The Spanish Colonial Revival architecture (Template:Langx), often known simply as Spanish Revival, is a term used to encompass a number of revivalistarchitectural styles based in both Spanish colonial architecture and Spanish architecture in general.<ref>Bailey, Gauvin Alexander. Art of Colonial Latin America (London: Phaidon Press, 2005): 402–405.</ref> These styles flourished throughout the Americas, especially in former Spanish colonies, from California to Argentina.
In the United States, the earliest use of this style was in Florida, Texas, and California. St. Augustine, Florida was founded on September 8, 1565, by Spanish admiral Pedro Menéndez de Avilés, Florida's first governor.<ref name="Newcomb1990">Template:Cite book</ref> The city had served as the capital of Florida for over 250 years when Spain ceded Florida to the United States in 1819. By the late 1880s, St. Augustine was being developed by Henry M. Flagler as a winter resort for wealthy northern families. He built two grand hotels in the Mediterranean Revival and Spanish Revival styles: the Ponce de Leon Hotel (Carrère and Hastings, 1882) and the Alcazar Hotel (Carrère and Hastings, 1887). These influenced the development of the Spanish Colonial Revival style. A few years later, at the Panama–California Exposition of 1915 in San Diego, highlighting the work of architect Bertram Goodhue, Spanish Colonial Revival was given further national exposure. The McNay Art Museum, founded in 1954 in San Antonio, is the first modern artmuseum in Texas was built in Spanish Colonial Architecture style. Embraced principally in Florida, Texas, and California, the Spanish Colonial Revival movement enjoyed its greatest popularity between 1915 and 1931.
In Mexico, the Spanish Colonial Revival in architecture was tied to the nationalist movement in the arts encouraged by the post–Mexican Revolution government. The Mexican style was primarily influenced by the Baroque architecture of central New Spain, in contrast to the U.S. style which was primarily influenced by the northern missions of New Spain. Subsequently, the U.S. interpretation saw popularity in Mexico and was locally termed colonial californiano.
Modern-day tract home design in Southern California and Florida largely descends from the early movement. The iconic terracotta shingles and stucco walls have been standard design of new construction in these regions from the 1970s to present.
The antecedents of the Spanish Colonial Revival Style in the United States can be traced to the Mediterranean Revival architectural style. In St. Augustine, Florida, a former Spanish colony, a winter playground was developing for wealthy people from northern cities in the United States. Three architects from New York City John Carrère and Thomas Hastings of Carrère and Hastings and Bostonian Franklin W. Smith, designed grand, elaborately detailed hotels in the Mediterranean Revival and Spanish Revival styles in the 1880s. With the construction of the Ponce de Leon Hotel (designed by Carrère and Hastings, 1882), the Alcazar Hotel (Carrère and Hastings, 1887), and the Casa Monica Hotel (later the Hotel Cordova) built by Franklin W. Smith in 1888, Spanish-influenced architecture spread to several other parts of Florida. These three hotels were influenced not only by the centuries-old buildings remaining from the period Spanish rule in St. Augustine but also by The Old City House, constructed in 1873 and still standing, an excellent example of early Spanish Colonial Revival architecture.
By the early years of the 1910s, Florida was major center for Spanish Colonial Revival style in the United States. Frederick H. Trimble's Farmer's Bank in Vero Beach, completed in 1914, is a fully mature early example of the style. The city of St. Cloud, Florida, espoused the style both for homes and commercial structures and has a fine collection of subtle stucco buildings reminiscent of colonial Mexico. Many of these were designed by architectural partners Ida Annah Ryan and Isabel Roberts.
One of the most significant examples of the emerging popularity of Spanish Colonial Revival in the United States at the time was the architecture of Coral Gables, Florida. A planned city established in the 1920s, the city's architecture is almost entirely Mediterranean Revival style, mandated in the original plan. The city was developed by George E. Merrick, a real estate developer from Pennsylvania, during the Florida land boom of the 1920s. The Coral Gables Congregational Church, donated by Merrick, and the Catholic Church of the Little Flower, were classic examples of the Spanish Renaissance style.
Early in the city's planning and development, Merrick shared his vision for Coral Gables as "a most extraordinary opportunity for the building of 'Castles in Spain'. Merrick's success in executing this vision for the city would catch the attention of Spain's King, Alfonso XIII, who awarded Merrick the Order of Isabella the Catholic for his support of Spanish culture in Coral Gables.
Several other cities in southern Florida showcased the Spanish Revival of the time, including Palm Beach. The Palm Beach Town Hall, built in 1925 by Harvey and Clarke, with renovations later made by several notable architects.
Spanish Colonial Revival architecture in Texas, especially in places like San Antonio, blends Spanish architectural styles with local influences. It features elements like low-pitched tile roofs, stucco walls, and arched entries, reflecting both the region's history and its suitability for the warm climate. This style was popular in the early 20th century and continues to be a distinctive feature of Texas architecture.
The McNay Art Museum, founded in 1950, is the first modern art museum in Texas. The museum was created by Mrs. McNay's original bequest of most of her fortune, her art collection and her 24-room Spanish Colonial Revival-style mansion that sits on Template:Convert that are landscaped with fountains, broad lawns and a Japanese-inspired garden and fishpond. The museum focuses primarily on 19th and 20th century European and American art by such artists as Paul Cézanne, Pablo Picasso, Paul Gauguin, Henri Matisse, Georgia O'Keeffe, Diego Rivera, Mary Cassatt, and Edward Hopper. The collection today consists of over 14,000 objects of contemporary art and sculpture. The museum also is home to the Tobin Collection of Theater Arts, and a research library with over 30,000 volumes.<ref>Marion Koogler McNay Art Museum, New York Times.</ref>
Template:See also The Spanish Colonial Revival of Mexico has a distinct origin from the style developed in the United States. Following the Mexican Revolution, there was a wave of nationalism that emphasized national culture, including in architecture. The neocolonial style arose as a response to European eclecticism (favored during the Porfiriato). The 1915 book La patria y la arquitectura nacional by architect Federico E. Mariscal (es) was influential in advocating viceregal architecture as integral to national identity.<ref>Template:Cite book</ref> During the government of President Venustiano Carranza (serving 1917 to 1920), tax exemptions were offered to those that built houses in a colonial style.<ref name="Moreno">Template:Cite book</ref> In the early 1920s there was a surge of houses built with Plateresque elements; such as grotesques, pinnacles and mixtilinear arches (es).<ref name="Moreno" />
Secretary of Education José Vasconcelos (who shaped the cultural philosophy of the post-Revolution government) was an active promoter of neocolonial architecture.<ref>Template:Cite book</ref> Traditional materials such as tezontle, cantera and Talavera tiles were incorporated into neocolonial buildings.<ref name="Moreno" />
The colonial-era National Palace was significantly altered between 1926 and 1929: the addition of a third floor and changes to the facade. The modifications were done in a manner corresponding to the original style. Similarly, the colonial Mexico City government building was remodeled in the 1920s and a neocolonial companion building was built in the 1940s.
Colonial californiano
The style, as developed in the United States, came full circle to its geographic point of inspiration as in the late 1930s, single-family houses were built in Mexico City's then-new upscale neighborhoods in what is known in Mexico as colonial californiano (Californian Colonial). That is, a Mexican reinterpretation of the California interpretation of Spanish Colonial Revival.<ref>Template:Cite book</ref> Many houses of this style can still be seen in the Colonia Nápoles, Condesa, Polanco and Lomas de Chapultepec areas of Mexico City. The Pasaje Polanco shopping court is an example of the style's application in commercial architecture.
Australia
Influential Australian architects such as Emil Sodersten and Professor Leslie Wilkinson brought back styles from Italy and Spain in the early 20th century convinced that Mediterranean styles would be well-suited for the Australian climate and lifestyle. Mediterranean style became popular in places like Sydney suburbs Manly and Bondi in the 1920s and 1930s. One variant, known as Spanish Mission or Hollywood Spanish, became popular as Australians saw films of and read in magazines about the glamorous mansions in that style that Hollywood movie stars had. Spanish mission houses began to appear in the wealthier suburbs, the most famous being Boomerang, at Elizabeth Bay.<ref name="nsw">Template:Cite web</ref><ref name="smh">Template:Cite web</ref> The Plaza Theatre in Sydney is a celebrated cinema in the style.
China
In the 1930s, numerous houses in Spanish Revival style were built in Shanghai, particularly in the former French Concession. Although Shanghai was not culturally linked to the Spanish-speaking world, these buildings were probably inspired by Hollywood movies, which were highly influential in the city at the time. Local architectural magazines of the period like The Chinese Architect and The Builder regularly printed detailed examples of the style for local builders to copy and implement.
After being conquered and ruled for the Spanish crown, and for the most part being administered as a territory under the jurisdiction of the kingdom of New Spain (Mexico), the Philippines and Mariana islands received Iberian and Latin-American influences in its architecture. By the time the United States occupied the Philippines, the Mission-style and Spanish Colonial Revival architecture also arrived, with inspirations from California. American architects further developed this style in the Philippines, modernizing the buildings with American amenities.
The best example of the Spanish Colonial Revival architecture and California mission style is the famed Manila Hotel designed by William E. Parsons and built in 1909. Other examples exist throughout the country such as Gota de Leche, Paco Market, and thousands more, especially in the churches and cathedrals throughout the country.
One of the most accomplished architects of the style was George Washington Smith who practiced during the 1920s in Santa Barbara, California. His own residences El Hogar (1916, a.k.a. Casa Dracaena) and Casa del Greco (1920) brought him commissions from local society in Montecito and Santa Barbara. An example landmark house he designed is the Steedman estate Casa del Herrero in Montecito, now a registered National Historic Landmark and restored historic house—landscape museum. Other examples are the Jackling House and Lobero Theatre also in California.
Bertram Goodhue and Carleton Winslow initiated the style as the dominant historical regional style in California; they also influenced Hawaiian architecture in the 1920s. Notable in Californian architecture were the following architects:<ref name="Med">Mediterranean Domestic Architecture in the United States Newcomb, Appleton</ref>
Naval Training Center, San Diego, California, completed 1923 (Buildings 1–26, and Officer's Quarters "A"-"D"). An expansion of recruit facilities in the same design language was completed in 1932 with the construction of the barracks at Camp Lawrence (Buildings 27-30). The final buildings built in the original Spanish Colonial Revival style were completed in 1942 with the opening of Camp Luce, including new Administration, classroom, library, and recreation buildings.
"Death Valley Ranch", "Scotty's Castle", a landmark in Death Valley National Park, which was begun in 1922 and had construction on the original design continue sporadically as late as 1943.
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