The Structure and Relationships of the Buildings and Gardens of the Alhambra - Term Paper Example

The structure and relationships of the buildings and gardens of the Alhambra Name: Lecturer: Course: Date: Question: Analyse the structure and relationships of the buildings and gardens of the Alhambra Introduction The Alhambra in Grenada Spain is a complex palace known for intricate planning, complex decorative partitions, fascinating fountains and gardens. This fortified architecture comprises of a network of connected constructions including the Garden of El Generalife and the Royal Palace, as well as other structures such as mosques, baths and towers1. The Alhambra depicts a Castilian transformation from the original Arabic name “Cal’at al-Hamra”, which implies “Red Castle”, since the walls had red coloured clays. Overall, each element of this edifice reflects the elements of Muslim and European cultures in Spain. Overall, it was an urban complex that was designed gradually and constructed through intervals for a variety of functions. This paper synthesises the architectural, artistic and cultural principles reflected in Alhambra Palace. The essay shows that the beauty of the palace originates from the symmetrical and triangular features employed in designing the building and gardens to reflect the beauties of underlying eras in history, power, ethnicity and religion. The Alhambra is made up of three key areas, namely the palaces, the citadel and the gardens. Despite the fact that its origin dates back to the 9th century, most of its built environment that still exist to this day are dated between 13th and 14th century. This complex structure was constructed consists of buildings conceptualised and modified in the Islamic period, with later additions responding to the forces of functional adaptation, fashion, repairs and stylistic restorations2. The patterned triangular designs depict careful planning. Indeed, a review of literature shows that what makes the structure exquisite is since it is made up of triangles that have must been generated using square roots, possibly derived from Pythagorean Theorem. Historically, when the Moors Ruled in Europe 3and the king commissioned a new palace to be built, he requested the architects to create the palace in compliance with Pythagorean Theorem. Hence, all triangles used in the building relate to one another. In particular, the systematic and insistent application of the geometry patterns is dominant in the Court of Lions. In fact, the rectangle proportions are evidently the dominant architectural design4. A model of the ratio is indicated in Fig 1, where it is indicated that the one-by-one unit initial square goes up to the length of the width of the structure to the upper side of the arches. In addition, the second rectangle that has a height of the square root of two united originates from the base to the palace’s balcony. Lastly, the third proportion rectangle within this group extends from the base towards underneath the pediment5. Figure 1: Model of the ratio6 The indicated model relates to the below picture. Figure 2: piece of Alhambra7 The architects of the building used Symmetry to call upon an illusion of mobility. Analysis of the Alhambra also shows that illusion of motion dominated the building. The hierarchical order in addition to the symmetrically designs that oversee the structure’s organisation and the spaces inside the palace appear to have related to the uses of the channels and the fountains thus creating a complex architectonic ensemble of water in addition to the built components8. Certainly, the basic symmetry of the varied patterns found in the structure are in actual fact the same. For instance, symmetric 6,3,2 are deducible from the building. This kind of symmetry originates from symmetry found in patterns that appear different, but which when turned one-sixth of the turn, one-third of the turn and a half the turn will appear the same as when they were started. In this case, the patterns that appear different in actual sense have similar symmetry. In fact, 17 different symmetries were found in the Alhambra Palace (Fig 3). These designs added the aesthetic value of the structure9. Figure 3: 17 different symmetries A further primary analysis of the palaces indicates that the spatial and the planar logical order emphasize the layout of the design patterns in it. This feature reflects the Medieval Islamic Art10. In a more liberal interpretation of the structure’s appearance, including the use of decorated exterior facade and the gilded patio columns, Alhambra depict the advancement of architectural designs at the time. The palace also characterises the advancement of architectural designs for individuals whose aesthetic taste culminated into a high level of sensibility. This is because of the possible economic prosperity and historically, the emergence of the Hispano-Islamic art from previous periods, concentrated in Grenada after the Muslim artists were displaced while designers from other regions had assimilated to Christianity11. It can also be concluded that since water features are abundant in the building and the gardens, water must have been regarded as Alhambra’s life-giver. Water was channelled to the site from the foot of Sabika Hill through aqueducts and canalisation systems. Underground cisterns were also used to bring water to the palace. These facilitated the creation of Alhambra gardens12. The Palace has also been credited for the balanced make up of vegetation, architecture and water in the water courses and fountains. The design can be related to the time’s advancing tradition of palatian and ornamental water usage in the Islamic period. To this end, water has been described as having the effect of water in conveying mobility to the building. The fountains call upon the images of nature inside the geometrically designed enclosure. The planning of the design of the water features show careful architectural planning. Water calls upon the illusion of a solid sculpted material, hence become a planned work of art. At the centre of the water arrangement is the Fountain of the Lions. Water sprays from the fountains and the sunken bowls positioned inside the halls under the porticos jutting pavilions on the at a 90 degree angle before flowing to the central fountain in channels dug out in the stone pavement after flowing down the steps of entrance to the halls as a result forming minuscule cascades to pour out into a dodecagonal basin at the feet of the twelve lions. These patterns depict the physical continuity of the axes that represent unbroken channels. Additionally, the inward orientation directing to the centre is conspicuous and is underscored by the course of the centripetal water-flow13. Alhambra’s elaborate systems serialisation and standardisation reflect a continuity of regional styles and formations that has been largely described as showcasing the art of previous periods. The palace design reflects the broad history of Islamic architecture, which has led some analysts to argue that the palace had only reflective value and serving chiefly as a kind of summation of mediaeval themes on princely ideology. The walls and the artworks on the walls depict different periods in which the construction happened. The first building period covered the construction phase of much of the artwork fabric in the rooms. Some researchers have placed them between 14th and 15th century. The walls are predominantly made of a typical Nasrid construction technique called tapial14, a small fraction of lime granules in addition to reddish brick courses bound with mortar formed from lime granules and red soil. Such building materials were typical of the 14thh and 15thh century in the Mediterranean region. However, a series of bays that represent western and eastern walls evident in the walls show that they are fashionable with the fabric. A range of vertical marks visible in the walls, that related to the position of the partitions and divide the spaces also depict 19th century styles. Additionally, basing on the traces identifiable with the first period, it can be argued that it was an architectural space related to the present-day ones in respect to the dimensions with a long serious of windows on either sides that appear like a long gallery that is open to the exterior by the windows. On the other hand, a series of works on a number of bays on the western wall of the top gallery belong to the 16th and 18th century, also known as the Hapsburg reign. Besides, two major interventions occurred with the installation of the gallery fabric of the window. Basing on what is deducible from a review of the walls, the phase can be attributed to the installation of a large girder that nave’s south end15. It can be argued that the girder appears to have been installed at the same time alterations were made. Conclusion The beauty of Alhambra Palace originates from the symmetrical and triangular features employed in designing the building and gardens to reflect the beauties of underlying eras in history, power, ethnicity and religion. Despite the reality that it has been widely perceived that the Alhambra is based wholly in the golden ratio and built if golden triangles, it is not correct even though it can explain the beauty of the palace. The effects attained through manipulation of water was without doubt designed and intended to achieve illusions of mobility. The symmetrical balanced achieved through the layout of the fountains must also have been intentional as it is consistent with the overall symmetrical order that the entire palace’s architecture was conceived. Bibliography Anon, The Palace of the Lions, Alhambra and the Role of Water in its Conception, http://archnet.org/system/publications/contents/3192/original/DPC0690.pdf?1384773843 (accessed 22 April 2014). Anver Emon, Religious Pluralism and Islamic Law: Dhimmis and Others in the Empire of Law (Oxford: Oxforf University Press, 2012). Camilla Mileto and Fernando Vega, Understanding Architectural Change at the Alhambra: Stratigraphic Analysis of the Western Gallery, http://personales.upv.es/cami2/investigaci%C3%B3n/articulos%20en%20pdf/MILETO%20Y%20VEGAS%20-%20Revisting%20Al-Andalus.pdf (accessed 22 April 2014). Kara Alison, Valerie Falconieri, Angela Kramer, and Samuel B. Lupowitz, “The Alhambra,” Mathematics in Art and Architecture, 2010, http://www.ithaca.edu/osman/crs/sp10/265/cal/projects/g3/tpaper.pdf (accessed 22 April 2014) Lara Eggleton, History in the making: the ornament of the Alhambra and the past-facing present, 2012, http://arthistoriography.files.wordpress.com/2012/05/eggleton.pdf (accessed 22 April 2014). Robert Irwin, The Alhambra (London: Buttler & Tunner, 2004) Smarthistory, The Alhambra, 2014, http://smarthistory.khanacademy.org/alhambra.html Washington Irving, The Alhambra (Filiquarian Publishing, 2007) Read More