Seville for The Time Travellers: a Friday-to-Monday weekend

Pedro I's Mudéjar palace of 1364, built by Granada's craftsmen for a Christian king; read it first, since everything after answers it.

Jürgen Mayer's bonded-timber mushrooms of 2011, walked along the rooftop path while the shadows of the lattice stretch across the plaza.

Open since 1670, the bill chalked on the bar; the plotters' bar, where the city's guides drink after their own tours.

The largest Gothic church anywhere, built on the mosque whose minaret became the bell tower; climb the thirty-five ramps.

Herrera's 1584 exchange turned archive of the Americas, eighty million pages, the empire's paperwork shown in rotating cases.

A fish counter run like a workshop: whole fish shown, filleted and grilled in front of you, a starred menu without a tablecloth.

Contemporary galleries slotted into a Carthusian monastery that was a ceramics factory, bottle kilns still standing in the grounds.

Rafael Moneo's 1987 brick office block beside the opera house, the two buildings that set Seville's river-front scale for the Expo.

A 1920s villa in the garden suburb, redone in oak and linen, with a short seasonal menu and a wine list that leans Andalusian.

Aníbal González's 1929 half-moon of brick, tile and bridges, read early as a piece of pre-modern urbanism rather than a film set.

The 1901 Córdoba station, iron train shed and neo-Mudéjar facade, now a shopping hall under the same roof trusses.

Lunch under the iron and glass of the old fish exchange, attributed to Eiffel's workshop, beside the Triana bridge.