Heritagescapes

We are mapping a heritage ecology of the metropolis of Madrid presented through theories, histories and designs.

A Critical Mapping of the Metropolitan Cultural Landscape: Future Heritages

Research project developed by the Cultural Landscape Research Group GIPC of the Madrid School of Architecture at the Universidad Politécnica de Madrid, with the participation of the ADAPTA Research Group at the Universidad Complutense de Madrid. 
Grant PID2022-140500NB-I00 funded by: 

The Frontline Around Madrid: Comparison Between Battle Maps and War Remnants Density Maps of the Spanish Civil War in Madrid

Nicolás Mariné

Curating Heritage. On the Future of the Past in the Everyday Landscape of the Metropolis of Madrid

Rodrigo de la O and Eduardo de Nó

Everyday heritage: Representation and landscape in the region of Madrid

David Escudero and Diego Toribio

Architecture and landscapes for agricultural research in Madrid: documenting scientific and technological heritage

Rodrigo de la O and Eduardo de Nó

Are We What We Eat? A Heritage Perspective on the Agri-food Landscapes of the Madrid Region

David Escudero, Beatriz Pereira

Water to Feed Madrid: 18 km of Orchards and Nurseries Along the Course of the Canalillo

Carmen Toribio

Gardens of yesterday and today, their persistence in the City of Madrid: Comparative study of the Transformation of Private Gardens in Madrid

Lucía Gamboa Sánchez Blanco

Vestige, Signal and Onset of an Event: Sundays at the Rastro

Marina Gil Escalada

Reclaiming the City Through Its River: The Case of the Manzanares

Claudia Rivera Lario

Domestic Architecture in the Sierra de Guadarrama: 20th Century

Guillermo García Prieto

Industrial Madrid: evolution and permanences Around Atocha

Marta Abadín García

Devices of the Real, Collective Devices

Carlo Udina Rodríguez

Between the Playful and the Working-Class: An Atlas of Goya’s Madrid

Juan Castro Sánchez

Towards a Master Plan for the Landscape of Light: Paseo del Prado and Buen Retiro, Landscape of Arts and Sciences

Pablo Jaque Valdés

From water to landscape: the transformation of the Royal Site of Aranjuez through Hydraulic Engineering

Carlos Corisa Andarias

From the kitchen to the landscape. Architectures of Cocido in Madrid.

Beatriz Pereira

Among productive landscapes: the former El Águila brewery in Villaverde, Madrid.

Diego Sacristán

Adaptive reuse and heritage practice: Origins, meanings and strategies

Graziella Trovato

Unveiling Madrid’s Visual Imagery: An Ongoing Attempt

David Escudero

Navigating the Meaques Stream in the Casa de Campo

Clara Cernou

The water footprints of enlightened Madrid and the hydraulic legacy of Juan de Villanueva

Eugenia Abejón

Transhumance Landscapes and Nature-Based Tourism

Cecilia Arnaiz and Marifé Schmitz

Castle of Villaviciosa de Odón: A Scientific Heritage of Forestry Research and Education

Eduardo de Nó

Heritage Networks in Villaverde’s Industrial Landscape

Rafael Guerrero

Ecology of the Royal Sites: The Livestock Trails of El Escorial

Eva Calderón

Co-Design in Urban Framing

Finca formativa "Huerto El Pozo"

The GIPC

Rethinking Public Spaces through Urban Farming

Concha Lapayese, Francisco Arques y Diego Martín-Sánchez

Unveiling Agricultural Heritage

Marina López-Sánchez

Historic Nurseries: A Cultural and Natural Legacy in Transformation

Carmen Toribio

Hydraulic Heterotopias: The Image of Technique

Carmen Toribio

Surrounding the Non-Urbanized Villa de Vallecas

Marina López-Sánchez

Curating Heritage Ecologies

Between the Playful and the Working-Class: An Atlas of Goya’s Madrid

MWP-II
MAPPING CULTURAL ASSETS AND
PROTECTED LANDSCAPES
Info

Supervised by Graziella Trovato, Juan Castro explores the city of Madrid and its transformation through the eyes of Goya and his paintings.

Eighteenth-century Madrid carries Goya’s gaze. He not only documents the era but constructs a true visual atlas of the city and the tensions that define it: courtly leisure, artisanal labor, religiosity, popular spectacle, and the emergence of a new urban consciousness.

Juan Castro analyzes Madrid’s transition from a courtly town to a modern capital, shaped by Enlightenment reforms and by the appearance of public spaces associated with entertainment, sociability and work. These places are interpreted as stages where every day and symbolic life unfold scenarios that Goya observed and transformed into painting.

Economic activity centers in the capital, prepared by the author.

Economic activity centers in the capital, prepared by the author.

The title refers to the two poles structuring the analysis: on one side, the leisure spaces and settings of power, the Prado, La Florida, tree-lined promenades, gardens and court festivities. And on the other, the working-class and popular areas where the new Madrid labor force emerges. Goya’s work is thus understood as a reflection of the coexistence between these worlds: pleasure and effort, appearance and social reality.

Juan constructs an “atlas” that combines engravings, paintings, maps and texts from the period. Through this visual methodology, he establishes a dialogue between artistic representation and the physical space of Madrid, allowing us to recognize how Goya translates the urban transformations of his time into images.

The analysis identifies several characteristic landscapes of Goya’s Madrid. Among the leisure spaces are the Paseo del Prado, the epicenter of courtly and Enlightenment life; the Pradera de San Isidro, the setting of popular festivities; and the gardens of the Buen Retiro and La Florida, where art and nature merge with social spectacle. These places embody the Enlightenment ideal of coexistence among classes, even if social hierarchies persisted in reality.

Location of the institutions mentioned in the 18th century, prepared by the author.

Location of the institutions mentioned in the 18th century, prepared by the author.

In contrast, the working-class and artisanal Madrid is represented in the neighborhoods of Lavapiés, El Rastro, and the areas near the Manzanares River. These are spaces of anonymous, hardworking life, which Goya depicts with expressive force in his engravings Los Caprichos, The Disasters of War, or Los Disparates. Here appears a less idealized city, marked by inequality, violence and superstition.

Series of 82 prints The Disasters of War, Goya, 1812–1815, and The Second and The Third of May, 1814.

Series of 82 prints The Disasters of War, Goya, 1812–1815, and The Second and The Third of May, 1814.

Goya’s Madrid is both a physical reality and a symbolic construction. The city becomes a stage where the discourses of Enlightenment progress, traditional religiosity and the political tensions of a Spain in crisis intersect. Through his painting, Goya reveals the fracture between the apparent order of power and the everyday life of the people. It is not a conventional historical document but a way of mapping urban experience through the lens of art.

Goya transforms common spaces: promenades, taverns, churches, workshops, or squares, into places of social observation and moral critique. His work shows the coexistence of courtly splendor and popular hardship, of festivity and labor, of the visible and the hidden.

Juan argues that Goya’s Madrid represents the birth of the modern Spanish city, where public life, social conflict, and artistic subjectivity intertwine for the first time. The result is a complex and human portrait of the capital, constructed through painting but read as a map.

Economic activity centers in the capital, prepared by the author.
Location of the institutions mentioned in the 18th century, prepared by the author.
Series of 82 prints The Disasters of War, Goya, 1812–1815, and The Second and The Third of May, 1814.