Alhambra Is Alive

Argument:
What makes an Architectural Space comes alive? What’s this response to the development of modernity?

Abstract:
This essay will discuss the Alhambra in Granada, one of the greatest architectural sites of Islamic culture in Europe and contains some of the world’s finest Moorish architecture. Through the exploration of various symbolism found within the Alhambra, we will be able to discuss how these symbolism might help make an architectural space alive.

Introduction:
- Alhambra (means ‘Red Castle’ in Arabic due to its reddish walls)
- Last capital of the Moorish empire in Spain
- Main Purpose: A military fortification (against the Christians) and palace-city with gardens and bathes within it.
- Location: On the top of the hill al-Sabika on the left bank of the River Darro
- Located on a strategic high point with a view of the whole city
- Has two main
courts that leads to main/important buildings:
1. The court of Myrtle which provides access to the Hall of Ambassadors
2. The Court of Lions.

Symbolism of Water Usage in the Alhambra that makes an architectural space alive:
Water was symbolically used and important throughout Islamic architecture and Culture.
- Water is both practical and beautiful. They brought sound, sight and cooling qualities to close proximities (even indoors).
- The Court of the Lions consist of intricately arcades supported by slender columns and it is divided into four parts by a shallow water course, with a fountain (consisting of 12 lion heads) in the centre as the source.
- In ‘A Global History of Architecture’, it states that the Court of Lions has four channels of water representing the four rivers of paradise.
- Similarly, in ‘A World History of Architecture’, it also mentions that the Court of the Lions was thought to symbolize the Quaranic vision of paradise (“a garden below which four river flows with water, wine, honey and milk and the courtyard was originally planted”), which is also seen in the designs such as the Taj Mahal.
- However, in ‘Gardens, landscape, and vision in the palaces of Islamic Spain’, the author gives a different interpretation, stating that these gardens and water ways were meant for economical, political and environmentally constructed (i,e for growing food).
-Though the symbolism of water may vary, it helped made an architectural space alive.

Symbolism of the Usage of Ornamentation in the Alhambra that makes an architectural space alive:
Islamic Ornamentation is generally prolific over both its exteriors and interiors.
- The Alhambra has simple exteriors.
- The Islamic religion forbids the usage of images, figuring and human form to be use.
- The Alhambra’s interiors are covered/enriched by a profuse amount of decorative detailing that covers all of the surfaces.
- This includes marbles, geometrical coloured ceramic tiles and carved and glided wood and stone screens.
- This creates ever-changing shadow/light patterns when reflected off the water that streams into the interiors. This reflection polishes the surfaces and ornaments, walls and ceilings, creating a jewel-like effect.
- Windows have elaborate grilles that filter the sunlight. Light is predominant in the Alhambra.
- Geometric arabesques, stylized plant/floral motif forms in various patterns and texture and Arabic inscriptions cover arches. They become a visual art.
- This conveys splendor, ineffable lightness and the ethereal qualities of a dream world.
- In the Hall of Ambassadors (Sultan’s Throne room), the domed ceiling composes of thousands of small wooden pieces that are suspended from roof timbers to transform the ceiling to depict the effect of thousands of stars in the seven levels of heaven mentioned in Islamic theology.
- Through the usage of ornamentation, it brought an Architectural Space into life.
- Furthermore, as the purpose of the Alhambra was also to intimidate the Christian invaders, the ornamentation and decoration helped put any enemy ambassadors into sheer awe. Symbolism of Dome Halls/ Muqarmas in the Alhambra that makes an architectural space alive:

Conclusion
Therefore in conclusion, the usage of various symbols seen in the Alhambra such as water and ornamentation, it has allowed an architectural space to become alive.

Is the Alhambra an example of modernity?
- Yes. Firstly, at present, even without the interior furnishing and original features that the Alhambra dons at it’s prime, the Alhambra’s beauty and architecture can still be very much appreciated today.
- Secondly, by 1492 when the Catholics overthrew the Moorish empire, many aspects of Islamic architecture had already spread to the architecture of Western Europe. (i.e, features such as polychromy – pointed arch and domes with interlacing ribs once originally from Muslim Architecture could be seen in medieval cathedrals).
- Thirdly, the beauty from integration of landscape and architecture in the Alhambra has spread to Palaces in Northern Europe.
- The ornamentation that the Alhambra received was off a high level of sophistication and skill that surpassed that of any other building at any other time or place.
- However, as seen in ‘Gardens, landscape, and vision in the palaces of Islamic Spain’, the Alhambra was left neglected for a century period of time or redesigned/built over (i.e when the Catholics took over Granada, buildings within the Alhambra were cleared to make way for newer buildings.). Furthermore, Ornamentation and decoration saw a decline in the 20th century with the increase modernism and post-modernism which saw ornamentation as unnecessary. Hence to a certain extend, the Alhambra cannot be a good example of modernity.

ANNOTATED BIBLIOGRAPHY

1. Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A global history of architecture. Hoboken, N.J.: J. Wiley & Sons, 2007. Print.

This book which is written in a third person’s point of view by top university professors, provides students a large collection of world architecture which includes a wealth of information, photographs and drawings.
The colour, photographs and illustrations in the book made it more appealing to the readers. The book gives the student an overview of the design, architecture, important features/elements of particular buildings at particular time frames/eras and how they might be linked to other communities or buildings. The book is arranged chronologically from the prehistoric era till the late 20th century. The use of timeline aided the students understanding. Specific architecture terms and definitions are bolded and linked to a glossary at the back of the book for reference. This book also helps students to link and make connections to historical events that where happening at different parts of the world at the same time. Thus this book is not only informative but also and engaging one that allows one to go back into time and journey along the history of architecture from past to
present.

2. Ruggles, D. Fairchild. Gardens, landscape, and vision in the palaces of Islamic Spain. University Park, Pa.: Pennsylvania State University Press, 2000. Print.

The writing of this book is concise, focused and informed. The author uses a clear narrative to provide a different viewpoint about Islamic Architecture in Medieval Spain.
The author digs further into the topic of gardens, which most other books tend to stop at and then analyses their characteristics and patterns (i.e quadrature gardens isn’t the only garden pattern). Being a book with a specific theme/topic, the book is able to cover in depth information about a particular site compared to other history texts, which mainly gave general information about that site. In this book, the author provides readers the opportunity to see the transformation of the Iberian landscape through different time periods due to the various political, historical and cultural events that took place. Furthermore the author is also able to link examples of gardens in the Alhambra to other gardens across the globe that had similar themes.

3. Fazio, Michael W., Marian Moffett, and Lawrence Wodehouse. A world history of architecture. 2nd ed. Boston: McGraw-Hill, 2008. Print.

The great amount of illustration and colourful photographs (which helps aid memory) in the book acts as a magnificent guide for any one who wants to gain a deep knowledge/understanding and wider perspective of the global history of architectures as well as the traditions that came along with it. The language used in this book is easily comprehendible. When it came to providing information about the Alhambra in Granada, this book seem to be able to provide a greater wealth of information and explanation (i,e provided more supporting evidence/reasons) as compared to ‘A Global History of Architecture’ which seemed to lack substance.

REFERENCE:
1. Ching, Frank, Mark Jarzombek, and Vikramaditya Prakash. A global history of architecture. Hoboken, N.J.: J. Wiley & Sons, 2007. Print.

2. Fazio, Michael W., Marian Moffett, and Lawrence Wodehouse. A world history of architecture. 2nd ed. Boston: McGraw-Hill, 2008. Print.

3. Ruggles, D. Fairchild. Gardens, landscape, and vision in the palaces of Islamic Spain. University Park, Pa.: Pennsylvania State University Press, 2000. Print.

4. Grabar, Oleg. The Alhambra. Cambridge, Mass.: Harvard University Press, 1978. Print

5. Muslim and Christian Granada: a complete guide to the Alhambra and Christian monuments of Granada including maps and more than 160 original photographs and drawings.. New ed. S.l.: Edilux, 2002. Print.

6. Jacobs, Michael, and Francisco Fernandez. Alhambra. New York: Rizzoli, 2000. Print.

7. "Alhambra de Granada. Entradas, visitas guiadas, información, fotografías, guía de Granada - AlhambraDeGranada.org."Alhambra de Granada. Entradas, visitas guiadas, información, fotografías, guía de Granada - AlhambraDeGranada.org. N.p., n.d. Web. 18 Aug. 2013. .

8. "Watch Ancient Megastructures Videos Online - National Geographic Channel - UK." National Geographic TV. N.p., n.d. Web. 18 Aug. 2013. .