HISTORICISM IN SPAIN

ELISA GUTIÉRREZ HERRERO

HISTORY OF WORLD ARCHITECTURE II
 INDEX
1. INTRODUCTION
2. JOSÉ II DE LERMA | Zabalburu Palace (p.4) , Royal Palace (p.5)
3. ORTIZ DE URBINA | Gutiérrez Passage (p.6)
4. GERÓNIMO DE LA GÁNDARA | Calderón Theater (p.7), Valladolid Train Station (p.8)
5. FRANCISCO DE CUBAS | Almudena Cathedral (p.9)
6. FEDERICO APARICI | Basilica of Santa María la Real (p.10)
7. EMILIO RODRÍGUEZ AYUSO | Madrid Bullring (p.11)
8. RICARDO VELAZQUEZ BOSCO | Headquarters of the Spanish Ministry of Education (p.12), Fomento Palace (p.13)
9. ENRIQUE MARÍA REPULLÉS Y VARGAS | Valladolid Town Hall (p.14)
10. LUIS DOMENECH MONTANER | Catalan Music Palace (p.15)
11. JOSÉ GRASES RIERA | Equitativa Palace (p.16)
12. ANTONIO GAUDÍ (p.17) | Botines House (p.18), Episcopal Palace of Astorga (p.19), The Whim (p.20)
13. ANTONIO PALACIOS | Caryatids Building (p.21)
14. ANÍBAL GONZÁLEZ | Facade of Plaza España (p.22)
15. JOSÉ DE LA GÁNDARA CIVIDANES | Cavalry Academy (p.23)
16. JAVIER GONZÁLEZ DE RIANCHO | Palace of la Magdalena (p.24), Madrid Casino (p.25)
17. BIBLIOGRAPHY (p.26/27)
INTRODUCTION
The historicism in architecture, period from the middle of the 19th century to the 1920, recreates the
different styles of the great works of the past in an individual way and maintaining the main characteristics,
adding to this modern technical and cultural elements.

The different variants that the historicist architecture gave rise to were preceded by the style that it tried to
recreate with the prefix neo, meaning 'new' or 'recent'. These new styles adopted the name of neo-Gothic,
neo-Byzantine, neo-Mudejar, neo-Renaissance, neo-Baroque, etc..

The predominant style in most European countries is the Neo-Gothic style, however in Spain the nationalist
feeling typical of the romanticism of the time directed the historicist architecture preferably towards the
neo-Mudejar style, as a representative of a specifically Hispanic art.

This work will cover with the most important architects and buildings in Spain in the Historicist era.

(The work is ordered by the Architects' dates of birth, from oldest to most modern.)
JOSÉ II DE LERMA | 1823-1891
He was appointed chief architect of the Royal Palace in 1857. His work mixes an eclecticism in which neo-Gothic and
Mudejar styles predominate, with rationalist touches.

He participated in several works, such as the reforms of a hospital and in different palaces in Madrid. He designed the
interior decoration of several rooms in the Royal Palace (including the one known as the billiard room) and the
Zabálburu Palace. In these buildings he shows his closeness to the medievalism of Viollet-le-duc, especially in the
decorative details.

Zabalburu Palace | MADRID, SPAIN (1872- 1878)

https://www.flickr.com/photos/8230500
@N04/2598245918
The architect preferred, for the aesthetics of this palace, a more historicist or traditional
style. It is reminiscent of the neo-Gothic nationalism of Viollet-le-Duc. This medievalist
trend is applied to the blind arches on the wall to the left of the main courtyard, to the
brick walls, to the spearheaded ironwork, to the stone balconies or to the large wooden
wings.
The architect is a participant in the eclecticism of the end of the 19th century. He mixes
different materials such as wood, stone, iron and brick in the baseboards, entrance and
tops of balconies and windows. The wooden doors at the entrance, with the iron
canopies, remind us of a medieval castle.
The palace complex is very large, as it was composed of the palace itself (building on the
right of the photo), a courtyard and a pavilion for service and stables (located on the left)
Royal Palace | MADRID, SPAIN (1735- 1764) NEO-BARROQUE STYLE

The palace follows the pattern of a Hispanic palace with a square floor plan around
an inner courtyard, highlighting the corners with towers also square (although in
this case do not excel in height). In this way, four facades are generated:
The materials used were: grey and white stone in the facade and brick on the
outside; and in the interior stone, brick, marble, stucco, and mahogany wood.
In the exterior the construction system is linteled and in the interior it is vaulted.

https://www.civitatis.com/es/madrid/visita-guiada-pal The façade in its elevation starts from a base with a regular padded wall that covers
acio-real/
two levels: the mezzanine and the ground floor. From this plinth two other bodies
are raised and three on the eastern and western sides.

On the next level, the balconies alternate with triangular and curved pediments,
while the last level has square windows.

This set is closed with a large entablature with a balustrade with vases that follow
the line of the pilasters

https://www.pinterest.es/pin/435723332691399313/
ORTIZ DE URBINA|1824-1909
He was a Spanish architect of Basque origin, known for working with his son Antonio Ortiz de Urbina y Olasagasti in
the modernization of the city of Valladolid. The rise of Valladolid, at the hands of the bourgeoisie coming from the
flour industry, made him participate in great works in the province, such as the one mentioned below.

Gutierrez Passage | VALLADOLID, SPAIN (1885- 1886)

Pasaje Gutiérrez is a covered shopping mall in the city of Valladolid. This type of gallery
emerged in Paris as a result of the industrial revolution in the 19th century. They were
conceived as passageways that served as communication between busy streets and were
intended to expand space for trade. In Spain the Pasaje Gutiérrez, together with the Pasaje
de Lodares in Albacete and the Pasaje del Ciclón in Zaragoza, are the only 3 examples left
of this type of gallery.

It is an example of the beaux-artienne architecture in which the classic orders are

http://domuspucelae.blogspot.com/2011/12/ combined with the new technologies of the time, such as the iron and glass tile roof and
historias-de-valladolid-el-pasaje.html
the gas lighting that can be seen in the arms of the light balloons, which are original.

http://valladolidmonumental.blogspot.com
/2013/01/pasaje-gutierrez.html
The exterior facades are built in brick and have wrought iron parapets on the balconies. The
entrance doors are made of grilles. The decks form a system independent of the rest of the
passage. The structure of the supports is made of wood except for the cover of the central
rotunda. The ceilings are decorated with good paintings by Salvador Seijas, representing
mythological and allegorical themes, and ornamentation of stucco and plant motifs.
GERÓNIMO DE LA GÁNDARA| 1825-1877
He was a Spanish architect who designed numerous public buildings during the reign of Isabel II. His works include
numerous theaters such as the Teatro de la zarzuela in Madrid, or the two theaters in the city of Valladolid, the Teatro
Calderón and the Teatro Lope de Vega.

Calderón Theater | VALLADOLID, SPAIN (1864) ECLECTICISM/NEO-CLASSICISM

The Calderón Theatre is the main theatre in the Spanish city of Valladolid. This theatre is
named after Calderón de la Barca, an important Spanish poet and playwright. Every year it
hosts the Valladolid International Film Week (SEMINCI).

It is of eclectic design and neoclassical trend, influenced by the work of German architect
Friedrich Schinkel. It follows plans by the architect Jerónimo de la Gándara. It consists of a
large portico on Angustias Street and large windows, and inside there is a majestic,
horseshoe-shaped room, in the Italian style, with a courtyard of armchairs, low boxes, a
stall, an amphitheatre, a gallery and a paradise or henhouse. It is decorated with luxurious
paintings by Augusto Ferri.
The side lamps, in the modernist style, date from the beginning of the 20th century. It had
a capacity for about 1200 people.
http://laparrilladesanlorenzo.es/tag
/teatro-calderon-valladolid/
Valladolid Train Station Facade | VALLADOLID, SPAIN (1893-1895)
https://es.wikipedia.org/wiki/Estaci%C3
%B3n_de_Valladolid-Campo_Grande
The Valladolid-Campo Grande station, also known as the Estación del Norte, is
the main railway station of the Spanish city of Valladolid.
The general lines of the project followed the guidelines of French eclecticism.
The floor plan takes the form of a U. The main facade, which is configured as a
triumphal arch, is made of stone and has three large openings that serve as
entrance doors separated by pilasters. The sculptor Ángel Díez, professor at the
School of Fine Arts, was involved in the decoration of the pediment in the central
body. In it, the coat of arms of Valladolid appears wrapped by two female figures
of approximately four metres and which represent the two main economic
activities of Valladolid at the end of the 19th century: industry, which is
accompanied by a cogwheel next to it, and agriculture, which carries a kind of
beehive.
FRANCISCO DE CUBAS | MADRID, 1826-1899
Francisco de Cubas was a Spanish architect and politician, also known as the Marquis of Cubas. His
most outstanding work is the project for the Almudena Cathedral, in neo-Gothic style, which however
after the death of Cubas would see its original lines modified. He has been considered "the most
characteristic and representative architect of the last third of the century".

Almudena Cathedral | MADRID, SPAIN (1883- 1993) NEO-CLASSIC STYLE (EXTERIOR), NEO-GOTHIC STYLE (INTERIOR),
NEO-ROMANIC (CRYPT)

The Church of Santa María la Real de la Almudena, known simply as Catedral de la

Almudena, is a cathedral of Catholic worship, dedicated to the Virgin Mary under the
patronage of the Almudena, and the episcopal see of Madrid.

https://www.timeout.es/madrid/es/lugare
s-de-interes/catedral-de-la-almudena
The most striking element on the outside is the double dome; Gothic seen from the
inside, but with Baroque reminiscences on the outside. It has an octagonal drum in
which four large thermal holes are opened and a small lantern as a finish. The roof is
made of dark slate. As pinnacles, twelve statues representing the apostles.

The main facade is composed of a large double colonnade portico, the lower floor
being of Tuscan inspiration and the upper floor of Ionic order. This set, of neoclassical
air, was finished off after the consecration of the cathedral by a baroque niche,
sheltering an image of the Virgin of the Almudena.
FEDERICO APARICI | 1832-1917
He studied in Madrid and in 1867 he taught at the Escuela Superior de Arquitectura, where he disseminated the
technical innovations of the architecture of his time. His most important work is the neo-Romanesque basilica in
Covadonga, Asturias.

Basilica of Santa Maria la Real| COVADONGA, SPAIN (1877- 1901) NEO-ROMANIC STYLE

https://www.escapadarural.com/que-hacer/
cangas-de-onis/basilica-de-santa-maria-la-r
eal-de-covadonga
The building is notable for its compact shape and pink limestone. The exterior of
this basilica has the presence of two large towers of 40 meters high each flanking
the main view of the facade.
The main facade is structured on three levels, where we can distinguish three
semicircular arches, topped with Corinthian columns.
It has a Latin cross plan, organized in three naves, crossed by a transept. The main
apse is converted into three staggered apses with two gyros on either side.

The interior, covered with groin vaults, has little ornamentation.

https://www.flickr.com/photos/angelcovac
ho/4735983403
EMILIO RODRÍGUEZ AYUSO | 1846-1891
He was a Spanish architect who was active at the end of the 19th century, considered the main figure and first
promoter - together with Álvarez Capra - of the neo-Mudejar style, due to his project for the now disappeared Goya
bullring, built in Madrid in 1874 and demolished in 1934 on the site currently occupied by the Palacio de los
Deportes. This building served as an inspiration for other later bullfighting events.

Madrid Bullring| FUENTE DEL BERRO, SPAIN (1873- 1874) NEO-MUDEJAR STYLE

The work that denotes an authentic manifesto of the neo-mudejar as nationalist

style, on the one hand, and at the same time, a promotion of the constructive and
ornamental use of brick is the old bullring of Madrid, now disappeared, located
where now is the palace of sports.

This building, constructed for a public competition by Rodriguez Ayuso, in

De Jean Laurent -
collaboration with Lorenzo Alvarez Capa, was the one that initiated the neomudejar
http://bibliotecadigitalhispanica.bne.es architecture.

The reasoning that led the architects to adopt this style, are not simple, because if
after them, almost all the bullrings have followed the schemes of the mudejar in
brick.The new style was especially associated with constructions of a festive and
leisure nature, such as smoking rooms, casinos, train stations, bullrings or saunas.

http://oa.upm.es/39803/5/LUIS_DE_SOBRON_M
ARTINEZ_02.pdf
RICARDO VELÁZQUEZ BOSCO | 1843-1923
He was a Spanish architect who practiced an eclectic historicism of an academic nature that confronted him with
modernism. His style is sometimes called "emphatic eclecticism". We will now comment on two of his most
outstanding works the ‘Fomento Palace’ and the ‘Headquarters of the Spanish Ministry of Education’, both in
Madrid.

Headquarters of the Spanish Ministry of Education| MADRID, SPAIN (1916- 1923)

ECLECTIC HISTORICISM

The ground floor, with its grey tones, is made up of three entrance doors
finished off with semicircular arches. Just above the central door a sign
reads "Ministerio de Cultura y Ciencia". The central body with Ionic order
columns is made up of two high floors crowned by a semicircular
pediment interrupted by a Spanish coat of arms. Finally, at the top there is
a recessed body with a linteled lodge with small columns, also of Ionic
order.

http://www.alexmadrid.es/alcala/ministerio_educa
cion.html
Fomento Palace| MADRID, SPAIN (1890- 1900)
https://madridatravesdelobjetivo.blogspot.com/
2018/06/el-palacio-de-fomento-glorieta-de.html
http://www.bne.es/es/Micrositios/Exposici
ones/PasadizoPalacio/Exposicion/Seccio
n2/Seccion2b/Obra9.html?origen=galeria
ECLECTIC HISTORICISM
The Fomento Palace, today the headquarters of the Ministry of the Environment,
which overlooks the Plaza del Emperador Carlos V, better known as the Glorieta de
Atocha, is one of the most monumental and emblematic buildings in Madrid.
The building is surrounded by sculptures, work of Agustín Querol, finishing the
composition of the exterior facades in 1905.
The floor plan is rectangular, with four bodies of slightly protruding corners finished
off by slate domes, a long façade and a large portico, characteristics of the architect's
taste, already used in previous works.
As in all his works, Velázquez Bosco took care of every last detail, relying on the best
artists. The ceramics by Daniel Zuloaga, the sculptures by Querol, Ricardo Bellver,
Ángel García Díaz, ... The stars of the building's decoration are undoubtedly the
sculpture, and the colour provided by the brick of different shades, and above all by
the ceramics.
ENRIQUE MARÍA REPULLÉS Y VARGAS| 1845-1922
Enrique was a Spanish architect, member of the Royal Academy of San Fernando, of which he became secretary.
He was the official architect of the Spanish Royal House. One of his most outstanding works was the Town Hall of
Valladolid.

Valladolid Town Hall | VALLADOLID, SPAIN (1897- 1908) ECLECTIC / NEO-RENAISSANCE STYLE

The town hall of Valladolid, located on the northern side of the city's Plaza Mayor, is
the headquarters of the Valladolid City Council, where the management and
government bodies of Valladolid are located; the mayor's office, the municipal council
and the local government board.

The Repullés building is of an eclectic style, of a beaux-artienne character with

Renaissance inspiration; for its design the architect was inspired by the palace of
https://www.valladolidtomalapalabra.org/me Monterrey in Salamanca, although he used granite stone for the plinth and for the
didas-ayuntamiento-de-valladolid-covid-19/ foundations, from Campaspero and Villanubla, and pressed brick for the walls of the
facade except for the central part.

It is a building with a rectangular floor plan and large dimensions; 2,598 m². It has
four heights, a basement and three floors, preceded by a balcony on its main façade,
with rectangular towers and an interior patio. In the central body there is a more
slender tower than the ones in the corners, where the clock, designed by Moisés
Arroyo, and the coat of arms of Valladolid are located.
https://www.20minutos.es/noticia/4070885/0/psoe-y-vtlp-aprueba
n-su-presupuesto-en-el-ayuntamiento-de-valladolid-con-la-incorp
oracion-de-una-enmienda-de-cs/
LUIS DOMENECH MONTANER | 1849-1932
The architect stands out for his works built in the Catalan modernist style. He also devoted much of his life to
politics. He was born in Barcelona and in his youth already showed his interest in architecture. He studied
architecture and later held a chair at the College of Architecture of Barcelona. From this position he exerted
considerable influence on what modernism should be like in Catalonia.
He designed buildings that combine structural rationality with extraordinary ornamental elements, inspired by
Hispanic-Arabic architectural trends and the curved lines of modernism.

Catalan Music Palace| FUENTE DEL BERRO, SPAIN (1905- 1908) NEO-BAROQUE STYLE (INTERIOR) /
MODERNISM STYLE (EXTERIOR)

Domènech's architecture is of great quality and originality, highlighting the iron

structure that allows the free floor plan closed by glass and on the other hand the
integration of the applied arts in the architecture.

https://www.palaumusica.cat/es/visita-g
uiada_596665
Outside, sculptural elements, alluding to the world of music, are mixed with
architectural and decorative elements of a modernist and baroque nature. Inside,
the architect masterfully combined the various building materials with ceramics
(the "trencadís" so typical of Catalan modernism) and glass.

https://meet.barcelona.cat/es/descubre-barcelo
na/distritos/ciutat-vella/palau-de-la-musica/
JOSÉ GRASES RIERA | 1850-1919
His professional career began with some eclectic works, such as the Palacio de la Equitativa, among others. He
also became aware of the regenerationist trend that sought to create a Spanish architecture in historical styles,
with the use of late Baroque elements in the construction of the Lyric Theatre on Marqués de la Ensenada Street.

Equitativa Palace| MADRID, SPAIN (1887- 1891) ECLECTIC HISTORICISM

The credit spanish bank building, also known as the Palacio de la Equitativa, is
located on a trapezoidal-shaped site at the confluence of Alcalá Street and Sevilla
Street in Madrid, Spain.

The facades are more than 120 meters long and the first crossings of the building
https://press.fourseasons.com/madrid/trending-n
ow/building-history/
are considered one of the most important works of eclectic architecture in Madrid.
The building has an enormous weight in the urban scene of that area.
They respond in their fundamental lines to classic principles of composition,
organised into three horizontal bodies separated by cornices and balconies. Each
body has a different character: commercial and office the lower one,
representative the intermediate one and domestic the upper one. This
organization, inspired by the palaces of previous centuries, responds to the vertical
structure of uses prior to the invention and implementation of lifts in buildings.

Plano de la Villa y Corte de Madrid (LÁMINA 40)

Fausto Martínez de la Torre y Josef Asensio, 1800
ARCHIVO HUM
ANTONIO GAUDÍ | BARCELONA, 1852-1926
Antoni Gaudí i Cornet was a Catalan architect who has been internationally
recognized as one of the greatest experts in his discipline, as well as one of the
greatest exponents of modernism. His exceptionally groundbreaking genius was
the architect of a unique, personal and incomparable architectural language.

Gaudí conceived his buildings in a global way, attending to structural as well as

functional and decorative solutions. He studied even the smallest details of his
creations, integrating into the architecture a whole series of handcrafted works
that he himself mastered to perfection: ceramics, glasswork, ironwork,
carpentry, etc. He also introduced new techniques in the treatment of materials,
such as his famous trencadís made from discarded ceramic pieces.

After some beginnings influenced by the Neogothic art, as well as certain

orientalizing tendencies, Gaudí ended up in the Modernism in its time of greater
effervescence, between the end of the XIX century and the beginning of the XX
century. However, the architect went beyond orthodox modernism, creating a
personal style based on the observation of nature, the result of which was his use
of ruled geometric forms, such as the hyperbolic paraboloid, hyperboloid, helicoid
Antonio Gaudí, Getty Images
and conoid.
Botines House | LEÓN, SPAIN (1891- 1892) NEO-GOTHIC STYLE

It is a different work in Gaudí's repertoire, built with materials and solutions that
he does not usually use, such as thick walls and slate roofs, designed as
protection against the cold climate of the area.

The building stands out above all for presenting a structure in accordance with
the needs for which the building was intended. The ground floor and the
semi-basement were given a commercial use and the four upper floors were
arranged for housing. In turn, it divides the main floor into two residences, one for
each owner and another four with the aim of renting them out.
https://www.asturnatura.com/turismo/casa-botines/2980
.html
The foundations of the building, using the method traditionally used in Catalonia,
which consisted of running trenches filled with concrete masonry, proved to be
revolutionary for the León technicians of the time.

The exterior appearance is inspired by Arabic and Mudejar. It is a large block with
interesting architectural resources. The horizontality of the building is
accentuated by lightning the canvases of the facades through the cantilevered
cornices, the regular and rhythmic arrangement of the windows, the moat
around the building and the slate roof. Other important elements typical of the
Gothic style are the four towers placed at the corners.

https://www.casabotines.es/la-casa/curiosidades/
Episcopal Palace of Astorga | LEÓN, SPAIN (1889 - 1915) NEO-GOTHIC STYLE

This building belongs to the neo-Gothic stage of Antonio Gaudí, in which the
architect was inspired above all by medieval Gothic art, reinterpreting in a
personal way, trying to improve the style, and the structural problems. At this
time the neo-Gothic was one of the most successful styles as a result of the
theoretical studies of Viollet le Duc.

MAIN FEATURES:
Ángel M. F-Palacio Episcopal, Astorga,
https://commons.wikimedia.org/w/index.php?cu
rid=44238655
The building has a Greek cross floor plan, on which a square floor plan is
superimposed, has four cylindrical towers at the corners, and is surrounded by a
moat.

Inside, there is a vault supported by pointed arches on pendentives. On the

second and third floors of the façade there are many openings, decorated with
stained glass windows. The structure of the building is supported by pillars with
decorated capitals and ribbed vaults over ogival arches of glazed ceramics. It is
finished off with a Mudejar-style crenellations.

Episcopal Palace Section .

http://apuntes.santanderlasalle.es/arte/siglo_xix
/arquitectura/modernismo/gaudi_astorga_palaci
o.htm
The whim | COMILLAS, CANTABRIA, SPAIN (1883- 1885) NEO-MUDEJAR STYLE

This building has a rectangular floor plan of just over thirty-five centimetres
in length and fifteen in width. The house is structured into three clearly
differentiated floors in which the lower floor operates as a basement, the
main floor of the house and finally the upper floor, the attic.

Access to the house, raised on a podium, is via a staircase, which allows us to

bridge the gap and leads to a portico with four thick columns and lowered
arches. Above the small portico is a circular tower reminiscent of the minaret
http://www.espaciocantabria.com/index.php/es/el-capr
icho-de-gaudi-arquitectura-inspirada-en-la-naturaleza
of a mosque.

The house has two fundamental concepts: on the one hand the use of light,
Gaudí reflected in El Capricho the same use of light that sunflowers make of
the sun, so that each room is oriented towards the light that is most
beneficial to it. On the other hand, we must point out how the client was a
great lover of music, a resource that the architect took advantage of in the
decoration of the complex, making from stained glass windows with musical
themes to fretwork or garlands.
https://www.flickr.com/photos/javier1949/6727716247
 ANTONIO PALACIOS | 1874-1945
He was the architect in charge of the interior design of the first stations of the Madrid Metro, organized the accesses
and the aesthetics of the first lines, as well as its popular logo in the shape of a rhombus. At present, due to the
constant remodelling of Madrid's underground, there are hardly any features of his design, except for the design of
some entrances in the city centre.
Its initial architectural style adheres to the Viennese Sezession, and gradually evolves towards an architectural
regionalism, although without abandoning Hispanic roots characterized by the Plateresque and Manueline styles. It
also has strong expressionist influences.

Caryatids building| MADRID, SPAIN (1911- 1918) GREEK NEO-CLASSICISM

Its name is due to the presence of four caryatids located on both sides of the main
entrance of the building.

The building has a total height of twenty-five meters, which was seven meters higher
than the height established by the municipal regulations of the time (the maximum
allowed for this area was eighteen meters). This permit was granted extraordinarily to
this building.

https://wircky.com/edific
io-de-las-cariatides-de-
madrid/
The design of the building consists of a monumental parallelepiped, with four
caryatids sculpted in stone flanking the main entrance (two on each side). The
architectural style is located within what is called monumental classicism. The
ornamental details that decorate the façade and the four sculptures were made by
the Romantic sculptor Ángel García Díaz, a regular collaborator of Antonio Palacios
since the beginning of his career.
ANÍBAL GONZÁLEZ | 1876-1929
The main reference of the Sevillian regionalist architecture, he was the architect director of the Ibero-American
Exhibition from 1911 to 1926.
Between 1909 and 1920 he focused on historicism and especially on neo-Mudejar.

Facade of the Plaza España | SEVILLA, SPAIN (1914- 1929) REGIONALISM

The definitive project, which corresponds to the one carried out, except for minor
modifications, was made in 1918, when the use foreseen for the buildings was
changed. It was decided that they would be used as a Workers' University, with the
School of Arts and Crafts, in the centre, the adjacent lateral naves destined for
apprenticeship workshops, Beyond that, the buildings of the so-called Doors of
Aragon and Navarre would be erected, which would be located in the centre of the
curves and at the ends of the built area the Art and Industrial Museums were
designed, with a rectangular floor plan and the complex was finished off with the
North and South towers.

The bridges were reduced to four from the eight planned. On the outer wall of the
buildings, ceramic-covered benches from all 48 Spanish provinces, not including
Seville, were planned in the form of "U" shaped boxes.

http://www.retabloceramico.net/articulo0543.
htm
JOSÉ DE LA GÁNDARA CIVIDANES|1880-1950
José de la Gandara was initially assigned to the Railway Battalion, but on July 18 of the following year he joined the
Topographic Engineering Brigade. In this scientific sphere, he also worked in the civil field, in cooperation with
another military engineer, Enrique Cánovas y Lacruz, in the formation of a project they presented, concerning the
water supply, as well as the survey of the plane, of Santiago de Compostela.

Cavalry Academy | VALLADOLID, SPAIN (1921- 1924) NEO-PLATERESQUE STYLE

The Cavalry Academy of Valladolid was installed in 1852 in the building that had been
intended to be used as a prison a few years earlier. The current building was built in
the 1920s and is of great value, a legacy of the historicist and monumental
architecture of the first decades of the 20th century.

The current building was begun in 1921 on the site of El Octógono, a previous
building so named because of the shape of its floor plan. This building follows the
https://es.wikipedia.org/wiki/Academia_de_Ca
baller%C3%ADa_de_Valladolid
trends of the moment, monumentalist, regionalist and historicist taste, which rescue
as image of Castile the first Renaissance, with details of traditional architecture. It is
inspired by the forms of the Palace of Monterrey in Salamanca (which is why
sandstone, typical of the city of Salamanca, was used).

With a U-shaped floor plan, the towers organize the façade and its relationship with
the streets that lead to the square. The granite of its base provides a colour contrast
with the sandstone used in the rest of the building and highlights the strength of
the base.
JAVIER GONZÁLEZ DE RIANCHO | SANTANDER, 1881-1953
Trained in eclecticism, he was soon inclined towards modernism with European roots, which he embodied in
the house for García Obregón, in La Penilla (1907), in "Villa Eulalia", in El Sardinero, in the project for the Gran
Casino Sardinero (not executed) and, especially, in the Narbón Hall (1914).

Palace of ‘La Magdalena’ | SANTANDER, CANTABRIA, SPAIN (1908- 1912) ECLECTICISM, REGIONALISM

The Palacio de la Magdalena has housed different uses and interior modifications
throughout history from the Royal Residence to municipal property and the
headquarters of the International University.

The winning project of the competition, by the architects Bringas and Riancho, was very
exuberant, from the beginning they called it a royal palace, fitting perfectly with the
requests of the promoters.
https://es.wikipedia.org/wiki/Palacio_de_L
a_Magdalena#/media/Archivo
The land was levelled out over an area of 100 x55 m. The description of the first project
was summarized with these words: "Masonry stone from Cueto with a slate roof.
Rectangular plan (91 m. long and 21 m. wide). Body protruding to the north by 20m. The
work had four levels: basement, ground floor, main floor, attic and attic. The wide base
eliminated the contact between inner and outer space typical of Victorian
"garden-houses". In the summer of 1911 the exterior of the Palace was finished.
https://patrimonio.coacan.es/rehabilitacion-d
el-palacio-de-la-magdalena-santander/

Madrid Casino| MADRID, SPAIN (1910)
http://www.secretosdemadrid.es/la-historia-detras-
de-los-casinos-de-madrid/
http://www.monumentamadrid.es/AM_Edificios4/
AM_Edificios4_WEB/pdf/inmana/02404.pdf
NEO-PLATERESQUE (FACADE) /
NEO-GOTHIC (INTERIOR)
The Casino arises at a time when the spirit of association appears in Europe,
marked by the creation of new societies that leave behind the institutional model
of the 18th century based on the enlightened academies, created for the
entertainment of the upper classes. This building became a space for the
representation of the elite of Madrid at that time.
The building of the Casino de Madrid, which has its main entrance on Alcalá Street,
has a clear Castilian style from the beginning of the 20th century, just like the
Metropolis building. Its architectural style belongs to a time when modernism was
beginning to be found in the different European capitals.
From the outside, the entrance of carriages closed with a grille door stands out, at
street level. Of the interior rooms it is important to mention the access staircase
(Escalera de Honor) located in the Patio de Honor, which has a prominent role,
designed by Jose Lopez Sallaberry and work of romantic sculptor Angel Garcia
Diaz. Of the nine halls that the building has, it is worth mentioning the so-called
"Royal Hall" which has various works by famous Spanish painters.
BIBLIOGRAPHY
Arquitectura del siglo XIX, del modernismo a 1936 y de 1940 a 1980, en: Historia de la Arquitectura Española, Volumen 4. Editorial
Planeta, año 1985.

http://arteculturaexistencial.blogspot.com/2008/03/baslica-de-santa-mara-la-real-de.html

revista-arquitectura-1969-n125-pag11-22.pdf

https://www.coam.org/media/Default%20Files/fundacion/biblioteca/revista-arquitectura-100/1959-1973/docs/revista-articulos/revista
-arquitectura-1969-n125-pag11-22.pdf

Carandell, Josep Maria (1997). El Palau de la Música Catalana. Barcelona, Triangle Postals i Fundació Orfeó Català. ISBN
84-8478-097-X.

http://oa.upm.es/39803/5/LUIS_DE_SOBRON_MARTINEZ_02.pdf

https://patrimonio.coacan.es/rehabilitacion-del-palacio-de-la-magdalena-santander/
 «El nuevo edificio para ministerio de Instrucción pública.». La Construcción Moderna (Madrid) (5): 30-31. 15 de marzo de 1921. ISSN
1889-8408

https://palaciomagdalena.com/es/historia/

Rovira, Prudencio (1902). Imprenta Aguado, ed. El Casino de Madrid: apuntes para su historia, 1836-1902 (primera edición).

http://www.monumentamadrid.es/AM_Edificios4/AM_Edificios4_WEB/pdf/inmana/02404.pdf

Rodríguez Lázaro, Javier (2000). Los primeros ferrocarriles. Madrid: Ediciones Akal.

J. C. R., “Inauguración de las obras de la Academia de Caballería”, en Memorial de Ingenieros del Ejército, IX (septiembre de 1921),
págs. 338-348