Antoni Gaudí 1

Antoni Gaudí

Antoni Gaudí

Antoni Gaudí by Pau AudouardBorn 25 June 1852Reus, Catalonia, Spain[1] [2]

Died 10 June 1926 (aged 73)Barcelona, Catalonia, Spain

Work

Buildings Sagrada Família, Casa Milà, Casa Batlló

Projects Parc Güell, Colònia Güell

Antoni Gaudí i Cornet (Catalan pronunciation: [ənˈtɔni ɣəwˈði]) (Riudoms or Reus,[3] 25 June 1852 – Barcelona, 10June 1926) was a Spanish Catalan architect and the best-known representative of Catalan Modernism. Gaudí's worksare marked by a highly individual style and the vast majority of them are situated in the Catalan capital of Barcelona,including his magnum opus, the Sagrada Família.Much of Gaudí's work was marked by the four passions of his life: architecture, nature, religion and his love forCatalonia.[4] Gaudí meticulously studied every detail of his creations, integrating into his architecture a series ofcrafts, in which he himself was skilled, such as ceramics, stained glass, wrought ironwork forging and carpentry. Healso introduced new techniques in the treatment of the materials, such as his famous trencadís, made of wasteceramic pieces. After a few years under the influence of neo-Gothic art, and certain oriental tendencies, Gaudíbecame part of the Catalan Modernista movement which was then at its peak, towards the end of the 19th centuryand the beginning of the 20th. Gaudí's work, however, transcended mainstream Modernisme, culminating in anorganic style that was inspired by nature without losing the influence of the experiences gained earlier in his career.Rarely did Gaudí draw detailed plans of his works and instead preferred to create them as three-dimensional scalemodels, moulding all details as he was conceiving them in his mind.Gaudí’s work has widespread international appeal, and there are innumerable studies devoted to his way ofunderstanding architecture. Today he is admired by both professionals and the general public: his masterpiece, theSagrada Família, is one of the most visited monuments in Spain.[5] Between 1984 and 2005 seven of his works weredeclared World Heritage Sites by UNESCO. He awakened to his Roman Catholic faith during his life and manyreligious symbols can be seen in his works, a fact which has led to his being nicknamed "God's Architect"[6] andcalls for him to be beatified.[7] [8]

Antoni Gaudí 2

Biography

El Mas de la Calderera, home of the Gaudí family in Riudoms.

Birth, childhood and studies

Antoni Gaudí was born in 1852, to the industrialboilermaker Francesc Gaudí i Serra (1813–1906) andAntònia Cornet i Bertran (1819–1876). He was theyoungest of five children, of whom three survived toadulthood: Rosa (1844–1879), Francesc (1851–1876)and Antoni. Gaudí’s family origins go back to theAuvergne region in southern France, from where one ofhis ancestors, Joan Gaudí, a hawker, moved toCatalonia in the 17th century; the origin of his namecould be Gaudy or Gaudin.[9]

Gaudís exact birthplace is unknown because nodocuments stating it were kept, leading to a controversyabout whether it was Reus or Riudoms (two neighbouring municipalities of the Baix Camp district. In most ofGaudí's identification documents from both his student and professional years, Reus is given as his birthplace.Nonetheless, Gaudí himself stated on various occasions that it was Riudoms, where his paternal family werefrom.[10] What is known is that he was baptized in the church of Sant Pere Apòstol in Reus the day after his birth.The name that appears on his baptismal certificate is "Antoni Plàcid Guillem Gaudí i Cornet".[11] Gaudí felt a deepappreciation for his native land, and his great sense of pride of being from the Mediterranean is a proof of this. It hada notable influence on his architecture: Gaudí used to say that Mediterranean people have an innate sense for art anddesign, that they are creative and original, whereas Nordic people are more technical and repetitive. In Gaudí’swords:

”We own the image. Fantasy comes from the ghosts. Fantasy is what people in the North own. We areconcrete. The image comes from the Mediterranean. Orestes knows his way, where Hamlet is torn apart by hisdoubts”.[12]

Antoni Gaudí 3

Gaudí (in the background) with his father (centre), hisniece Rosa and doctor Santaló during a visit to

Montserrat (1904).

The time spent in his native land helped Gaudí to get to know andstudy nature profoundly, above all his summer stays in the Mas dela Calderera, home of the Gaudí family in Riudoms. He liked thecontact with nature and because of this he later on became amember of the Centre Excursionista de Catalunya (1879), anorganisation with which he made numerous trips around Cataloniaand southern France. Sometimes, he used to horse-ride, or walkedaround ten kilometres a day.[13]

Young Gaudí was of a sickly nature; he suffered from rheumatismfrom childhood, which led to his rather reticent and reservedcharacter.[14] This may also have been the reason for his becominga vegetarian[15] [16] along with Dr. Kneipp’s hygienist theories.[17]

Because of these beliefs—and for religious reasons—hesometimes imposed severe fasting on himself. He took this to apoint where it became life threatening, such as in 1894, when hefell seriously ill as the result of a lengthy period of fast.[18]

Gaudí’s first studies were at the nursery school run by FrancescBerenguer, whose son, also called Francesc, would later becomeone of Gaudí’s main assistants. Subsequently, he attended thePiarists school in Reus; his talent for drawing stood out during hisparticipation in the seminar El Arlequín (the Harlequin).[19] He also worked as an apprentice in the “Vapor Nou”textile mill in Reus for some time. In 1868 he moved to Barcelona to study teaching in the Convent del Carme.During his adolescence he was interested in utopian socialism and with his fellow students Eduard Toda i Güell andJosep Ribera i Sans he planned a restoration of the Poblet monastery that would have transformed it into a Utopianphalanstère.[20]

Between 1875 and 1878, Gaudí completed his compulsory military service in the Infantry regiment in Barcelona as aMilitary Administrator. He spent the majority of his service on sick leave, which allowed him to continue his studies.Due to his position he was not forced to fight during the Third Carlist War, which took place during this period.[21]

In 1876 his mother died at the age of 57, and so did his brother Francesc, 25, who had only recently graduated as aphysician; he never got to practice his profession. Gaudí studied architecture at the Llotja School and the BarcelonaHigher School of Architecture, from which he graduated in 1878. Apart from his architecture classes, he attendedFrench lectures and studied history, economics, philosophy and aesthetics. His grades were average, some of themwere fails; Gaudí cared more about his own interests than those of the official courses’.[22] When handing him hisdegree, Elies Rogent, director of Barcelona Architecture School, said: ”We have given this academic title either to afool or a genius. Time will show.”[23]

To finance his studies, Gaudí worked as a draughtsman for various architects and constructors such as LeandreSerrallach, Joan Martorell, Emili Sala Cortés, Francisco de Paula del Villar y Lozano and Josep Fontserè.[24] Maybethat was why Gaudí, when receiving his degree, said to his friend the sculptor Llorenç Matamala, with his ironicalsense of humour:

”Llorenç, they’re saying I’m an architect now”.[25]

Antoni Gaudí 4

Adulthood and professional work

Gaudí and Eusebi Güell on a visit to the Colònia Güell(1910).

Gaudí’s first projects were the lampposts he designed for the PlaçaReial in Barcelona, the unfinished Girossi newsstands and theCooperativa Obrera Mataronense (Workers' Cooperative ofMataró). He became well known through his first importantcommission, the Casa Vicens, and subsequently receivedincreasingly more significant requests. At the Paris World Fair in1878 Gaudí displayed a showcase he had produced for the glovemanufacturer Comella. Its modernista design, which was at thesame time functional and aesthetic, impressed the Catalanindustrialist Eusebi Güell, who later on contacted the architect torequest him to carry out various projects he had in mind. This wasthe starting point of a long friendship and a patronage which borefruit with some of the most distinguished of Gaudí’s works: theGüell wine cellars, the Güell pavilions, the Palau Güell (Güellpalace), the Parc Güell (Güell park) and the crypt of the church ofthe Colònia Güell. He also became a friend of the marquis ofComillas, the father-in-law of count Güell, for whom he designed "El Capricho" in Comillas. In 1883 Gaudíaccepted responsibility for the recently-initiated works of the Basílica i Temple Expiatori de la Sagrada Família(Basilica and Expiatory Church of the Holy Family, more commonly referred to in English as the Sagrada Família).Gaudí changed the original project completely, making this his world famous and much-admired masterpiece. From1915 until his death he devoted himself entirely to this project. Given the number of commissions he beganreceiving, he had to rely on a professional team to be able to work on various projects simultaneously. His teamconsisted of professionals from all fields of construction. Several of the architects who worked under him made theirown name in the field later on, such as Josep Maria Jujol,Joan Rubió, Cèsar Martinell, Francesc Folguera and JosepFrancesc Ràfols. In 1885, Gaudí moved to rural Sant Feliu de Codines to escape the cholera epidemic that wasravaging Barcelona. He lived in Francesc Ullar’s house, for whom he designed a dinner table[26] as a sign of hisgratitude.

Gaudí’s exposition license at the Exposición Universal de Barcelona (1888)

The 1888 World Fair was one of the majorevents of the time in the Catalan capital andwas a starting point for Modernisme. Theleading architects of the time displayed theirbest works, and Gaudí participated with thebuilding he had designed for the CompañíaTrasatlántica (Transatlantic Company). Hereceived a commission to restructure theSaló de Cent of the Barcelona City Councilthat was not carried out in the end. In thefirst years of the 1890s, Gaudí received twocommissions from outside of Catalonia: onefor the Bishop's Palace of Astorga and theother for the Casa Botines in León. These

works spread the fame and prestige of the Reus-born architect across Spain. In 1891, he travelled to Málaga andTangiers to examine the plot of land of a project for Franciscan Catholic Missions that the 2nd marquis of Comillas

Antoni Gaudí 5

[27] had requested from him. The project was never executed, but the towers Gaudí had designed for the Missionsserved him as a model for the towers of the Church of the Sagrada Família in Barcelona.In 1899 Gaudí became a member of the Cercle Artístic de Sant Lluc (Saint Luke artistic circle), a Catholic artisticsociety founded in 1893 by the bishop Josep Torras i Bagesand the brothers Josep and Joan Llimona. He alsobecame a member of the Lliga Espiritual de la Mare de Déu de Montserrat (spiritual league of Our lady ofMontserrat), another Catholic Catalan organisation.[28] This demonstrates the conservative and religious character ofhis political thought, closely linked to the defence of the cultural identity of the Catalan people. Despite the apparentcontradiction between the Utopian ideals of his youth and his subsequent change of direction towards moreconservative views, this evolution can be considered natural, bearing in mind the profound spirituality of thearchitect. In Cèsar Martinell’s words, Gaudí “substituted philanthropy with Christian charity”.[29]

At the beginning of the century, Gaudí was working on numerous projects which all reflected the change in his style,which was becoming increasingly more personal and inspired by nature. In 1900, he received an award for the bestbuilding of the year from the Barcelona City Council for his Casa Calvet. During the first decade of the centuryGaudí dedicated himself to projects like the Casa Figueras (Figueras house), better known as Bellesguard, the ParcGüell, an urbanisation project that had no success, and the restoration of the Cathedral of Palma de Mallorca, forwhich he visited Majorca several times. Between 1904 and 1910 he constructed the Casa Batlló (Batlló house) andthe Casa Milà (Milá house), two of his most emblematic works.

Saint Philip Neri celebrating the HolyMass) by Joan Llimona (church of SantFelip Neri (Barcelona). Gaudí was the

model for Saint Philip Neri’s face.

As a result of Gaudi’s increasing fame, in 1902 the painter Joan Llimonachose Gaudí’s features to represent Saint Philip Neri in the paintings in theaisle of the Sant Felip Neri church in Barcelona.[30] Together with JoanSantaló, son of his friend the physician Pere Santaló, he founded a companyto make wought iron the same year, a project that failed in the end.[31]

After moving to Barcelona, Gaudí frequently changed his address: as astudent he lived in residences, generally in the area of the Gothic Quarter;when he started his career he moved around several rented flats in theEixample area. Finally, in 1906, he settled in a house in the Güell Park that heowned and which had been constructed by his assistant Francesc Berengueras a showcase property for the estate. Nowadays it serves as the GaudíMuseum. There he lived with his father (who died in 1906 at the age of 93)and his niece Rosa Egea Gaudí (who died in 1912 at the age of 36). He livedin the house until 1925, a few months before his death, when he set off toreside in the workshop of the Sagrada Família. One of the events that had aprofound impact on Gaudí’s personality was the Tragic week in 1909; Gaudí

remained in his house in the Güell Park during those days, but given the anticlerical atmosphere and the attacks onchurches and convents he was worried about the safety of the Sagrada Família, which fortunately was notaffected.[32]

Antoni Gaudí 6

Official picture of Gaudí for the Parisexposition in 1910.

In 1910, an exhibition in the Grand Palais of Paris was devoted to his work,during the annual salón of the Société des Beaux-Arts (fine arts society) ofFrance. Gaudí participated on the invitation of count Güell, displaying aseries of pictures, plans and plaster scale models of several of his works.Although he participated hors concours, he received very good reviews fromthe French press. A large part of this exposition could be seen the followingyear at the I Salón Nacional de Arquitectura that took place in the municipalexhibition hall of Buen Retiro in Madrid.[33]

During the Paris exposition in May 1910, Gaudí spent a holiday in Vic, wherehe designed two lampposts made of basalt and wrought iron for the PlaçaMajor of Vic, for Jaume Balmes’s centenary. The following year he wasobliged to spend some time in Puigcerdà due to tuberculosis; during this timehe conceived the idea for the façade of the Passion of the Sagrada Família.[34]

Due to his state of health, on 9 June he made his will at the office of thenotary Ramon Cantó i Figueres;[35] but luckily he recovered completely.

The decade from 1910 was a hard one for Gaudí as it was full of tragedy: thedeaths of his niece Rosa in 1912, and his main collaborator Francesc Berenguer in 1914; a severe economic crisisparalysed work on the Sagrada Família in 1915; in 1916 his friend Josep Torras i Bages, bishop of Vic, died; in 1917the works at the Colonia Güell were interrupted; in 1918 his friend and patron Eusebi Güell[36] died.Perhaps becauseof all these tragedies he devoted himself entirely the Sagrada Família from 1915, taking refuge in his work. Gaudíconfessed to his collaborators:

”My good friends are dead; I have no family and no clients, no fortune nor anything. Now I can dedicatemyself entirely to the Church.”[37]

Gaudí shows the Sagrada Família to the Papal nuncio, Cardinal,Francesco Ragonesi (1915). On that occasion, Monsegnor Ragonesi

considered Gaudí “The Dante of architecture”.[38]

Gaudí dedicated the last years of his life entirely to the“Cathedral of the poor”, as it was commonly known, forwhich he even took alms in order to continue theworks. Apart from his dedication to this cause, heparticipated in few other activities, the majority ofwhich were related to religion: in 1916 he participatedin a course about Gregorian chant at the Palau de laMúsica Catalana taught by the Benedictine monkGregori M. Sunyol.[39]

Gaudí lived his life devoted entirely to his profession,remaining single all his life. It seems that it was only onone occasion that he felt attracted to a woman, JosefaMoreu, teacher at the Mataró Cooperative, in 1884, butthis was not reciprocated.[40] From then on, Gaudí tookrefuge in his deep religiousness, which gave him profound spiritual peace. Gaudí is often depicted as unsociable andunpleasant, a man of gruff reactions and arrogant gestures. However, those who were close to him described him asfriendly and polite, pleasant to talk to and faithful to his friends. Among these, his patrons Eusebi Güell and thebishop of Vic, Josep Torras i Bages, stand out, as well as the writers Joan Maragall and Jacint Verdaguer, thephysician Pere Santaló and some of his most faithful collaborators, such as Francesc Berenguer and LlorençMatamala.[41]

Antoni Gaudí 7

Gaudí at the Corpus Christi procession(11 June 1924).

Gaudí’s personal appearance—Nordic features, blond hair and blueeyes—changed radically over the course of time: he was no longer a youngman with a dandy appearance (costly suits, well-groomed hair and beard,gourmet taste, frequent visits to the theatre and the opera—he even used tovisit his sites in his horse carriage). When older, he became a man of strictsimplicity, who ate with frugality, used old, worn-out suits, and neglected hisappearance to the extent that sometimes he was taken for a beggar, such asafter the accident that caused his death.[42]

Gaudí left hardly any written documents, apart from technical reports of hisworks required by official authorities, some letters sent to friends (above allto Joan Maragall) and a few journal articles. Some of his quotes collected byhis assistants and disciples have been conserved, above all by Josep FrancescRàfols, Joan Bergós, Cèsar Martinell and Isidre Puig i Boada. The onlywritten document Gaudí left is known as the Manuscrito de Reus (ReusManuscript) (1873–1878), a kind of student diary in which he collecteddiverse impressions of architecture and decorating, putting forward his ideas

on the subject. His analysis of the Christian church and of his ancestral house stand out, as well as a text aboutornamentation and a reminder for the design of a desk.[43]

Gaudí’s funeral 12 June 1926)

Gaudí was always in favour of Catalonia; however, henever wanted to get involved in politics. Somepoliticians, such as Francesc Cambó and Enric Prat dela Riba suggested he run for deputy, but he refused.Nonetheless, he had various arguments with the police.In 1920 he was beaten by police officers in a tumultduring the Floral Games celebrations;[44] on 11September 1924, National Day of Catalonia; during ademonstration against the banning of the Catalanlanguage by the Primo de Rivera dictatorship. He wasalso arrested by the Civil Guard, resulting in a shortstay in prison, from which he was freed after paying 50pesetas bail.[45]

Death

On 7 June 1926, Gaudí was walking towards the SantFelip Neri church, where he went daily to pray and confess with Mosén Agustí Mas i Folch. While walking along theGran Via de les Corts Catalanes, between the streets of Girona and Bailén, he was knocked down by a tram andpassed out.[46] Assumed to be a beggar because of his lack of identity documents and neglected appearance, with hisworn-out old clothes, it was a while until anybody came to his aid. Finally, a policeman stopped a taxi and took himto the Santa Creu Hospital.[47] The next day, the chaplain of the Sagrada Família, Mosén Gil Parés, recognized him.But it was too late and nothing could be done for him. Gaudí died on 10 June 1926, at the age of 73, at the height ofhis career. He was buried on 12 June. A big crowd was present to bid their farewell to him in the chapel of Our Ladyof Mount Carmel in the crypt of the Sagrada Família. His gravestone bears the following inscription:

Antonius Gaudí Cornet. Reusensis. Annos natus LXXIV, vitae exemplaris vir, eximiusque artifex, mirabilisoperis hujus, templi auctor, pie obiit Barcinone dit X Junii MCMXXVI, hinc cineres tanti hominis,resurrectionem mortuorum expectant. R.I.P.[48]

Antoni Gaudí 8

Subsequent reputation

Gaudí bust, by Josep Maria Subirachs.

Gaudí bust, by Joan Matamala.

After his death, Gaudí suffered a period of neglect and his works wereunpopular amongst international critics, who regarded them as baroque andexcessively imaginative. In his homeland he was equally disdained byNoucentisme, the new movement which took the place of Modernisme. In1936, during the Spanish Civil War, Gaudí's workshop in the Sagrada Famíliawas ransacked and a great number of his documents, plans and scale modelswere destroyed. Gaudí’s reputation was beginning to recover by the 1950s,when his work was defended mainly by Salvador Dalí but also by thearchitect Josep Lluís Sert. In 1956 a retrospective on Gaudí was organised atthe Saló del Tinell in Barcelona, and in 1957 his first international exhibitionwas held, at the MOMA in New York. Between 1950 and 1960, the studies ofinternational critics like George Collins, Nikolaus Pevsner and Roberto Panedisseminated Gaudí’s work widely, while in his homeland it was admired byAlexandre Cirici, Juan Eduardo Cirlot and Oriol Bohigas. It is also worthmentioning the high reputation of Gaudí’s work in Japan, where his work isvery much admired, the studies by Kenji Imai and Tokutoshi Torii beingparticularly notable. Ever since, the appreciation of Gaudí’s work has grown,culminating in 1984 when various works were declared UNESCO WorldHeritage Sites.[49]

In 1952, the centenary year of the architect’s birth, the Asociación de Amigosde Gaudí (Friends of Gaudí Association) was founded with the aim ofdisseminating and conserving the legacy of the Catalan artist. In 1956 theGaudí Chair at the Polytechnic University of Catalonia was created with thepurpose of deepening the study of the Gaudi’s works and participating in theirconservation. In 1987, King Juan Carlos I awarded it the title Real CátedraGaudí. In 1976, on the 50th anniversary of his death, the Ministry of ForeignAffairs organised an exhibition about Gaudí that went around the world.[50]

Profoundly religious as he was and a man of ascetic habits, Gaudí’sbeatification has been proposed, and the process was initiated in 1998 by thearchbishop of Barcelona, Ricard Maria Carles, a move which was authorised by the Vatican in 2000.[51] On theoccasion of the 150th anniversary of Gaudí’s birth, a number of official ceremonies, concerts, shows and conferenceswere held, and several books were published. On 24 September of the same year, the musical Gaudí had its premierein the Palau dels Esports de Barcelona. The authors of the piece were Jordi Galceran, Esteve Miralles and AlbertGuinovart.[52] In 2008 in his honour the Gaudí Awards were launched, organised by the Catalan Film Academy tohonour the best Catalan films of the year.[53]

Antoni Gaudí 9

Style

Gaudí and Modernisme

The four-armed cross, one the most typical features ofGaudí's works.

The course of Gaudí's professional life was unique in that he neverceased to investigate mechanical structures of buildings. Early on,Gaudí was inspired by oriental arts (India, Persia, Japan) throughthe study of the historicist architectural theoreticians, such asWalter Pater, John Ruskin and William Morris. The influence ofthe Oriental movement can be seen in works like the Capricho, theGüell Palace, the Güell Pavilions and the Casa Vicens. Later on,he adhered to the neo-Gothic movement that was in fashion at thetime, following the ideas of the French architect Viollet-le-Duc.This influence is reflected in the Colegi de les Teresianes, thebishop's palace in Astorga, the Casa Botines and the Bellesguardhouse as well as in the crypt and the apse of the Sagrada Família.Eventually, Gaudí embarked on a more personal phase, with theindividualistic, organic style inspired by nature in which he wouldbuild his major works.

During his time as a student, Gaudí was able to study a collectionof photographs of Egyptian, Indian, Persian, Mayan, Chinese andJapanese art owned by the School of Architecture. The collectionalso included Moorish monuments in Spain, which left a deepmark on him and served as an inspiration in many of his works. He also studied the book Plans, elevations, sectionsand details of the Alhambra by Owen Jones, which he borrowed from the School’s library.[54] He took variousstructural and ornamental solutions from nazarí and mudéjar art, which he used with variations and stylistic freedomin his works. A noteworthy observation that Gaudí made of Islamic art is the spatial uncertainty, the concept ofstructures with limitless space; taking on a feeling of sequence, fragmented, with holes and partitions, which create adivide without ruining the feeling of open space by closing it in with barriers.[55]

Without doubt the style that most influenced him was the Gothic Revival, which was promoted in the latter half ofthe 19th century by the theoretical works of Viollet-le-Duc. The French architect called for studying the styles of thepast and adapting them in a rational manner, taking into account both the structure and design.[56] Nonetheless, forGaudí the Gothic style was "imperfect", because despite the effectiveness of some of its structural solutions it was anart that had yet to be "perfected”. In his own words:

”Gothic art is imperfect, only half resolved; it is a style created by the compasses, a formulaic industrialrepetition. Its stability depends on constant propping up by the buttresses: it is a defective body held up oncrutches. (...) The proof that Gothic works are of deficient plasticity is that they produce their greatestemotional effect when they are mutilated, covered in ivy and lit by the moon”.[57]

Antoni Gaudí 10

The dragon in the Parc Güell, which has become a symbol of Gaudí’sworks.

After these initial influences, Gaudí moved towardsModernisme, which was then in its heyday.Modernisme in its earlier stages was inspired byhistoric architecture, as for its practitioners the return tothe past was a response to the industrial forms imposedby the new technological advances that the IndustrialRevolution produced. The use of these styles from thepast represented a moral regeneration that allowed thebourgeoisie to identify with values they regarded astheir cultural roots. The Renaixença (rebirth), therevival of Catalan culture that began in the second halfof the 19th century, brought more Gothic forms into the

Catalan “national” style that aimed to combine nationalism and cosmopolitanism while at the same time integratinginto the European modernizing movement.[58]

Some essential features of Modernisme were: an anticlassical language inherited from Romanticism with a tendencyto a certain lyricism and subjectivity; the determined connection of architecture with the applied arts and artisticwork that produced a remarkably ornamental style; the use of new materials from which emerged a mixedconstructional language, rich in contrasts, that sought a plastic effect for the whole; a strong sense of optimism andfaith in progress that produced an impassioned and emphatic art that reflected the atmosphere of prosperity of thetime, above all of the bourgeoisie.[59]

The quest for a new architectural language

Hyperboloid vault of the Sagrada Família.

Gaudí is usually considered the great master of CatalanModernism, but his works go beyond any style or classification.They are imaginative works that find their main inspiration innature. Gaudí studied organic and anarchic geometric forms ofnature thoroughly, searching for a language to give expression tothese forms in architecture. Some of his greatest inspirations camefrom the mountain of Montserrat, the caves of Mallorca, thesaltpetre caves in Collbató), the crag of Fra Guerau in the PradesMountains behind Reus, the Pareis mountain in the north ofMallorca and Sant Miquel del Fai in Bigues i Riells, all of themplaces that Gaudí had visited.[60]

This study of nature translated into his use of ruled geometricalforms such as the hyperbolic paraboloid, the hyperboloid, thehelicoid and the cone, which reflect the forms Gaudí would find innature.[61] Ruled surfaces are forms generated by a straight lineknown as the generatrix, as it moves over one or several linesknown as directrices. Gaudí found abundant examples of them innature, for instance in rushes, reeds and bones; he used to say thatthere is no better structure than the trunk of a tree or a human skeleton. These forms are at the same time functionaland aesthetic, and Gaudí would use them wisely, knowing how to adapt the language of nature to the structural formsof architecture.

Antoni Gaudí 11

Helicoid columns of the Sagrada Família.

He used to assimilate the helicoid form to movement and thehyperboloid to light. Concerning ruled surfaces, he would say thefollowing:

””Paraboloids, hyperboloids and helicoids, constantlyvarying the incidence of the light, are rich in matricesthemselves, which make ornamentation and even modellingunnecessary.”[62]

Another element widely used by Gaudí was the catenary curve. Hehad studied geometry thoroughly when he was young, studyingnumerous articles about engineering, a field that praised thevirtues of the catenary curve as a mechanical element, one whichat that time, however, was used only in the constructionsuspension bridges. Gaudí was the first one to use this element incommon architecture. The use of these catenary arches in workslike the Casa Milà, the School of the Teresianas, the crypt of theColònia Güell and the Sagrada Família allowed Gaudí to add anelement of great strength to his structures, given that the catenarydistributes the weight it regularly carries evenly, being affectedonly by tangential forces that cancel each other out.[63]

With the use of these elements, Gaudí went from plane to spatial geometry, to ruled geometry. These constructionalforms are highly suited to the use of cheap materials such as brick. Gaudí frequently used brick laid with mortar insuccessive layers, as in the traditional Catalan vault.[64] This quest for new structural solutions culminated between1910 and 1920, when he put all his research and experience into his masterpiece, the Sagrada Família. Gaudíconceived this church as if it were the structure of a forest, with a set of tree-like columns divided into variousbranches to support a structure of intertwined hyperboloid vaults. He inclined the columns so they could put upbetter with the perpendicular pressures on their section. He also gave them a double turn helicoid shape (right turnand left turn), as in the branches and trunks of trees. This created a structure that is nowadays known as fractal.[65]

Together with a modulation of the space that divides it into small, independent and self-supporting modules, itcreates a structure that perfectly supports the mechanical traction forces without need for buttresses, as required bythe neo-Gothic style.[66] Gaudí thus achieved a rational, structured and perfectly logical solution adapted to nature,creating at the same time a new architectural style that was original, simple, practical and aesthetic. This newconstructional technique allowed Gaudí to achieve his greatest architectural goal; to perfect and go beyond Gothicstyle. The hyperboloid vaults have their centre where the Gothic had their keystone, and the hyperboloid allows for ahole in this space to let natural light in. In the intersection between the vaults, where Gothic vaults have their ribs,the hyperboloid allows for holes as well, which Gaudí made use of to give the impression of a starry sky.[67]

Gaudí complemented this organic vision of architecture with a unique spatial vision that allowed him to conceive hisdesigns tridimensionally, unlike the dimensionally flat design of traditional architecture. He used to say that he hadacquired this spatial sense as a boy by looking at the drawings his father made of the boilers and stills heproduced.[68] Because of this spatial conception, Gaudí always preferred to work with casts and scale models or evenimprovise on site as the works progressed. Reluctant to draw plans, only on rare occasions did he sketch his works,in fact only when required by official authorities.

Antoni Gaudí 12

A scale model of the crypt of the Colònia Güell,Sagrada Família Museum.

One of Gaudí’s many innovations in the technical realm was theuse of a scale model to calculate structures: for the church of theColònia Güell, he built a big scale model (1:10) with a height offour meters in a shed next to the building. There, he set up a modelthat had strings with little bags full of bullets hanging from them.On a drawing board that was attached to the ceiling he drew thefloor of the church, and he hung the strings (for the catenaries)with the bullets (for the weight) from the supporting points of thebuilding—columns, intersection of walls. These weights produceda catenary curve both in the arches and vaults. At that point, hetook a picture that—inverted—showed the structure for columnsand arches that Gaudí had been looking for. Gaudí would thenpaint over these photographs with gouache or pastel. The outlineof the church defined, he recorded every single detail of thebuilding; architectural, stylistic and decorative.[69]

Gaudís position in the history of architecture is that of a greatcreative genius who—inspired by nature—developed a style of hisown that attained great technical perfection as well as a cultivatedaesthetic value, and bore the mark of his strong character. Gaudí’sstructural innovations were to a certain extent the result of his having passed through various styles, from Doric toBaroque via Gothic, his main source of inspiration. It could be said that these styles culminated in the work of Gaudí,who reinterpreted and perfected them. Gaudí passed through the historicism and eclecticism of his generationwithout connecting with other architectural movements of the 20th century that, with their rationalist postulates,derived from the Bauhaus School, and represented an antithetical evolution to that initiated by Gaudí, given that itlater on marked the disdain and the initial lack of comprehension of the work of the modernista architect. Otherfactors that led to the initial neglect of the Catalan architect's work was that despite having numerous assistants andhelpers, Gaudí did not create a school of his own and never taught, nor did he leave behind many any writtendocuments. Some of his subordinates followed his footsteps closely, above all Francesc Berenguer and Josep MariaJujol; others, like Cèsar Martinell, Francesc Folguera and Josep Francesc Ràfols graduated towards Noucentisme,leaving the master’s trail.[70] Despite this, a degree of Gaudí's influence can be discerned in some architects thateither formed part of the Modernista movement or departed from it and who had had no direct contact with Gaudí,such as Josep Maria Pericas (Casa Alòs, Ripoll), Bernardí Martorell (Olius cemetery) and Lluís Muncunill (MasíaFreixa, Terrassa). Nonetheless, Gaudí left a deep mark on 20th century architecture: masters like Le Corbusier havedeclared themselves admirers of his work, and the works of other architects like Pier Luigi Nervi, FriedensreichHundertwasser, Oscar Niemeyer, Félix Candela, Eduardo Torroja and Santiago Calatrava were inspired by the newstyle Gaudí had invented. Frei Otto used Gaudi’s forms in the construction of the Munich Olympic Stadium. InJapan, the work of Kenji Imai bears evidence of Gaudi’s influence, as can be seen in the Memorial for theTwenty-six Martyrs of Japan in Nagasaki (Japanese National Architecture Award in 1962), where the use of Gaudí'sfamous “trencadís" stands out.[71] Art critics in research and teaching positions since 1950 have given the artist awell-deserved position of relevance within 20th-century architecture.

Antoni Gaudí 13

Design and craftsmanship

Entrance gate of the Güell Pavilions.

During his student days, Gaudí used toattend various craft workshops, such asthose taught by Eudald Puntí, LlorençMatamala and Joan Oñós, where he learntthe basic aspects of all techniques relating toarchitecture, including sculpture, carpentry,wrought ironwork, stained glass, ceramics,plaster modelling, etc.[72] He also took onnew technological developments, integratinginto his technique the use of iron andreinforced concrete in construction. All thisis due to the global vision Gaudí had ofarchitecture as a multifunctional design, inwhich every single detail in an arrangementhas to be harmoniously made and wellproportioned. This knowledge not only allowed him to design architectural projects but also to design all theelements of the works he created, from furnishings to illumination to wrought ironwork. Gaudí was also an innovatorin the realm of craftsmanship, conceiving new technical and decorative solutions with the materials he used, as forexample his way of designing ceramic mosaics made of waste pieces (“trencadís”) in original and imaginativecombinations. For the restoration of Mallorca Cathedral he invented a new technique to produce stained glass, whichconsisted of juxtaposing three glass panes of primary colours, and sometimes a neutral one, varying the thickness ofthe glass in order to graduate the intensity of the light.[73]

Dedicatory object for Orfeó Català (1922). Designed by Gaudí, drawn by FrancescQuintana and coloured by Josep Maria Jujol.

This was how he personally designed manyof the Sagrada Família’s sculptures,applying a curious method he himself hadconceived. To start with, he wouldthoroughly study the anatomy of the figure,concentrating on gestures. For this purpose,he attentively studied the human skeletonand sometimes used dummies made of wireto test the appropriate posture of the figurehe was about to sculp. In a second step, hewould take photographs of the models,using a mirror system that provided multipleperspectives. He would then make plastercasts of the figures, both of people andanimals (on one occasion he made a donkeystand up so it would not move). He would

modify the proportions of these casts to obtain the desired appearance of the figure, depending on its place in thechurch (the higher up, the bigger it would be). Eventually, he would sculpt the figures in stone.[74]

Apart from architecture, Gaudí also designed urban settings and landscaping, always aiming to place his works in themost appropriate surroundings, both natural and architectural. He studied the location of his constructions

thoroughly, trying to integrate them into their surroundings naturally. For this purpose, he often used the material that was most common in these surroundings, such as the slate of Bellesguard and the grey granit of Bierzo in the

Antoni Gaudí 14

Bishop’s Palace of Astorga. Many of his projects included gardens, like the Casa Vicens or the Güell Pavilions, orwere even gardens themselves, like the Güell Park or the Can Artigas Gardens. A perfect example of this integrationinto nature was the First Mystery of the Glory of the Rosary at Montserrat,, where the architectural framework isnature itself—here the Montserrat rock—that encircles the group of sculptures that adorned the path to the HolyCave.

Interior of the Casa Vicens.

Equally, Gaudí stood out as interiordecorator, taking care of the decoration ofmost of his buildings personally, from thedesign of the furnishings to the smallestdetails. In each case he knew how to applystylistic particularities, personalising thedecoration according to the owner’s taste,the predominant style of the arrangement orits place in the surroundings—whetherurban or natural—and depending on its type,secular or religious. Many of his works wererelated to liturgical furnishing. From thedesign of a desk for his office at thebeginning of his career to the furnishingsdesigned for the Sobrellano Palace ofComillas, he designed all furnishing of theVicens, Calvet, Battló and Milà houses, ofthe Güell Palace and the Bellesguard Tower, and finally also the liturgical furnishing of the Sagrada Família. It isnoteworthy that Gaudí studied some ergonomy in order to adapt his furnishings to the human anatomy in an optimalway. Many of the furnishings he designed are currently exhibited at the Gaudí Museum in the Güell Park.[75]

Another aspect to mention is the intelligent distribution of space, always with the aim of creating a comfortable,intimate atmosphere in the interior of all his buildings. For this purpose, Gaudí would divide the space into differentsections, adapted to their specific use, by means of low walls, dropped ceilings, sliding doors and wall closets. Apartfrom taking care of every single detail of all structural and ornamental elements, he would make sure hisconstructions had good lighting and ventilation. For this purpose, he would study the orientation of the building indetail with respect to the cardinal points, as well as the climate of the region and its place in the surrounding naturalsetting. At that time, there was an increasing demand for more domestic comfort, with piped water and gas and theuse of electric light, all of which Gaudí expertly incorporated into his constructions. For the Sagrada Família, forexample, he carried out thorough studies on acoustics and illumination, in order to optimise them. He used to say thefollowing with regard to light: ”Light achieves maximum harmony at an inclination of 45°, since it resides on objectsin a way that is neither horizontal nor vertical. This can be considered medium light, and it offers the most perfectvision of objects and their most exquisite nuances. It is the Mediterranean light.”Lighting also served Gaudí for the organisation of space, which required a careful study of the gradient of lightintensity to adequately adapt to each specific environment. He achieved this with different elements such asskylights, windows, shutters and blinds; a notable case is the gradation of colour used in the atrium of the CasaBatlló to achieve uniform distribution of light throughout the interior. He also tended to build south-facing houses tomaximise sunlight.[76]

Antoni Gaudí 15

Works

Scale model of the Sagrada Família, Gaudí’smasterpiece.

Gaudí’s work is difficult to classify. It is normally classed asmodernista, and it undoubtedly belongs to this movement onaccount of its eagerness to renovate—though without breakingwith tradition; its quest for modernity; the ornamental senseapplied to works; and the multidisciplinary character of itsundertakings, where craftsmanship plays a central role. To this,Gaudí adds a dose of the baroque, adopts technical advances andcontinues to use traditional architectural language. Together withhis inspiration from nature and the original touch of his works, thisis the amalgam that gives his works their personal and uniquecharacter in the history of architecture. Chronologically, it isdifficult to establish guidelines that illustrate the evolution ofGaudí’s style faithfully. Although he moved on from his initiallyhistoricist approach to immerse himself completely in themodernista movement which arose so vigorously in the last thirdof the 19th century in Catalonia, before finally attaining hispersonal, organic style, this process did not consist ofclearly-defined stages with boundaries between one stage andanother: rather, at every stage there are reflections of all the earlierones, as he gradually assimilated them and surpassed them. One ofthe best descriptions of Gaudí’s work was made by his disciple and biographer Joan Bergós, according to plastic andstructural criteria. Bergós establishes five periods in Gaudi’s productions: preliminary period, mudéjar-morisco(Moorish/mudéjar art), emulated Gothic, naturalist and expressionist, and organic synthesis.[77]

Early worksGaudís first works both from his student days and the time just after his graduation stand out for the great precisionof their details, the use of superior geometry and the prevalence of mechanical considerations in the calculations ofthe structures.[78]

During his studies, Gaudí designed various projects, among which the following stand out: a cemetery gate (1875), aSpanish pavilion for the Philadelphia World Fair of 1876, a quay-side building (1876), a courtyard for the Diputacióde Barcelona (1876), a monumental fountain for the Plaça Catalunya in Barcelona (1877) and a university assemblyhall (1877).[79]

Student works

Cemetery gate (1875). Quay-side building (1876). Fountain in Plaça Catalunya (1877). University assembly hall (1877).

Antoni Gaudí started his professional career while still pursuing his university studies. To pay for his studies, he worked as a draughtsman for some of the most outstanding architects in Barcelona at the time, such as Joan Martorell, Josep Fontserè, Francisco de Paula del Villar y Lozano, Leandre Serrallach and Emili Sala Cortés.[24]

Gaudí had a long-standing relationship with Josep Fontserè, since his family was also from Riudoms and they had

Antoni Gaudí 16

known each other for some time. Despite not having a degree in architecture, Fontserè received the commission fromthe city council of Barcelona for the Parc de la Ciutadella development, carried out between 1873 and 1882. In thisproject, Gaudí was in charge of the design of the entrance gate of the park, the balustrade of the band-stand and thewater project for the monumental fountain, where he designed an artificial cave that already shows his liking fornature and the organic touch he would give his architecture.[80]

Gaudí worked for Francisco de Paula del Villar on the apse of the Montserrat monastery, designing the niche for theimage of the Black Virgin of Montserrat in 1876. Later on, he would substitute Villar in the works of the SagradaFamília. With Leandre Serrallach, he worked on a project for a tram line to Villa Arcadia in Montjuïc. Eventually, hecollaborated with Joan Martorell working on the Jesuit church on Carrer Casp and the Salesian convent in Passeig deSant Joan, as well as the Villaricos church (Almería). He also carried out a project for Martorell for the competitionfor a new façade for Barcelona cathedral, which was eventually not approved. His relationship with Martorell, whomhe always considered one of his main and most influential masters, brought him unexpected luck; it was Martorellthat recommended Gaudí for the Sagrada Família.

Lampposts in the Plaça Reial, Barcelona.

After his graduation as an architect in 1878, Gaudí's first workswere a set of lampposts for the Plaça Reial, the project for theGirossi newsstands and the Mataró cooperative, which was hisfirst important work. He received the request for the set oflampposts from the city council of Barcelona in February 1878,when he had graduated but not yet received his degree, which wassent from Madrid on 15 March of the same year.[81] For thiscommission he designed two different types of lampposts: onewith six arms, of which two were installed in the Plaça Reial, andanother with three, of which two were installed in the Pla delPalau, opposite the Civil Government. The lampposts wereinaugurated during the Mercè festivities in 1879. Made of cast ironwith a marble base, they have a decoration in which the caduceusof Mercury is prominent, symbol of commerce and emblem ofBarcelona.

Antoni Gaudí 17

Project for the Girossi newsstands.

The project of the Girossi newsstands, which was never carriedout, was a commission from the tradesman Enrique Girossi deSanctis. It would have consisted of 20 newsstands, spread outthroughout Barcelona. Each of them would have included a publiclavatory, a flower stand and glass panels for advertisements aswell as a clock, a calendar, a barometer and a thermometer. Gaudíconceived a structure with iron pillars and marble and glass slabs,crowned by a large iron and glass roof, with a gas illuminationsystem.[82]

Display cabinet for the Esteban Comella glove factory.

The Cooperativa Obrera Mataronense (Mataró Workers'Cooperative) was Gaudí’s first big project, on which he workedfrom 1878 to 1882, for Salvador Pagès i Anglada. The project, forthe cooperative’s head office in Mataró, comprised a factory, ahousing estate for the workers, a social centre and a servicesbuilding, though only the factory and the services building werecompleted. In the factory roof Gaudí used the catenary arch for thefirst time, with a bolt assembly system devised by Philibert del'Orme.[83] He also used ceramic tile decoration for the first timein the services building. Gaudí laid out the site taking account ofsolar orientation, another signature of his works, and includedlandscaped areas in the project. He even designed theCooperative’s banner, with the figure of a bee, symbol ofindustriousness.

Antoni Gaudí 18

Gibert Pharmacy.

In May 1878 Gaudí designed a display cabinet for the EstebanComella glove factory, which was exhibited in the Spanishpavilion at the Paris World Exhibition that year.[84] It was thiswork that attracted the attention of the entrepreneur Eusebi Güell,visiting the French capital; he was so impressed that he wanted tomeet Gaudí on his return, beginning a long friendship andprofessional collaboration, Güell being Gaudí’s main patron andsponsor of many of his large projects.

The first task that Güell gave to Gaudí, that same year, was thedesign of the furniture for the pantheon chapel of the Palacio deSobrellano in Comillas, which was then being constructed by JoanMartorell, Gaudí’s teacher, at the request of the Marquis ofComillas, Güell’s father in law. Gaudí designed a chair, a benchand a prayer stool: the chair was upholstered with velvet, finishedwith two eagles and the Marquis’ coat of arms; the bench standsout with the motif of a dragon, designed by Llorenç Matamala; theprayer stool is decorated with plants.

Also in 1878 he drew up the plans for a theatre in the former townof Sant Gervasi de Cassoles (now a district of Barcelona); Gaudí did not take part in the subsequent construction ofthe theatre, which no longer exists. The following year he designed the furniture and counter for the GibertPharmacy, with marquetry of Arab influence. The same year he made five drawings for a procession in honour of thepoet Francesc Vicent Garcia i Torres in Vallfogona de Riucorb, where which this celebrated 17th-century writer andfriend of Lope de Vega was the parish priest . Gaudí’s project was centred on the poet and on several aspects ofagricultural work, such as reaping and harvesting grapes and olives; however, as a result of organisational problemsGaudí’s ideas were not carried out.[85]

Between 1879 and 1881 he drew up a project for the decoration of the church of Sant Pacià, belonging to the Colegiode Jesús-María in Sant Andreu del Palomar: he created the altar in a Gothic style, the monstrance with Byzantineinfluence, the mosaics and the lighting, as well as the school’s furniture. The church caught fire during the TragicWeek of 1909, and now only the mosaics remain, of “opus tesselatum”, probably the work of the Italian mosaicistLuigi Pellerin.[86] He was given the task of decorating the church of the Colegio de Jesús-María in Tarragona(1880–1882): he created the altar in white Italian marble, and its front part, or antependium, with four columnsbearing medallions of polychrome alabaster, with figures of angels; the ostensory with gilt wood, the work of EudaldPuntí, decorated with rosaries, angels, tetramorph symbols and the dove of the Holy Ghost; and the choir stalls,which were destroyed in 1936.[87]

In 1880 he designed an electric lighting project for Barcelona’s Muralla de Mar, or sea wall, which finally was notcarried out. It consisted of eight large iron street lamps, profusely decorated with plant motifs, friezes, shields andnames of battles and Catalan admirals. The same year he participated in the competition for the construction of theSan Sebastián social centre (now town hall), won by Luis Aladrén Mendivi and Adolfo Morales de los Ríos; Gaudísubmitted a project that was a synthesis of several of his earlier studies, such as the fountain for the Plaça Catalunyaand the courtyard of the Provincial Council.[88]

Antoni Gaudí 19

Gaudí’s drawing for the façade ofBarcelona cathedral according to Joan

Martorell’s (1882) project.

A new task of the Güell-López’s for Comillas was the gazebo for AlfonsoXII’s visit to the Cantabrian town in 1881. Gaudí designed a small pavilion inthe shape of a Hindu turban, covered in mosaics and decorated with anabundance of small bells which jingled constantly. It was subsequentlymoved into the Güell Pavilions.[89]

In 1882 he designed a Benedictine monastery and a church dedicated to theHoly Spirit in Villaricos (Cuevas de Vera, Almeria) for his former teacher,Joan Martorell. It was of neo-Gothic design, similar to the Convent of theSalesians that Gaudí also planned with Martorell. Ultimately it was notcarried out, and the project plans were destroyed in the looting of the SagradaFamília in 1936.[90] The same year he was tasked with constructing a huntinglodge and wine cellars at a country residence known as La Cuadra, in Garraf(Sitges), property of baron Eusebi Güell. Ultimately the lodge was not built,only the wine cellars some years later. With Martorell he also collaborated inthree other projects: the church of the Jesuit School in Carrer Caspe; theConvent of the Salesians in Passeig de Sant Joan, a neo-Gothic project withan altar in the centre of the crossing; and the façade project for Barcelonacathedral, for the competition convened by the cathedral chapter in 1882,ultimately won by Josep Oriol Mestres and August Font i Carreras.[91]

Gaudí’s collaboration with Martorell was a determining factor in Gaudí’srecommendation for the Sagrada Família. The church was the idea of JosepMaria Bocabella, founder of the Devotees of Saint Joseph Association, whichacquired a complete block of Barcelona’s Eixample district.[92] The project

was originally entrusted to Francisco de Paula del Villar y Lozano, who planned the construction of a neo-Gothicchurch, on which work began in 1882. However, the following year Villar resigned due to disagreements with theconstruction board, and the task went to Gaudí, who completely redesigned the project, apart from the part of thecrypt that had already been built.[93] Gaudí devoted the rest of his life to the construction of the church, which was tobe the synthesis of all of his architectural discoveries.

Orientalist period

Casa Vicens.

During these years Gaudí completed a series of workswith a distinctly oriental flavour, inspired by the art ofthe Middle and Far East (India, Persia, Japan), as wellas Islamic-Hispanic art, mainly Mudejar and Nazari.Gaudí used ceramic tile decoration abundantly, as wellas Moorish arches, columns of exposed brick andpinnacles in the shape of pavilions or domes.[94]

Between 1883 and 1888 he constructed the CasaVicens, commissioned by stockbroker Manuel Vicens iMontaner. It was constructed with four floors, withfaçades on three sides and an extensive garden, with amonumental brick fountain. The house was surroundedby a wall with iron gates, decorated with palmetto

Antoni Gaudí 20

leaves, work of Llorenç Matamala. The walls of the house are of stone alternated with lines of tile, which imitateyellow flowers typical of this area; the house is topped with chimneys and turrets. In the interior the polychromewooden roof beams stand out, adorned with floral themes of papier maché; the walls are decorated with vegetablemotifs, as well as paintings by Josep Torrescasana; finally, the floor consists of Roman-style mosaics of "opustesselatum". One of the most original rooms is the smoking room, notable the ceiling, decorated with Moorishhoneycomb-work, reminiscent of the Generalife in the Alhambra in Granada.[95]

El Capricho, in Comillas.

In the same year, 1883, Gaudí designed the Santísimo Sacramentochapel for the parish church of San Félix de Alella, as well assome topographical plans for the Can Rosell de la Llena countryresidence in Gelida. He also received a commission to build asmall annex to the Palacio de Sobrellano, for the Baron ofComillas, in the Cantabrian town of the same name. Known as ElCapricho, it was commissioned by Máximo Díaz de Quijano andconstructed between 1883 and 1885. Cristòfor Cascante i Colom,Gaudí’s fellow student, directed the construction. In an orientalstyle, it has an elongated shape, on three levels and a cylindricaltower in the shape of a Persian minaret, faced completely inceramics. The entrance is set behind four columns supporting

depressed arches, with capitals decorated with birds and leaves, similar to those that can be seen at the Casa Vicens.Notable are the main lounge, with its large sash window, and the smoking room with a ceiling consisting of a falseArab-style stucco vault.[96]

Güell Pavilions.

Gaudí carried out a second commission from EusebiGüell between 1884 and 1887, the Güell Pavilions inPedralbes, now on the outskirts of Barcelona. Güell hada country residence in Les Corts de Sarrià, consisting oftwo adjacent properties known as Can Feliu and CanCuyàs de la Riera. The architect Joan Martorell hadbuilt a Caribbean-style mansion, which was demolishedin 1919 to make way for the Royal Palace of Pedralbes.Gaudí undertook the task of refurbishing the house andconstructing a wall and porter's lodge. He completedthe stone wall with several entrances, the main entrancewith an iron gate in the shape of a dragon, with asymbology allusive to the myths of Hercules and theGarden of the Hesperides.[97] The buildings consist of astable, covered longeing ring and porter's lodge: the stable has a rectangular base and catenary arches; the longeingring has a square base with a hyperboloid dome; the porter's lodge consists of three small buildings, the central onebeing polygonal with a hyperbolic dome, and the other two smaller and cubic. All three are topped by ventilators inthe shape of chimneys faced with ceramics. The walls are of exposed brick in various shades of reds and yellows; incertain sections prefabricated cement blocks are also used. The Pavilions are now the headquarters of the RealCátedra Gaudí, of the Polytechnic University of Catalonia.

In 1885 Gaudí accepted a commission from Josep Maria Bocabella, promotor of the Sagrada Família, for an altar in the oratory of the Bocabella family, who had obtained permission from the Pope to have an altar in their home. The altar is made of varnished mahogany, with a slab of white marble in the centre for relics. It is decorated with plants and religious motifs, such as the Greek letters alpha and omega, symbol of the beginning and end, gospel phrases and images of Saint Francis of Paola, Saint Teresa of Avila and the Holy Family and closed with a curtain of

Antoni Gaudí 21

crimson embroidery. It was made by the cabinet maker Frederic Labòria, who also collaborated with Gaudí on theSagrada Família.[98]

Palau Güell, detail of the entrance.

Shortly after, Gaudí received an important newcommission from Güell: the construction of his familyhouse, in the Carrer Nou de la Rambla in Barcelona.The Palau Güell (1886–1888) continues the tradition oflarge Catalan urban mansions such as those in CarrerMontcada. Gaudí designed a monumental entrance witha magnificent parabolic-arched entrance and iron gates,decorated with the Catalan coat of arms and a helmetwith a winged dragon, the work of Joan Oñós. Anotable feature is the triple-height entrance hall; it isthe core of the building, surrounded by the main roomsof the palace, and it is remarkable for its double dome,parabolic within and conical on the outside, a solution

typical of Byzantine art. For the gallery on the street facade Gaudí used an original system of catenary arches andcolumns with hyperbolic capitals, a style he used neither before nor afterwards.[99] He designed the interior of thepalace with great care, with a sumptuous Mudejar-style decoration, where the wood and iron coffered ceilings standout. The chimneys on the roof are a highly remarkable feature, faced in vividly-coloured ceramic tiles, as is the tallspire in the form of a lantern tower, which is the external termination of the dome within, and is also faced withceramic tiles and topped with an iron weather vane.[100]

Compañía Trasatlántica pavilion (1888).

On the occasion of the World Expo held in Barcelonain 1888, Gaudí constructed the pavilion for theCompañía Trasatlántica, property of the Marquis ofComillas, in the Maritime Section of the event. Hecreated it in a Granadinian Nazari style, with horseshoearches and stucco decoration; the building surviveduntil the Passeig Marítim was opened up in 1960. In thewake of the event he received a commission fromBarcelona Council to restore the Saló de Cent and thegrand stairs in Barcelona City Hall, as well as a chairfor the queen Maria Cristina; only the chair was made,and Mayor Francesc Rius i Taulet presented it to theQueen.[101]

Antoni Gaudí 22

Neo-Gothic period

Colegio de las Teresianas.

During this period Gaudí was inspired above all bymedieval Gothic art, but wanted to improve on itsstructural solutions. Neo-gothic was one of the mostsuccessful historicist styles at that time, above all as aresult of the theoretical studies of Viollet-le-Duc. Gaudístudied examples in Catalonia, the Balearic Islands andRoussillon in depth, as well as Leonese and Castillianbuildings during his stays in León and Burgos, andbecame convinced that it was an imperfect style,leaving major structural issues only partly resolved. Inhis works he eliminated the need of buttresses throughthe use of ruled surfaces, and abolishing crenelationsand excessive openwork.[102]

The first example was the Colegio de las Teresianas (1888–1889), in Barcelona’s Carrer Ganduxer, commissionedby San Enrique de Ossó. Gaudí fulfilled the wish of the order that the building should be austere, in keeping withtheir vows of poverty. He designed a simple building, using bricks for the exterior and some brick elements for theinterior. Wrought ironwork, one of Gaudí's favourite materials,is also used on the facades, the building is crowned bya row of merlons which suggest a castle, a possible reference to Saint Teresa’s Interior Castle.[103] On the corners arebrick pinnacles topped by helicoidal columns and culminating in a four-armed cross, typical of Gaudí’s works, andwith ceramic shields bearing various symbols of the order. In the interior there is a corridor which is famous for theseries of catenary arches that it contains. These elegant arches are not merely decorative, but are there to support theceiling and the floor above. For Gaudí, the parabolic arch was an ideal constructional element, capable of supportinggreat loads with slender masonry .[104]

Bishop's palace of Astorga.

Gaudí received his next commission from a clergymanwho had been a boyhood friend in his native Reus.When he was appointed bishop of Astorga, JoanBaptista Grau i Vallespinós asked Gaudí to design anew episcopal palace for the city, as the previousbuilding had caught fire. Constructed between 1889and 1915, in a neo-Gothic style with four cylindricaltowers, it was surrounded by a moat. The stone withwhich it was built (grey granite from the El Bierzoarea) is in harmony with its surroundings, particularlywith the cathedral in its immediate vicinity, as well aswith the natural landscape, which in late 19th-centuryAstorga was more visible than it is today. The porchhas three large flared arches, built of ashlar andseparated by sloping buttresses. The structure of thebuilding is supported by columns with decorated

capitals and by ribbed vaults on pointed arches, and topped with Mudejar-style merlons. Gaudí resigned from theproject in 1893, at the death of Bishop Grau, due to disagreements with the Chapter, and it was finished in 1915 byRicardo García Guereta. It currently houses a museum about the Way of Saint James, which passes through Astorga[105]

Antoni Gaudí 23

Casa Botines in León.

Another of Gaudí’s projects outside of Catalonia wasthe Casa de los Botines, in León(1891–1894),commissioned by Simón Fernández Fernández andMariano Andrés Luna, textile merchants from Leon,who were recommended Gaudí by Eusebi Güell, withwhom they did business. Gaudí’s project was animpressive neo-Gothic style building, which bears hisunmistakable modernista imprint. The building wasused to accommodate offices and textile shops on thelower floors, as well as apartments on the upper floors.It was constructed with walls of solid limestone.[106]

The building is flanked by four cylindrical turretssurmounted by slate spires, and surrounded by an areawith an iron grille. The Gothic facade style, with itscusped arches, has a clock and a sculpture of Saint George and the Dragon, the work of Llorenç Matamala.[107] It isnow the headquarters of the Caja España.

Design for the Franciscan Missions in Tangier.

In 1892 Gaudí was commissioned by Claudio LópezBru, second Marquis of Comillas, with the FranciscanaCatholic Missions for the city of Tangier, in Morocco(at the time a Spanish colony). The project included achurch, hospital and school, and Gaudí conceived aquadrilobulate ground-plan floor structure, withcatenary arches, parabolic towers, and hyperboloidwindows. Ultimately the project was not carried out,something Gaudí deeply regretted, always keeping hisdesign with him. In spite of this, the project influencedthe works of the Sagrada Família, in particular thedesign of the towers, with their paraboloid shape likethose of the Missions.[108]

Bodegas Güell.

In 1895 he designed a funerary chapel for the Güell family at theabbey of Montserrat, but little is known about this work, whichwas never built. That year, construction finally began on theBodegas Güell, the 1882 project for a hunting lodge and somewineries at La Cuadra de Garraf (Sitges), property of EusebiGüell. Constructed between 1895 and 1897 under the direction ofFrancesc Berenguer, Gaudí’s aide, the wineries have a triangularend facade, a very steep stone roof, a group of chimneys and twobridges that join them to an older building. It has three floors: thebottom one for a garage, an apartment and a chapel with catenaryarches, with the altar in the centre. It was completed with a porter’slodge, notable for the iron gate in the shape of a fishing net.

In the township of Sant Gervasi de Cassoles (now a district of Barcelona), Gaudí was given a commission by thewidow of

Antoni Gaudí 24

Torre Bellesguard.

Jaume Figueras to renovate the Torre Bellesguard (1900–1909), formersummer palace of King Martin I the Humane.[109] Gaudí designed it ina neo-Gothic style, respecting the former building as much as possible,and tried as always to integrate the architecture into the naturalsurroundings. This influenced his choice of local slate for theconstruction. The building's ground-plan measures 15m x 15m, withthe corners oriented to the four cardinal points. Constructed in stoneand brick, it is taller than it is wide, with a spire topped with thefour-armed cross, the Catalan flag and the royal crown. The house hasa basement, ground floor, first floor and an attic, with a gable roof.[110]

Naturalist period

Casa Calvet.

During this period Gaudí perfected his personal style, inspired bythe organic shapes of nature, putting into practice a whole series ofnew structural solutions originating from his deep analysis of ruledgeometry. To this he added a great creative freedom and animaginative ornamental style. His works acquired a great richnessof structure, with shapes and volumes devoid of rational rigidity orany classic premise.[111]

Commissioned by the company Hijos de Pedro Mártir Calvet,Gaudí built the Casa Calvet (1898–1899), in Barcelona’s CarrerCasp. The façade is built of Montjuïc stone, adorned with wroughtiron balconies and topped with two pediments with wrought ironcrosses. Another notable feature of the facade is the gallery on themain floor, decorated with plant and mythological motifs. For thisproject Gaudí used a Baroque style, visible in the use ofSolomonic columns, decoration with floral themes and the designof the terraced roof . In 1900 he won the award for the bestbuilding of the year from Barcelona City Council.[112]

A virtually unknown work by Gaudí is the Casa Clapés(1899–1900), in Carrer Escorial 125, commissioned by the painter Aleix Clapés, who collaborated on occasion withGaudí, such as in decorating the Palau Güell and the Casa Milà. It has a ground floor and three apartments, withstuccoed walls and cast-iron balconies. Due to its lack of decoration or original structural solutions its authorshipwas unknown until 1976, when the architect’s plans signed by Gaudí were discovered.[113] In 1900 he renovated thehouse of Dr. Pere Santaló, in Carrer Nou de la Rambla 32, a work of equally low importance. Santaló was a friend ofGaudí's, whom he accompanied during his stay in Puigcerdà in 1911.It was he who recommended him to do manualwork for his rheumatism.[114]

Antoni Gaudí 25

Entrance of la Finca Miralles.

Also in 1900 he designed two banners: for the OrfeóFeliuà (of Sant Feliu de Codines), made of brass,leather, cork and silk, with ornamental motifs based onthe martyrdom of San Félix (a millstone), music (a staffand clef) and the inscription “Orfeó Feliuà”; and OurLady of Mercy of Reus, for the pilgrimage of the Reusresidents of Barcelona, with an image of Isabel Besora,the shepherdess to whom the Virgin appeared in 1592,work of Aleix Clapés and, on the back, a rose and theCatalan flag. In the same year, for the shrine of OurLady of Mercy in Reus, Gaudí outlined a project for therenovation of the church’s main façade, whichultimately was not undertaken, as the board consideredit too expensive. Gaudí took this rejection quite badly,

leaving some bitterness towards Reus, possibly the source of his subsequent claim that Riudoms was his place ofbirth.[115] Between 1900 and 1902 Gaudí worked on the Casa Miralles, commissioned by the industrialistHermenegild Miralles i Anglès; Gaudí designed only the wall near the gateway, of undulating masonry, with an irongate topped with the four-armed cross. Subsequently, the house for Señor Miralles was designed by DomènecSugrañes, associate architect of Gaudí.

Parc Güell.

Gaudí’s main new project at the beginning of the 20thcentury was the Parc Güell (1900–1914),commissioned by Eusebi Güell. It was intended to be aresidential estate in the style of an English garden city.The project was unsuccessful: of the 60 plots intowhich the site was divided only one was sold. Despitethis, the park entrances and service areas were built,displaying Gaudí’s architectural genius and putting intopractice many of his innovative structural solutions,which are emblematic of the organic style thatculminates in the Sagrada Família. The Parc Güell issituated in Barcelona’s Càrmel district, a rugged area,with steep slopes that Gaudí negotiated with a systemof viaducts integrated into the terrain. The mainentrance to the park has a buildings on each side, intended as a porter’s lodge and an office, and the site issurrounded by a stone and glazed-ceramic wall. These entrance buildings are an example of Gaudí at the height ofhis powers, with Catalan vaults that form a parabolic hyperboloid.[116] Having passed through the gate, there aresteps leading to higher levels, decorated with sculpted fountains, notably the dragon fountain, which has become asymbol of the park and one of Gaudí’s most recognised emblems. These steps lead to the Hypostyle Hall, which wasto have been the residents’ market, constructed with large Doric columns. Above this chamber is a large plaza in theform of a Greek theatre, with the famous undulating bench covered in broken ceramics ("trencadís"), the work ofJosep Maria Jujol.[117] The park’s show home, the work of Francesc Berenguer, was Gaudí’s residence from 1906 to1926, and currently houses the Casa-Museu Gaudí.

Antoni Gaudí 26

The Resurrection of Jesus, First Mystery of the Rosary ofMontserrat.

During this period Gaudí contributed to a groupproject, the Rosary of Montserrat (1900–1916).Located on the way to the Holy Cave of Montserrat, itwas a series of groups of sculptures that evoked themysteries of the Virgin, who tells the rosary. Thisproject involved the best architects and sculptors of theera, and is a curious example of Catalan Modernism.Gaudí designed the First Mystery of Glory, whichrepresents the Holy Sepulcher, with a statue of ChristRisen, the work of Josep Llimona, and the Three Maryssculpted by Dionís Renart. Another monumentalproject designed by Gaudí for Montserrat was nevercarried out: it would have included crowning thesummit of El Cavall Bernat (one of the mountainpeaks) with a viewpoint in the shape of a royal crown,

incorporating a 20 m high Catalan coat of arms into the wall.[118]

In 1901 Gaudí decorated the house of Isabel Güell López, Marchioness of Castelldosrius, and daughter of EusebiGüell. Situated at 19 Carrer Junta de Comerç, the house had been built in 1885 and renovated between 1901 and1904; it was destroyed by a bomb during the Civil War.[119] The following year Gaudí took part in the decoration ofthe Bar Torino, property of Flaminio Mezzalana, located at 18 Passeig de Gràcia; Gaudí designed the ornamentationof el Salón Árabe of that establishment, made with varnished Arabian-style cardboard tiles (which no longer exist).A project of great interest to Gaudí was the restoration of the Cathedral of Santa Maria in Palma de Mallorca(1903–1914), commissioned by the city’s bishop, Pere Campins i Barceló. Gaudí planned a series of works includingremoving the baroque altarpiece, revealing the bishop's throne, moving the choir-stalls from the centre of the naveand placing them in the presbytery, clearing the way through chapel of the Holy Trinity, placing new pulpits, fittingthe cathedral with electrical lighting, uncovering the Gothic windows of the Royal Chapel and filling them withstained glass, placing a large canopy above the main altar and completing the decoration with paintings. This wascoordinated by Joan Rubió i Bellver, Gaudí’s assistant. Josep Maria Jujol and the painters Joaquín Torres García, IuPascual and Jaume Llongueras were also involved. Gaudí abandoned the project in 1914 due to disagreements withthe Cathedral chapter.[120]

Antoni Gaudí 27

Casa Batlló.

One of Gaudí’s largest and most striking works is the Casa Batlló(1904–1906). Commissioned by Josep Batlló i Casanovas torenovate an existing building erected in 1875 by Emili SalaCortés,[121] Gaudí focused on the façade, the main floor, the patioand the roof, and built a fifth floor for the staff. For this project hewas assisted by his aides Domènec Sugrañes, Joan Rubió andJosep Canaleta. The façade is of Montjuïc sandstone cut to createwarped ruled surfaces; the columns are bone shaped withvegetable decoration. Gaudí kept the rectangular shape of the oldbuilding’s balconies—with iron railings in the shape ofmasks—giving the rest of the façade an ascending undulatingform. He also faced the facade with ceramic fragments of variouscolours ("trencadís"), which Gaudí obtained from the wastematerial of the Pelegrí glass works. The interior courtyard isroofed by a skylight supported by an iron structure in the shape ofa double T, which rests on a series of catenary aches. Thehelicoidal chimneys are a notable feature of the roof, topped withconical caps, covered in clear glass in the centre and ceramics atthe top, and surmounted by clear glass balls filled with sand ofdifferent colours. The façade culminates in catenary vaults covered with two layers of brick and faced with glazedceramic tiles in the form of scales (in shades of yellow, green and blue), which resemble a dragon’s back; on the leftside is a cylindrical turret with anagrams of Jesus, Mary and Joseph, and with Gaudi’s four-armed cross.[122]

In 1904, commissioned by the painter Lluís Graner i Arrufí, he designed the decoration of the Sala Mercè, in theRambla dels Estudis, one of the first cinemas in Barcelona; the theatre imitated a cave, inspired by the Coves del delDrac (Dragon's Caves) in Mallorca. Also for Graner he designed a detached house in the Bonanova district ofBarcelona, of which only the foundations and the main gate were built, with three openings: for people, vehicles andbirds; the building wold have had a structure similar to the Casa Batlló or the porter's lodge of the Parc Güell.[123]

El chalet de Catllaràs (1905), in La Pobla de Lillet.

The same year he built a workshop, the Taller Badia,for Josep and Lluís Badia Miarnau, blacksmiths whoworked for Gaudí on several of his works, such as theBatlló and Milà houses, the Parc Güell and and theSagrada Família; located at 278 Carrer Nàpols, it was asimple stone building. Around that time he alsodesigned hexagonal hydraulic floor tiles for the CasaBatlló, they were eventually not used at this locationbut were used for the Casa Milà; they were a greencolour and were decorated with seaweed, shells andstarfish. These tiles were subsequently chosen to paveBarcelona’s Passeig de Gràcia.[124]

Also in 1904 he built the Chalet de Catllaràs, in LaPobla de Lillet, for the Asland cement factory, owned by Eusebi Güell. It has a simple structure though very original,in the shape of a pointed arch, with two semi-circular flights of stairs leading to the top two floors. This building fellinto ruin when the cement works closed, and when it was eventually restored its appearance was radically altered,the ingenious original staircase being replaced with a simpler metal one. In the same area he created the Can Artigas

Antoni Gaudí 28

Gardens between 1905 and 1907, in an area called Font de la Magnesia, commissioned by the textile merchant JoanArtigas i Alart; men who had worked the Parc Güell were also involved on this project, similar to the famous park inBarcelona.[125]

Jardines de Can Artigas, in La Pobla de Lillet.

In 1906 he designed a bridge over the Torrent dePomeret, between Sarrià and Sant Gervasi. This riverflowed directly between two of Gaudí’s works,Bellesguard and the Chalet Graner, and so he wasasked to bridge the divide. Gaudí designed aninteresting structure composed of juxtapositionedtriangles that would support the bridge’s framework,following the style of the viaducts that he made for theParc Güell. It would have been built with cement, andwould have had a length of 154m and a height of 15m;the balustrade would have been covered with glazedtiles, with an inscription dedicated to Santa Eulàlia. Theproject was not approved by the Town Council ofSarrià.[126]

The same year Gaudí apparently took part in the construction of the Torre Damià Mateu, in Llinars del Vallès, incollaboration with his disciple Francesc Berenguer, though the project’s authorship is not clear or to what extent theyeach contributed to it. The style of the building evokes Gaudí’s early work, such as the Casa Vicens or the GüellPavilions; it had an entrance gate in the shape of a fishing net, currently installed in the Parc Güell. The building wasdemolished in 1939.[127] Also in 1906 he designed a new banner, this time for the Guild of Metalworkers andBlacksmiths for the Corpus Christi procession of 1910, in Barcelona Cathedral. It was dark green in colour, withBarcelona’s coat of arms in the upper left corner, and an image of Saint Eligius, patron of the guild, with typical toolsof the trade. The banner was burned in July 1936.[128]

Casa Milà.

Another of Gaudí’s major projects and oneof his most admired works is the Casa Milà,better known as La Pedrera (1906–1910),commissioned by Pere Milà i Camps. Gaudídesigned the house around two large curvedcourtyards, with a structure of stone, brickand cast-iron columns steel beams. Thewhole façade is built of limestone fromVilafranca del Penedès, apart from the upperlevel, which is covered in white tiles,evoking a snowy mountain. It has a total offive floors, plus a loft—made entirely ofcatenary arches—and the roof, as well astwo large interior courtyards, one circularand one oval. Notable features are thestaircases to the roof, topped with the four-armed cross, and the chimneys, covered in ceramics and with shapes thatsuggest mediaeval helmets. The interior decoration was carried out by Josep Maria Jujol and the painters Iu Pascual,Xavier Nogués and Aleix Clapés. The façade was to have been completed with a stone, metal and glass sculpturewith Our lady of the Rosary accompanied by the archangels Michael and Gabriel, 4m in height. A sketch was madeby the sculptor Carles Mani, but due to the events of the Tragic Week in 1909 the project was abandoned.[129]

Antoni Gaudí 29

Sketch of the Hotel Atracción, by JoanMatamala.

In 1907, to mark the seventh centenary of the birth of king James I, Gaudídesigned a monument in his memory. It would have been situated in the Plaçadel Rei, and would have also meant the renovation of the adjacent buildings:new roof for the cathedral, as well as the completion of its towers and cupola;placement of three vases above the buttresses of the Chapel of Santa Àgada,dedicated to the Litany of the Blessed Virgin Mary, as well as the figure of anangel on top of the chapel's tower; finally, the opening of a large square nextto the walls (now the Plaça Ramon Berenguer el Grand). The project was notexecuted because the city council disliked it.[130]

In 1908 Gaudí devised a project for a skyscraper hotel in New York, theHotel Atraction, commissioned by two American entrepreneurs whose namesare unknown. It would have been 360m high (taller than the Empire StateBuilding), with a taller parabolic central section, topped with a star, andflanked by four volumes containing museums, art galleries and concert halls,with shapes similar to the Casa Milà. Inside it would have had five largerooms, one dedicated to every continent.[131] [132]

Original design of the church for theColònia Güell.

The last project for his great patron Eusebi Güell was the church for theColònia Güell, an industrial village in Santa Coloma de Cervelló, of whichonly the crypt was constructed (known today as Crypt of the Colònia Güell)(1908–1918). The project began in 1890, and the factory, service buildingsand housing for the workers were constructed. What would have been thecolony’s church was designed by Gaudí in 1898, though the first stone wasnot laid until 4 October 1908. Unfortunately only the crypt was built, asGüell’s sons abandoned the project after his death in 1918. Gaudí designed anoval church with five aisles, one central aisle and two at either side. Heconceived it as fully integrated into nature, reflecting his concept ofarchitecture as organic structure. A porch of hyperbolic paraboloid vaultsprecedes the crypt, the first time that Gaudí used this structure and the firstuse of paraboloid vaults in the history of architecture.[133] In the crypt thelarge hyperboloid stained glass windows stand out, with the shapes of flowerpetals and butterfly wings. Inside, circular brick pillars alternate with slantedbasalt columns from Castellfollit de la Roca.

Antoni Gaudí 30

Final period: the culmination of his style

Sagrada Familia schools.

During the last years of his career, dedicatedalmost exclusively to la Sagrada Família,Gaudí reached the culmination of thisnaturalistic style, creating a synthesis of allof the solutions and styles he had tried untilthen. Gaudí achieved perfect harmonybetween structural and ornamental elements,between plastic and aesthetic, betweenfunction and form, between container andcontent, achieving the integration of all artsin one structured, logical work.[134]

The first example of his final stage can beseen in a simple but very ingenious building,the Sagrada Família schools, a small schoolfor the workers’ children. Built in 1909, ithas a rectangular ground plan of 10m x20m, and contained three classrooms, a vestibule and a chapel. It was built of exposed brick, in three overlappinglayers, following the traditional Catalan method. The walls and roof have an undulating shape, giving the structure asense of lightness but also strength. The Sagrada Família schools have set an example of constructive genius andhave served as a source of inspiration for many architects, such is their simplicity, strength, originality, functionalityand geometric excellence.[135]

In May 1910 Gaudí paid a short visit to Vic, where he was tasked to design the lampposts for the city’s Plaça Major,in commemoration of the first centenary of the birth of Jaume Balmes. They were obelisk-shaped lamps, with basaltrock bases from Castellfollit de la Roca and wrought iron arms, topped with the four-armed cross; they weredecorated with vegetable themes and included the birth and death dates of Balmes. They were demolished in 1924due to poor maintenance.[136]

The same year, on the occasion of Eusebi Güell's obtaining the title of count, Gaudí designed a coat of arms for hisgreat patron: he devised a shield with the lower part in a catenary shape, typical of Gaudí; he divided it into two partswith the lantern of the Palau Güell, placing a dove with a gear-wheel on the right—an allusion to the Colònia Güellin Santa Coloma de Cervelló (coloma is Catalan for dove), with the words ahir pastor (yesterday Shepherd), and onthe left an owl perched on a half-moon—symbol of prudence and wisdom—with the words avuy senyor (todayLord). The shield is surmounted by a helmet with the count's coronet and the dove symbol of the Holy Spirit.[137]

In 1912 he built two pulpits for the church of Santa Maria in Blanes: the one on the Gospel side had a hexagonalbase, decorated with the dove of the Holy Spirit and the names in Latin of the four evangelists and the seven Gifts ofthe Holy Spirit; the pulpit of the Epistle side had the names of the apostles who wrote epistles (Saint Peter, SaintPaul, Saint John the Evengelist, Saint Judas Thadeus and Saint James the Great), with the three theological virtuesand the flames of Pentecost. These pulpits were burned in July 1936.[138]

Antoni Gaudí 31

Templo Expiatorio de la Sagrada Familia.

From 1915 Gaudí devoted himself almost exclusivelyto his magnum opus, the Sagrada Família, a synthesisof his architectural evolution. After completion of thecrypt and the apse, still in Gothic style, the rest of thechurch is conceived in an organic style, imitatingnatural shapes with their abundance of ruled surfaces.The interior is intended to resemble a forest, withinclined columns like branching trees, helicoidal inform, creating a simple but sturdy structure. Gaudíapplied all of his previous experimental findings in theSagrada Família, from works such as the Parc Güelland the crypt of the Colònia Güell, creating a churchthat is at once structurally perfect, harmonious andaesthetically satisfying.

The Sagrada Família has a cruciform plan, with afive-aisled nave, a transept of three aisles, and an apsewith seven chapels. It has three façades dedicated to thebirth, passion and glory of Jesus, and when completedit will have eighteen towers: four at each side making atotal of twelve for the apostles, four on the transeptinvoking the evangelists and one on the apse dedicatedto the Virgin, plus the central tower in honour of Jesus,which will reach 170m in height.[139] The church will have two sacristies adjacent to the apse, and three largechapels: one for the Assumption in the apse, and the Baptism and Penitence chapels at the west end; also, it will besurrounded by a cloister designed for processions and to isolate the building from the exterior. Gaudí used highlysymbolic content in the Sagrada Família, both in architecture and sculpture, dedicating each part of the church to areligious theme. During Gaudí’s life only the crypt, apse and part of the Nativity façade were completed. On thisdeath his assistant took over the construction, Domènec Sugrañes; thereafter it was directed by various architects,with Jordi Bonet i Armengol being responsible from 1987. Artists such as Llorenç and Joan Matamala, Carles Mani,Jaume Busquets, Joaquim Ros i Bofarull, Etsuro Sotoo and Josep Maria Subirachs (creator of the Passion façade)have worked on the sculptural decoration.

During the last years of his life, apart from his devotion to the Sagrada Família, Gaudí participated only in minorprojects which were not completed: in 1916, on the death of his friend bishop Josep Torras i Bages, he designed amonument in his honour, which he wanted to place in front of the Passion façade of the Sagrada Família. He made asketch of the project, which ultimately was not carried out, and made a plaster bust of the bishop, the work of JoanMatamala under the instruction of Gaudí; it was put in the Sagrada Família–it would have formed part of thechurch–but was destroyed in 1936.[140] Another commemorative monument project, also not carried out, wasdedicated to Enric Prat de la Riba, which would have been situated in Castellterçol, birthplace of this Catalanpolitician. The project dates from 1918, and would have consisted of a tall tower with two porticos and a spiretopped with an iron structure flying the Catalan flag. The sketch of the project was done by Lluís Bonet i Garí,Gaudí’s assistant.[141]

In 1922 Gaudí was commissioned, by the Franciscan Padre Angélico Aranda, to construct a church dedicated to the Assumption in Rancagua (Chile).[142] Gaudí apologised and said that he was occupied exclusively with the Sagrada Família, but sent some sketches of the Assumption chapel which he had designed for the apse of the Sagrada Família, which more or less coincided with what Padre Aranda had asked for. Unfortunately this project was not carried out, though there are currently plans to take it up again—by the Chilean architect Christian Matzner—and to

Antoni Gaudí 32

finally construct a work designed by Gaudí on the New Continent.[143]

The same year Gaudí was consulted about the construction of a monumental train station for Barcelona (the futureEstació de França). Gaudí suggested an iron structure in the form of a large suspended awning, a solution quite aheadof its time; perhaps for this reason, it put the head engineers off, and they declined Gaudí’s offer. The last knownprojects by the architect are the chapel for the Colónia Calvet in Torelló, of 1923, and a pulpit for Valencia (the exactlocation is unknown), of 1924. From then on, Gaudí worked exclusively on the Sagrada Família, until the fateful dayof the accident which caused his death.

Major works

Work Dates Location

Cooperativa Obrera Mataronense 1878–1882 Mataró

El Capricho 1883–1885 Comillas

Casa Vicens 1883–1888 Barcelona

Sagrada Família 1883–1926 Barcelona

Güell Pavilions 1884–1887 Barcelona

Palau Güell 1886–1890 Barcelona

Colegio de las Teresianas 1888–1889 Barcelona

Episcopal Palace of Astorga 1889–1915 Astorga

Casa Botines 1891–1894 León

Bodegas Güell 1895–1897 Sitges

Casa Calvet 1898–1900 Barcelona

Bellesguard 1900–1909 Barcelona

Parc Güell 1900–1914 Barcelona

Casa Batlló 1904–1906 Barcelona

Artigas Gardens 1905–1906 La Pobla de Lillet

Casa Milà 1906–1910 Barcelona

Church of Colònia Güell 1908–1915 Colònia Güell (Santa Coloma de Cervelló)

World HeritageSeveral of Gaudi’s works have been granted World Heritage status by UNESCO: in 1984[144] the Parc Güell, thePalau Güell and the Casa Milà; and in 2005[145] the Nativity façade, the crypt and the apse of the Sagrada Família,the Casa Vicens and the Casa Batlló in Barcelona, together with the crypt of the Colònia Güell in Santa Coloma deCervelló.The declaration of Gaudí’s works as World Heritage aims to recognise his outstanding universal value. According tothe citation:[146]

• The work of Antoni Gaudí represents an exceptional and outstanding creative contribution to the development ofarchitecture and building technology in the late 19th and early 20th centuries.

• Gaudí’s work exhibits an important interchange of values closely associated with the cultural and artistic currentsof his time, as represented in el Modernisme [sic] of Catalonia. It anticipated and influenced many of the formsand techniques that were relevant to the development of modern construction in the 20th century.

Antoni Gaudí 33

• Gaudí’s work represents a series of outstanding examples of the building typology in the architecture of the early20th century, residential as well as public, to the development of which he made a significant and creativecontribution.

References

Footnotes[1] See, in Catalan, Juan Bergós Massó, Gaudí, l'home i la obra ("Gaudí: The Man and his Work"), Universitat Politècnica de Barcelona (Càtedra

Gaudí), 1974 – ISBN 84-600-6248-1, section "Naixament" (Birth), pp. 17–18.[2] "Biography at Gaudí and Barcelona Club, page 1" (http:/ / www. gaudiclub. com/ ingles/ i_vida/ i_vida. asp). . Retrieved 2005-11-05.[3] There is a certain controversy about whether he was born in Reus or Riudoms, a place near Reus where his paternal family was from.

However, most specialists tend towards Reus: “Gaudí was born in Carrer Sant Joan, close to the Plaça Prim in Reus, according to mostversions (…) Nonetheless, Gaudí later on mischievously left these doors open when suggesting he might have been born in his father’sworkshop, just across the municipal border of Riudoms.” Gijs Van Hensbergen, Antoni Gaudí, p. 33-35.

[4] Eduardo Daniel Quiroga y Eduardo Alberto Salomón. "Gaudí: Mecánica y forma de la naturaleza" (http:/ / www. arquitectuba. com. ar/monografias-de-arquitectura/ gaudi-mecanica-y-forma-de-la-naturaleza/ ). . Retrieved 29-08-2008.

[5] I. Álvarez Torres. "La Sagrada Familia de Barcelona ultima los preparativos para su apertura al culto" (http:/ / www. lavozdigital. es/ cadiz/prensa/ 20070102/ cultura/ sagrada-familia-barcelona-ultima_20070102. html). . Retrieved 03-08-2008.

[6] Tremlett, Giles (11 July 2003). "God's architect on road to sainthood" (http:/ / www. guardian. co. uk/ world/ 2003/ jul/ 11/ arts. spain).guardian.co.uk. . Retrieved 21 April 2011.

[7] ""God's architect" on the path to sainthood" (http:/ / www. timesonline. co. uk/ tol/ comment/ faith/ article6909659. ece). timesonline.co.uk. 9November 2009. . Retrieved 20 April 2011.

[8] Klettner, Andrea (4 November 2010). "Pope's visit could fast-track Gaudi sainthood" (http:/ / www. bdonline. co. uk/ news/popes-visit-could-fast-track-gaudi-sainthood/ 5008461. article). bdonline.co.uk. . Retrieved 21 April 2011.

[9] Joan Castellar-Gassol, Gaudí, la vida d'un visionari, p. 13.[10] Until 1915, Gaudí indicated in all his identity documents Reus as his birthplace, but from then on he declared himself Riudoms-born. The

reason for this could be that he was upset about his restoration project for the Misericordia sanctuary of Reus being rejected. Joan Bassegoda,El gran Gaudí, p. 552.

[11] Ana Mª Férrin, Gaudí, de piedra y fuego, p. 61.[12] Joan Bassegoda, El gran Gaudí, p. 26.[13] Joan Bergós, Gaudí, l'home i l'obra, p. 31.[14] Gijs Van Hensbergen, Antoni Gaudí, p. 36.[15] Frommer's Barcelona, 2nd Edition. Peter Stone (2007). ISBN 978-0-470-09692-5[16] History of Vegetarianism - Antoni Gaudi (1852-1926) (http:/ / www. ivu. org/ history/ europe20a/ gaudi. html)[17] Gijs Van Hensbergen, Antoni Gaudí, p. 162.[18] Joan Castellar-Gassol, Gaudí, la vida d'un visionari, p. 95.[19] Josep M. Tarragona. "El Arlequín" (http:/ / www. antonigaudi. org/ antonigaudi. php?idioma=Esp& menu=200& mostrar=200& opcion=1).

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php?id_nota=22062007173805). . Retrieved 03-08-2008.[24] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 36.[25] Josep M. Tarragona, Gaudí, biografia de l’artista, p. 11.[26] Josep M. Tarragona, Gaudí, biografia de l’artista, p. 22.[27] Mª Antonietta Crippa, Gaudí, p. 92.[28] Santi Barjau. "El complejo mundo de un creador obstinado" (http:/ / www. bcn. es/ publicacions/ b_mm/ ebmm58/ bmm58_qc28. htm). .

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Antoni Gaudí 34

[37] Jordi Bonet, L'últim Gaudí, p.21.[38] "Gaudí: El arquitecto de Dios" (http:/ / www. aciprensa. com/ arte/ gaudi/ gaudi. htm). . Retrieved 03-08-2008.[39] Josep M. Tarragona, Gaudí, biografia de l’artista, p. 164.[40] "El gran amor inalcanzado de Gaudí" (http:/ / www. ctv. es/ USERS/ ags/ Pepeta_Moreu. htm). . Retrieved 03-08-2008.[41] "Amigos de Gaudí" (http:/ / www. gaudiallgaudi. com/ EA002 G Amics. htm). . Retrieved 03-08-2008.[42] Rainer Zerbst, Antoni Gaudí, p. 13.[43] Joan Bassegoda, El gran Gaudí, p. 29.[44] Josep M. Tarragona, Gaudí, biografia de l’artista, p. 240.[45] Gijs Van Hensbergen, Antoni Gaudí, p. 304-305.[46] Ana Mª Férrin, Gaudí, de piedra y fuego , p. 415.[47] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 263.[48] Isidre Puig i Boada, El temple de la Sagrada Família, p.18.[49] Joan Bergós, Gaudí, l'home i l'obra, p. 9.[50] Joan Bassegoda. "Antoni Gaudí Cornet (1852-1926)" (http:/ / cvc. cervantes. es/ actcult/ gaudi/ bassegoda. htm). . Retrieved 03-08-2008.[51] "Beatificación de Gaudí" (http:/ / www. ctv. es/ USERS/ ags/ Gaudi-SF. htm). . Retrieved 03-08-2008.[52] "El Musical de Gaudí" (http:/ / www. ctv. es/ USERS/ ags/ Gaudi-SF. htm). . Retrieved 03-08-2008.[53] "Nacen los Premios Gaudí, que librará anualmente la Academia del Cine Catalán" (http:/ / www. cultura21. cat/ textecomplet.

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htm). . Retrieved 03-08-2008.[71] Ana Mª Férrin, Gaudí, la huella del genio, p. 74.[72] Joan Bassegoda, El gran Gaudí, p. 12.[73] Joan Bergós, Gaudí, l'home i l'obra, p. 40.[74] Mª José Gómez Gimeno, La Sagrada Familia, p.76-77.[75] "El mobiliario de Gaudí" (http:/ / www. gaudiclub. com/ esp/ e_vida/ mobiliario. asp). . Retrieved 03-08-2008.[76] Daniel Giralt-Miracle, Art, oficis i disseny en Gaudí, en Gaudí 2002. Misceŀlània, p. 250.[77] Joan Bergós, Gaudí, l'home i l'obra , p. 51-68.[78] Joan Bergós, Gaudí, l'home i l'obra , p. 51.[79] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 24-29.[80] Joan Bassegoda, El gran Gaudí, p. 111.[81] Joan Bassegoda, El gran Gaudí, p. 129.[82] Joan Bassegoda, El gran Gaudí, p. 119.[83] Carlos Flores, Les lliçons de Gaudí, p. 26.[84] Joan Bassegoda, El gran Gaudí, p. 139.[85] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 57.[86] Joan Bassegoda, El gran Gaudí, p. 156.[87] Joan Bassegoda, El gran Gaudí, p. 161.[88] Joan Bassegoda, El gran Gaudí, p. 181.[89] Gijs Van Hensbergen, Antoni Gaudí, p. 93.[90] Joan Bassegoda, El gran Gaudí, p. 183.[91] Joan Bassegoda, El gran Gaudí, p. 187-194.[92] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p.113.

Antoni Gaudí 35

[93] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p.117.[94] Joan Bergós, Gaudí, l'home i l'obra , p. 52.[95] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 107.[96] Mª Antonietta Crippa, Gaudí, p. 15.[97] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 125-126.[98] Joan Bassegoda, El gran Gaudí, p. 281.[99] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 128.[100] Joan Bassegoda, El gran Gaudí, p. 290.[101] Joan Bassegoda, El gran Gaudí, p. 313.[102] Joan Bergós, Gaudí, l'home i l'obra , p. 56.[103] Mª Antonietta Crippa, Gaudí, p. 33.[104] Rainer Zerbst, Antoni Gaudí, p. 94.[105] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 150.[106] Mª Antonietta Crippa, Gaudí, p. 37.[107] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 155.[108] Joan Bassegoda, El gran Gaudí, p. 333.[109] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 165.[110] Mª Antonietta Crippa, Gaudí, p. 49.[111] Joan Bergós, Gaudí, l'home i l'obra , p. 60.[112] Ana Mª Férrin, Gaudí, de piedra y fuego, p. 241.[113] Joan Bassegoda, El gran Gaudí, p. 375.[114] Gijs Van Hensbergen, Antoni Gaudí, p. 272.[115] Joan Bassegoda, El gran Gaudí, p. 425.[116] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 176.[117] Rainer Zerbst, Antoni Gaudí, p. 150.[118] Joan Bergós, Gaudí, l'home i l'obra, p. 79.[119] Joan Bassegoda, El gran Gaudí, p. 435.[120] Rainer Zerbst, Antoni Gaudí, p. 221.[121] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 184.[122] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 187.[123] Joan Bassegoda, El gran Gaudí, p. 471.[124] Rossend Casanova, Gaudí i els seus coŀlaboradors: artistes i industrials a l’entorn del 1900, in Gaudí 2002. Misceŀlània, p. 271.[125] Joan Bassegoda, El gran Gaudí, p. 469.[126] Joan Bassegoda, Gaudí o espacio, luz y equilibrio, p. 214.[127] Joan Bassegoda, El gran Gaudí, p. 507.[128] Joan Bassegoda, El gran Gaudí, p. 509.[129] Ana Mª Férrin, Gaudí, de piedra y fuego, p. 296.[130] Joan Bassegoda, El gran Gaudí, p. 529.[131] Joan Bassegoda, El gran Gaudí, p. 531.[132] Javi Peláez, «El proyecto de hotel gigante de Gaudí en Nueva York (1908)» (http:/ / aldea-irreductible. blogspot. com/ 2009/ 07/

el-proyecto-de-hotel-gigante-de-gaudi. html), La aldea irreductible, viernes, 24 de julio de 2009. Consultado 24-7-2009.[133] Joan Bassegoda, El gran Gaudí, p. 370.[134] Joan Bergós, Gaudí, l'home i l'obra , p. 68.[135] Mª Antonietta Crippa, Gaudí, p. 79.[136] Joan Bassegoda, El gran Gaudí, p. 555.[137] Joan Bergós, Gaudí, l'home i l'obra , p. 49.[138] Joan Bassegoda, El gran Gaudí, p. 495.[139] Rainer Zerbst, Antoni Gaudí, p. 198.[140] Joan Bassegoda, El gran Gaudí, p. 563.[141] Joan Bassegoda, El gran Gaudí, p. 565.[142] Joan Bassegoda, El gran Gaudí, p. 581.[143] Ana Mª Férrin, Gaudí, la huella del genio, p. 47.[144] "Sesión 8 del Comité del Patrimonio de la Humanidad de la UNESCO" (http:/ / whc. unesco. org/ archive/ repcom84. htm#320). .

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Antoni Gaudí 36

Bibliography• Cèsar Martinell - Antoni Gaudí, Barcelona, 1975 (English edition).• Frederike Müller, Lars Wendt: The Architect Antoni Gaudí. Myth and Reality, DVD 70 mins., wendtfilm & Ciné

Canard, Germany 2006• Rainer Zerbst - Antoni Gaudí, Taschen, 2002.

External links• Gallery of Gaudi's works (http:/ / itiscreation. com/ 2010/ 08/ 25/ antoni-gaudi/ )• Casa Batlló (http:/ / www. casabatllo. es/ ) (multilingual; requires Adobe Flash)• Sagrada Família (http:/ / www. sagradafamilia. org/ ) (multilingual)• La Pedrera (http:/ / www. lapedreraeducacio. org/ ) (multilingual; requires Adobe Flash)• Other Gaudi works (http:/ / www. gaudisagradafamilia. com/ lesser-known-gaudi-works/ )• Gaudi: Designer (http:/ / www. gaudidesigner. com/ uk/ index. html) (English), (French), (Spanish)

• Hyperboloid structures by Gaudí (http:/ / www. business. otago. ac. nz/ SIRC05/ conferences/ 2001/ 05_burry.pdf)PDF (420 KB)

• Antoni Plàcid Gaudí i Cornet (http:/ / en. structurae. de/ persons/ data/ index. cfm?ID=d000014) information atStructurae

• Antoni Gaudí (http:/ / www. dmoz. org/ Arts/ Architecture/ History/ Architects/ G/ Gaudí,_Antoni/ / ) at theOpen Directory Project

• Antoni Gaudí i Cornet (http:/ / www. gaudiallgaudi. com/ AA002. htm)• Gaudí's arrest (http:/ / webs. racocatala. cat/ cat1714/ d/ gaudi. pdf)PDF (142 KB) (Catalan)

• Guell Palace Site (http:/ / www. palauguell. cat) (multilingual)• Church of Colònia Güell virtual visit (http:/ / guell. vrama. net) (multilingual; requires Adobe Flash)• Gaudí Tours (http:/ / www. barcelonaguidebureau. com/ index. php) (English)

• Gaudí Center Reus (http:/ / www. gaudicentre. cat/ eng/ index. html)• Gaudi and Mallorca's Cathedral (http:/ / www. northsouthguides. com/ mallorca_cathedral. html)

Article Sources and Contributors 37

Article Sources and ContributorsAntoni Gaudí  Source: http://en.wikipedia.org/w/index.php?oldid=426787068  Contributors: -xox-goodey-xox-, 0, 1984, 205.188.199.xxx, 21655, 24.45.94.xxx, 777sms, 842U, A-research, A.Parrot, ABF, AMe, Abeg92, Absecon 59, Absolwent, Academic Challenger, Acroterion, AdeMiami, Adleos, Adrian.benko, AdrianCo, Aecis, Aeusoes1, Afernand74, Ahoerstemeier, Aitias,Aka042, Akacharlie, Al-bayda, Alansohn, Ale jrb, AlexanderWinston, Alexkin, Alfadog, Algebra, Alsandro, AmiDaniel, Amorymeltzer, Anacon, Anderitos135, Andonic, Andre Engels,Andrewpmk, Andycjp, Andytuba, Anetode, Anna Lincoln, AnonMoos, Anticipation of a New Lover's Arrival, The, Apocock, ArchMaps, Ard1037, Arnoutf, Arthena, Asasa64, Ashitaka96,Attilios, AuburnPilot, Aude, Auric, B.murph27, Baiji, Barnabypage, Basuraeuropea, Ben-Zin, Bettia, Bhadani, Big Bird, BillFlis, Biruitorul, Bjankuloski06en, Bjones, Bkenison, BlueDevil,Bobo192, Boehm, Bongwarrior, Bookofjude, BorgHunter, Bradv, Brazzouk, Bren Cook, Brian R Hunter, Bricktop, Bronyraur1970, Browno10177, Bryan Derksen, Buck Mulligan, Burntsauce,Buxbaum666, CPAScott, Cailil, Calor, Caltas, Can't sleep, clown will eat me, CapitalR, Capricorn42, Captain Infinity, Casaforra, Casmith 789, Caspian blue, Catgut, CharlieCLC, Cheesus01,Cherry blossom tree, CheshireKatz, Chick Bowen, Claidheamhmor, Clubmarx, Cnoguera, Cobaltcigs, Conversion script, Conversum, Conversum1, Corti, Crackpotmark, DARTH SIDIOUS 2,DVD R W, DVdm, Da monster under your bed, Dale Arnett, Dan D. Ric, Daniel Godfrey, Dannyc77, Dark Mage, Darth Panda, Dave souza, DeadEyeArrow, Debresser, Demolater, Deon, DerGolem, DerHexer, Dezignr, Difu Wu, Digital seed, Diliff, Discospinster, DocWatson42, Docboat, Doctor Sunshine, Doczilla, Dogears, Dom Kaos, Donreed, Downwards, Dpol, Dr.simmer,Drpickem, DrunkenIrishPerson, Drunt, Dwayne, Dysprosia, Dúnadan, E0steven, Ebz123, Edward, El C, ElAmericano, Elassint, Elekhh, Elizium23, EoGuy, Epbr123, Epolk, Eric-Wester, Ericdn,Error, Esrever, EstherLois, Etrigan, Everyking, Evlekis, Excirial, Fabrictramp, Falcon8765, Fconaway, Ferdinand Pienaar, Fleonés, Floridianed, Fobizan, FocalPoint, Foryouon, Francis Davey,Francis Schonken, Frankenpuppy, Fred Bradstadt, Friviere, Fvw, Fyyer, Fæ, G.-M. Cupertino, Gabriel Knight, Gabriel Vidal, Gadfium, Gaius Cornelius, Galaxiaad, Gaudi, Gershwinrb, Gilliam,Gimboid13, Glen, Glenfarclas, GoingBatty, Goudzovski, Gracefool, GraemeL, Graham87, Grammarmonger, GregorB, Greswik, Grim1978, Groovereviewer, Grstain, Gscshoyru, Gurch, HJMitchell, Haakon, Hadal, Hans Dunkelberg, Harland1, Hatmatbbat10, Hbent, Hede2000, Hemmer, Henry Flower, Heron, HexaChord, Hqb, Hristo.Hr, Husond, Hydrogen Iodide, I386freak,IanOfNorwich, Icairns, Icarusgeek, Indi94, Indon, Infrogmation, Inklingcd, Inmikey, Intelligentsium, Inter, Interwiki de, Iridescent, Ixfd64, J. Van Meter, J.delanoy, JDCMAN, JForget, JNW, JVSmithy, JaGa, JackSparrow Ninja, Jackol, James Russiello, JamesBWatson, Jaraalbe, Jaume87, JavierMC, Jcrook1987, Jebba, Jengod, Jennavecia, Jeronimo, Jhendin, Jhop12, JimVC3, Jmabel,Jo9100, Joan sense nick, Joao Xavier, Joaquin008, Joey80, John Carter, John Vandenberg, John254, JordeeBec, Jordi G, Jordiferrer, Jorunn, Jrcla2, Jsc83, Jsharpminor, Juliancolton, Jullag,Jumbuck, Jusdafax, Jyril, KRS, Kaldosh, Kaleal92, Karenjc, Karljoos, Kcowolf, Keffykefka, Ketchzhang, KevinClayton, Khukri, Kingpin13, KirbyMaster14, Kiril Simeonovski, KlemenKocjancic, Kman543210, Kneiphof, KnowledgeOfSelf, Knulclunk, Koyaanis Qatsi, Krawi, Krich, Kurrop, Kvetsh, Kw8609, Kwamikagami, Kymacpherson, La Fuente, Lambiam, Latka,Leafyplant, LeaveSleaves, Lee M, Lentower, Lethesl, Liamb1936, Liamcommunis, Lifebaka, Lightmouse, Ligulem, LilHelpa, Living001, Llull, Lockley, Lolageitswrong, Look2See1,Loren.wilton, Lotje, Lugnuts, Luis Gueilburt, Luna Imper, Luna Santin, Lupo, MER-C, MSGJ, Maddie!, Madhero88, Magioladitis, Maksim L., Marco Neves, Marek69, Marianocecowski,Marquess, MartinDK, Mary Read, Matthew Yeager, Maurice27, Mawfive, Max Walter, Maxim, Maxis ftw, Mcginnly, Mdebets, Megaman670, Menchi, Mentifisto, Mephistophelian,Merovingian, Metagross, Mezod, Miguel303xm, Mike Rosoft, Minna Sora no Shita, Miquonranger03, Misarxist, MiuratheMaia, Mld, Modernist, Momirt, Monegasque, Montrealais, Mormegil,Mrbowtie, Mrmople, Mrwojo, Mveers, N5iln, Nasnema, Nathan.tang, NawlinWiki, Neddyseagoon, Neelix, Netalarm, Netoholic, Neurolysis, Newschoolr, Nioger, No Guru, NoIdeaNick, Ntsimp,Od Mishehu, Olivier, OrangeDog, Oscarthecat, Otolemur crassicaudatus, OverlordQ, Owen, Oxymoron83, PGSable, Pacotookmytaco, Papa November, Pascotimes, Paul August, Pb30, Pbosque,PeaceNT, Pedro, Perique des Palottes, Persian Poet Gal, Pharaoh of the Wizards, Philip Trueman, Phyllis1753, Piano non troppo, Picapica, Pol098, Polylerus, Possum, Ppntori, Prashanthns,Proofreader77, Pyrotec, Quantumobserver, Quibik, Qwertyman, Qwertyuioplkjhgfdsa123, Qxz, R, R. S. Shaw, Racefrontman, Rajah, Ranjithsutari, RaseaC, Raven in Orbit, Raymond Cruise,Raymondwinn, RazorICE, Red Winged Duck, Red58bill, RedWolf, Remstar, Rentzepopoulos, RexNL, Rgamble, Rich Farmbrough, Ricky81682, Ridernyc, Risker, Rjm at sleepers, Rjwilmsi,RlemBCN, Rmosler2100, RobCatalà, RobertG, Rocky1294, RodC, Rodhullandemu, Rrburke, Runnerupnj, SMP, Saragata, Sarno carlo, Sarranduin, Schaengel89, Schizodelight, Schumi555,SchuminWeb, Scott Paeth, ScottSteiner, Seaphoto, Seb az86556, Seba5618, Shaggorama, Shawn in Montreal, Shizhao, Shortyx13, SimonP, Sionus, Sjbodell, Sjc, Sky Attacker, Skyring, SlipperySnake, Slon02, Sluzzelin, Snigbrook, Snowdog, Snowolf, Solipsist, Someguy1221, Sonia, Spark, Sparkit, Spartan-James, StanfordProgrammer, Stanley Jacobsen, Stevecull, Steven Forth,Stevo1000, Stijn Calle, Studerby, Stumps, Suicidalhamster, Sunja, SuperHamster, Superm401, Syniq, Tacoman117, Tacoman118, Targetter, Teledyn, Teles, Tempodivalse, Texture, TheRationalist, The Thing That Should Not Be, The very model of a minor general, The wub, TheThingy, Themanyear1000, Theodolite, Thingg, Thunderbird2, ThuranX, Tide rolls, Timberframe,Timotab, Tokerdesigner, Tomer T, Tommy2010, Tomwiki123, Tosca, Tpbradbury, Train2104, Trev M, Trevor MacInnis, Trialsanderrors, Triona, Tschild, TutterMouse, Ubergeekguy, Uhanu,Ultratomio, Unitanode, Utcursch, Varlaam, Vary, Versus22, Vrenator, Waggers, Weasel, Webhat, Wee Jimmy, Weetoddid, West.andrew.g, Wiikid, Wikcerize, Wikipelli, Wilfredo Sánchez,Wilinckx, William Avery, Wipe, Wna, Wolfdog, Woodshed, Woohookitty, Woot007, Wotnow, Xavexgoem, Xiglofre, Xtv, Xufanc, Yamanbaiia, Yepyepyepuhhuhuhhuh, Yossiea, ZacBowling,Zachishappy117, Zarboki, Zeddy, ZhuangYiding, Zidonuke, ZooFari, Zzuuzz, Александър, 1951 anonymous edits

Image Sources, Licenses and ContributorsFile:Antoni Gaudi 1878.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Antoni_Gaudi_1878.jpg  License: Public Domain  Contributors: Docu, LupoFile:Mas calderera.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mas_calderera.jpg  License: unknown  Contributors: Jordi G, 3 anonymous editsFile:Gaudí en Montserrat (1904).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí_en_Montserrat_(1904).jpg  License: Public Domain  Contributors: 1997, Canaan, Docu, 3anonymous editsFile:Gaudí i Güell a la Colònia Güell (1910).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí_i_Güell_a_la_Colònia_Güell_(1910).jpg  License: Public Domain  Contributors:Canaan, Docu, Granotabellugadissa, Jordi Roqué, 1 anonymous editsFile:Carnet Gaudí (1888).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Carnet_Gaudí_(1888).jpg  License: Public Domain  Contributors: Canaan, DocuFile:Joan Llimona - San Felipe Neri en la consagración de la Santa Misa.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Joan_Llimona_-_San_Felipe_Neri_en_la_consagración_de_la_Santa_Misa.jpg  License: Public Domain  Contributors: Canaan, Zarateman, 1anonymous editsFile:Gaudí (1910).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí_(1910).jpg  License: Public Domain  Contributors: Canaan, DocuFile:Gaudí-Ragonesi (1915).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí-Ragonesi_(1915).jpg  License: Public Domain  Contributors: Canaan, Docu, 2 anonymous editsFile:Gaudí en procesión Corpus Christi.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí_en_procesión_Corpus_Christi.jpg  License: Public Domain  Contributors: Canaan,Docu, Granotabellugadissa, 2 anonymous editsFile:Funeral Gaudí.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Funeral_Gaudí.jpg  License: Public Domain  Contributors: 1997, Canaan, 2 anonymous editsFile:Subirachs - Gaudí.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Subirachs_-_Gaudí.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Matamala - Gaudí.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Matamala_-_Gaudí.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Cruz cuatro brazos.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Cruz_cuatro_brazos.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Reptil Parc Guell Barcelona.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Reptil_Parc_Guell_Barcelona.jpg  License: Creative Commons Attribution-Sharealike 2.0 Contributors: Ardfern, Baikonur, Cookie, Docu, Friviere, Sparkit, 3 anonymous editsFile:SF - interior.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:SF_-_interior.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Sagrada Familia Interior.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sagrada_Familia_Interior.jpg  License: Free Art License  Contributors: User:Heimo66File:Maqueta funicular.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Maqueta_funicular.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Finca Guell.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Finca_Guell.jpg  License: GNU Free Documentation License  Contributors: 555-Nase, Friviere,Gepardenforellenfischer, WstFile:Gaudí-Orfeó (1922).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí-Orfeó_(1922).jpg  License: Public Domain  Contributors: Antoni GaudíFile:Interior Casa Vicens.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Interior_Casa_Vicens.jpg  License: Public Domain  Contributors: 1997, Canaan, Docu, 1 anonymous editsFile:Sagrada Familia (maqueta).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sagrada_Familia_(maqueta).jpg  License: Public Domain  Contributors: Canaan, Jordiferrer,Zarateman, 2 anonymous editsFile:Puerta cementerio (1875).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Puerta_cementerio_(1875).jpg  License: Public Domain  Contributors: Antoni GaudíFile:Embarcadero.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Embarcadero.jpg  License: Public Domain  Contributors: Antoni GaudíFile:Fuente Plaza Cataluña.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Fuente_Plaza_Cataluña.jpg  License: Public Domain  Contributors: Antoni GaudíFile:Paraninfo.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Paraninfo.jpg  License: Public Domain  Contributors: Antoni GaudíFile:Plaça Reial02.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Plaça_Reial02.jpg  License: GNU Free Documentation License  Contributors: User:Canaan

Image Sources, Licenses and Contributors 38

File:Kiosco Girossi.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kiosco_Girossi.jpg  License: Public Domain  Contributors: Antoni GaudíFile:Vitrina Comella.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Vitrina_Comella.jpg  License: Public Domain  Contributors: Canaan, 1 anonymous editsFile:Farmacia Gibert.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Farmacia_Gibert.jpg  License: Public Domain  Contributors: Canaan, Granotabellugadissa, 2 anonymous editsFile:Gaudí- Martorell- Catedral BCN (1887).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí-_Martorell-_Catedral_BCN_(1887).jpg  License: Public Domain  Contributors:Antoni GaudíFile:Vicens03.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Vicens03.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:El Capricho JPG.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:El_Capricho_JPG.jpg  License: GNU Free Documentation License  Contributors: 555-Nase, Balbo, Jordiferrer,Tony Rotondas, 2 anonymous editsFile:Pavellons Güell01.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pavellons_Güell01.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Palau Güell - Forjats entrada.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Palau_Güell_-_Forjats_entrada.JPG  License: Creative Commons Attribution-Sharealike 3.0 Contributors: Josep RenaliasFile:Trasatlántica (1888).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Trasatlántica_(1888).jpg  License: Public Domain  Contributors: Amadalvarez, Canaan, XufancFile:Teresianas01.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Teresianas01.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Palacio episcopal de Astorga.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Palacio_episcopal_de_Astorga.JPG  License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:LironcaretoFile:Casabotines1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Casabotines1.jpg  License: Public Domain  Contributors: User:DantaddFile:Misiones Franciscanas (Tánger).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Misiones_Franciscanas_(Tánger).jpg  License: GNU Free Documentation License Contributors: User:CanaanFile:Celler Güell01.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Celler_Güell01.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Bellesguard04.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bellesguard04.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Casa Calvet.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Casa_Calvet.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Porta Miralles.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Porta_Miralles.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Park Güell - Pabellones.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Park_Güell_-_Pabellones.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Gaudí-Rosario Monumental de Montserrat.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gaudí-Rosario_Monumental_de_Montserrat.jpg  License: GNU FreeDocumentation License  Contributors: User:CanaanFile:Casabatllo2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Casabatllo2.jpg  License: GNU Free Documentation License  Contributors: User:RapomonFile:Chalet Catllaràs (1905)B2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Chalet_Catllaràs_(1905)B2.jpg  License: Public Domain  Contributors: AnRo0002, Canaan,Granotabellugadissa, Jordiferrer, 1 anonymous editsFile:Lillet21.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Lillet21.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:Casa mila ag1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Casa_mila_ag1.jpg  License: unknown  Contributors: Docu, Friviere, LovelessFile:Hotel Attraction.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hotel_Attraction.jpg  License: Public Domain  Contributors: Antoni Gaudí i Cornet (1852-1926)File:Proyecto original Colonia Güell.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Proyecto_original_Colonia_Güell.jpg  License: Public Domain  Contributors: Canaan, JordiRoqué, Wolfgang-WienFile:SF - Escuelas.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:SF_-_Escuelas.jpg  License: GNU Free Documentation License  Contributors: User:CanaanFile:SF - lago.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:SF_-_lago.jpg  License: GNU Free Documentation License  Contributors: User:Canaan

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