这是一座11世纪的塔楼，有一扇弧形的门，叫做圆拱之门（Bóveda Vaída），由美丽的砖拱砌成。建筑师和资深专家莱奥波尔多·托雷斯·巴尔巴斯（Leopoldo Torres Balbás）认为这是最有趣的防御系统之一，这种防御系统在希腊论文中已经出现过，并可拜占庭人引进。通道设置了间隔，使得进入时无法看到出口。
大门的通道是通过一系列的拱门组成，16世纪进行了第一次对砖和中部结构的翻新，第二次是调整十一世纪建造的马蹄形拱门建筑结构空间，由石制基座组成。接下来，我们可以看到另一个11世纪由石头和砖块建成的马蹄形拱门，在塔楼的出口处留了一个拱形空间，其末端位于罗马柱的大型柱身上，可以重复使用。观察这一系列外部结构很有意思。
塔楼的整个下部是实心的，通过小门从城墙顶上的通道到达塔的内部，很有创意。在弯曲的通道中，您可以看到有时候岩石的用量减少了，而有的时候需要将石砌墙的孔进行填充，以使其内部较规整。它展示了罗马建筑物中可重复使用的柱身，在这里同样作为建筑材料。塔楼的上部及其房间是40年代进行的修复。
这是一个可直接进入的大门。它由三个拱门组成，入口用砖块和重复使用的罗马白色大理石柱身组成，与科林斯式的柱身相同，很显然，不属于这时期的柱身。另一个内部马蹄形拱门由壁柱支撑，出口处的立柱极具美感 ：在门楣下的马蹄形拱门使用石头和砖块交替建造而成，使用双色染印法，模仿了哈里发时期拱门特点，例如科罗拉多清真寺的红白相间装饰。墙壁的砖石使拱门有了很大的可塑性。
它是通往内部区域的门。内部包括第二扇弯曲拱门（Puerta en Recodo），这是在纳萨利时期进行改造的泰法建筑。入口处的拱门外部由砖砌成，最重要的就是拱顶石，上面刻着一把钥匙图案，如格拉纳达阿尔罕布拉宫的正义之门（Puerta de la Justicia）一样，另一个拱上刻着一只手。我们并不直到他们明确的象征含义，但纳萨利时期曾广泛用于建筑物雕刻中，根据古兰经中的说法，可能代表着穆罕默德开启与关闭通往天空之门的力量。无论哪种含义，它都是被引进伊比利亚半岛的一个古老标志，因为塔里克（Tariq）有一把这样的钥匙。而让其推为流传的是华盛顿·欧文（Washington Irving），在他的阿尔罕布拉故事（Cuentos de la Alhambra）中，因为其中一个故事说到，当手触及到钥匙时阿尔罕布拉宫将不复存在。我们不知道是否在某一刻真的存在法蒂玛之手（Mano de Fátima），它的五指代表了伊斯兰教的戒律（信仰，祷告，禁食，施舍和麦加之旅），并且刻在了阿尔卡萨瓦的某处。
在入口拱门上有两块石柱，是防御性机械装置残留的部分。今天石柱上放置了一部分荣耀盾牌，这是在40年代的修复中完成的。门被拱形拱顶覆盖着，由一系列拱门组成。入口处我们之前已经提到，之后是一个由拱顶覆盖的小空间，是为了调整不同的高度，之后是内部拱，结构支撑拱，支撑着通道和出口处的拱顶，两个都是马蹄形，呈现出不同的空间感。中部的砖制拱顶保留了红赭石的装饰部分：在它的中心是一个几何装饰带，周围围绕着方石。在40年代的修复中，装饰带的工程设计绘制在南面的白墙上，也许是为了恢复它，完成之前没完成的部分。
在离开塔楼之前，你可以在左边的墙上看到这个装饰带的内部，从泰法时代开始方砖上使用的顺砖和成丁砖，在这里都保留的很好，而通道中其他地方的石头，由于使用材料的不同，比如海底砂岩，其中含有许多化石成分，当它内部发生结构分解时，会变得非常脆弱。毫无疑问，所有这些使得人们选择了新材料，即覆盖泰法建筑的纳萨利时代所使用的砖石。
“基督之门”这个名字来自门里面的一个祭坛，祭坛里面有一个基督像，现在仍然能够看见，因此这里从17世纪开始成为了过路人们的一个礼拜堂。这个基督之门直到二十世纪初，都作为旅行者去异国他乡的供奉地，三个鸵鸟蛋，从古至今象征着生命的重生，因为鸵鸟是受到太阳的光热后从蛋中出生的，不需要妈妈孵化。1960年祭坛画经过修复后就移走了，现在这里只留下了一片空地。塔楼已被改建成房屋，上部区域必须拆除，因为从窗户的高度开始都是新建的部分。
The keep, now an imposing ruin, is located in the upper corner of the precinct. It was initially built during the Taifa period, with a large brick arch on its eastern face, which could have been an access to the interior of the original Alcazaba that was independent from the madina access, prior to the renovations carried out by Badis in 1057. During the Nasrid period, it was filled in throughout its lower area and resurfaced in order to give it greater thickness, and it occupied part of one of the 11th-century houses of the Barrio de Viviendas (Neighbourood of Dwellings) located in the interior area. The lower part conserves the works of all the different periods, which is why there are some spaces that are built of ashlar, others that are built of brick, and on its south face the rammed earth can be clearly seen.
When the restoration of the monument first started, a project was implemented for the integral recovery of the Torre del Homenaje. The initial plan was to build three floors and finish it off with a rooftop terrace that would serve as a viewpoint over the city. However, its ruins were so complex and there were so few documents that could provide information about its original appearance that it was decided to instead respect the ruins and only consolidate them, leaving them in that romantic and evocative state that they are in today, with their original window open to the sky.
同样没有重建，是一个大型立方体建筑处于残存的大部分围墙之内。围墙从塔楼开始，一直连续绵延到城市的围墙，这个围墙也保护着罗马剧院上部。几年前发现的另一座塔楼确认了之前提到的绵延不断的围墙。
它位于一个开放的空间，如今是美丽的西班牙阿拉伯花园，被称为武器广场，也被称为基督教时代的圣加布里埃尔广场（Plaza de San Gabriel）。花园由建筑师费尔南多·格莱勒·斯特拉坎·罗萨多（Fernando Guerrero-Strachan Rosado）设计。建筑师是依据十六世纪马拉加的雕刻品，创造了一个屋顶花园式的空间。在修复广场时，发现了两个基督徒墓葬遗址，这些墓葬属于圣路易斯教区，阿尔卡萨瓦的老清真寺，为纪念圣路易斯，托洛萨主教，天主教国王进入城市当天的守护神，即8月19日。这片广场的南部最前面经过加筑，并在其中安装一套小口径的大炮，因为穆斯林建筑不能承受射击时产生的振动。当我们从这个堡垒向外看时，可以看到防御工事入口的另一番景象，这是海边必须有的防御工事，基督之塔保存的比较好，使用小型和中等大小的砖石进行加固。
广场上最引人注目的是其丰富的装饰，由简单的材料，石头和砖块结合的几何设计，中央区域凹陷，作为十字形花园，中间设计了水槽，将水从宫殿的上部引到花园中的喷泉处，喷泉被四个低矮的篱笆围绕。
武器广场对游客来说是一个惊喜，因为它是花园景观与城市港口空间的完美融合，不仅仅是一个防御工事。在阿拉伯时期这片区域还没有任何设计。该中心的喷泉是19世纪建造的，从高南街（calle Gaona）中学教育学院（Instituto de Segunda Enseñanza）的花园饮水，那里由法国人在独立战争期间修建，之前是腓立比修道院，在法国人占领马拉加期间将其用作办公建筑。随着研究所的现代化发展和对运动场地的需求，花园被用作学校场地。那时它处于正在修复的区域，该区域还包括其他三个喷泉。
自古以来也被称为迪内尔之门（Puerta del Tinel）或拱门（Los Arcos）。这座大型塔楼在1854年几乎完全被摧毁，在上部区域的废墟上，残留了下部区域使用的巨大方石，根据弗朗西斯科·吉兰·罗伯斯出版的穆斯林的马拉加（Málaga musulmana）1839年的复刻本进行重建。它是一个可直接进入的双通道大门，也就是说，最前面是第一个门，然后是一个小的过道，之后城墙将通道隔开，形成一个转弯，通向外部。这是一个高效防御系统，因为如果第一层大门被冲破，防守者还可以通过从上部区域投掷不同的材料来阻止敌人进入，将小通道变成一个真正的捕鼠器。
在小庭院的两侧，我们可以看到它是如何直接在山上的石板上建造的，在出口处左边的墙壁上，你可以看到墙壁内部方砖上的顺砖和成丁砖，这是泰法建筑的特征，含有化石质的石头侵蚀很严重。塔楼的修复是建筑师费尔南多·格雷罗 - 斯特拉坎（Fernando Guerrero-Strachan）的作品，于1938年完工，并在其内部空间中建造了用作展示修复陶瓷件的房间。这个强大的塔楼保护着上部区域最西端，这里是山丘的最高区域，地形狭长。
The Taifa Palace, or rather, the two palaces that still have preserved remains, are well differentiated. In the first place, we find a space that is called Patio de los Surtidores (Courtyard of the Jets of Water), which was the central courtyard of the Taifa Palace, formed by two pavilions to the north and south of the courtyard, of which only the southern one is preserved. Along with the Barrio de Viviendas, this is the most interesting space of the Alcazaba, with the greatest importance and richness in terms of the materials found.
The whole area was occupied in 1933 by small houses, with one of them conserving a Mudéjar ceiling. In this and two adjoining houses, the exploration began by chipping through plastered walls to see what they were made of. It came as a great surprise when a triple arch with an alfiz was found covered up in one of the houses’ walls. The photos of its discovery are impressive. We must not forget that it is always better to adapt what is already there to new needs rather than have it knocked down and rebuilt again, especially in a place as inaccessible as the highest precinct of the fortress. This is the area that was initially conserved for the Governor’s dwelling, and when he moved his residence to the lower area, the space was occupied by commoner dwellings.
The southern portico of the Taifa Palace has a room that is accessed from the wall-walk next to the Torre Maldonado (Maldonado Tower) though a large arch that used to have a door. The large stone hinges that held the door leaves are still visible, both on the floor and in the area above. There are also open taqas (small niches) in the walls. This gives access to a room that, in the passage to the portico that opens out on to the courtyard, has a triple horseshoe arch with an alfiz that follows the Caliphate models of the Salón Rico (Rich Hall) of the palatine city of Madinat al-Zahra, with the classic bond of red and white voussoirs, which are carved with arabesque decorative motifs, along with the intrados of the arches. The cylindrical columns are delicate and have no base, and are made of wood covered with plaster, with a Granada-style capital, above which there is a cymatium made of reddish stone.
From the Patio de los Surtidores, a Nasrid portico precedes the access to the interior of the room, formed by three arches, with the middle arch being the largest. The portico was renovated in the 13th - 14th century, but it already existed in the 11th century, as can be seen by the fact that the stone columns are supported on the bases of columns from the Caliphate period, indicating that it must therefore be a reconstruction. The portico consists of three scalloped arches and rests on two stone columns. One of the columns is original (like its capital), quadrangular and carved with plant motifs, and is very rigid in its composition, similar to other contemporary work in the Alhambra. On the cymatiums there is still a phrase from the Quran written in letters from the Nasrid period, in white on red: “There is no victor but Allah”. At first, in order to give the sensation of symmetry, a similar shape to this southern pavilion was recreated by planting cypresses to replicate the architecture.
The Taifa Palace also has another element of great interest, which is the Pabellón de Arcos Lobulados (Pavilion of Lobed Arches), found to the right. This small pavilion is also original. The only unclear aspect of its structure is the enclosure that must have existed between it and the wall-walk, since it could not have been open in the past, as the whole palace was a closed area. The pavilion is decorative, which means the arches are not structural, and its purpose must have been to give greater political representation to this area of the palace, perhaps destined for government work, emulating the splendid art from the Caliphate period, but with the much poorer materials that were being used during the Taifa period. Some authors ascribe it to the Hammudid period, and others to the Zirid period. In any case, it dates back to the middle of the 11th century (between 1026 and 1057), and the decoration serves the same purpose in both dynasties: legitimising their power by emulating the power of the Caliphate of Cordoba.
Once the rooms have been passed through, or when entering through their original access via the wall-walk, we arrive at a courtyard-terrace that opens out over the city, with the Torre de Maldonado on its righthand side. This imposing tower belongs to the defensive zone and was remodelled in the Almohad period, when it was endowed with the two beautiful marble columns, with Quranic text inscribed on them (“Allah! There is no god but He, Lord of the Throne, the Exalted One” on one, and “Allah! There is no god but Allah. I trust in Him, and I will return to Him” on the other), and with the triple arches through which it is accessed, which give it a certain representative character. During the demolitions, the room, which also had to be freed from modern dwellings, was found to have the appearance that we see today, once some openings in the exterior walls that had been turned into windows had been closed off. The arches and columns are intact under the modern plaster, and it also preserves in situ a very schematic band of arabesque decoration, and under it an inscribed strip with the text “The perpetual glory of Allah. The eternal glory of Allah” on the inner side of the arch.
From the west window of the tower or from the wall-walk itself, it is interesting to observe a solid tower in which the base and interior made of ashlar from the Taifa period can be seen very well, along with the subsequent masonry covering from the Nasrid period. We can also see how the construction took place directly on the rock, as we have already observed at several points along the route.
Through the same corridor that, in the manner of a portico on the south side, precedes the Hall of the Taifa Palace, access is gained through a beautifully closed horseshoe arch of stone voussoirs, which gives way to the other spectacular hall of the complex, the Sala del Siglo XVI (Hall of the 16th Century) or Sala de la Armadura Mudéjar (Hall of the Mudéjar Ceiling), which remains in its place of origin. This room was remodelled by Mudéjar builders, and the windows that were opened in it must also belong to that time.
从喷泉庭院的中心可以进入由两个庭院组成的纳萨利皇宫。现在的通道经过重建，它应该是弯曲的，但是由于在已经挖掘的遗迹中没有探测到，所以决定重建入口，便于公众参观。
纳萨利宫原始区域保存的很少，宫殿大厅仍然存在，空出了门和蓄水池的位置，但高度不足50厘米。这个问题激发了许多关于修复建筑师和当局的讨论和推测，关于是否采用历史主义方式重建整个空间，将其用作博物馆，或是重建废墟并将其作为花园。最后选择了第一个方案，主要是基于格拉纳达宫殿的建筑，在某些情况下屋顶和顶层的空间可进行重复使用，从现有的碎片遗迹重新创造装饰元素，但对位置没有严格的要求。从已知的历史平面图中来看，这里仅仅是一个果园，后来它被街道和房屋占据，没有留下其他任何结构性建筑。
两个有凉亭的庭院在较短的南北两端相对而立，伴有三个拱门的门廊，但无法确定它们是由圆柱还是方柱支撑，无法确定卧室的设置，房间总高度和或屋顶的类型。配有泰法宫殿样式的门和壁龛。
橘子树庭院（Patio de los Naranjos）围绕着两个蓄水池，那里有原始的设计痕迹，凉亭顶部有筒形穹顶，由赫尔姆内的·兰兹（Hermenegildo Lanz）绘制，柱子再现了格拉纳达的纳萨利宫殿。
第二个庭院是蓄水池庭院（Patio de la Alberca）或爱神木庭院（Patio del Arrayán），与中央大型蓄水池相连，水面就像是建筑的倒影，其中两个较大的侧面有树篱包围。在凉亭的北端有一个瞭望塔，因为发现了遗迹和楼梯。南部的门廊被一个木质屋顶所覆盖，这个木质屋顶是建筑物本身的材料，是从隧道区拆除的军事亭台的一个房间拿来的。这座宫殿的北墙目前是作为展厅，最末端是大型的原始墙壁，这是与附近房屋的边界，不论是在十一世纪还是十三世纪，北部房间原始的地面都保存了下来。庭院的北部亭台中也保存了一个石制房间。
