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Home , Alhambra, Court of the Lions, Generalife, Great Pyramid of Giza, Owen Jones (architect), Patio

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Article The at the ’s : Graphic Analysis of

Antonio Gámiz-Gordo 1,* , Ignacio Ferrer-Pérez-Blanco 2 and Juan Francisco Reinoso-Gordo 3,* 1 Architectural Expression Graphic Department, University of , 41012 Seville, 2 Laboratory of Digital Culture for Architectural Projects, École Polytechnique Fédérale de Lausanne, 1015 Lausanne, Switzerland; ignacio.ferrer@epfl.ch 3 Architectural and Graphic Expression Department, University of , 18071 Granada, Spain * Correspondence: [email protected] (A.G.-G.); [email protected] (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 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 in Granada (southern Spain), a Medieval urban complex -Alhambra, 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 , neither destroyed nor changed by the vicissitudes of time, as with the examples in . The attributes contained in the inscribed property justify their exceptional position in the Islamic architectural tradition of the Early , and they express the authenticity in a reliable way. Since its conception as a palatine city, its began from a proportional system, following the principles of area compartmentalization, no exteriorization and the typical acclimatized design of the . Together with this, it comes to fruition in a decorative program based upon geometry, 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 other place in the the Alhambra Alhambra is is as as interesting interesting as as the the Lions Lions Palace and and its its famous famous , courtyard, a amasterpiece masterpiece of of Nasrid Nasrid and and Islam Islam art art in in Spain, Spain, bu builtilt during during the the reign reign of of Muhammad Muhammad V (1354–1359 and 1362–1391)1362–1391) [[2].2]. TheThe groupingsgroupings of of muqarnas muqarnas pieces pieces used used in in this this environment environment are are undoubtedly undoubtedly one one of the of mostthe most outstanding outstanding features features of its of architectural its architectural identity. identity. The CourtThe Court of the of Lions the Lions has a has rectangular a rectangular plan measuring 28.50 15.70 m and formed by two perpendicular axes. Its elegant perimeter gallery rests plan measuring 28.50× × 15.70 m and formed by two perpendicular axes. Its elegant perimeter gallery onrests 124 on white 124 white marble marble columns with ringed with shaftsringedthat shafts are that grouped are grouped in subtle in compositional subtle compositional rhythms (Figurerhythms1). (Figure 1).

Figure 1. ; Jules Goury. 1842. “Plan of the Roya Royall Arabian Palace in the ancient fortress of the Alhambra” (red squares mark the Pavilions in thethe Court of Lions; top of the image facing North) [Plans, elevations,elevations, sections,sections, andand detailsdetails ofof thethe AlhambraAlhambra Vol.Vol. 1,1, plateplate 3].3].

In the the middle middle of of the the smaller smaller sides sides of the of thepatio patio stand stand out two out almost two almost square-shaped square-shaped temples temples which whichare considered are considered authentic authentic masterpieces masterpieces of the ofNa thesrid Nasrid art (Figure art (Figure 2a,b).2a,b). Above Above their their columns columns and andabacuses abacuses there there are arebrick pillars pillars covered covered with with fine fine plaster decoration, decoration, which which support support the the beams on which eaveseaves andand roofsroofs rest.rest. This lintel-based layout freed the arcs from aa structuralstructural oror load-bearingload-bearing function, andand facilitated the inclusion of a beautiful openwork ornamentation that allows the passage of light and the incorporation of sophisticatedsophisticated compositionscompositions ofof muqarnas,muqarnas, thethe targettarget ofof thisthis study.study. The pavilions’spavilions's inner floor is ma madede of marble and covered with stunning hemispherical wooden , which are oneone ofof thethe finestfinest examplesexamples ofof 14th14th centurycentury carpentrycarpentry worksworks inin Granada.Granada. Plaster muqarnas pendentives, which are also a target of thisthis study, were designeddesigned as a transition from the square planplan toto thethe domesdomes circularcircular plan.plan.

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(a) (b)

FigureFigure 2. 2. PicturesPictures from from the the Court Court of of the the Lions Lions [taken [taken by by the the authors]: authors]: ( (aa)) View View to to the the western western Pavilion (2004);(2004); ( (bb)) view view to to the the eastern eastern Pavilion Pavilion (2018). (2018).

TheThe Nasrid dynasty carefully carefully chose chose locations locations for for their their fortresses fortresses and and foundations, foundations, taking taking into into accountaccount the the important important seismic seismic activity activity in inits itskingdom kingdom and and particularly particularly in the in citadel the citadel of Granada. of Granada. The AlhambraThe Alhambra underground, underground, called called“Formación “Formaci Alhambraón Alhambra”” by current by currentGeology Geology experts is experts quite suitable is quite tosuitable reduce to seismic reduce risk. seismic Both risk. site Bothand geological site and geological disposition disposition have been have crucial been factors crucial for factors the Palace's for the conservationPalace’s conservation thus far [3,4]. thus A far hist [3,4orical]. A historicaldocument document [5] reported [5] reportedthe flood theof the flood river of Darro the river on Darro5 March on 16005 March that 1600affected that the aff ectedbase of the the base Alhambra of the Alhambrahill, leading hill, to leadingsignificant to significantlandslides in landslides what is nowadays in what is knownnowadays as ‘Tajo known de asSan ‘Tajo Pedro’, de San an Pedro’,area which an area keep whichs a part keeps of the a partmonument of the at geological at geological risk. risk. TheThe risk risk of of ruin ruin threatened threatened the the Court Court of of the the Lions Lions many many times, times, as as indicated indicated by by the the historical historical data data outlinedoutlined below. AccordingAccording to to the the most most prominent prominent Alhambra Alhambra curator curator architect, architect, Leopoldo Leopoldo Torres Torres Balbás, Balbás,the Nasrid the Nasrid decadence decadence had a turning had a turning point onpoint 27 Juneon 27 1431, June when1431, when a major a major earthquake earthquake collapsed collapsed some somewalls and towers, and towers, a few a days few afterdays the after entrance the entrance of John of II John of Castile II of Castile II in the II Vega in the de Vega Granada de Granada starting startingthe Battle the of Battle La Higueruela of La Higueruela [6]. [6]. RepairsRepairs have have been been incessant incessant in in the the Court Court of of the the Lions Lions since since both both town town and and landmark landmark passed passed into into ChristianChristian hands hands in in 1492 1492 [7]. [7]. In In documents documents from from 154 15411 and and 1542, 1542, mention mention was was made made of of the the replacement replacement ofof plasterwork plasterwork and thethe placementplacement of of braces braces to to control control the the movements movements of theof the columns. columns. In 1590,In 1590, a fire a fire and andexplosion explosion occurred occurred in a powderin a powder mill near mill thenear river the Darro,river Darro, on the on north the slope north of slope the Alhambra, of the Alhambra, severely severelyaffecting affecting the Palace the of Palace the Lions, of th blowinge Lions, up blowing glasses, up , glasses, and doors, . and windows. In the In of the the Hall Mocarabes, of the Mocarabes,next to the westernnext to the pavilion, western its pavilion, muqarnas its muqa wasrnas destroyed; vault was and destroyed; other emblematic and other architecturalemblematic architecturalelements of theelements monument of the were monument also greatly were aff ected,also greatly such as affected, the nearby such Comares as the Towernearby [8 Comares]. TowerIn [8]. 1626, 16 braces were placed in the Court of Lions due to major collapses; and between 1688 and 1691In the 1626, ruin 16 was braces complete. were Forplaced this in reason, the Court the pavilions’ of Lions roofsdue to were major modified collapses; between and between 1691 and 1688 1694, andso that 1691 they the lostruin their was originalcomplete. aspect. For this The reason, west pavilion the pavilions' nowadays roofs keeps were themodified built between in the 1691 late 17thand 1694,century, so that which they replaced lost their a previous original oneaspect. with The a steeper west pavilion slope, hipped nowadays and withkeeps glazed the roof built trestles in the [9]. lateIn 1729, 17th somecentury, repairs which took replaced place due a previous to the arrival one with of Philip a steeper V of Spain,slope, hipped and new and repairs with occurredglazed tile in trestles1744 and [9]. 1757. In 1729, New some reports repairs dating took from place 1784 due informed to the arrival about of anPhilip imminent V of Spain, ruin, and aggravated new repairs by a occurredlightning in strike 1744 occurred and 1757. on NovemberNew reports 5, 1787. dating from 1784 informed about an imminent ruin, aggravatedIn 1812 by and a lightning 1820 some strike light occurred works on on the November roofs were 5, performed, 1787. and also at the beginning of the 19thIn century 1812 and a 1820 some was light created works in the on Courtthe roofs and were the irrigationperformed, water and also induced at the earth beginning movements, of the 19thso it century was removed a garden around was 1844–1846 created in [ 10the]. Court As described and the later, irrigation in 1858, water an unfortunate induced earth restoration movements, of the soeastern it was pavilion removed took around place; 1844–1846 in 1889 it was[10]. rebuilt;As descri andbed in later, 1910 thein 1858, subsoil an wasunfortunate repaired restoration [11]. Towards of the1934, eastern Torres pavilion Balbás restored took place; it again in in1889 the it form was it re stillbuilt; has and nowadays. in 1910 Inthe addition, subsoil inwas 1966, repaired the architect [11]. TowardsFrancisco 1934, Prieto-Moreno Torres Balbás consolidated restored it and again restored in the theform western it still pavilion.has nowadays. In addition, in 1966, the architectFinally Francisco it should bePrieto-Moreno remembered consolid that alongated the and history, restored there the have western been pavilion. many natural hazards that have affected the archaeological sites or , for example, of the Seven Wonders of the

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SustainabilityFinally2020 it ,should12, 6556 be remembered that along the history, there have been many natural hazards4 of 18 that have affected the archaeological sites or monuments, for example, of the Seven Wonders of the Ancient World,World, only only one one of them—theof them—the Great Great Pyramid of —has of Giza—has survived survived until our days.until Regardingour days. Regardingthe other six, the threeother have six, three been have damaged been damaged by earthquakes. by earthquakes. The Colossus The of collapsedRhodes collapsed around around227 BC, 227 the BC, same the occurred same occurred to the Pharos to the LighthousePharos Lighthouse in in Alexandria in the 14th in the century 14th century AD. Finally, AD. Finally,the Mausoleum the Mausoleum in Halikarnassos, in Halikarnassos, destroyed destroye by floodsd by andfloods earthquakes and earthquakes and rebuilt and rebuilt several several times, times,eventually eventually disappeared disappeared in the 15thin the century 15th century [12,13]. [12,13]. ItIt is is surprising surprising how how the the Court Court of the of theLions Lions has hasbeen been preserved preserved until untilour days our with days such with a suchfragile a structure.fragile structure. As indicated As indicated above, above,throughout throughout the history the history of the of Alhambra, the Alhambra, movements movements caused caused by earthquakes,by earthquakes, explosions, explosions, or water or water leaks leaks in the in thesubs subsoiloil have have been been aggravated aggravated by byneglect neglect or lack or lack of maintenanceof maintenance due due to toshortage shortage of ofeconomic economic resources, resources, by by the the effect effect of of weather weather elements, elements, or or as as a consequence of inadequate repairs. All All these these factor factorss have have caused caused on on many many occasions occasions the the detachment detachment of plaster ornaments and the collapse of the columns.

1.2. General General Objectives Objectives and and Methodology Methodology The pavilions at the the 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, nono digitaldigital surveys surveys have have been been made made to to reflect reflect with with precision precision their their formal formal complexity. complexity. For thisFor thisreason, reason, the presentthe present research research aims aims to document to document and graphicallyand graphically analyze analyze the muqarnas, the muqarnas, to facilitate to facilitate their theirstudy study andimprove and improve their futuretheir future conservation. conservation. InIn order to tackle the last objective, we prop proposeose a novel methodology for the case study based on an architectural graphic analysis analysis including including three three types types of of drawings drawings that that complement complement each each other. other. After reviewing the historical data, some important images from the pavilions extending from the 17th to 20th century have been compared in order to document and illustrate their transformations, as an initial reference for the CAD (computer-aided design) drawings. Subsequently, Subsequently, a digital model isis produced produced to to allow allow the the comparison comparison between between the the reality reality and and the thetheoretical theoretical geometric geometric principles principles that rulethat the rule assembly the assembly of muqarnas. of muqarnas. Finally, Finally, a 3D laser a 3D scan laser provided scan provided new images new images from the from point the cloud, point thuscloud, allowing thus allowing a more a moreprecise precise understanding understanding of their of their current current state. state. A Alater later comparison comparison between between drawings unveils new contribution contributionss about about both both the the configuration configuration an andd current current state state of of the the muqarnas, muqarnas, remarkable 14th-century architectural pieces.

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

2.1. The The Pavilions Pavilions and and their their Muqarnas Muqarnas Historical Historical Images InIn the first first known views of the Court of the Lions, drawn and engraved by Louis Meunier around 1668 [14], [14], the pavilions show a rudimentary but expressive aspect. Their Their roofs were quite steep, although although the the eaves eaves representation representation is is strang strangee and and the the columns columns grouping grouping patterns patterns is is inaccurate, inaccurate, casting doubtdoubt on on the the reliability reliability of the of details. the details. Nevertheless, Nevertheless, the pavilions the seempavilions completely seem symmetricalcompletely symmetrical(Figure3). (Figure 3).

Figure 3. LouisLouis Meunier, Meunier, h. 1668. 1668. “El “El patio patio de de los los Leon Leoneses in in Grenada” Grenada” [Spanish [Spanish National National Library, Library, invent/19565].invent/19565].

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This apparent is supported by a valuablevaluable drawing by thethe outstandingoutstanding architect Juan de Villanueva towardtoward 1766–1767,1766–1767, published in “Las“Las AntiguedadesAntiguedades ÁÁrabesrabes de España”España” (1787) and edited by thethe RoyalRoyal AcademyAcademy of FineFine ArtsArts ofof SanSan FernandoFernando inin MadridMadrid [[15].15]. There isis aa longitudinallongitudinal section towards the Hall of thethe AbencerrajesAbencerrajes (Figure(Figure4 4)) wherewhere thethe shadingshading interiorinterior ofof thethe pavilions pavilions are drawn for for the the first first time, time, but but th thee roofs roofs no no longer longer had had the thehipped hipped layout layout depicted depicted by Meunier. by Meunier. The Therepresentation representation of the of thecolumns columns pattern pattern is isaccurate accurate and and the the arches ornamentation ornamentation is is schematically drawn, as well as the low-detailed pendentives of interior muqarnas, muqarnas, barely barely showing showing their their groupings, groupings, but with no didifferencesfferences betweenbetween bothboth pavilions.pavilions.

Figure 4.4.Juan Juan de de Villanueva, Villanueva, 1766–1767. 1766–1767. Longitudinal Longitudinal section sect ofion the Courtof the ofCourt the Lions. of the [Royal Lions. Academy [Royal ofAcademy Fine Arts of ofFine San Arts Fernando, of San Fernando, , MA-0540]. Madrid, MA-0540].

Many other draftsmen accomplished outstanding vi viewsews from the Court of the Lions in the late 18th18th centurycentury and the firstfirst half ofof thethe 19th19th century,century, similarlysimilarly toto whatwhat occurredoccurred withwith drawingsdrawings from other ArabArab landmarkslandmarks suchsuch as as the the Mosque of of Cordoba Cordoba [16 [16].]. Henry Henry Swinburne Swinburne published published a drawinga drawing of theof the paved paved courtyard courtyard and and the the east east pavilion pavilion in his in bookhis book “Travels “Travels through through Spain Spain in the in yearsthe years 1775 1775 and 1776and ...1776…”” (1779). (1779). The The accurate accurate drawings drawings by William by Wi Gelllliam around Gell around 1801, hosted 1801, inhosted the British in the Museum, British showMuseum, the aspectshow the of the aspect courtyard of the courtyard before the before garden the was garden created. was created. It is is also also worth worth noting noting the the posthumous posthumous work work of the of theIrish Irish architect architect James James Cavanah Cavanah Murphy, Murphy, “The “TheArabian Arabian Antiquities Antiquities of Spain” of Spain” (c. 1813–1815); (c. 1813–1815); and the anddetailed the detailed images by images Alexandre by Alexandre Laborde included Laborde includedin his book in “Voyage his book Pittoresque “Voyage Pittoresque et Historique et de Historique l’Espagne” de (1808–1820). l’Espagne” It (1808–1820). should be mentioned It should the be mentionedbeautiful views the beautiful by John viewsFrederick by John Lewis Frederick included Lewis in “Sketches included inand “Sketches drawings and of drawingsthe Alhambra” of the Alhambra”(1835); de Joseph-Philibert (1835); de Joseph-Philibert Girault de Prangey Girault de in Prangey“Souvenirs in “Souvenirs de Grenade de et Grenade de l’Alhambra” et de l’Alhambra” (1836); or (1836);by Nicolas-Marie-Joseph or by Nicolas-Marie-Joseph Chapuy in Chapuy “Le Moyen in “Le Age Moyen Monumental Age Monumental et Archeologique” et Archeologique” (nº 251, h. (n 1841–º 251, h.1846), 1841–1846), separating separating from other from authors other authors that drew that simplified drew simplified muqarnas muqarnas and did and not did understand not understand their theirformal formal genesis. genesis. The architectsarchitects Owen Owen Jones Jones and and Jules Jules Goury Goury deserve dese to berve paid to specialbe paid attention, special asattention, they performed as they a scientificperformed approach a scientific analyzing approach the ornaments analyzing of thethe Alhambraornaments and of researched the Alhambra the geometric and researched construction the lawsgeometric of the construction muqarnas in orderlaws of to drawthe muqarnas them rigorously. in order Their to draw splendid them longitudinal rigorously. sectionTheir splendid from the Courtlongitudinal of the Lionssection pointing from the to theCourt Hall of of the the Lions Two Sisterspointing (in theto the opposite Hall of direction the Two to Sisters the section (in the by Villanuevaopposite direction from 1766–1767) to the section was publishedby Villanueva in 1838 from (Figure 1766–1767)5), and was included published in their in 1838 monumental (Figure 5), book and “Plans,included Elevations, in their monumental Sections and book Details “Plans, of the Elevations, Alhambra” Sections (1842). and Details of the Alhambra” (1842). Still nowadays no CAD plans have exceeded the exquisiteexquisite level of detail of Owen Jones and Jules Goury’s drawings. The pavilions were symmetrically drawn, with hipped roofs different different from those drawn by Villanueva;Villanueva; thethe muqarnasmuqarnas areare accurateaccurate andand veryvery detailed.detailed. In addition, Jones and Goury yielded many other drawings of muqarnas on cornices,cornices, arches, pendentives or domes, proving a deep knowledge and ability to representrepresent themthem [[17].17].

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Figure 5. Jones and Goury (dib.); Kennion (grab.). Longitudinal section of the Court of the Lions, FigureFigure 5. Jones5. Jones and and Goury Goury (dib.); (dib.); Kennion Kennion (grab.).(grab.). Longitudinal Longitudinal section section of ofthe the Court Court of the of theLions, Lions, published by Owen Jones, 1838 [private collection]. publishedpublished by by Owen Owen Jones, Jones, 1838 1838 [private [private collection]. collection].

InIn 18591859In 1859 andand and 1862, 1862, 1862, Nicomedes Nicomedes Nicomedes de Mendde de MendívilMendívilívil y Quadra yy Quadra produced producedproduced splendid splendid splendid drawings drawings drawings from afrom pavilion,from a a pavilion,bothpavilion, preserved both both preserved at preserved the Royal at atthe Academy the Royal Royal Academy ofAcademy Fine Arts ofof ofFineFine San Arts Fernando ofof San San Fernando inFernando Madrid. in in Madrid. They Madrid. were They They published were were publishedas isolatedpublished as print asisolated isolated plates print in print “Calcograf plates plates in iní a“Calcografía Nacional”“Calcografía belonging Nacional” to belongingbelonging the outstanding to to the the outstanding “Losoutstanding Monumentos “Los “Los MonumentosArquitectMonumentosónicos Arquitectónicos deArquitectónicos España” (1856–1882). de de España” España” (1856–1882). (1856–1882). TheThe drawings drawings drawings fill fill fill two two plates, plates, plates, the the the first first first plate plateplate repr representingrepresenting thethe plan, plan, details details details from from from the the muqarnas muqarnas muqarnas and and and thethe halfthe half half , dome, dome, and and and the the the other other other one one one representing representing representing the thethe section section [15];[15]; [15]; thethe the pavilion pavilion depiction depiction depiction is veryis is very very reliable reliable reliable andand was was carefully carefully shaded shaded (Figure (Figure 66).). 6). TheThe The authorauthor author does doesdoes notnot indicateindicate whether whetherwhether if if ifit ititis is isthe thethe east easteast or ororthe thethe west westwest pavilionpavilion the theone one that that is drewis drew on on the the plate. plate. The TheThe plan plan onlyonly containscontains contains two two two out out out of ofof four four four arcades, arcades, arcades, probably probably probably becausebecause he assumed he assumed they they were were symmetric, symmetric, although although this is notnot true true as as we we will will explain explain later. later. The The The plate plate plate publishedpublished by byNicomedes Nicomedes de de Mendívil Mend Mendívilívil y y Quadra Quadra neitherneither finished finishedfinished the the other other two two arcades. arcades.

(a) (b)

FigureFigure 6. Nicomedes 6. Nicomedes de de Mend Mendívilívil y y Quadra. Quadra. PavilionPavilion at at the the Court Court of of Lions: Lions: (a) ( aInterior) Interior details, details, 1859; 1859; (b) section,(b) section, 1862 1862 [Royal [Royal(a Academy) Academy of of Fine Fine Arts Arts ofof SanSan Fernando,Fernando, Madrid. Madrid. MA-0210; MA-0210;(b) MA-0211]. 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].

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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 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 (Figure7a). 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 (Figure7b). 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)

FigureFigure 7. 7. EasternEastern pavilion: pavilion: (a (a) )Gustave Gustave de de Beaucorps, Beaucorps, 1858 1858 [Legacy [Legacy from from Ortiz Ortiz Echagüe, Echagüe, University University of of Navarra];Navarra]; ((bb)) PurgerPurger & & Co., Co., c. 1902,c. 1902, after afte ther restoration the restoration of Rafael of ContrerasRafael Contreras in 1859 [private in 1859 collection]. [private collection]. 2.2. New CAD Drawings Following Theoretical Principles on Muqarnas Grouping 2.2. NewMuqarnas CAD Drawings are small Following prismatic Theoretical pieces grouped Principles on complex on Muqarnas patterns Grouping. or sequences shaping cornices, capitals,Muqarnas arches, are pendentives, small prismatic or vaults pieces which grouped were a symbolon complex of the patterns Alhambra or Nasridsequences architectural shaping cornices,identity. Itcapitals, is necessary arches, to carefullypendentives, draw theor vaults plans ofwhich muqarnas were to a understandsymbol of theirthe Alhambra complex geometry, Nasrid 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 (Figure8a). 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 (Figure8b). 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. KeyKey muqarnasmuqarnas pieces: pieces: (a )(a Jones) Jones and and Goury Goury (dib.) (dib.) 1834 1834 [Plans, [Plans, Elevations, Elevations, Sections, Sections, and Details and Detailsof the Alhambra, of the Alhambra, plate 10, plate 1842]; 10, (b )1842]; Nicomedes (b) Nicomedes de Mendí vilde yMendívil Quadra (dib.)y Quadra 1862; (dib.) Esteban 1862; Bux Estebanó (eng., 1864)Buxó (eng., [Los monumentos 1864) [Los monumentos arquitectónicos arqu deitectónicos España, no.de España, 27, 1865]. no. 27, 1865].

From the aforementioned precedents and a careful careful ob observationservation of of reality, reality, this research research identified identified the existing pieces in both pavilions to consequentlyconsequently draw their plans and basic volumes. Different Different colors have been assigned to each type of piece to facilitate its location in the subsequent drawings of groupings (Figure 9 9).).

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Figure 9. Pieces library from the pavilions at the Court of the Lions [authors’ own drawing]. FigureFigure 9. 9. PiecesPieces library library from from the the pavilions pavilions at at the the Court Court of of the Lions [authors’ own drawing]. During the graphic analysis process, it was detected that the arcades' muqarnas are smaller than thoseDuring of the the pendentives graphic analysis and friezes process, placed it was in adetected higher positionthat the arcades' arcades’and at a muqarnasmuqarnas greater distance are are smaller smaller from than the thoseobserver.those of of the It has pendentives also been foundand and friezes friezes that in placed placed higher in in a a higher higher, such position position as that and and of the at at aHall a greater of the distance Kings, the from from pieces the observer.sizes are even It has larger. also been found that in higher higher ceilings ceilings,, such as that of the Hall Hall of of the the Kings, Kings, the the pieces pieces sizes Finally,are even it larger. has been observed that the western pavilion displays 2258 pieces, with 1032 located in its pendentivesFinally, it has has and been been 1226 observed observed in its arcades; that that the theon western westernthe othe pavilionr pavilion hand, thedisplays displays eastern 2258 2258Pavili pieces, pieces,on has with with 2222 1032 1032pieces, located located with in its948in itspendentives in pendentivesits pendentives and and 1226 and 1226 in 1274 its in arcades; itsin its arcades; arcades on the on (Figure othe the otherr hand, 10). hand, the eastern the eastern Pavili Pavilionon has 2222 has pieces, 2222 pieces, with 948with in 948 its inpendentives its pendentives and 1274 and in 1274 its inarcades its arcades (Figure (Figure 10). 10).

(a) (b) (a) (b) Figure 10. Muqarnas plans: ( (aa)) 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 Rendered from 3D Scanners 2.3. Images Rendered from 3D Scanners Thanks to thethe valuablevaluable collaborationcollaboration from from Patronato Patronato de de la la Alhambra Alhambra y Generalife,y Generalife, the the scanning scanning of ofthe the muqarnasThanks muqarnas to groupingsthe groupings valuable from fromcollaboration both both pavilions pavilions from couldPatronato could accurately accurately de la Alhambra assess assess their their y Generalife, current current state.state. the Thescanning point ofcloud the muqarnas was captured groupings usingusing aa fromBLK360BLK360 both laserlaser pavilions scannerscanner coul with withd accurately a a precision precision assess of of 6 6 mm mm their when when current the the object state.object isThe is within within point a cloudadistance distance was of capturedof 10 m,10 andm, usingand 8 mm 8 a mm forBLK360 20 for m. 20laser Three m. scanner Three point densitiespointwith adensities precision are allowed are of 6allowed mm by the when BLK360:by thethe object BLK360: Low, is medium within Low, amediumand distance high and that of high10 capture m, that and points capture 8 mm separated points for 20 separated m. 20 mm,Three 10 20po mm mm,int anddensities 10 mm 5 mm and are from 5 allowed mm each from other by each the when otherBLK360: the when object Low, the is medium10object m away. is and10 Thism high away. research that This capture worked research points with worked separated medium with density 20 medium mm, and 10 densitymm obtained and and 5 data mm obtained from from the each data 360 other ◦fromenvironment. when the 360° the objectAllenvironment. scans is 10 were m Allaway. registered scans This were inresearch theregistered same worked reference in the with same systemmedium reference (Figure density system 11 and). (Figure To obtained facilitate 11). dataTo the facilitate 3Dfrom modelling, the the 360° 3D environment.modelling,HDR pictures HDR All were picturesscans taken were were setting registered taken the scannersetting in the the to same HDR scanner reference mode. to HDR system mode. (Figure 11). To facilitate the 3D modelling,Recap HDR ProPro softwaresoftware pictures from fromwere Autodesk Autodesktaken setting was was employedthe employed scanner to to obtain HDRobtain the mode. the registration registration in both in both automatic automatic and andmanual Recapmanual forms; Pro forms; thesoftware manual the manualfrom method Autodesk method would waswould be usedemployed be only used if to theonly obtain automatic if the the automatic registration option failed. option in both Three failed. automatic variables Three andvariablesdefine manual the define quality forms; the register qualitythe manual for register each me scan: thodfor each (a) would Common scan :be (a) used Common volume only between ifvolume the automatic the between current optionthe scan current (not failed. registered scan Three (not variablesyet)registered and the define yet) scan and the/s previously qualitythe scan/s register registered, previously for each (b) register the scan: balance (a)ed, Common (b) between the balance volume the number between between of points the the number current scanned scanof through points (not registered yet) and the scan/s previously registered, (b) the balance between the number of points

Sustainability 2020, 12, x 6556 FOR PEER REVIEW 1010 of 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 scannedexpandthe 3 orthogonal the through three spatialthe spatial 3 orthogonaldirections, directions, andspatial the (c) optimal percentagedirections, scene ofthe ispoints whenoptimal with the scene a points fitting is equallywhen error smallerthe expand points than the equally 6 threemm. expandspatialData directions,the analysisthree spatial and has (c) directions,covered percentage various and of (c) points percentagephases. with Volu a of fitting pointsmes errorof with interest smaller a fitting have than error 6been mm. smaller selected than 6using mm. AutoDeskDataData analysisanalysisRecap. hasPlans,has covered covered elevations various various and phases. sectionsphases. Volumes haveVolu ofmesbeen interest ofobtained interest have beenfrom have selected the been point usingselected cloud AutoDesk using AutoDeskCloudcompareRecap. Plans, Recap. elevations software. Plans, andThen,elevations sections key points and have sections on been flat obtained prhaveojections been from haveobtained the been point fromidentified cloud the using pointand Cloudcompare line cloud drawings using Cloudcomparehavesoftware. been Then,made software. key on pointsthe muqarnas Then, on flat key projections assembly points on contours haveflat pr beenojections and identified the have internal andbeen linemain identified drawings axes. andA have3d line model been drawings could made haveon the been muqarnas obtainedmade on assembly bythe photogramme muqarnas contours assembly andtry thefrom internalcontours a series main ofand photos axes.the internal Awith 3d modeltargets, main could axes.which haveA coordinates 3d beenmodel obtained could were haveknown,by photogrammetry been but obtained the accuracy by from photogramme would a series be equivalent, oftry photos from a with asseries shown targets, of photos in [31]. which with coordinates targets, which were coordinates known, but were the known,accuracy but would the accuracy be equivalent, would as be shown equivalent, in [31 ].as shown in [31].

(a) (b) (a) (b) Figure 11. Views from the 3D laser scanner [authors’ own drawing]: (a) Western pavilion; (b) eastern Figurepavilion.Figure 11. 11. ViewsViews from from the 3D the laser 3D scanner laser scanner [authors’ [authors’ own drawing]: own drawing]: (a) Western (a pavilion;) Western (b) pavilion; eastern pavilion.(b) eastern pavilion. 3. Results. Comparing Drawings 3.3. Results. Results. Comparing Comparing Drawings 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 pendentivesAfter drawing is different. the muqarnas It is easier geometry, to identify it wasand observedvisualize thatthe number their composition of pieces of in each the pavilionstype and pendentives is different. It is easier to identify and visualize the number of pieces of each type and pendentivestheir locations is whendifferent. using It differentis easier tocolors identify for each and type.visualize the number of pieces of each type and their locations when using different colors for each type. their Forlocations example, when the using naked different eye may colors detect for the each diffe type.rent locations a trapezoidal muqarnas (marked For example, the naked eye may detect the different locations a trapezoidal muqarnas (marked in brownFor example, color) occupies the naked on eyeeach may pavilion detect (Figure the diffe 12).rent This locations muqarnas a trapezoidal was identified muqarnas in Jones (marked and in brown color) occupies on each pavilion (Figure 12). This muqarnas was identified in Jones and inGoury’s brown drawings color) occupies and frequently on each occurpavilion in other (Figure Alhambra 12). This . muqarnas was identified in Jones and 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 12. PendentivesPendentives composed composed of ofmuqarnas muqarnas [authors’ [authors’ own own drawing]: drawing]: (a) Western (a) Western pavilion; pavilion; (b) Figureeastern(b) eastern 12.pavilion. Pendentives pavilion. composed of muqarnas [authors’ own drawing]: (a) Western pavilion; (b) eastern pavilion.

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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 theirDifferences geometric complexity.between muqarnas Neither floor the models plans from derived both from pavilions the point are cloudnot so unveil easily theperceived differences. due toFor their this reason,geometric a layout complexity. displaying Neither a color the for eachmodels unique derived muqarnas from groupthe point is provided cloud unveil in order the to differences.indicate the For diff erencesthis reason, between a layout pavilions displaying (Figure a color14). for each unique muqarnas group is provided in orderAlthough to indicate both the have differences different pendentivesbetween pavilions and arches, (Figure the 14). plan shows an axis of symmetry that matchesAlthough with the both longitudinal have different axis ofpendentives the courtyard. and Itar shouldches, the be plan noted shows that therean axis are of some symmetry groupings that 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 duplicatedcentral arches in both(red) pavilions.and the northern According and tosouthern the plan ones provided (green) in are this the research same in (Figureboth pavilions. 14) the inner centralGroupings arches (red) in the and western the northern pavilion and are southern simpler onesthan (green)the eastern are theones, same the indifferences both pavilions. are in small muqarnasGroupings groups in thewith western similar pavilion contour are condition. simpler than In this the easterncase, every ones, side the diarchfferences in all are arcades in small is muqarnasidentical (yellow). groups with Central similar arches contour in western condition. arca Indes this (red) case, everyand eastern side (dark in all blue) arcades are is different; identical (yellow).although Centralthey are arches very similar in western to those arcades of the (red) eastern and eastern pavilion (dark and blue) just differ are di infferent; two groups although composed they are veryof four similar muqarnas to those replaced of the easternby a flat pavilion piece. and just differ in two groups composed of four muqarnas replacedThe byeastern a flat pavilion piece. is more diverse with three types of side arches (yellow, orange and light greenThe in Figure eastern 14). pavilion The green is more arches diverse are only with in threeone arcade types ofand side the archesside arches (yellow, are orangeduplicated and in light the greennorthern in Figure and southern 14). The arcades. green arches are only in one arcade and the side arches are duplicated in the northern and southern arcades.

(a) (b)

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

3.4. Comparing Pendentives Elevations Comparative analysis between didifferentfferent pendentive elevationselevations is of great interest to assess their accuracy levellevel and and their their similarity similarity to realto worksreal works (Figure (Figure 15). Jones 15). andJones Goury and drawnGoury identical drawn pavilionsidentical morepavilions accurately more thanaccurately the previous than the drawing previous by Juandrawing de Villanueva, by Juan de as Villanueva, they drawn theas they muqarnas drawn rows the andmuqarnas a “shell” rows piece and in a the“shell” center, piece which in the is supportedcenter, which by anotheris supported piece by which another was piece not featured, which was so thatnot thefeatured, shell piece so that was the enlarged. shell piece Nevertheless, was enlarged. the Neve lowerrtheless, level from the muqarnaslower level profile from muqarnas is represented profile with is skillfulrepresented precision, with providingskillful precision, high thoroughness providing andhigh amazing thoroughness level of detail,and amazing particularly level taking of detail, into accountparticularly the drawingtaking into scale account and the the fact drawing that it encompassesscale and the thefact whole that it Courtencompasses of the Lions. the whole Court of theThe Lions. comparison between Nicomedes de Mendivil’s drawing and the CAD production shows the highThe accuracy comparison achieved between by Nicomedes, Nicomedes and de proves Mendivil’s that thedrawing pavilion and produced the CAD by production Nicomedes shows was the westernhigh accuracy one, a achieved fact hitherto by Nicomedes, unknown, asand the prov artistes that never the indicated pavilion it.produced However, by one Nicomedes outstanding was finding,the western observed one, a when fact hitherto comparing unknown, the 3D scans,as the isartist the never significant indicated geometric it. However, deformation one outstanding of elements analyzedfinding, observed in the following when comparing section. the 3D scans, is the significant geometric deformation of elements 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 authors’Figure 15. own InnerInner production: muqarnas muqarnas ( apendentives) pendentivesWestern pavilion; at atthe the pavilion (b pavilion) eastern according accordingpavilion. to Jones to Jones and andGoury, Goury, Mendivil, Mendivil, and andauthors’ authors’ own ownproduction: production: (a) Western (a) Western pavilion; pavilion; (b) eastern (b) eastern pavilion. pavilion. 4. Discussion. Geometric Deformations 4. Discussion. Geometric 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 whenIn designing a recent paper a muqarnas on the Hallpendentive of the Bark was inexplained, the Alhambra, as it has the to difficult be adapted geometric to the problem circular posedshape when designing a muqarnas pendentive was explained, as it has to be adapted to the circular shape fromwhen an designing upper dome a muqarnas starting pendentivefrom a square was shape explained, [32]. Nasrid as it has artisans to be didadapted not follow to the incircular this case shape the from an upper dome starting from a square shape [32]. Nasrid artisans did not follow in this case the theoreticalfrom an upper process dome described starting byfrom Jones a square and Goury shape or [32]. later Nasrid authors, artisans but instead did not deformed follow in and this adjusted case the theoretical process described by Jones and Goury or later authors, but instead deformed and adjusted thetheoretical muqarnas process close described to the circle, by Jones creating and withGoury great or later mastery authors, and but intuitively instead deformed pieces shaped and adjusted ad-hoc, the muqarnas close to the circle, creating with great mastery and intuitively pieces shaped ad-hoc, barelythe muqarnas noticeable close to theto the naked circle, eye. creating with great mastery and intuitively pieces shaped ad-hoc, barely noticeable to the naked eye. barelyIn noticeableorder to assess to the this, naked a new eye. 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 rules.In It order proven to assess impossible this, a tonew configure plan drawing the upper has b eenlevels provided without attempting using special to follow pieces, the because geometric in rules. It proven impossible to configure the upper levels without using special pieces, because in some somerules. areasIt proven the pieces impossible overlap to eachconfigure other the and upper other levelsareas becomewithout empty.using special This made pieces, necessary because the in areas the pieces overlap each other and other areas become empty. This made necessary the creation creationsome areas of small the pieces deformed overlap pieces each (darker other colorand otinher Figure areas 16). become As in theempty. pendentives This made of thenecessary Hall of the of small deformed pieces (darker color in Figure 16). As in the pendentives of the Hall of the Bark, Bark,creation the of deformed small deformed muqarnas pieces pieces (darker were color comp inosed Figure symmetrically 16). As in the in penbothdentives pavilions. of the Hall of the 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 16.16.Deformed Deformed muqarnas muqarnas in western in western Pavilion Pavilion pendentive pendentive [own drawing]: [own drawing]: (a) Plan; (b ()a axonometry.) Plan; (b) axonometry.Figure 16. Deformed muqarnas in western Pavilion pendentive [own drawing]: (a) Plan; (b) axonometry.

Sustainability 2020, 12, x FOR PEER REVIEW 14 of 18 Sustainability 2020, 12, x 6556 FOR PEER REVIEW 1414 of of 18 4.2. Deformations by Construction 4.2. Deformations by Construction 4.2. DeformationsThe point cloud by Construction from 3D laser scanner allows derive the pendentives contours from both pavilions,The point so that cloud we can from draw 3D plans laser and scanner sections allows in order derive to take the accurate pendentives measures contours (Figure from 17). Thenboth The point cloud from 3D laser scanner allows derive the pendentives contours from both pavilions,we find out so thatdimensional we can draw differen plansces and or sectionsdeformations in order the to idealtake accuratedesign (Figure measures 10) (Figure and the 17). current Then pavilions, so that we can draw plans and sections in order to take accurate measures (Figure 17). weconserved find out construction. dimensional differences or deformations the ideal design (Figure 10) and the current Then we find out dimensional differences or deformations the ideal design (Figure 10) and the current conservedAnalyzing construction. both plans dimensional schemes, it was observed that they are not perfect squares, conserved construction. as expected,Analyzing but both instead plans they dimensional are stretched schemes, toward its thewas courtyard observed centerthat they around are not 10–13 perfect cm; althoughsquares, Analyzing both plans dimensional schemes, it was observed that they are not perfect squares, astheir expected, angles butare insteadclose to they 90 degrees. are stretched Nevertheless, towards thetheir courtyard diameters, center i.e., aroundthe inner 10–13 dome cm; basis, although have as expected, but instead they are stretched towards the courtyard center around 10–13 cm; although their theirimportant angles deformations, are close to 90close degrees. to 13 cm Nevertheless, in the easter nth pavilion,eir diameters, and 5 cmi.e., in the the inner western dome one. basis, Important have angles are close to 90 degrees. Nevertheless, their diameters, i.e., the inner dome basis, have important importantangular deformations deformations, were close also to observed13 cm in the in sectionseastern pavilion, that are obviouslyand 5 cm in visible the western and close one. to Important 4 degrees deformations, close to 13 cm in the eastern pavilion, and 5 cm in the western one. Important angular angularin some deformationsof the cases (Figure were also 18). 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)

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

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

(a) (b) (a) (b) FigureFigure 18.18. Sections deformations [author’s own drawing]: ( a) Western pavilion; ((b)) easterneastern pavilion.pavilion. Figure 18. Sections deformations [author’s own drawing]: (a) Western pavilion; (b) eastern pavilion.

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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 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 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. Sustainability 2020, 12, 6556x FOR PEER REVIEW 1616 of of 18

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. PhotographsPhotographs showing showing the the current current state state in in the the Co Courturt of of the the Lions Lions [authors’ [authors’ own own production]: production]: (a) Western pavilionpavilion view from interior of eastern pavilion; (b) eastern pavilion view from interior of western pavilion.

Author Contributions: I.F.-P.-B.,I.F.-P.-B., A.G.-G., and J.F.R.-G. J.F.R.-G. took took part part in in the the entire entire researching researching process. 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 andThe dissemination present research of hasthe beenCouncil made Pa possibletronato de thanks la Alhambra to the collaboration y Generalife of theas well specialized 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 the research group Expregrafica. Expregrafica. Lugar Lugar Arquitectu Arquitecturara y y Dibujo Dibujo (PAIDI-HUM-976), (PAIDI-HUM-976), Progra Programama de de Doctorado Doctorado en en Arquitectura, Arquitectura, Instituto Universitario de Arquitectura y Ciencias de la Construcción Construcción from the Univer Universitysity of Seville; The Survey Modeling Laboratory (SMLAB) from the University of Granada; and the rese researcharch group Ingeniería Ingeniería Cartográfica Cartográfica (PAIDI-TEP-164) from the University of Jaen. We thank Eugenia FernFernández-Beltránández-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. References

1 Alhambra, Generalife and Albayzín, Granada [World Heritage List]. Available online: https://whc.unesco.org/en/list/314 (accessed on 25 July 2020). 2 Manzano-Martos, R. La Alhambra: El Universo Mágico de la Granada Islámica; Grupo Anaya: Madrid, Spain, 1992.

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