Cuenca Town Hall houses the city council of the Spanish city of Cuenca. The Town Hall of this city has been located in the Plaza Mayor since the end of the 15th century, when it was known as the Plaza de la Picota. Previously, there was news that the Councils were once held near San Juan's front door, and there was even talk of the plazuela del Concejo Viejo and the Concejo's neighbourhood.

The Town Hall was in such bad shape in the middle of the 16th century that it had to be shored up and undergo a major refurbishment, which was carried out by the architect Pedro de Alviz. The aldermen met in the Corregidor's house during this time.

The possibility of purchasing a house owned by alderman Pedro Chico de Guzmán at the entrance to the Plaza Mayor was considered in the late 16th century, specifically in 1595. This building became too small over time, so in 1676 the Lords of the Council agreed to enlarge it and decided to do so by annexing a house next to the Town Hall. This church-owned house was purchased by them for 4500 reales.

The Town Hall faced ruin at the start of the 18th century. Because of their condition, the archives had to be relocated to the Corregidor's residence, where the Council sessions were also held. To avoid further misfortune, the building was fenced in and the surrounding streets were closed. The Town Hall was demolished because it was in danger of collapsing, and the new building was to be built on the same site as the old one. However, the construction did not begin until 1760, and it was carried out in accordance with Jaime Bort's design (who, at that date, had already died). Bort designed a structure in which he sought symmetry, according to him. Due to the topography of the upper part of the city and the small and irregular nature of the site where the old Town Hall had been located, this was extremely difficult to achieve.

It was necessary to have another site on the west side of the square, just opposite the site occupied by the old Town Hall until it was demolished, in order to carry out Bort's project. Don Lorenzo de Santa Mara, an accredited master mason and stonemason, took over the management of the work after it was awarded to him by public auction in 1760. The Town Hall project was completed by the end of 1762.

In 1788, it was decided to expand the building, and the architect Mateo López was commissioned to design the archive and oratory that would be built in a house next to the Town Hall that had been agreed to buy for this purpose (the layout is preserved in the Municipal Archives). However, this would not be the final project because, a year later, it was decided that it would be better and less expensive to use the already-built rooms as a sacristy and cloakroom, and that the archive and oratory should be located in the Town Hall, which was on the main floor. Mateo López was once again commissioned as the architect to create the plans and budget for the project.

The Town Hall is one of Cuenca's most notable baroque structures. It has a rectangular floor plan with two bodies on both sides; so marked that when referring to the Town Hall, reference is made to the Town Hall and its two dwellings in the documentation.

The façade is divided into three floors, each of which is accentuated by pilasters of various orders (which decrease in height as they increase in height). The first floor features an open arcade that connects the main street to the square. Tuscan-shaped pilasters are placed between the arches, which have a pointed section due to the forced foot of the entrance hall, to make them more slender and to allow more light into the central arch.

On the main floor, where Bort placed the Town Hall and its joint offices, the same tripartite division, with Ionic pilasters, is maintained. This floor has three openings with a continuous balcony that are embellished with mouldings, boxed pilasters, and curved and broken pediments. The openings on the third floor are doubled, as are the rhythm and proportions of the architectural elements that comprise it. To compensate for its imbalance with respect to the main floor, this upper floor incorporates the surface of the attic into the design of the façade facing.

The view of the roof from the square is obscured by the large attic at the end of the façade. A comb-like crown in the centre culminates in the figure of a lion.

The rear façade, which faces Calle Alfonso VIII, is more clearly composed and has a more classical rhythm. It's divided into three streets, with balconies on the first floor and windows on the second.

The doors, which are located beneath the portico, are very simple in design and bear a resemblance to French architecture.