sustainability

Article
The Pavilions at the Alhambra’s Court of the Lions:
Graphic Analysis of Muqarnas
Antonio Gámiz-Gordo 1, * , Ignacio Ferrer-Pérez-Blanco 2 and
Juan Francisco Reinoso-Gordo 3, *
1 Architectural Expression Graphic Department, University of Seville, 41012 Seville, Spain
2 Laboratory of Digital Culture for Architectural Projects, École Polytechnique Fédérale de Lausanne,
1015 Lausanne, Switzerland; ignacio.ferrer@epfl.ch
3 Architectural and Engineering Graphic Expression Department, University of Granada,
18071 Granada, Spain
* Correspondence: antoniogg@us.es (A.G.-G.); jreinoso@ugr.es (J.F.R.-G.)




Received: 16 July 2020; Accepted: 11 August 2020; Published: 13 August 2020


Abstract: This research documents and graphically analyzes the pavilions muqarnas at the Court
of the Lions in the Alhambra in Granada, a World Heritage Site. In order to cast some light on the
understanding and preservation of these 14th century architectural elements, after a brief report
of historical data on catastrophes and restorations, a novel methodology for the case study based
on three complementary graphic analyses is presented here: First, there is a review of outstanding
images ranging from the 17th to the 20th centuries; subsequently, new CAD (computer-aided design)
drawings from pavilions muqarnas testing the theoretic principles from their geometric grouping
are accomplished for the first time; and finally, a 3D laser scanner is used to understand the precise
present-day state from the point cloud obtained. Comparing drawings allows us to assess the
muqarnas relevance while proving, for the first time, that the muqarnas of both pavilions have distinct
configurations and different amounts of pieces. Besides, this process reveals geometric deformations
existing in the original Nasrid muqarnas compositions, identifying small pieces hitherto unknown,
plus additional deformations resulting from adjustments after important threats that both pavilions
and their muqarnas overcame for centuries, despite their fragile construction.

Keywords: muqarnas; Alhambra; graphic analysis; drawings; 3D laser scanner; historical images;
cultural heritage; UNESCO; Spain

1. Introduction

1.1. Background. Brief Historical Data on Catastrophes and Restorations in the Court of the Lions
The study target in this research is located at the Alhambra Royal House in Granada (southern
Spain), a Medieval urban complex -Alhambra, Generalife and Albayzín- included by UNESCO in the
World Heritage List taken into account several reasons, particularly the outstanding criterion IV [1]:
“The Alhambra and Generalife bear exceptional testimony to Muslim Spain the 13th and 15th
centuries. They form a remarkable example of the palatine residences of medieval Islam, neither
destroyed nor changed by the vicissitudes of time, as with the examples in Maghreb. The attributes
contained in the inscribed property justify their exceptional position in the Islamic architectural tradition
of the Early Middle Ages, and they express the authenticity in a reliable way. Since its conception
as a palatine city, its architecture began from a proportional system, following the principles of area
compartmentalization, no exteriorization and the typical acclimatized design of the Islamic culture.
Together with this, it comes to fruition in a decorative program based upon geometry, epigraphy and
vegetable decoration that attain its most characteristic expression in Mocárabe [muqarnas] vaults”.

Sustainability 2020, 12, 6556; doi:10.3390/su12166556 www.mdpi.com/journal/sustainability

Sustainability 2020, 12, x FOR PEER REVIEW 2 of 18
Sustainability 2020, 12, 6556 2 of 18
epigraphy and vegetable decoration that attain its most characteristic expression in Mocárabe
[muqarnas] vaults”.
No
No other place in
other place in the
the Alhambra
Alhambraisisas asinteresting
interestingas asthe
theLions
LionsPalace
Palaceandanditsitsfamous
famouscourtyard,
courtyard,a
amasterpiece
masterpieceofofNasrid
NasridandandIslam
IslamartartininSpain,
Spain,built
builtduring
duringthethereign
reignofof Muhammad
Muhammad V V (1354–1359
(1354–1359 and
and
1362–1391)
1362–1391)[2].
[2]. The
Thegroupings
groupingsofofmuqarnas
muqarnaspieces used
pieces usedin in
this environment
this environment areare
undoubtedly
undoubtedly oneone
of the
of
most outstanding
the most features
outstanding of itsofarchitectural
features identity.
its architectural The Court
identity. of theofLions
The Court has ahas
the Lions rectangular plan
a rectangular
measuring
plan measuring × 15.70
28.50 28.50 m and
× 15.70 mformed by two
and formed byperpendicular
two perpendicular axes. axes.
Its elegant perimeter
Its elegant gallery
perimeter rests
gallery
on 124onwhite
rests marblemarble
124 white columns with ringed
columns with shafts
ringedthat are that
shafts grouped in subtle in
are grouped compositional rhythms
subtle compositional
(Figure 1).
rhythms (Figure 1).

Figure 1.
Figure 1. Owen
Owen Jones;
Jones; Jules
Jules Goury.
Goury. 1842.
1842. “Plan
“Plan of
of the
the Royal
Royal Arabian Palace in
Arabian Palace in the
the ancient
ancient fortress
fortress of
of
the Alhambra” (red squares mark the Pavilions in the Court of Lions; top of the image facing
the Alhambra” (red squares mark the Pavilions in the Court of Lions; top of the image facing North) North)
[Plans, elevations,
[Plans, elevations, sections,
sections, and
and details
details of
of the
the Alhambra
Alhambra Vol.
Vol. 1,
1, plate
plate 3].
3].

In the
the middle
middleofofthe
thesmaller
smaller sides of the
sides patio
of the stand
patio out two
stand out almost square-shaped
two almost temples
square-shaped which
temples
are considered
which authentic
are considered masterpieces
authentic of theofNasrid
masterpieces art (Figure
the Nasrid 2a,b).2a,b).
art (Figure Above theirtheir
Above columns and
columns
abacuses there are brick pillars covered with fine plaster decoration, which support
and abacuses there are brick pillars covered with fine plaster decoration, which support the the beams on
eaves and
which eaves and roofs
roofs rest.
rest. This lintel-based layout freed the arcs from aa structural
structural oror load-bearing
load-bearing
function, and facilitated the inclusion of a beautiful openwork ornamentation that allows the passage
function,
of light and the incorporation of of sophisticated
sophisticated compositions
compositions of of muqarnas,
muqarnas, the
the target
target of
ofthis
thisstudy.
study.
pavilions's inner floor is made of marble and covered with stunning hemispherical wooden
The pavilions’s
domes, which are one one of
of the
the finest
finest examples
examples ofof 14th
14th century
century carpentry
carpentry works
works in in Granada.
Granada. Plaster
muqarnas pendentives, which are also a target of this study, were designed designed as a transition from the
the domes
square plan to the domes circular
circular plan.
plan.
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18

(a) (b)

Figure
Figure2. 2.Pictures
Picturesfrom
fromthe
theCourt
Courtof
ofthe
theLions
Lions[taken
[takenby
bythe
theauthors]:
authors]: (a)
(a)View
Viewto
tothe
thewestern
westernPavilion
Pavilion
(2004);
(2004); (b)
(b) view
view to
to the
the eastern
eastern Pavilion
Pavilion (2018).
(2018).

The Nasrid
The Nasrid dynasty
dynasty carefully
carefully chose
chose locations
locations for for their
their fortresses
fortresses and and foundations,
foundations, taking taking into
into
accountthe
account theimportant
importantseismic seismicactivity
activity in in
its its kingdom
kingdom andand particularly
particularly in thein citadel
the citadel of Granada.
of Granada. The
The Alhambra
Alhambra underground,
underground, calledcalled
“Formación“Formación Alhambra” Alhambra”by current by current
GeologyGeologyexperts is experts is quite
quite suitable
suitable
to reducetoseismic
reducerisk. seismic
Bothrisk.site Both site and geological
and geological disposition disposition
have been have beenfactors
crucial crucialfor factors for the
the Palace's
Palace’s conservation
conservation thus A
thus far [3,4]. farhistorical
[3,4]. A historical
documentdocument [5] reported [5] reported
the flood the flood
of the riverof Darro
the river on Darro
5 March on
5 March 1600 that affected the base of the Alhambra hill, leading
1600 that affected the base of the Alhambra hill, leading to significant landslides in what is nowadaysto significant landslides in what is
nowadays
known known
as ‘Tajo de asSan‘Tajo de San
Pedro’, an Pedro’,
area which an area keepswhich
a part keeps
of thea part of the monument
monument at geological at geological
risk. risk.
The risk
The risk ofof ruin
ruinthreatened
threatened the the Court
Court of of the
the Lions
Lions many
many times,times, as asindicated
indicated by by the
thehistorical
historical data
data
outlined below.
outlined below. According
Accordingtotothethe most
most prominent
prominent Alhambra
Alhambra curator architect,
curator Leopoldo
architect, Torres Torres
Leopoldo Balbás,
the Nasrid
Balbás, decadence
the Nasrid had a turning
decadence point on
had a turning 27 June
point on 271431,June when
1431, whena major earthquake
a major earthquake collapsed some
collapsed
walls walls
some and towers,
and towers,a few adays
fewafterdaystheafterentrance of JohnofIIJohn
the entrance of Castile II in theIIVega
II of Castile in the deVega
Granada starting
de Granada
the Battle
starting theofBattle
La Higueruela [6].
of La Higueruela [6].
Repairs have
Repairs have been
been incessant
incessant in in the
the Court
Court of of the
theLions
Lions sincesinceboth bothtown
townand andlandmark
landmark passed passed into
into
Christian hands in 1492 [7]. In documents from 1541 and 1542,
Christian hands in 1492 [7]. In documents from 1541 and 1542, mention was made of the replacement mention was made of the replacement
of plasterwork
of plasterwork and and thetheplacement
placementofofbraces bracestotocontrol
control thethemovements
movements of the columns.
of the columns. In 1590, a fire
In 1590, and
a fire
explosion
and occurred
explosion in a powder
occurred in a powder mill near
millthe near river
theDarro, on the on
river Darro, north
theslope
northofslope
the Alhambra, severely
of the Alhambra,
affectingaffecting
severely the Palacethe of Palace
the Lions, blowing
of the Lions,up glasses,up
blowing doors,
glasses,anddoors,
windows. In the Hall In
and windows. of the Hall
Mocarabes,
of the
next to the western
Mocarabes, next to the pavilion,
western its pavilion,
muqarnasitsvault was destroyed;
muqarnas vault wasand other emblematic
destroyed; and otherarchitectural
emblematic
elements of the
architectural monument
elements of thewere also greatly
monument were affected, such asaffected,
also greatly the nearby suchComares
as the Towernearby[8]. Comares
In
Tower [8].1626, 16 braces were placed in the Court of Lions due to major collapses; and between 1688 and
1691In the1626,
ruin 16was complete.
braces wereFor this in
placed reason,
the Courtthe pavilions’
of Lions roofsdue to were
majormodified between
collapses; 1691 and 1688
and between 1694,
and 1691 the ruin was complete. For this reason, the pavilions' roofs were modified between 1691 17th
so that they lost their original aspect. The west pavilion nowadays keeps the roof built in the late and
century,
1694, which
so that theyreplaced a previous
lost their original one withThe
aspect. a steeper slope, hipped
west pavilion nowadays and with
keepsglazed
the roof tilebuilt
trestles [9].
in the
In 1729,
late 17th some
century,repairs
whichtook place due
replaced to the arrival
a previous one withof Philip V of Spain,
a steeper and new
slope, hipped andrepairs
with occurred
glazed tilein
trestles [9]. In 1729, some repairs took place due to the arrival of Philip V of Spain, and new repairsa
1744 and 1757. New reports dating from 1784 informed about an imminent ruin, aggravated by
lightning in
occurred strike
1744 occurred
and 1757.on November
New reports 5, 1787.dating from 1784 informed about an imminent ruin,
In 1812by
aggravated and 1820 some
a lightning lightoccurred
strike works onon theNovember
roofs were5,performed,
1787. and also at the beginning of the
19th Incentury
1812 and a garden
1820 some was light
created in the
works on Court
the roofsandwerethe irrigation
performed, water
and alsoinduced
at theearth movements,
beginning of the
so it century
19th was removed a garden around
was1844–1846
created in[10]. As described
the Court and thelater, in 1858,
irrigation an unfortunate
water induced earth restoration
movements,of the
eastern
so it waspavilion
removed took place;1844–1846
around in 1889 it was [10].rebuilt; and in later,
As described 1910 the subsoil
in 1858, anwas repaired restoration
unfortunate [11]. Towards of
1934,
the Torres pavilion
eastern Balbás restored it again
took place; in in
1889the itformwasitrebuilt;
still hasand nowadays.
in 1910Inthe addition,
subsoilinwas 1966, the architect
repaired [11].
Francisco1934,
Towards Prieto-Moreno
Torres Balbás consolidated
restored itand again restored
in thetheform western
it still pavilion.
has nowadays. In addition, in 1966,
Finally Francisco
the architect it should be rememberedconsolidated
Prieto-Moreno that along the and history,
restored therethehave beenpavilion.
western many natural hazards
that have affected the archaeological sites or monuments, for example, of the Seven Wonders of the
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Finally it should be remembered that along the history, there have been many natural hazards
that have affected the archaeological sites or monuments, for example, of the Seven Wonders of the
Ancient World,only
Ancient World, only
oneone of them—the
of them—the GreatGreat
Pyramid Pyramid of Giza—has
of Giza—has survivedsurvived until Regarding
until our days. our days.
Regarding thethree
the other six, otherhave
six, three
beenhave been damaged
damaged by earthquakes.
by earthquakes. The Colossus
The Colossus of Rhodesof collapsed
Rhodes collapsed
around
around 227 BC, the same occurred to the Pharos Lighthouse in Alexandria in the
227 BC, the same occurred to the Pharos Lighthouse in Alexandria in the 14th century AD. Finally,14th century AD.
Finally, the Mausoleum in Halikarnassos, destroyed by floods and earthquakes
the Mausoleum in Halikarnassos, destroyed by floods and earthquakes and rebuilt several times, and rebuilt several
times, eventually
eventually disappeared
disappeared in thecentury
in the 15th 15th century
[12,13].[12,13].
It is surprising how the Court of the
It is surprising how the Court of the Lions Lions has has
beenbeen
preserved until until
preserved our days
our with
dayssuch
witha such
fragilea
structure. As indicated
fragile structure. above,above,
As indicated throughout the history
throughout of theof Alhambra,
the history the Alhambra,movements
movements caused by
caused
earthquakes, explosions, or water leaks in the subsoil have been aggravated by
by earthquakes, explosions, or water leaks in the subsoil have been aggravated by neglect or lackneglect or lack of
maintenance
of maintenance due to shortage of economic resources, by the effect of weather elements, or as aa
due to shortage of economic resources, by the effect of weather elements, or as
consequence
consequence of of inadequate
inadequate repairs.
repairs. All
All these
these factors
factors have
have caused
caused on
on many
many occasions
occasions the
the detachment
detachment
of plaster ornaments and the collapse of the
of plaster ornaments and the collapse of the columns.columns.

1.2. General
General Objectives
Objectives and
and Methodology
Methodology
The pavilions at thethe Court
Court of
of the
the Lions
Lions and
and their
their fragile
fragile muqarnas
muqarnas have have barely
barely been
been studied
studied and,
and,
until now,
now, no
nodigital
digitalsurveys
surveyshave
havebeen
beenmade
madetoto reflect
reflect with
with precision
precision their
their formal
formal complexity.
complexity. For
For this
this reason,
reason, the present
the present research
research aimsaims to document
to document and graphically
and graphically analyze
analyze the muqarnas,
the muqarnas, to facilitate
to facilitate their
their
studystudy and improve
and improve their future
their future conservation.
conservation.
In order to tackle the last objective, we propose a novel methodology for the case study based
on an architectural
architectural graphic
graphic analysis
analysis including
including three
three types
types of
of drawings
drawings thatthat complement
complementeach eachother.
other.
After reviewing the historical data, some important important images
images from the pavilions extending
extending from the
17th to 20th century have been compared in order to document and illustrate illustrate their
their transformations,
transformations,
as an initial reference for the CAD (computer-aided design) drawings. Subsequently, Subsequently, a digital model
is produced
producedto toallow
allowthethecomparison
comparison between
between thethe
reality andand
reality the the
theoretical geometric
theoretical principles
geometric that
principles
rule
that the
ruleassembly of muqarnas.
the assembly Finally,
of muqarnas. a 3D laser
Finally, a 3Dscan
laserprovided new images
scan provided from the
new images point
from thecloud,
point
thus
cloud,allowing a more
thus allowing precise
a more understanding
precise understanding of their current
of their currentstate.
state.AAlater
latercomparison
comparison between
between
drawings unveils new contributions
contributions about
about both
both the
the configuration
configuration and and current
current state
state of
of the
the muqarnas,
muqarnas,
remarkable 14th-century architectural pieces.

Materials and
2. Materials and Methods.
Methods. Graphic
Graphic Analysis
Analysis of
of the
the Pavilions
Pavilions Muqarnas
Muqarnas

2.1. The
2.1. The Pavilions
Pavilions and
and their
their Muqarnas
Muqarnas Historical
Historical Images
Images
In the
In the first
first known
known views
views ofof the
the Court
Court ofof the
the Lions, drawn and
Lions, drawn and engraved
engraved byby Louis
Louis Meunier
Meunier
around 1668 [14], the pavilions show a rudimentary but expressive aspect. Their roofs
around 1668 [14], the pavilions show a rudimentary but expressive aspect. Their roofs were quite were quite
steep, although
steep, although thethe eaves
eaves representation
representation is is strange
strange and
and the
the columns
columns grouping
grouping patterns
patterns is
is inaccurate,
inaccurate,
casting doubt on the reliability of the details. Nevertheless, the pavilions seem completely
casting doubt on the reliability of the details. Nevertheless, the pavilions seem completely symmetrical
(Figure 3). (Figure 3).
symmetrical

Figure
Figure 3.
3. Louis
Louis Meunier,
Meunier, h.
h. 1668.
1668. “El
“Elpatio
patiode
delos
losLeones
Leonesin
in Grenada”
Grenada” [Spanish
[Spanish National
National Library,
Library,
invent/19565].
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This
This apparent
apparent symmetry
symmetry is is supported
supported byby aa valuable
valuable drawing
drawing by
by the
the outstanding
outstanding architect
architect Juan
Juan
de Villanueva toward 1766–1767, published in “Las Antiguedades Árabes
de Villanueva toward 1766–1767, published in “Las Antiguedades Árabes de España” (1787) de España” (1787) and
and
edited by the Royal Academy of Fine Arts of San Fernando in Madrid [15]. There
edited by the Royal Academy of Fine Arts of San Fernando in Madrid [15]. There is a longitudinalis a longitudinal
section
section towards
towards the
the Hall
Hall of
of the
the Abencerrajes
Abencerrajes (Figure
(Figure 4)
4) where
where the
the shading
shading interior
interior of
of the
the pavilions
pavilions
are drawn for the first time, but the roofs no longer had the hipped layout depicted
are drawn for the first time, but the roofs no longer had the hipped layout depicted by Meunier. by Meunier.
The
The representation of the columns pattern is accurate and the arches ornamentation
representation of the columns pattern is accurate and the arches ornamentation is schematically is schematically
drawn,
drawn, asas well as the
well as the low-detailed
low-detailed pendentives
pendentives ofof interior
interior muqarnas,
muqarnas, barely
barely showing
showing their
their groupings,
groupings,
but
but with
with no
no differences
differences between
between both
both pavilions.
pavilions.

Figure 4.4.Juan
Figure Juandede Villanueva,
Villanueva, 1766–1767.
1766–1767. Longitudinal
Longitudinal section
section of theofCourt
of the Court of the
the Lions. Lions.
[Royal [Royal
Academy
Academy
of Fine Artsofof
Fine
SanArts of San Fernando,
Fernando, Madrid, MA-0540].
Madrid, MA-0540].

Many other draftsmen accomplished outstanding views from the Court of the Lions in the late
18th
18th century
century and the first half of of the
the 19th
19th century,
century, similarly
similarly to to what
what occurred
occurred withwith drawings
drawings from
other
other Arab
Arab landmarks
landmarkssuch suchasasthe theMosque
MosqueofofCordoba
Cordoba [16].
[16].Henry
Henry Swinburne
Swinburne published
published a drawing
a drawing of
the paved
of the paved courtyard
courtyardandandthetheeasteast
pavilion
pavilionin hisin book “Travels
his book through
“Travels Spain
through in the
Spain inyears 1775 1775
the years and
and .1776…”
1776 . . ” (1779). The The
(1779). accurate drawings
accurate by William
drawings Gell around
by William 1801, hosted
Gell around 1801,inhosted
the British Museum,
in the British
show
Museum, the aspect
show theof the courtyard
aspect before the before
of the courtyard gardenthe wasgarden
created.was created.
It isis also
alsoworth
worthnoting
notingthe the posthumous
posthumous workwork of the
of the IrishIrish architect
architect JamesJames
CavanahCavanah
Murphy,Murphy,
“The
“The Arabian Antiquities of Spain” (c. 1813–1815); and the detailed images
Arabian Antiquities of Spain” (c. 1813–1815); and the detailed images by Alexandre Laborde included by Alexandre Laborde
included
in his book in“Voyage
his bookPittoresque
“Voyage Pittoresque
et Historique et de
Historique
l’Espagne” de(1808–1820).
l’Espagne” It (1808–1820). It should the
should be mentioned be
mentioned
beautiful views the beautiful
by John views
Frederickby John
LewisFrederick
included Lewis included in
in “Sketches and“Sketches
drawings andof drawings of the
the Alhambra”
Alhambra” (1835); de Joseph-Philibert
(1835); de Joseph-Philibert Girault de
Girault de Prangey inPrangey
“Souvenirs in “Souvenirs
de GrenadedeetGrenade et de l’Alhambra”
de l’Alhambra” (1836); or
(1836); or by Nicolas-Marie-Joseph
by Nicolas-Marie-Joseph Chapuy in Chapuy
“Le Moyenin “LeAgeMoyen Age Monumental
Monumental et Archeologique”
et Archeologique” (nº 251, h.(nº 251,
1841–
h. 1841–1846),
1846), separating separating
from otherfromauthors
other authors
that drew thatsimplified
drew simplified
muqarnasmuqarnas
and did andnotdidunderstand
not understandtheir
their
formal formal
genesis.genesis.
The
The architects
architectsOwenOwen Jones
Jonesandand
JulesJules
GouryGourydeserve to be paid
deserve to special
be paid attention,
special asattention,
they performed
as they a
scientific approach analyzing the ornaments of the Alhambra and researched
performed a scientific approach analyzing the ornaments of the Alhambra and researched the the geometric construction
laws of the construction
geometric muqarnas in orderlaws of to draw them rigorously.
the muqarnas in orderTheir splendid
to draw themlongitudinal
rigorously.section from the
Their splendid
Court of the Lions
longitudinal sectionpointing
from the to the Hallofofthe
Court theLions
Two Sisters
pointing(in the opposite
to the Hall of direction
the Two to Sisters
the section by
(in the
Villanueva from 1766–1767)
opposite direction was published
to the section by Villanueva in 1838
from (Figure 5), and
1766–1767) included
was publishedin their monumental
in 1838 (Figure 5),book
and
“Plans,
included Elevations, Sections andbook
in their monumental Details of the
“Plans, Alhambra”
Elevations, (1842).and Details of the Alhambra” (1842).
Sections
Still nowadays
nowadays no no CAD
CAD plans
plans have
have exceeded
exceeded the the exquisite
exquisite level
level of
of detail
detail of Owen Jones and Jules
Goury’s drawings. The pavilions were symmetrically drawn, with hipped roofs different from those
drawn by Villanueva;
Villanueva; thethe muqarnas
muqarnas are are accurate
accurate and and very
very detailed.
detailed. In addition, Jones and Goury
yielded many other drawings
yielded many other drawings muqarnas of muqarnas on cornices, arches, pendentives
pendentives or domes, proving proving a deep
knowledge and ability to to represent
represent themthem [17].
[17].
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Figure 5.
5. Jones
Jones and
and Goury
Goury (dib.); Kennion (grab.). Longitudinal section of the Court of
of the Lions,
Figure
Figure 5. Jones and Goury(dib.);
(dib.);Kennion
Kennion (grab.). Longitudinalsection
(grab.). Longitudinal section
of of
thethe Court
Court of the the Lions,
Lions,
published
published by
by Owen
Owen Jones,
Jones, 1838
1838 [private
[private collection].
collection].
published by Owen Jones, 1838 [private collection].

In 1859
1859
In 1859andand
and 1862,
1862, Nicomedes
Nicomedes
1862, Nicomedes de deMendívil
de Mendívil yy Quadra
y Quadra
Mendívil produced
Quadra produced splendid
splendid
produced drawings
splendid drawings
from afrom
drawings froma a
pavilion,
pavilion, both
bothpavilion,
preserved preserved
bothatpreserved
the Royal at at
the theRoyal
Academy RoyalAcademy
of Fine Arts
Academy of Fine
of of San
Fine Arts ofSan
Fernando
Arts of SanFernando
Fernando
in Madrid. inin Madrid.
They
Madrid. were
TheyThey were
published
were
published
as isolated
publishedas isolated
print
as platesprint
isolated inprint plates
platesinin“Calcografía
“Calcografía Nacional” Nacional”
“Calcografíabelonging belonging
Nacional”tobelonging totothe
the outstanding theoutstanding
outstanding
“Los Monumentos “Los
“Los
Monumentos
Arquitectónicos Arquitectónicos
de España” de España”
(1856–1882).
Monumentos Arquitectónicos de España” (1856–1882). (1856–1882).
TheThe
drawings
drawings
drawings fillfill
two two plates,
plates,the
plates, thefirst
the firstplate
first platerepresenting
plate representing
representing the theplan,
plan,details
details
details from
fromfrom thethe muqarnas
muqarnas
muqarnas andand
and
the the half
the half dome,
dome,
dome, andand
thetheotherother
other onerepresenting
one representingthe the section
section [15];
[15];the
thepavilion
paviliondepiction
depiction is very reliable
is very reliable
andand
waswas carefully
carefully shaded
shaded (Figure6).6).The
(Figure Theauthor
The author does
author does not
does not
not indicate
indicatewhether
indicate whetherif ifit it
is is
thetheeast
the or or
east
east thethe
west
the west
pavilion
pavilion the one that is drew on
pavilion the one that is drew on the plate. Thethe plate. The plan
The plan only
plan only contains
only contains two
contains two out
two outof
out of four
of four arcades,
four arcades, probably
arcades, probably
probably
because
because he assumed
he assumed theythey were
were symmetric,although
symmetric, although this
this is
is not
nottrue
trueasaswe
wewill
willexplain
explain later. TheThe
later. plate
The plate
plate
published by Nicomedes de Mendívil y Quadra neither finished the other two arcades.
published by Nicomedes de Mendívil y Quadra neither finished the other two arcades. arcades.

(a) (b)

Figure
Figure 6. Nicomedes
6. Nicomedes dede MendívilyyQuadra.
Mendívil Quadra. Pavilion
Pavilion at
atthe
theCourt
CourtofofLions:
Lions:(a)(a)
Interior details,
Interior 1859;
details, 1859;
(b) section,
(b) section, 18621862
[Royal(a)
[Royal AcademyofofFine
Academy FineArts
Artsof
of San
San Fernando,
Fernando, Madrid.
Madrid.MA-0210; (b) MA-0211].
MA-0210; MA-0211].
Figure 6. Nicomedes de Mendívil y Quadra. Pavilion at the Court of Lions: (a) Interior details, 1859;
(b) section, 1862 [Royal Academy of Fine Arts of San Fernando, Madrid. MA-0210; MA-0211].
Sustainability 2020,
Sustainability 12, x6556
2020, 12, FOR PEER REVIEW 7 7ofof18
18

Many photographs were taken from the Court of the Lions shortly after the appearance of this
Many photographs were taken from the Court of the Lions shortly after the appearance of
technique, all of great documentary interest [18]. A recent exhibition has brought together many of
this technique, all of great documentary interest [18]. A recent exhibition has brought together
those photographs by various authors [19]: Pablo Marés (h. 1852), Felix Alexander Oppenheim (1852),
many of those photographs by various authors [19]: Pablo Marés (h. 1852), Felix Alexander
Alphonse de Launay (h. 1854), Charles Clifford (1854), John Gregory Crace (1855), Jules Palanpin-
Oppenheim (1852), Alphonse de Launay (h. 1854), Charles Clifford (1854), John Gregory Crace
Dufresne (1856), Eduardo García Guerra (h. 1856), Joaquín Pedrosa (1857), Alexis Gaudín (1858),
(1855), Jules Palanpin-Dufresne (1856), Eduardo García Guerra (h. 1856), Joaquín Pedrosa (1857), Alexis
Jakes August Lorent (1858), Gustave de Beaucorps (1858), and others.
Gaudín (1858), Jakes August Lorent (1858), Gustave de Beaucorps (1858), and others.
These photographs show the braces placed to prevent the columns from collapse, a threat
These photographs show the braces placed to prevent the columns from collapse, a threat
aggravated by the irrigation of the garden created at the beginning of the 19th century and eliminated
aggravated by the irrigation of the garden created at the beginning of the 19th century and
around 1844–1846 because the water would cause serious problems in the foundations. [20]. The
eliminated around 1844–1846 because the water would cause serious problems in the foundations [20].
disturbing state of conservation in the Court of the Lions led to a delirious proposal by architect
The disturbing state of conservation in the Court of the Lions led to a delirious proposal by architect
Salvador Amador in 1846, which proposed the complete demolition and reconstruction of the Arab
Salvador Amador in 1846, which proposed the complete demolition and reconstruction of the Arab
palace, which fortunately was never undertaken [21]. An expressive photograph by Gustave de
palace, which fortunately was never undertaken [21]. An expressive photograph by Gustave de
Beaucorps taken in 1858 shows the east pavilion fully propped up to reinforce its foundation and fix
Beaucorps taken in 1858 shows the east pavilion fully propped up to reinforce its foundation and fix its
its tilt (Figure 7a).
tilt (Figure 7a).
The aforementioned photographs also show the aspect of the east pavilion prior to the radical
The aforementioned photographs also show the aspect of the east pavilion prior to the radical
intervention of Rafael Contreras, Alhambra curator from 1858 to December 1859 [22], who removed
intervention of Rafael Contreras, Alhambra curator from 1858 to December 1859 [22], who removed
the 17th century roof and the upper plaster walls in order to build a new dome covered with glazed
the 17th century roof and the upper plaster walls in order to build a new dome covered with glazed
ceramic (Figure 7b). The main problem of this intervention, and others accomplished by Contreras,
ceramic (Figure 7b). The main problem of this intervention, and others accomplished by Contreras,
is that it tried to beautify the monument without a scientific basis and without any rigor, so that
is that it tried to beautify the monument without a scientific basis and without any rigor, so that original
original elements were replaced by unrealistic ones, something that fully clashes with the current
elements were replaced by unrealistic ones, something that fully clashes with the current principles of
principles of restoration in architectural heritage.
restoration in architectural heritage.
The new external dome built by Contreras caused rainwater drainage problems that damaged
The new external dome built by Contreras caused rainwater drainage problems that damaged
the interiors. After renovating the structure, Torres Balbás commissioned a new tile which was quite
the interiors. After renovating the structure, Torres Balbás commissioned a new tile which was quite
controversial due to the marked slope roof [23], removing the upper plaster walls by Contreras that
controversial due to the marked slope roof [23], removing the upper plaster walls by Contreras that
Torres Balbás did not rebuilt. From then until now, two different roof solutions cover the eastern and
Torres Balbás did not rebuilt. From then until now, two different roof solutions cover the eastern and
western pavilions.
western pavilions.

(a) (b)

Figure
Figure 7.7.Eastern
Easternpavilion:
pavilion:(a)
(a)Gustave
GustavededeBeaucorps,
Beaucorps,1858
1858[Legacy
[Legacyfrom
fromOrtiz
OrtizEchagüe,
Echagüe,University
University of
of
Navarra]; (b) Purger
Navarra]; (b) Purger& & Co.,
Co., c. 1902,
c. 1902, afterafter the restoration
the restoration of Contreras
of Rafael Rafael Contreras in 1859collection].
in 1859 [private [private
collection].
2.2. New CAD Drawings Following Theoretical Principles on Muqarnas Grouping
2.2. New CAD Drawings
Muqarnas are smallFollowing
prismaticTheoretical Principles
pieces grouped on Muqarnas
on complex Grouping.
patterns or sequences shaping cornices,
capitals, arches,are
Muqarnas pendentives, or vaults
small prismatic which
pieces were a symbol
grouped of thepatterns
on complex Alhambraor Nasrid architectural
sequences shaping
identity. It is necessary to carefully draw the plans of muqarnas to understand their complex
cornices, capitals, arches, pendentives, or vaults which were a symbol of the Alhambra Nasrid geometry,
architectural identity. It is necessary to carefully draw the plans of muqarnas to understand their
Sustainability 2020, 12, x FOR PEER REVIEW 8 of 18
Sustainability 2020, 12, 6556 8 of 18

complex geometry, their proportions and compositions. The aforementioned plan does not require a
scale number to obtain the valuable information referred to: Pieces identification and their grouping.
their proportions and compositions. The aforementioned plan does not require a scale number to
This research has accomplished the first CAD drawings of plans of the pavilions of the Lions
obtain the valuable information referred to: Pieces identification and their grouping.
and all their muqarnas pieces using the software ArchiCAD. To achieve this goal, essential references
This research has accomplished the first CAD drawings of plans of the pavilions of the Lions
concerning the rules about muqarnas layout have been used: Diego López de Arenas' treatise
and all their muqarnas pieces using the software ArchiCAD. To achieve this goal, essential references
published in Seville in 1633 [24], Fray Andrés de San Miguel’s manuscript from the first half of the
concerning the rules about muqarnas layout have been used: Diego López de Arenas’ treatise published
17th century, published in 1969 [25], and a recent reinterpretation of this text by Enrique Nuere
in Seville in 1633 [24], Fray Andrés de San Miguel’s manuscript from the first half of the 17th century,
[26,27]. References to Eastern muqarnas geometry can be seen in Dold-Samplonius (2015) [28] and
published in 1969 [25], and a recent reinterpretation of this text by Enrique Nuere [26,27]. References
Garofalo (2010) [29]. Both papers refer to a treatise by the mathematician Al-Kashi from 1425, which
to Eastern muqarnas geometry can be seen in Dold-Samplonius (2015) [28] and Garofalo (2010) [29].
is a fundamental reference for studying muqarnas in the Eastern world.
Both papers refer to a treatise by the mathematician Al-Kashi from 1425, which is a fundamental
A review of Owen Jones and Jules Goury’s muqarnas drawings has been undertaken, as they
reference for studying muqarnas in the Eastern world.
propose an elementary grammar on their grouping [17] starting from three flat Figures A, B and C,
A review of Owen Jones and Jules Goury’s muqarnas drawings has been undertaken, as they
two triangles and a rectangle, that make up the base for seven key muqarnas pieces, A1, A2, A3, B,
propose an elementary grammar on their grouping [17] starting from three flat Figures A, B and C,
C1, C2 and C3, which allow various muqarnas compositions (Figure 8a).
two triangles and a rectangle, that make up the base for seven key muqarnas pieces, A1, A2, A3, B, C1,
The pavilion plan drawing by Nicomedes de Mendivil includes muqarnas elementary pieces,
C2 and C3, which allow various muqarnas compositions (Figure 8a).
but the muqarnas grouping does not match the real ones at the pavilion. Mendivil draws six pieces
The pavilion plan drawing by Nicomedes de Mendivil includes muqarnas elementary pieces,
identified from A to F, but he did not sort them according their flat figure shape, nor did he indicate
but the muqarnas grouping does not match the real ones at the pavilion. Mendivil draws six pieces
the linkage between the sides from different pieces (Figure 8b).
identified from A to F, but he did not sort them according their flat figure shape, nor did he indicate
It should be noted that other authors have proposed a different number of basic pieces or
the linkage between the sides from different pieces (Figure 8b).
consider that some of them are divided in others [30]. In any case, the three flat figures proposed by
It should be noted that other authors have proposed a different number of basic pieces or consider
Jones and Goury do not resolve the great diversity of muqarnas groupings existing in the Alhambra,
that some of them are divided in others [30]. In any case, the three flat figures proposed by Jones and
where other auxiliary geometries, such as small triangles or squares, frequently appear to enrich
Goury do not resolve the great diversity of muqarnas groupings existing in the Alhambra, where other
many compositions.
auxiliary geometries, such as small triangles or squares, frequently appear to enrich many compositions.

(a) (b)

Figure 8.
8. Key
Keymuqarnas
muqarnaspieces:
pieces:
(a)(a) Jones
Jones andand Goury
Goury (dib.)(dib.)
1834 1834 [Plans,
[Plans, Elevations,
Elevations, Sections,
Sections, and
and Details
Details of the Alhambra, plate 10, 1842]; (b) Nicomedes de Mendívil y Quadra (dib.) 1862;
of the Alhambra, plate 10, 1842]; (b) Nicomedes de Mendívil y Quadra (dib.) 1862; Esteban Buxó (eng.,Esteban
Buxó (eng.,
1864) 1864) [Los monumentos
[Los monumentos arquitectónicosarquitectónicos de España,
de España, no. 27, 1865].no. 27, 1865].

careful observation
From the aforementioned precedents and a careful observation of of reality,
reality, this research
research identified
the existing pieces in both pavilions to consequently draw their plans and basic volumes. Different
colors have been assigned to each type of piece to facilitate its location in the subsequent drawings of
groupings (Figure 9).
 x FOR PEER REVIEW
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Sustainability 2020, 12, x FOR PEER REVIEW 9 of 18

Figure 9. Pieces library from the pavilions at the Court of the Lions [authors’ own drawing].
Figure
Figure 9.
9. Pieces
Pieces library
library from
from the
the pavilions
pavilions at
at the
the Court
Court of
of the
the Lions
Lions [authors’ own drawing].
During the graphic analysis process, it was detected that the arcades' muqarnas are smaller than
thoseDuring
of the the graphic analysis
pendentives process,
and friezes it was
placed in adetected arcades’
that the arcades'
higher position muqarnas
and at amuqarnas are smaller
are smaller
greater distance fromthan
the
those
those of the
observer. It has pendentives
pendentives and friezes
and friezes
also been found placed
that inplaced in a higher
higherinceilings,
a higher position
position
such and
as thatand at a greater distance
at Hall of thedistance
of the from the
Kings, the pieces
observer.
sizes are evenIt haslarger.
also been found that in higher higher ceilings, such as that of the Hall
Hall of
of the
the Kings,
Kings, the
the pieces
pieces
sizesFinally,
are evenitlarger.
has been observed that the western pavilion displays 2258 pieces, with 1032 located in
its pendentiveshas
Finally, it has
and been
been observed
1226observed thatthe
that
in its arcades; the western
onwestern
the other pavilion
pavilion displays
displays
hand, the 2258
2258
eastern pieces,
pieces,
Pavilion with
with
has 1032
1032
2222 located
located
pieces, in
with
in
its its pendentives
pendentives and and 1226
1226 in in
its its arcades;
arcades; on
948 in its pendentives and 1274 in its arcades (Figure 10). on
the the
other other
hand,hand,
the the eastern
eastern Pavilion
Pavilion has has
2222 2222 pieces,
pieces, with
within948
948 its in its pendentives
pendentives and in
and 1274 1274its in its arcades
arcades (Figure
(Figure 10). 10).

(a) (b)
(a) (b)
Figure 10. Muqarnas plans: (a)
(a) Western
Western pavilion; (b) eastern pavilion [author’s own drawing].
Figure 10. Muqarnas plans: (a) Western pavilion; (b) eastern pavilion [author’s own drawing].
2.3. Images
2.3. Images Rendered
Rendered from from 3D
3D Scanners
Scanners
2.3. Images Rendered from 3D Scanners
Thanks to
Thanks to the
the valuable
valuablecollaboration
collaborationfromfromPatronato
PatronatodedelalaAlhambra
Alhambra y Generalife,
y Generalife, thethe
scanning
scanning of
the muqarnas
of theThanks
muqarnas groupings
to the from
valuable from
groupings both pavilions
collaboration could
from Patronato
both pavilions accurately assess
de la Alhambra
could accurately their
assess their current
y Generalife, state.
current state. The
the The point
scanning
point
cloud was captured using a BLK360 laser scanner with a precision of 6 mm when the object is withina
ofcloud
the was captured
muqarnas using
groupings a BLK360
from laser
both scanner
pavilions with
could a precision
accurately of 6
assess mm when
their the
current object
state. is within
The point
adistance
cloud was
distance ofcaptured
10 m,
of 10 and 8 mm
m, using
and for
8a mm 20for
BLK360 m.20Three
laser point densities
m.scanner
Three are allowed
with adensities
point precision by the
of 6allowed
are mm BLK360:
whenby the Low,ismedium
theobject
BLK360: within
Low,
and
amedium highand
distance that capture
of high
10 m,that points
and 8 mm
capture separated 20 mm,
Three10
for 20separated
points m. 20 mm
mm,and
point 5 mm
densities
10 mm from
are
and each
5allowed
mm other
from byeachwhen
the thewhen
BLK360:
other object
Low, is
the
10 m away. This research worked with medium density and obtained data from the 360 ◦ environment.
medium and high that capture points separated 20 mm, 10 mm and 5
object is 10 m away. This research worked with medium density and obtained data from the 360° mm from each other when the
All
object scans
environment. were
is 10 m Allregistered
away.scans This in the
research
were same reference
worked
registered in thewith
samesystem
medium (Figure
referencedensity 11).
system and Toobtained
facilitate
(Figure thefacilitate
11). data
To 3D
from modelling,
the
the360°
3D
HDR pictures
environment. were
All taken
scans setting
were the
registeredscanner
in the to HDR
same
modelling, HDR pictures were taken setting the scanner to HDR mode. mode.
reference system (Figure 11). To facilitate the 3D
Recap HDR
modelling,
Recap Pro
Pro software
picturesfrom
software wereAutodesk
from Autodesk was
taken settingwas employed
the scanner
employed to to
obtain
to HDR the
obtain registration
mode.
the in both
registration automatic
in both and
automatic
manual
and forms;
Recap
manual Pro the
forms; manual
software method
from
the manual wouldwas
Autodesk
method be used
would beonly
employedusedifto
the automatic
obtain
only option failed.
theautomatic
if the registration Three
in both
option variables
automatic
failed. Three
define
and the
manual quality
forms; register
the for
manual each scan:
method (a) Common
would be volume
used between
only if the the current
automatic
variables define the quality register for each scan: (a) Common volume between the current scan (not scan
option (not registered
failed. Three
yet) and the
variables
registered scan/s
define
yet) thepreviously
and quality
the scan/s registered,
register (b)registered,
for each
previously the balance
scan: between
(a) Common
(b) the number
volume
the balance of points
between
between scannedscan
thenumber
the current ofthrough
(not
points
registered yet) and the scan/s previously registered, (b) the balance between the number of points
Sustainability 2020, 12, x6556
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10 of 18
Sustainability 2020, 12, x FOR PEER REVIEW 10 of 18
scanned through the 3 orthogonal spatial directions, the optimal scene is when the points equally
the 3 orthogonal
scanned
expand through
the spatial
the
three spatial directions,and
3 orthogonal
directions, the(c)
optimal
spatial sceneof
directions,
percentage ispoints
the when
optimal thescene
with apoints is equally
fitting when expand
the points
error smaller the
than 6three
equally
mm.
spatial
expand directions,
Data
theanalysis and (c) percentage
has directions,
three spatial covered various of points with a
phases. Volumes
and (c) percentage fitting error
of pointsofwith smaller
interest
a fittingthan
have 6 mm.
been
error selected
smaller than 6using
mm.
Data analysis
Data
AutoDesk Recap. has
analysis hascovered
Plans, covered various
elevations phases.
various
and Volumes
phases.
sections Volumes
have of interest
been of have been
interest
obtained selected
have
from been
the using AutoDesk
selected
point cloud using
Recap.
AutoDeskPlans,
Cloudcompare elevations
Recap. and
Plans, Then,
software. sections
elevations have been
and sections
key points obtained from
have been have
on flat projections the point
obtained
been fromcloud using
the point
identified Cloudcompare
cloud
and line using
drawings
software.
have beenThen,
Cloudcompare key
on points
madesoftware. on flat
Then,
the muqarnas keyprojections have
points oncontours
assembly beenand identified
flat projections thehave and
beenline
internal drawings
identified
main A have
axes. and3dlinebeen made
drawings
model could
on thebeen
have muqarnas
made on
obtainedassembly
by contoursassembly
thephotogrammetry
muqarnas and the
from internal
a seriesmain
contours and
of axes. A 3d model
the internal
photos with maincould
targets, axes.
which have
3dbeen
Acoordinates
modelobtained
could
were
by photogrammetry
have been
known, butobtained from a series
by photogrammetry
the accuracy of photos
from aas
would be equivalent, with targets,
series
shownof photoswhich coordinates were known,
in [31].with targets, which coordinates but the
were
accuracybut
known, would be equivalent,
the accuracy wouldasbeshown in [31].
equivalent, as shown in [31].

(a) (b)
(a) (b)
Figure 11. Views from the 3D laser scanner [authors’ own drawing]: (a) Western pavilion; (b) eastern
pavilion.
Figure
Figure 11.
11.Views from
Views the 3D
from thelaser
3D scanner [authors’
laser scanner own drawing]:
[authors’ (a) Western(a)pavilion;
own drawing]: Western(b)pavilion;
eastern
pavilion.
(b) eastern pavilion.
3. Results. Comparing Drawings
3. Results.
3. Results. Comparing
ComparingDrawings
Drawings
3.1. Comparing Different Pendentives
3.1. Comparing Different Pendentives
3.1. Comparing Different Pendentives
After drawing the muqarnas geometry, it was observed that their composition in the pavilions
After drawing the muqarnas geometry, it was observed that their composition in the pavilions
After drawing
pendentives the muqarnas
is different. geometry,
It is easier to identifyit was
and observed
visualize that their composition
the number of pieces ofineach
the pavilions
type and
pendentives is different. It is easier to identify and visualize the number of pieces of each type and
pendentives is when
their locations different. It different
using is easier to identify
colors and type.
for each visualize the number of pieces of each type and
their locations when using different colors for each type.
their For
locations when
example, theusing
naked different
eye may colors forthe
detect each type. locations a trapezoidal muqarnas (marked
different
For example, the naked eye may detect the different locations a trapezoidal muqarnas (marked
For example,
in brown the naked
color) occupies on eye may
each detect(Figure
pavilion the different locations
12). This a trapezoidal
muqarnas muqarnas
was identified (marked
in Jones and
in brown color) occupies on each pavilion (Figure 12). This muqarnas was identified in Jones and
in browndrawings
Goury’s color) occupies on each occur
and frequently pavilion (Figure
in other 12). This
Alhambra muqarnas was identified in Jones and
rooms.
Goury’s drawings and frequently occur in other Alhambra rooms.
Goury’s drawings and frequently occur in other Alhambra rooms.

(a) (b)
(a) (b)
Figure
Figure 12.
12. Pendentives
Pendentivescomposed
composedofof
muqarnas [authors’
muqarnas own
[authors’ drawing]:
own (a) Western
drawing]: pavilion;
(a) Western (b)
pavilion;
eastern
Figure pavilion.
12. Pendentives
(b) eastern pavilion. composed of muqarnas [authors’ own drawing]: (a) Western pavilion; (b)
eastern pavilion.
Sustainability 2020, 12,
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18

3.2. Comparing Different Arches

3.2. Comparing Different Arches
Arcade muqarnas were made up by partial groupings separated by strips that layout the whole
Arcade muqarnas were made up by partial groupings separated by strips that layout the whole
set. These strips are similar to those ones called “medinas” in the text by López de Arenas, but they
set. These strips are similar to those ones called “medinas” in the text by López de Arenas, but they
were not drawn. In each arcade, it is a straightforward observable fact to identify both inner and outer
were not drawn. In each arcade, it is a straightforward observable fact to identify both inner and outer
muqarnas rows.
muqarnas rows.
On the other hand, it should be considered that each pavilion includes three arches between
On the other hand, it should be considered that each pavilion includes three arches between
columns, one central and two sides identical to each other. This local symmetry in each arcade is one
columns, one central and two sides identical to each other. This local symmetry in each arcade is one
of the few features common to all of them.
of the few features common to all of them.
The 1226 muqarnas in the western pavilion arcades are located as follow: Northern 309, southern
The 1226 muqarnas in the western pavilion arcades are located as follow: Northern 309, southern
309, western 307, eastern 301; while in the arcades in eastern pavilion there are 1274: Norhern 317,
309, western 307, eastern 301; while in the arcades in eastern pavilion there are 1274: Norhern 317,
southern 317, western 301, eastern 339. Thus, considering both pavilions, there are six different types
southern 317, western 301, eastern 339. Thus, considering both pavilions, there are six different types
of arches (Figure 13).
of arches (Figure 13).

Figure 13. Different arches of muqarnas [own drawing]: West (western pavilion); east (western
Figure 13. Different arches of muqarnas [own drawing]: West (western pavilion); east (western
pavilion); north and south (western pavilion); west (eastern pavilion); east (eastern pavilion); north and
pavilion); north and south (western pavilion); west (eastern pavilion); east (eastern pavilion); north
south (eastern pavilion).
and south (eastern pavilion).
3.3. Comparing Different Floor Plans
3.3. Comparing Different Floor Plans
Differences between muqarnas floor plans from both pavilions are not so easily perceived due to
Differences between muqarnas
their geometric complexity. Neither floor plans from
the models both
derived pavilions
from arecloud
the point not sounveil
easily the
perceived due
differences.
to
For this reason, a layout displaying a color for each unique muqarnas group is provided in orderthe
their geometric complexity. Neither the models derived from the point cloud unveil to
differences.
indicate the For this reason,
differences a layout
between displaying
pavilions a color
(Figure 14). for each unique muqarnas group is provided
in order to indicate
Although boththe differences
have between pavilions
different pendentives (Figure
and arches, the14).
plan shows an axis of symmetry that
Although both have different pendentives and arches,
matches with the longitudinal axis of the courtyard. It should the
beplan shows
noted an axis
that there areofsome
symmetry that
groupings
matches with the longitudinal axis of the courtyard. It should be noted that there are some groupings
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duplicated in both pavilions. According to the plan provided in this research (Figure 14) the inner
duplicated
central archesin both
(red) pavilions. According
and the northern and to the plan
southern provided
ones (green)in this
are theresearch
same in (Figure 14) the inner
both pavilions.
central arches (red) and the northern and southern ones (green) are the same in both
Groupings in the western pavilion are simpler than the eastern ones, the differences are in smallpavilions.
Groupings
muqarnas groups in the western
with similarpavilion
contourarecondition.
simpler than the eastern
In this ones, side
case, every the differences
arch in allare in small
arcades is
muqarnas groups with similar contour condition. In this case, every side arch in all
identical (yellow). Central arches in western arcades (red) and eastern (dark blue) are different; arcades is identical
(yellow).
although Central
they arearches in western
very similar arcades
to those (red)
of the and eastern
eastern pavilion(dark
andblue) are different;
just differ although
in two groups they are
composed
very similar
of four to those
muqarnas of the eastern
replaced by a flatpavilion
piece. and just differ in two groups composed of four muqarnas
replaced by a flat piece.
The eastern pavilion is more diverse with three types of side arches (yellow, orange and light
greenThe eastern14).
in Figure pavilion is more
The green diverse
arches with
are only inthree types of
one arcade andside
thearches (yellow,
side arches are orange andin
duplicated light
the
green in Figure 14). The
northern and southern arcades. green arches are only in one arcade and the side arches are duplicated in the
northern and southern arcades.

(a) (b)

Figure
Figure 14.
14. Different
Different groups of muqarnas
groups of muqarnas [own
[own drawing]:
drawing]: (a)
(a) Western pavilion; (b)
Western pavilion; (b) eastern
eastern pavilion.
pavilion.

3.4. Comparing Pendentives Elevations

Comparative analysis between different pendentive elevations is of great interest to assess their
accuracy
accuracy level
leveland
andtheir similarity
their to real
similarity to works (Figure
real works 15). Jones
(Figure 15). and Goury
Jones anddrawn
Gouryidentical
drawn pavilions
identical
more
pavilions more accurately than the previous drawing by Juan de Villanueva, as they drawnrows
accurately than the previous drawing by Juan de Villanueva, as they drawn the muqarnas the
and a “shell”
muqarnas piece
rows andinathe center,
“shell” which
piece is supported
in the center, which by another piece by
is supported which was piece
another not featured, so that
which was not
the shell piece
featured, was
so that theenlarged. Nevertheless,
shell piece was enlarged. theNevertheless,
lower level from the muqarnas
lower levelprofile is represented
from muqarnas with
profile is
skillful precision, providing high thoroughness and amazing level of detail,
represented with skillful precision, providing high thoroughness and amazing level of detail, particularly taking into
account the drawing
particularly taking intoscale and the
account thefact that it encompasses
drawing scale and the thefactwhole
that itCourt of the Lions.
encompasses the whole Court
The comparison
of the Lions. between Nicomedes de Mendivil’s drawing and the CAD production shows the
high The
accuracy achieved
comparison by Nicomedes,
between Nicomedes anddeproves that the
Mendivil’s pavilion
drawing andproduced
the CADby Nicomedes
production was
shows
the western one, aachieved
high accuracy fact hitherto unknown, as
by Nicomedes, andtheproves
artist that
never indicated
the pavilionit. However,
produced byone outstanding
Nicomedes was
finding, observed when comparing the 3D scans, is the significant geometric deformation
the western one, a fact hitherto unknown, as the artist never indicated it. However, one outstanding of elements
analyzed in the following
finding, observed section. the 3D scans, is the significant geometric deformation of elements
when comparing
analyzed in the following section.
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(a) (b)
(a) (b)
Figure 15. Inner muqarnas pendentives at the pavilion according to Jones and Goury, Mendivil, and
Figure 15.
authors’ Inner
ownInnermuqarnas
muqarnas
production: pendentives
(a) pendentivesat at
thethe
Western pavilion; pavilion according
pavilion
(b) eastern to Jones
according
pavilion. and and
to Jones Goury, Mendivil,
Goury, and
Mendivil,
authors’
and ownown
authors’ production: (a) Western
production: pavilion;
(a) Western (b) eastern
pavilion; pavilion.
(b) eastern pavilion.
4. Discussion. Geometric Deformations
4. Discussion. Geometric
4. Discussion. Geometric Deformations
Deformations
4.1. Original Layout Deformations
4.1. Original Layout Deformations
4.1. Original Layout Deformations
In a recent paper on the Hall of the Bark in the Alhambra, the difficult geometric problem posed
In a recent paper on the Hall of the Bark in the Alhambra, the difficult geometric problem posed
whenIndesigning
a recent paper on the Hall
a muqarnas of the Bark
pendentive was in the Alhambra,
explained, theto
as it has difficult geometric
be adapted to theproblem
circular posed
shape
when designing a muqarnas pendentive was explained, as it has to be adapted to the circular shape
whenan
from designing a muqarnas
upper dome starting pendentive
from a squarewas explained,
shape as it has
[32]. Nasrid to be did
artisans adapted to the in
not follow circular shape
this case the
from an upper dome starting from a square shape [32]. Nasrid artisans did not follow in this case the
from an upper
theoretical dome
process starting by
described from a square
Jones shapeor[32].
and Goury Nasrid
later artisans
authors, did not
but instead follow inand
deformed thisadjusted
case the
theoretical process described by Jones and Goury or later authors, but instead deformed and adjusted
theoretical
the muqarnasprocess
closedescribed by Jones
to the circle, and with
creating Goury or later
great authors,
mastery andbut instead deformed
intuitively and adjusted
pieces shaped ad-hoc,
the muqarnas close to the circle, creating with great mastery and intuitively pieces shaped ad-hoc,
the muqarnas
barely close
noticeable to the
to the circle,
naked eye.creating with great mastery and intuitively pieces shaped ad-hoc,
barely noticeable to the naked eye.
barely
Innoticeable to the
order to assess naked
this, eye.
a new plan drawing has been provided attempting to follow the geometric
In order to assess this, a new plan drawing has been provided attempting to follow the geometric
In order to assess this, a new
rules. It proven impossible to configureplan drawing has been
the upper provided
levels withoutattempting to follow
using special thebecause
pieces, geometric
in
rules. It proven impossible to configure the upper levels without using special pieces, because in some
rules. areas
some It proven impossible
the pieces overlapto each
configure
otherthe
andupper
other levels without empty.
areas become using special
This madepieces, becausethe
necessary in
areas the pieces overlap each other and other areas become empty. This made necessary the creation
some areas the pieces overlap each other and other areas become empty. This made necessary
creation of small deformed pieces (darker color in Figure 16). As in the pendentives of the Hall of the the
of small deformed pieces (darker color in Figure 16). As in the pendentives of the Hall of the Bark,
creation
Bark, theof small deformed
deformed muqarnas pieces (darker
pieces werecolor in Figure
composed 16). As in the
symmetrically in pendentives of the Hall of the
both pavilions.
the deformed muqarnas pieces were composed symmetrically in both pavilions.
Bark, the deformed muqarnas pieces were composed symmetrically in both pavilions.

(a) (b)
(a) (b)
Figure 16.Deformed
Figure 16. Deformed muqarnas
muqarnas in western
in western Pavilion
Pavilion pendentive
pendentive [own drawing]:
[own drawing]: (a) Plan; (b)(a) Plan; (b)
axonometry.
Figure 16. Deformed muqarnas in western Pavilion pendentive [own drawing]: (a) Plan; (b)
axonometry.
axonometry.
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4.2. Deformations by Construction
4.2. Deformations
The point cloudby Construction
from 3D laser scanner allows derive the pendentives contours from both
4.2. Deformations by Construction
pavilions, so that we
The point cloud from can draw 3Dplans
laserand sections
scanner in order
allows to take
derive theaccurate measures
pendentives (Figure
contours 17). Then
from both
The
we find outpoint cloud
dimensional from 3D laser
differences scanner
or sections allows
deformations derive
the the pendentives contours from both
pavilions, so that we can draw plans and in order toideal design (Figure
take accurate measures 10)(Figure
and the current
17). Then
pavilions,
conserved so that we can draw plans and sections in order to take accurate measures (Figure 17).
we find outconstruction.
dimensional differences or deformations the ideal design (Figure 10) and the current
Then Analyzing
we find outboth dimensional differencesschemes,
plans dimensional or deformations the ideal design
it was observed that they (Figure 10)perfect
are not and thesquares,
current
conserved construction.
conserved
as expected, construction.
butboth
instead they are stretched towards
Analyzing plans dimensional schemes, it the
wascourtyard
observed center
that they around 10–13
are not cm; although
perfect squares,
their Analyzing
angles are both
close plans
to 90dimensional
degrees. schemes, ittheir
Nevertheless, was observed
diameters, that
i.e.,they
the are notdome
inner perfect squares,
basis, have
as expected, but instead they are stretched towards the courtyard center around 10–13 cm; although
as expected,
important but instead they are stretched towards the courtyard center around 10–13 cm; although their
their anglesdeformations,
are close to 90 close to 13 cm
degrees. in the easterntheir
Nevertheless, pavilion, and 5 cm
diameters, i.e.,inthe
theinner
western
domeone.basis,
Important
have
angles are close to
angular deformations 90 degrees.
were Nevertheless,
also their diameters, i.e., the inner dome basis, have important
important deformations, close to observed
13 cm in thein sections that are obviously
eastern pavilion, and 5 cm in visible and close
the western one.toImportant
4 degrees
deformations,
in some of the close
cases to 13 cm 18).
(Figure in the eastern pavilion, and 5 cm in the western one. Important angular
angular deformations were also observed in sections that are obviously visible and close to 4 degrees
deformations were also observed in sections that are obviously visible and close to 4 degrees in some
in some of the cases (Figure 18).
of the cases (Figure 18).

(a) (b)
(a)
Figure 17. Plan deformations (b) (b) eastern pavilion.
[authors’ own drawing]: (a) Western pavilion;
Figure
Figure 17.
17. Plan
Plan deformations
deformations [authors’
[authors’ own
own drawing]:
drawing]: (a)
(a) Western
Western pavilion;
pavilion; (b)
(b) eastern
eastern pavilion.
pavilion.

(a) (b)

Figure 18.
18. Sections (a)
Sections deformations
deformations [author’s own
own drawing]:
drawing]: (a) (b)pavilion; (b) eastern pavilion.
Figure [author’s (a) Western
Western pavilion; (b) eastern pavilion.
Figure 18. Sections deformations [author’s own drawing]: (a) Western pavilion; (b) eastern pavilion.
Sustainability 2020, 12, 6556 15 of 18

Some of these deformations were already described by architect Francisco Prieto-Moreno after
the consolidation and restoration of the west pavilion in 1966 [33]. This revealed that the interior was
deformed and turned towards the courtyard, probably because the nave pushed the pavilion and
it was not possible to restore it to its initial location. For this reason, it was decided to advance the
columns bases until achieving their verticality and, subsequently, to eliminate the braces.
A similar operation had to be carried out in previous consolidation works over the centuries,
which in many cases were provisionally performed with braces. As plaster is a fragile material,
there would be fissures, fractures, and even loss of parts. Thus, the current deformed state is a
consequence of successive repairs in which fissures were filled or even new parts were inserted,
consolidating their distortions. In this way, a material that could seem ephemeral has facilitated
easy repair and conservation over time [34]. These types of repairs allowed other Nasrid buildings
in Granada to survive, such is the case of the Corral del Carbón, currently showing important
deformations [35].

5. Conclusions
Drawing is an essential tool for the analysis and sustainable conservation of architectural heritage.
Without a deep knowledge about the reality to be preserved or restored, it is not possible to perform
suitable actions for its protection. Throughout history, documentation techniques of the architectural
heritage have been used with different accuracy levels depending on the needs, the means available,
and the characteristics of the portrayed reality. A monument graphically documented in a suitable
manner increases its probability to survive over time. In the worst scenario, when, unfortunately,
the architectural heritage has been destroyed, its memory can be maintained if there are images that
facilitate its virtual recreation or material reconstruction.
The aim of this research was to graphically document and analyze the muqarnas of the pavilions
at the Court of the Lions taking into account their historical background. To achieve this goal,
after providing a brief account on threats, catastrophes, and restorations over the centuries, an innovative
methodology was carried out based on three complementary graphic analyses.
Firstly, this research reviews the main known historical images from the 17th to 20th centuries that
clearly illustrate all the transformations undergone by the monument. In this sense, the drawings made
with manual techniques in the 19th century are particularly remarkable. Jones and Goury were the first
authors to accurately understand, identify, and draw pieces of the Alhambra muqarnas, although they
only represented the ones at the western pavilion and assumed that both pavilions were symmetrical.
The drawing by Nicomedes de Mendivil is of great quality, although he did not indicate whether the
referred pavilion was the western or the eastern one, perhaps because he assumed that both were
identical and locally symmetrical, and therefore he only drew two arcades not taking into account that
the others are different. Nevertheless, this study concludes that the pavilion drawn is the western one.
This research produced the 3D CAD models or CAD plans for the pavilions muqarnas for the
first time, illustrating with precision the formal complexity of muqarnas groupings, considering that
valuable drawings from 19th century only included the western pavilion. After analyzing the pavilions
in detail, and taking into account the theoretical geometric principles from muqarnas groupings, it has
been possible to identify for the first time all their pieces: The western pavilion displays 2258 pieces
(1032 on pendentives and 1226 on arcades), while the eastern pavilion has 2222 (948 on pendentives
and 1274 on arcades). It has been observed that the pieces located at a higher height have a larger
size than those located at a shorter distance from the observer. Schemes provided explain the subtle
differences and symmetries between the various pendentives and arches in both pavilions, otherwise
too complex to be observed, by means of photographs or 3D laser scannings.
Significant deformations, hitherto unknown, have been detected based on the laser scanner 3D
point cloud results. It has been observed that the original design involved deformed pieces that Nasrid
artists from the 14th century virtuously built to solve a difficult geometric problem: Adapting the
pendentives upper rows to the dome circular base.
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Besides, other significant deformations had been reflected in plan and sections schemes,
Besides, other significant deformations had been reflected in plan and sections schemes, resulting
resulting from columns tilts probably due to earthquakes, explosions, lightning, differential seatings
from columns tilts probably due to earthquakes, explosions, lightning, differential seatings or water
or water leaks in the subsoil, aggravated by poor maintenance or by inadequate restorations. It is
leaks in the subsoil, aggravated by poor maintenance or by inadequate restorations. It is utterly
utterly remarkable how some pavilions supported on such slender columns and muqarnas built on
remarkable how some pavilions supported on such slender columns and muqarnas built on fragile
fragile materials have survived over the centuries.
materials have survived over the centuries.
Finally, the graphic analysis provided by this research will hopefully contribute to a sustainable
Finally, the graphic analysis provided by this research will hopefully contribute to a sustainable
conservation approach towards both pavilions and their muqarnas. Similarly, the article is expected
conservation approach towards both pavilions and their muqarnas. Similarly, the article is expected to
to contribute to the consolidation of the muqarnas significance as outstanding identity symbols of
contribute to the consolidation of the muqarnas significance as outstanding identity symbols of this
this beautiful Medieval palace in the Alhambra of Granada (Figure 19).
beautiful Medieval palace in the Alhambra of Granada (Figure 19).

(a) (b)

Figure 19. Photographs

Photographs showing
showing the
the current
current state
state in
in the
the Court
Court of
ofthe
theLions
Lions[authors’
[authors’own
ownproduction]:
production]:
(a) Western pavilion view from interior of eastern pavilion; (b) eastern pavilion view from interior of
western pavilion.

Author Contributions:
Author Contributions: I.F.-P.-B., A.G.-G., and
I.F.-P.-B., A.G.-G., and J.F.R.-G.
J.F.R.-G. took
took part
part in
in the
theentire
entireresearching
researchingprocess.
process. All authors
have read and agreed to the published version of the manuscript.
Funding: This research received no external funding.
Funding: This research received no external funding.
Acknowledgments: The present research has been made possible thanks to the collaboration of the specialized
Acknowledgments:
group of research and Thedissemination
present researchof has
the been
Councilmade possiblede
Patronato thanks to the collaboration
la Alhambra of the
y Generalife specialized
as well as the
group of research and dissemination of the Council Patronato de la Alhambra y Generalife as well as the
dedicated personnel who surveil the monument day after day. The authors thank the support from
dedicated personnel who surveil the monument day after day. The authors thank the support from the research the research
group
group Expregrafica.
Expregrafica. Lugar
Lugar Arquitectura
Arquitectura yy Dibujo
Dibujo (PAIDI-HUM-976),
(PAIDI-HUM-976), Programa
Programa de de Doctorado
Doctorado enen Arquitectura,
Arquitectura,
Instituto Universitario de Arquitectura y Ciencias de la Construcción from the University of Seville; The Survey
Modeling Laboratory
Modeling Laboratory (SMLAB)
(SMLAB) fromfrom the
the University
University ofof Granada;
Granada; and
and the
the research
research group
group Ingeniería
Ingeniería Cartográfica
Cartográfica
(PAIDI-TEP-164) from the University of Jaen. We thank Eugenia Fernández-Beltrán for her work in translating
(PAIDI-TEP-164) from the University of Jaen. We thank Eugenia Fernández-Beltrán for her work in translating
this paper, as well as her dedication.
this paper, as well as her dedication.
Conflicts of Interest: The authors declare no conflict of interest.
Conflicts of Interest: The authors declare no conflict of interest.

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