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3. How would you describe Spanish style in architecture?
4. Where can we find the most outstanding examples of Spanish Revival architecture?
5. Do you know the names of any Spanish style architects?
INSPIRED BY SPAIN
Step through the stucco archway, linger in the tiled courtyard, and you might think you were in Spain. Or
Portugal. Or Italy, or northern Africa, or Mexico. North America's Spanish inspired homes embrace the entire
Mediterranean world, combine it with ideas from Hopi and Pueblo Indians and add flourishes that would make
Walt Disney proud.
It is hard to know what to call the style. In Santa Barbara and other parts of California, these homes are
usually described as Spanish Colonial Revival, suggesting that they borrow ideas from early settlers. Many ar-
chitects prefer the term Hispanic or Mediterranean, while others simply say that the houses are Spanish Eclec-
tic.
However, although the style is difficult to name, it is easy to recognize. Virginia and Lee McAlester, au-
thors of "A Field Guide to American Houses", characterize Spanish Eclectic homes as having the features listed
below.
Spanish inspired houses usually have these features:
• low-pitched roof
• red roof tiles
• stucco siding
• arches, especially above doors, porch entries and main windows.
Some Spanish inspired homes have:
• asymmetrical shape with cross-gables and side wings
• flat roof and parapets
• hipped roof
• carved doors
• spiral columns and pilasters
• courtyards
• carved stonework or cast ornaments
• patterned tile floors and wall surfaces.
In many ways, the Spanish Revival homes built from 1915 to 1940 resemble the earlier California Mission
Style houses. Mission architecture romanticized the simple Spanish churches of colonial America. It featured
red tile roofs, parapets, and decorative railings and carved stonework. However, the twentieth century Spanish
inspired styles proved to be more far-reaching. Wild and expressive, this new fashion borrowed from the entire
history of Spanish architecture, from Moorish to Byzantine to Renaissance.
In 1915, gates to the Panama Canal swung open. To celebrate, San Diego – the first North American port
of call on the Pacific Coast – launched a spectacular exposition. The chief designer for the event was Bertram
Grosvenor Goodhue, who had a fascination for Gothic and Hispanic styles. Goodhue did not want the cold,
formal Renaissance and Neoclassical architecture, which was normally used for expositions and fairs. Instead,
he envisioned a fairytale city with a festive, Mediterranean flavor.
Goodhue (along with fellow architects Carleton M. Winslow, Clarence Stein and Frank P. Allen, Jr.) cre-
ated extravagant, capricious Churrigueresque towers based on the 17th and 18th century Spanish designs. They
filled Balboa Park in San Diego with arcades, arches, colonnades, domes, fountains, pergolas, reflecting pools,
man-sized Muslim urns and an array of Disneyesque details.
America was dazzled and Iberian fever spread as trendy architects adapted Spanish ideas to upscale homes
and public buildings.

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