrid, Urbanismo e historia urbana en el mundo hispano: segundo simposio, 1982 / coord. por Antonio Bonet Correa, Vol. 2, 1985, ISBN 84-7491-182-6, págs. 1367-1386.

Navegación

Progressive transformation architecture

Introduction

Progressive transformation architecture

Introduction

Construction materials

Contenido

bricks

Stone

Plaster, lime and sand

modern materials

Villa period

Medieval period

Renaissance architecture

The Madrid of the Austrians

Bourbon period

Madrid Baroque

Italianizing classicist baroque

nineteenth-century architecture

Neoclassicism

The historicisms

Romantic architecture

Modernism

20th century

Eclecticism

Madrid rationalism

The social construction

postwar architecture

modern architecture

Architecture at the end of the 20th century

21st century

lost architecture

References

Construction materials

Contenido

bricks

Stone

Plaster, lime and sand

modern materials

Villa period

Medieval period

Renaissance architecture

The Madrid of the Austrians

Bourbon period

Madrid Baroque

Italianizing classicist baroque

nineteenth-century architecture

Neoclassicism

The historicisms

Romantic architecture

Modernism

20th century

Eclecticism

Madrid rationalism

The social construction

postwar architecture

modern architecture

Architecture at the end of the 20th century

21st century

lost architecture

References