In frontier lands, military architecture took center stage. At the end of the 9th century and the beginning of the 10th, the expansionist ambitions of the Leonese king Alfonso III posed a threat to the Caliphate of Córdoba. In response, the caliphate established its frontier, or Marca Media, in the Soria region and implemented a significant military system comprising fortresses and a network of visually connected towers or watchtowers to monitor key communication routes. These watchtowers are almost innumerable: Noviercas, El Tiñón, Aldealpozo, Masegoso, Trévago, Torre Melero, Veruela, Caracena, Quintanilla de los Tres Barrios, and many more.
Equally numerous are the castles and fortresses: Osma, San Esteban de Gormaz, Medinaceli, Calatañazor, Berlanga de Duero, Caracena, Almenar, Ciria… Among them, one stands out as unparalleled: the caliphal fortress of Gormaz, the largest Andalusian fortress on the Iberian Peninsula.
However, Andalusian art and architecture, with its distinct Islamic characteristics, extend beyond the defensive realm. It is evident in the urban planning of medinas such as Ágreda or Medinaceli, and in fortified cities like Almazán. Furthermore, its influence is seen in later Christian buildings, such as hermitages—San Baudelio de Berlanga, churches—San Miguel de Almazán, and Romanesque cloisters like the one at San Juan de Duero in the capital of Soria. These are magnificent examples of cultural coexistence.
Pero el arte y la arquitectura andalusíes, con claves islámicas, se manifiestan en otros ámbitos más allá del defensivo. Por supuesto, en el urbanismo de medinas como Ágreda o Medinaceli, o en ciudades fortificadas como Almazán, pero también impregnando después edificios netamente cristianos como ermitas –San Baudelio de Berlanga–, iglesias –San Miguel de Almazán– o claustros románicos como el de San Juan de Duero, en la capital soriana. Maravillosas muestras de la convivencia de culturas.