We are mapping a heritage ecology of the metropolis of Madrid presented through theories, histories and designs.
We are mapping a heritage ecology of the metropolis of Madrid presented through theories, histories and designs.
No European metropolis can be planned through binary theories that separates city from countryside, culture from nature, past from future. The perspective of ecology has overcome these unproductive divisions and open the territorial design agenda to new questions. Metropolises are now complex urban-rural gradients endowed with multifunctional landscapes with truly hybrid natural-cultural values. These values emerge in the ecological interconnection of environmental, social and economic trends. In this context, we believe that heritage can be a partner for ecologising our territory in a new metropolitan agenda. To look at this opportunity, we are mapping the Metropolitan Region of Madrid, the ensemble of its everyday landscapes, as well as its unique and degraded landscapes. Using large spatial databases and our own fieldwork in three mapping work packages (MWP), critical mapping allows us to represent theories, histories and designs in an interconnected heritage ecology. At the same time, we will expand the discussion with colleagues researching other European metropolises.
MAPPING INFRASTRUCTURES AND NATURECULTURE VALUES
Conceived as territorial supply and regulation networks, metropolitan infrastructures hide histories. Infrastructure is originally planned and designed, but its current form is often the result of aggregations over time – it needs repairs, extensions or partial replacements, and is rarely completely replaced. Infrastructures often leave spatial traces that explain the functions and shape of our landscapes. Therefore, green, blue or transport infrastructures can become a heritage ecology that project the past into the present and the future. We believe that the natural-cultural values of infrastructures can help us to understand the complexity of our metropolitan landscape, as well as to achieve future quality landscapes.
MAPPING CULTURAL ASSETS AND PROTECTED LANDSCAPES
While natural heritage policies often exclude a real attention to cultural features, cultural heritage policies dismiss nature. Both have led to a spatial configuration of protected and seeming isolated patches. But on the one hand, the landscape of natural parks is the result of traditional human use of resources. On the other hand, historic sites had a strong sense of place and became fundamental patches of territorial structuring in an environmental sense. Based on ecological theories of heritage, we believe that protected patches contribute more to the quality of life if we can integrate them into heritage territorial systems. To this end, new imaginaries of conservation must be envisioned.
MAPPING AGROECOLOGY AND SUPPLY CHANNELS
In our metropolitan territory, a concentric urban-rural gradient is crossed by a geographical gradient that goes from the Sierra de Guadarrama in the northwest to the plain of the Tagus River in the southeast. Here, agricultural draws diversified and sometimes rare patterns. Farming intermingles with the villages and modern urbanization further away from the capital, but also tries to penetrate the capital itself. Moreover, agriculture is present in historical places and is sometimes related to our scientific and technological heritage. We understand agriculture as a vector of patrimonialisation and social and environmental innovation, capable of providing new forms of public spaces and landscapes.
Research team:
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.
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.
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.
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.