If I were a professor of architecture at a university, I would encourage all my students to go to the Alahambra to be mesmerised by its architecture!

But I would also encourage every traveller to go and gape at this truly amazing place! And you don’t have to be an architecture student to be fully stunned and enthralled, to shake your head in amazement… I am not the only one: the famous Swiss architect, Le Corbusier “found his view of modern architecture already defined in this monument (started in the 11th century!) as ‘the intelligent’, just and magnificent interplay of volumes made harmonious by daylight”. And in 1953 a group of Spanish architects wrote in the Manifesto de la Alhambra: “The relationship between this building of the XIV century and the most advanced modern architecture is in some respects astonishing: they coincide with us in their placing of things on a human scale, in their asymmetric yet organic way of laying out the different levels, in how they managed to incorporate the gardens and landscape into the buildings themselves, in their strictly uncluttered use of materials and in so many other aspects which would be laborious to enumerate.”

As I wandered in awe, marvelling at the precision with which the many domes, pillars, portals, arches, porticos, roofs, galleries and courtyards were harmoniously created, with no jarring elements, I could only think that the Moors’ knowledge of astronomy and mathematics, especially geometrics, would have formed the underlying foundation. Although British and European palaces and castles are also magnificent, I personally preferred the way the Alhambra separated the various parts: the old citadel, the Alcazaba, the Mexuar Palace, the Comares Palace, the Generalife, upper Alambra and the latter Palace of Charles V. This created a constant surprise, like opening an unexpected parcel! “In contrast to all residences in Christian Europe, the Alhambra has no façade; it has no main axis about which the buildings are disposed; the rooms are not aligned in such a way as to pass from one to another, … instead, at the ends of elusive corridors one finds oneself in hidden courtyards around which rooms are grouped as though by chance. One might never suspect what other worlds may still be concealed behind the walls.” The ideal setting for tales and stories like A Thousand and One Nights!

Looking up at the Horseshoe Arch, The Puerto del Vino (The Wine Gate), the Puerta de la Justicia (The Justice Gate), one muses that every moment is beautiful! In fact, each and every opening, window, portal, alcove, niche or wall, every nook and cranny are decorated by the use of marble or by intricate tiling designs, or stained glass, with surprising colour combinations. No ceiling is left unadorned! With attention being given to the minutest detail. Any craftsmen will be blown over by the ingenious and artistic ways of the tiling expertise. I felt as if I was looking through a giant kaleidoscope. Some of the intricate patterns reminded me of the Dutch artist, Escher’s imaginative drawings.

Stylisation, repetition, symmetry and rhythm form the compositional principles in Islamic art. “In their art ornamental designs and motifs follow each other in reiterate rhythms towards infinity as a metaphor of eternity which fills the whole of space. It consists of formulas created by the multiplication, division, rotation and symmetrical distribution of basic, deceptively simple themes.” Yet, seen on a grand scale, these ‘simple’ designs look absolutely stupendous!

This tiling, known as Alicatado. is a sort of marquetry in stone, whereby tiny ceramic pieces are used in the repetitive designs. Of course, these mosaic tiles had to be fired first before adhering them to walls. The colours used were obtained by melting siliceous sands, lead sulphide and other mineral-bearing ores in ovens and pounding them to obtain fine powder, which, when mixed with water and other dyes, were painted on before the firing process. Afterwards they were dried, cleaned and smoothed. Fine chisels and pincers were used to ensure seamless fitting. Then (face down) the patterns were fitted like a jigsaw puzzle, before covering in gypsum plaster. Time-consuming…

Intricate Arabesque inscriptions and Stucco patterning (essential to Nasrid art), sometimes relate to symbolism, religious themes, representations or comparison. Mysticism played a part. Poetry or brief inscriptions abound: “The only conqueror is God,” or “… He who created seven heavens, one above the other; you will find no discord in the creation of the Merciful One …”. “You conquered Algeciras with the might of your sword, opening a secret doorway to our victory,” and an epigraph: “Do not be negligent: come to prayer.”