Constructed by the Moors in a guarding position at the heart of the Caliphate of Cordoba, Cuenca is a strangely overall protected medieval braced city. Vanquished by the Castilians in the twelfth century, it turned into an imperial town and ministerial office enriched with critical structures, for example, Spain's first Gothic basilica, and the popular casas colgadas (hanging houses), suspended from sheer precipices disregarding the Hu©car waterway. Exploiting its area, the city towers over the glorious farmland.

The Old Town of Cuenca is an uncommon illustration of the medieval post town that has saved its unique townscape in place, alongside numerous illustrations of religious and mainstream structural engineering from the twelfth to eighteenth hundreds of years. The walled town mixes into and improves the fine country and characteristic scene inside which it is arranged.

Cuenca is a gathering, Islamic in source, which arrived at its most excellent magnificence throughout the medieval and Renaissance hundreds of years, when Cuenca had a heading spot among the towns having a place with the Castilian crown. Cuenca is a 'fort town' where the structural planning complies with the characteristic scene, bringing about a social legacy of all inclusive quality. It may be viewed as a model of the 'scene town'. The absence of space inside the dividers, alongside the need to straddle the waterway valleys, has come about an unordinary advancement of the vernacular structural planning, with excellent gatherings on the precipices neglecting the Hu©car and the Jcar. At the point when the Moors vanquished Spain they exploited one of the best preventive destinations on the lberian, to construct a stronghold town from which to control the tremendous region of the Kura de Kunka, in the heart of the Caliphate of Crdoba. It created between the stronghold and the Alczar, adjusting itself to the geography.

The Christian town was manufactured over the Moorish one and started to spread down from the peak of the mount as an assembling town and one of the cores of the Castilian economy and a regulatory focus. The intra muros region was bit by bit assumed control by religious establishments, the wealthier natives moving to the lower parts of the town and the basic individuals to new suburban ranges. This was the time of Cuenca's blooming, with a huge material industry and exchange. The urban fabric settled itself at this point, not to change fundamentally until the present century: the sustained upper town is a shut and thickly settled medieval urban space, the lower town open and requested. The early seventeenth century saw the breakdown of the material business and a monetary emergency. Just the clerical component of the town survived generally unscathed and kept on building: Cuenca turned into a devout town and Baroque construction modeling started to show up in the townscape however the town experienced a time of disintegration: antiquated structures either given way or were decimated on the grounds that they were risky. The memorable strengthened nook was basically deserted by its wealthier inhabitants and turned into a generally working population and religious range. A recovery arrangement of 1918 fulfilled next to no past the broadening of a portion of the lanes and reclamation of a few veneers.

The upper town is the model of the fortification town, and the part that gives Cuenca its individual character. The Castillo quarter is a little suburb simply outside the dividers, with vernacular houses. From here the invigorated town legitimate is arrived at by an extension. A few stays of the Moorish fort still make due, among the huge distinguished houses, religious communities, and holy places along San Pedro and Trabuco avenues, from the medieval, Renaissance and Baroque periods. The twelfth century church, based on the site of the previous Great Mosque and the first Gothic house of God in Spain with its Plateresque houses of prayer, is found on the Plaza Mayor, which is likewise the site of the Town Hall and the Petras religious community. Its places of worship and ascetic troupes are eminent creative peculiarities of Cuenca. Most were established ahead of schedule in the town's history and experienced numerous conversions and increments throughout the hundreds of years that emulated. The private houses close to the Episcopal Palace were inherent the later medieval period on the awesome soak feigns neglecting the curve of the Hu©car River. The majority of them were modified in the sixteenth century in their present slender, high structure, with a few rooms on each of three or more carpets. The vitality of the upper town lies, nonetheless, less in its individual structures, albeit a significant number of these are of exceptional building and aesthetic quality, as in the townscape that they make when taken a gander at as a gathering, on the strengthened site ruling the stream valleys. It is this which gives Cuenca its extraordinary character and quality. The working population suburbs of San Antn and Los Tiradores are medieval in source.

The move zone speaks to the first development outside the walled town by the rich classes and the ministerial foundations in the late fourteenth century to the lower town, which has lost practically all its authentic components throughout twentieth century improvements.