CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
Recibido: octubre 2021 | Revisado: noviembre 2021 | Aceptado: noviembre 2021 | Publicado: diciembre 2021
ISSN: 0590 - 1987 I eISSN: 2695-379X I Depósito legal: GR 70-1965
COMPLETE RESTORATION OF
THE ROOFS OF THE HALL OF
THE KINGS
RESTAURACIÓN INTEGRAL DE LAS CUBIERTAS DE LA
SALA DE LOS REYES
PEDRO SALMERÓN ESCOBAR
PHD IN ARCHITECTURE. CONSERVATOR OF THE CATHEDRALS OF GRANADA AND JAÉN
estudiopedrosalmeron2@gmail.com
ABSTRACT A detailed journey is articulated through a wide-ranging intervention and complexity that
comprises the entire Hall of the Kings, both the main hall and the bedrooms with paintings. The functio-
nal sense of the environment is created by its founder Muhammad V as an essential part of the Court of
the Lions is analysed, as well as its space and constructive-structural organization, especially detailing
the relationship of the covers with the mocárabe domes and the wooden vaults coated with leather
and nished with several layers of plaster that are of assistance to prepare paintings of a great artistic
and symbolic value, preserved in critical condition at the end of the nineties of the last century. The
intervention carried out over several years is described, including the analysis phase and the response
to the serious conservation problems, mainly accumulated since the transformation of the roof covers
layout executed by Rafael Contreras in 1855-1857. The measures adopted in an advanced conservation
context are also developed: roof covers layout improvement, restoration of structural functions, seismic
instability prevention, microclimate control and accessibility for the maintenance both exterior and inte-
rior roof covers.
KEY WORDS Hall of the Kings, roof covers, armour, wooden vaults, mocárabe, consolidation, recovery,
maintenance, microclimate control.
RESUMEN Se plantea un recorrido minucioso a través de una intervención de gran amplitud y comple-
jidad que abarca la Sala de los Reyes completa, tanto la sala principal como las alcobas con pinturas. Se
analiza el sentido funcional del ambiente creado por su fundador Muhammad V como una parte esencial
del Palacio de los Leones, así como su organización espacial y constructivo - estructural, detallando
especialmente la relación de las cubiertas con las cúpulas de mocárabes y las bóvedas de madera
revestidas de piel y terminadas con varias capas de yeso que sirven de preparación a unas pinturas
de gran valor artístico y simbólico, conservadas en estado crítico a nales de la década de los noventa
del siglo pasado. Se describe la intervención realizada a lo largo de varios años, incluyendo la fase de
análisis y la respuesta a los graves problemas de conservación, acumulados fundamentalmente desde
la transformación del trazado de cubiertas que lleva a cabo Rafael Contreras en 1855-1857. También se
desarrollan las medidas adoptadas en un contexto avanzado de conservación: mejora del trazado de
cubiertas, restablecimiento de las funciones estructurales, prevención del riesgo sísmico, control micro
climático y accesibilidad para mantenimiento tanto en el exterior como en el interior de las cubiertas.
PALABRAS CLAVE Sala de los Reyes, cubiertas, armaduras, bóvedas de madera, mocárabes, consoli-
dación, recuperación, mantenimiento, control micro climático.
CÓMO CITAR/HOW TO CITE SALMERÓN ESCOBAR,P., Restauración integral de las cubiertas de la
Sala de los Reyes, Cuadernos de la Alhambra, 2021,50, pp. EISSN 2695-379X
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
322
PEDRO SALMERÓN ESCOBAR
Il. 1. Pedro Salmerón Escobar, Diego Garzón Osuna, 2014, plan. Site of the Hall of the Kings in the Nasrid Palaces of
the Alhambra. Re-drawn from the planimetric base of the PAG.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
323
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
1. MERNISI F. Sueños en el umbral. Memorias de una niña del Harén.
Ediciones B, S.A. Barcelona, 2013. This novel and sensitively written work
provides a closer insight into the ways in which the spaces of a harem
are used.
2. BERMÚDEZ PAREJA J. Pinturas sobre piel en la Alhambra de Granada.
Alhambra and Generalife Board of Trustees. Granada, 1987.
The Palace of the Lions [Palacio de los Leones] has a
-
llows the rhythm of relationships that make complete sense
draws the most attention and acts as an organiser of activities,
receiving everyone’s gaze: this palace is one of the most closed
-
the Palace of the Lions is linked to the Palace of Comares [Pa-
was connected to Calle Real Baja, an access point for internal
Rauda-
bra. It is also no coincidence that, on this side, with the Hall of
is to the north and ends with the Lindaraja Viewpoint, also
-
-
ly rich point of connection with the Royal Baths and Comares
-
ring the Islamic period, which were anchored in an extremely
-
muqarnas domes make it possible
-
-
same time open with large arches leading to the main hall. It is
this leap in scale and a clear search for privacy in rooms with
1
, that makes it seem the ideal place
-
APPROACH TO THE RESTORATION. STARTING POINTS
One of the most interesting aspects of the restoration work is
to learning the reasons behind this choice. From a technical
-
-
-
accelerated and extensive deterioration, its relationship with
changes to the roofs and the impact on the delicate materials
painting on leather -
múdez Pareja’s work
2
-
the link between the accelerated deterioration and the change
made by Rafael Contreras in 1857 when the single roof, which
-
degradation; analysing and diagnosing this degradation has
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
324
PEDRO SALMERÓN ESCOBAR
3. MERNISI F. El harén en occidente. Barcelona, 2006. p. 153.
4. BOLOIX GALLARDO, B. Las Sultanas de la Alhambra. Las grandes
desconocidas del Reino Nazarí de Granada (siglos XIII-XV). Alhambra and
Generalife Board of Trustees. Editorial Comares. Granada, 2013, p. 214-215.
Bermúdez Pareja also bases his assessment on the way the
helping the layers of plaster covering the skin to stick better.
and the progressive disintegration of the paint layer into sma-
ll fragments or particles, which easily became detached, set
-
examples and knowledge of the wood – leather – plaster –
paint relationship is also acknowledged, and he highlights the
-
-
-
wood from being directly impacted by the wood’s movements.
of imported paintings, the choice of motifs with scenes from
certain principles displayed by the Palace of the Lions, with
by muqarnas
planning of the Majlis referred to above.
Fatema Mernisi states that majliss comes from the verb
it down with the intention of
relaxing and doing nothing for a while, for mere enjoyment
3
-
lace of the Lions.
From this point of view and from the way the palace is
organised, it is possible to appreciate the idea of living in a
-
of the Lions as a whole played a leading role in private life.
-
levant
4
: in the Palace of the Lions there are today places and corners
whose names are a true evocation of the female presence of another
time
the Moorish
King used to lie down to keep cooler and that he had his bed at one
end of the Hall and the Queen’s bed at the other
-
THE ROOF MODEL: SINGLE OR SEGMENTED
today be compared with the roof of the opposite wing to the
-
-
give an idea of scale:
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
325
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 2. Pedro Salmerón Escobar, Diego Garzón Osuna, Alejandro de la Torre Reyes, 2021, plan.
Descriptive plan of the Hall of the Kings with nomenclature of the ceilings of the rooms, dimensions
and surfaces.
muqarnas
muqarnas
-
muqarnas domes
in the rooms while sparing no expense on the richness of their
envelopes, an aspect that characterises Nasrid Palaces in general
and fragile spaces. Water was drained towards the perimeter
-
muqarnas
which play a important role in how the spaces are perceived,
-
-
-
of the Nasrid Palaces also reached here in a forced manner;
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
326
PEDRO SALMERÓN ESCOBAR
Il. 3 Swinburne, H., engraving. Printed by P. Elmsly, London, 1779. Library
PAG / A-0546. This image shows a view of the Hall of the Kings with a single
roof. The openings in the areas with muquarnas vaults are visible.
Il. 4. Pedrosa i Vacarissas, Joaquín, 1857, photograph. Courtyard of the
Lions. APAG / Photography Collection / F-005689. The Hall of the Kings still
has its single roof and the latticed openings in the areas with muqarnas
vaulting can be seen.
Il. 5. Soulier, 1857, photograph. Courtyard of the Lions. Carlos Sánchez
GómezCollection. The beginning of Rafael Contreras’ restoration work can be
seen in the background of the photograph. Once the roof was removed, the
back of muqarnas vault M6 of the Hall of the Kings emerged.
5. BERMÚDEZ PAREJA J. Ob. cit., p. 64
area and an interesting drawing by Richard Ford that shows
an open gallery on this side facing the Partal
5
. Forced passage
-
mations and there were probably some leaks, which was com-
-
-
muqarnas
Problems began to be recorded early on, before the end of
-
-
-
slowly, to the comprehensive restoration described in this article.
6. PERALES SORIANO G. Document 15/06/1976. Ministry of Education and
Science. Directorate General for Artistic and Cultural Heritage. Institute for
the Conservation and Restoration of Works of Art.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
327
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 6. Pedro Salmerón Escobar, 2012, plan. Perspective diagram of Rafael
Contreras’ solution for the roofs of the Hall of the Kings in 1857, dividing
the single roof into 11 independent pavilions.
Il.7. Pedro Salmerón Escobar, 2012, plan. Perspective diagram of the
solution of the restoration project to recover the paintings in the Hall of
the Kings, unifying the ceiling of the surrounding areas with a U-shaped
enveloping roof.
Il. 8. Pedro Salmerón Escobar, 2007, photography. View of the back of
muqarnas vault M2. Restoration work protected by the cover placed over
the entire area of the Hall of the Kings.
7. This extensive restoration work is outlined in Pedro Salmerón’s project
“Restauración de las pinturas sobre piel de la Sala de los Reyes del Palacio
de los Leones” (2005).
8. In 2007, architect Pedro Salmerón was responsible for drafting the Emergency
Restoration project for the muqarnas domes and managing the corresponding
work. Work was supervised by the Conservation and Protection Service of the
Board of Trustees of the Alhambra and Generalife, with direct assistance from
restorer Ramón Rubio Domene, the author of another article in this issue of
Cuadernos de la Alhambra. For this reason, detailed aspects concerning the
restoration of the muqarnas domes are not included here, and instead this article
focuses on construction and structural aspects of the restoration.
9. Architect Pedro Salmerón was responsible for the project (2008) and
project management (2008-2009) of this restoration work. Restorers
Benjamín Domínguez Gómez and Juan Carlos Bermejo Cejudo were the
main collaborators on the project and were in charge of performing the work.
This work is described by Benjamín Domínguez Gómez in another article in
this issue of Cuadernos de la Alhambra.
10. SALMERÓN ESCOBAR, P. Informe previo. Intervención de emergencia
en las cúpulas de mocárabes en el Palacio de los Leones en la Alhambra.
Granada, febrero 2007.
7
muqarnas domes in the
8
-
the Palace of the Lions
and work on the wooden roofs and reverse sides of the painted
restoring the visible elements of great aesthetic and historical
muqarnas
EMERGENCY WORK IN THE MUQARNAS DOMES.
the roofs of the alcove area, deterioration in the others was
-
vation problems were noted in the main pavilions of the Hall
muqarnas-
cracks in the muqarnas
-
-
-
muqarnas
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
328
PEDRO SALMERÓN ESCOBAR
Il. 11. Pedro Salmerón Escobar, 2007, photography. Cracks in the
muqarnas vaults and a spreading perforation towards the interior due
to the fasteners installed in 1857 (marked with a yellow circle).
Il. 9. Pedro Salmerón Escobar, 2007, photography. General view of
muqarnas vault M2 with the shoring lines (blue) at the beginning of the
emergency intervention.
Il. 10. Pedro Salmerón Escobar, 2007, photography. Cracking typical to the
accumulated deterioration of the muqarnas vaults.
-
mediate action. Work was possible thanks to a covering that
was installed over the entire area and that proved to be very
-
muqarnas-
muqarnas
polystyrene wedges of varying thicknesses were inserted. Once
here; the article will highlight the most important processes
muqarnas
the roof boarding had been removed, a analysis was performed
reached the interior level of the domes, which was detected in
muqarnas
-
-
-
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
329
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
11. The topographical survey of the back of the muqarnas vaults and masonry
spaces in the different areas was carried out in 2007 by surveyor Dámaso
Chávez González.
Il. 12. Pedro Salmerón Escobar, Dámaso Chávez González, 2007, plan.
Plan of the back of muqarnas vault M2 with the topography and the
position of the fastenings of 1857 in black elm wood (show in green) and
purple willow (show in orange).
11
muqarnas-
-
-
-
ded in the existing bore with the help of tow and plaster to crea-
te a bridge that is compatible with the medieval plasterwork.
In terms of the framework, the brackets and angle braces
-
-
tored to good working condition, maintaining the materials
-
-
-
sed, and large-section wooden pieces originally located at di-
-
mu-
qarnas domes based on their own weight, and synthetic graphs
muqarnas dome towards the roof or when deforma-
tions in the roof act on the muqarnas
-
blocks were made and drilled with a 3 cm diameter hole, whe-
with plaster and tow. Once the plaster had set and dried, the
-
placed on the framework consisting of: 3 cm thick red pine
thermal oscillation, waterproof chipboard, a galvanised steel
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
330
PEDRO SALMERÓN ESCOBAR
Il. 13. Pedro Salmerón Escobar, Blanca Espigares Rooney, 2007, plan. Plan
of the intrados of muqarnas vault M2 with interpretation of the main lines
of stress transmission (grey) and original wooden fastenings to the walls
(black).
Il. 14. Pedro Salmerón Escobar, Blanca Espigares Rooney, 2007, plan. Plan
of the intrados of vault M2 with showing the dierent types of muqarnas.
Il. 15. Pedro Salmerón Escobar, 2007, photography. Testing of the tensio-
ner and anchoring of the suspension system used in muqarnas domes
M2, M4 and M6. Test carried out by Juan de Mata Vico Rodríguez in the la-
boratories of the Granada School of Architectural Technology laboratories
(now ETS Building Engineering).
-
emergency intervention, which was part of the process of re-
-
-
RESTORATION OF THE ROOFS OF THE PAINTED
VAULTS.
with independent pavilions in the 1857 restoration led to the
orthophoto of the alcoves.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
331
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 16. Pedro Salmerón Escobar, 2007, photography. Tensioners placed in the new wooden framework for the elastic support of muqarnas vault M2.
-
-
ble condition of the roofs to the later restoration of the pain-
-
12
-
-
-
-
13
and therefore the same
expert, physicist Carlo Cacace, was in charge of micro-climate
heritage space in need of a new, more expert and research-ba-
13. The IAPH and the Istituto Centrale per il Restauro (ICR) renewed this
collaboration for the study and monitoring of climate conditions in the Hall
of the Kings.
12. The photogrammetric survey was carried out in 1999 by CONSULTING
TOPOGRÁFICO S.L. of Madrid, under the direction of Saturio Estebaranz.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
332
PEDRO SALMERÓN ESCOBAR
Il. 17. Saturio Estebaranz, CONSULTING TOPOGRÁFICO S.L., drawing,
1999. Photogrammetric survey. 3D display of vault B2. Tracing of the
important gures in the painting of this vault that gives it the of the Hall
of the Kings.
Il. 18. Pedro Salmerón Escobar, 2003, photography. Micro-climate point
installed in the Hall of the Kings for initial environmental monitoring
(agreement with the IAPH).
-
Finally, a decisive aspect of this initial phase of the project
maintain the image that had been consolidated since 1857 and
-
servation problems and making it easier to access the interior
for maintenance and installing the monitoring devices, par-
perspective diagrams provide a comparison between the 1857
-
ted. Once this clear starting point was in place, project draf-
muqarnas
-
-
-
was based on the idea of counterforms-
make the counterforms-
14
14. TRAGACANTO S.L. of Alcalá de Henares (Madrid) was commissioned
to do the carving in 2007 because it specialises in 3D sculptures. Each
counterform had an average overall dimension of 4.10 m (longitudinal axis),
1.75 m (transverse axis) and 1.25 m (height).
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
333
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 19. Pedro Salmerón Escobar, 2012, plan. Plan of the framework of the new roof with the new U-shaped envelope at the Hall of the Kings, tiled with Arabic
tiles. Framework with individual closures of muqarnas vaults M3 and M5 clad with copper sheet.
15
counterforms had
-
-
-
basis and raised above the main channel to achieve the correct
-
muqarnas
main pavilions, which were made with a small wooden hipped
-
to the framework to improve their performance and provide the
greatest possible width for maintenance.
-
integrated into the eaves and did not draw attention in views
-
- Main master channel:
- Secondary master canal
Rauda
- External channel
-
bles and receives water from the main canal.
15. The polyethylene film lining the counterforms came into contact with the
paintings, but these had previously been protected by a facing put in place by
the specialist restoration and monitoring team. This meant that there was no
friction with the fragile and deteriorated painted layer during the initial stages
of the works.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
334
PEDRO SALMERÓN ESCOBAR
Il. 20. Pedro Salmerón Escobar, 2007, plan. Plan, detail of exploded views and perspective of the high density extruded polystyrene counterforms.
handle rainwater and snow and to provide an easily accessi-
spillways at the ends of the secondary main channel so that,
space to access to the interior was achieved by installing a slid-
-
BL4 and muqarnas
-
-
-
-
:
16. This equipment was also connected to other sensors in the Courtyard
of the Lions to control climate-related variables in the fountain and the
courtyard.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
335
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 21. Pedro Salmerón Escobar, 2010, photography. Double glued
laminated timber beam supporting the main channel and the structure.
Positioning of PVC drains. The back of muqarnas vault M5 can be seen
between the main pavilions M4 and M6.
Il. 23. Pedro Salmerón Escobar, 2010, photography. New wooden roof
frame over the painted wooden vaults. Vault B3 in the foreground where
the ribs and curved and assembled boards can be seen.
Il. 22. Pedro Salmerón Escobar, 2011, photography. Copper plate nishes
on main channels and embrasure for access to roof for maintenance. A
static hoover in sheet copper can be seen in the background.
-
-
-
ration device to improve air movement on an ad-hoc basis.
Work was complemented by restoring the reverse sides of
-
-
-
RESTORATION OF THE REVERSE SIDES OF THE DOMES
WITH LEATHER IN THE PALACE OF THE LIONS
-
17
restoration of the roofs and therefore this section will cover
-
-
17. SALMERÓN ESCOBAR, P. Informe de seguimiento de obra. Restaura-
ción de los reversos de las bóvedas de cuero del Palacio de los Leones.
Granada, June 2012.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
336
PEDRO SALMERÓN ESCOBAR
Il. 24. Pedro Salmerón Escobar, 2012, plan. Section of painted wooden
vault. The main channel, which can be used by maintenance workers, and
the wooden vault B1 are shown with its existing deformations.
Il. 25. Pedro Salmerón Escobar, 2010, photography. New wooden roof
framework over the wooden vaults with exposed installations and laterally
sliding support platform to aid inspection during maintenance.
were also protected by counter-forms as described in the pre-
-
drical central body with two half-spherical caps at the ends,
-
-
-
ble, raising fears for its stability. It also leaned considerably,
-
-
-
pporting again by repairing or restoring the main resistant
-
solve this problem and leave the area completely free to work,
-
-
of the shoring board and polystyrene counter-forms, allowing
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
337
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
deformations were monitored with an extensometer when the
-
-
method described above, the lower perimeter was freed and the
-
-
almost complete loss of the original one.
and north sides and at its midpoint. It was inlaid as there are no
-Complete replacement of the beam located on the west side
-
cade of the alcove that opens onto the main hall, to consolidate
-
-
-
-
-
-
wood and brick masonry.
-
-
counterforms
-
-
-
those from the medieval period.
CONCLUSION
-
for the changes imposed by time and the decision to provide
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
338
PEDRO SALMERÓN ESCOBAR
Il. 26. Pedro Salmerón Escobar, 2011, plan. Section of the suspension sys-
tem used in vaults B2 and B3 to restore the support system in the walls.
Il. 27. Pedro Salmerón Escobar, 2009, photography. View of the suspen-
sion system used in vault B3 using auxiliary scaolding.
Il. 28. Pedro Salmerón Escobar, 2008, photography. View of the suspen-
sion system used in vault B1, reusing the wooden beams installed in the
1976–1983 restoration. Extensometers used in the load test can be seen.
approach had the advantage of maintaining the original sense
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
339
COMPLETE RESTORATION OF THE ROOFS OF THE HALL OF THE KINGS
Il. 29. Pedro Salmerón Escobar, 2011, plan. Plan depicting the consolida-
tion of vault B1 for restoring the support system in the walls.
Il. 30. Pedro Salmerón Escobar, 2011, plan. Sections detailing the consoli-
dation of vault B1 for restoring the support system in the walls.
Il. 31. José Marín, 2014. The Courtyard of the Lions today. View of the main pavilions of the Hall of Kings in the background.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 321-340
340
PEDRO SALMERÓN ESCOBAR
TECHNICAL DETAILS OF THE WORKS
Restoration works
•
•
•
Project and senior manager of the works
•
Additional management of works
•
Contractor awarded the works
•
Collaborators in draing projects and reports in all restoration works
•
•
•
•
•
•
Collaborated on the following restoration works
•
• Restoration of the reverse sides of the domes with leather
Technical consultants on the restoration process
• Preventive conservation
•
•
Other collaborators
•
Overall direction and supervision of the restoration process by the PAG
Protection and Conservation Service
•
•
•
