The Sagrada Familia: A Testament to Gaudí’s Architectural Genius
Gaudí not only acting as a designer, but was the true master of the works planned and executed it absolutely everything (including thistle, sculptures and even furniture) and lives in the work itself and almost obsessed by it.
Gaud’s repertoire is very broad in Catalonia and beyond, but certainly his most spectacular achievement and the monumental unfinished
Sagrada Familia in Barcelona.
The Sagrada Familia is a temple whose construction initiated Jose Maria Bocabella as promoter and F. Paula Villar as an architect, who started the project in 1866. Notwithstanding the differences with the board members leads to Villar’s resignation, being designated A. Gaudi for the completion of the building after 1886. Since then the temple designed by Gaudi is slow and deliberate and sometimes suffers stoppages because economic problems. In 1926, Gaudí’s death (hit by a tram) is a disappointment to the constructive process, which will be compounded by Civil War, which among other things involves the destruction of part of the finished work and the models made by the author. Beginning in 1948 takes up work on the temple, with equal parsimony and slowly advance to today, when the temple still has many areas to complete. In fact 76 to 19 definitely not finished with all the passion facade towers, performing in recent years turning over the vaults of the aisles, the transept and apse. Still, as long as it keeps pace with construction of recent years is not expected that the Holy Family can be completed before 2030.
It’s a really great temple from your project, Gaudí himself said that “it is not possible to finish the temple to a single generation-let as a strong example of our footprint, that future generations feel the encouragement of the rest and not Atem us for the rest of the work. “
Its structure, reading from a conventional plant would include a basilica in a Latin cross, with four aisles and a more central. The cruise, in turn consists of three naves, presenting in his arms two portals: the facades of the nativity and the passion that complement the main entrance to the entrance of the nave, which is known as a front of glory, not yet complete. But this description must be added the series of technical inputs and decorative features of the actor, especially a unique and original. So no lack of organic touch to the point that the church can actually be viewed as a magical forest of trees and foliage that emerge as light for the believer helical towers of the temple, which in turn appear or sand sculptures giant logs drilled by termite nests. The formal elements that Gaudí used to shape the exercise of unsurpassed ingenuity are equally innovative and designed for the occasion: the capitals plants, bent and helical pillars, vaults paraboloids, creating all sort of shapes resembling a lattice of bones. Windows, circular windows, tracery and other decorative motifs are also an absolute fantasy whimsical design and not missing as in all his work a varied range of material: in this case Murano glass, ceramics, tiles, etc. ..
The temple also consists of a cloister, also original, this surrounds the temple and acts as a space which isolates it from the outside. At the height of the apse in the cloister will open the chapel of the Assumption of the Virgin and on each side of it a sacristy. Also, the sides of the main facade has yet to build a baptistery to her left and right paths chapels dedicated to the Eucharist and penance.
The project also envisages the construction of twelve bell towers (one for each apostle), four more for the evangelists, one dedicated to the Virgin and most important, 170 m, height crowned with the typical cost four arms designed by Gaudí, symbol of Jesus Christ.
These towers have parabolic profile inside a spiral staircase around an area where you have to place the tubular bells, Gaudí studied for years and that will sound compressed air and percussion.
Clearly the deep Christian symbolism that the entire building and its contribution is complemented by sculpture.
Thus, all ornamental program follows a cycle of strong iconographic Christian content and supplemented with mixed religious issues. No details are missing purely organismic, like many lizards around the walls and towers throughout the temple, if not, mathematical games, as in the facade of the passion in which is inscribed in a square, 16 figures that allow 310 different combinations always sum 33: the age of Jesus at the time of his death.
As in the great projects of the Middle Ages, the Holy Family is a mammoth work, if just on schedule, to have cost over a century and a half. Only data and warns that the monumentality and grandeur of this unique and extraordinary work.
Gaudí not only acting as a designer, but was the true master of the works planned and executed it absolutely everything (including thistle, sculptures and even furniture) and lives in the work itself and almost obsessed by it.
Gaud’s repertoire is very broad in Catalonia and beyond, but certainly his most spectacular achievement and the monumental unfinished Sagrada Familia in Barcelona.
The Sagrada Familia is a temple whose construction initiated Jose Maria Bocabella as promoter and F. Paula Villar as an architect, who started the project in 1866. Notwithstanding the differences with the board members leads to Villar’s resignation, being designated A. Gaudi for the completion of the building after 1886. Since then the temple designed by Gaudi is slow and deliberate and sometimes suffers stoppages because economic problems. In 1926, Gaudí’s death (hit by a tram) is a disappointment to the constructive process, which will be compounded by Civil War, which among other things involves the destruction of part of the finished work and the models made by the author. Beginning in 1948 takes up work on the temple, with equal parsimony and slowly advance to today, when the temple still has many areas to complete. In fact 76 to 19 definitely not finished with all the passion facade towers, performing in recent years turning over the vaults of the aisles, the transept and apse. Still, as long as it keeps pace with construction of recent years is not expected that the Holy Family can be completed before 2030.
It’s a really great temple from your project, Gaudí himself said that “it is not possible to finish the temple to a single generation-let as a strong example of our footprint, that future generations feel the encouragement of the rest and not Atem us for the rest of the work. “
Its structure, reading from a conventional plant would include a basilica in a Latin cross, with four aisles and a more central.The cruise, in turn consists of three naves, presenting in his arms two frames: the facades of the nativity and the passion that complement the main entrance at the entrance to the nave, which is known as a front of glory, not yet complete. But this description must be added the number of technical inputs and decorative features of the actor, especially a unique and original. So no lack of organic touch to the point that the church can actually be viewed as a magical forest of trees and foliage that emerge as light for the believer helical towers of the temple, which in turn look like sculptures of sand or giant logs drilled by termite nests. The formal elements that Gaudí used to shape the exercise of unsurpassed ingenuity are equally innovative and designed for the occasion: the capitals plants, bent and helical pillars, vaults paraboloids, creating all sort of shapes that resemble a lattice of bones. Windows, portholes, and other decorative traceries are also a whimsical design of complete fantasy, and not missing as in all his work a varied range of material: in this case Murano glass, ceramics, tiles, etc. ..
The temple also consists of a cloister, also original, this surrounds the temple and acts as a space which isolates it from the outside. At the height of the apse in the cloister will open the chapel of the Assumption of the Virgin and on each side of it a sacristy. Also, the sides of the main facade has yet to build a baptistery to her left and right paths chapels dedicated to the Eucharist and penance.
The project also envisages the construction of twelve bell towers (one for each apostle), four more for the evangelists, one dedicated to the Virgin and most important, 170 m, height crowned with the typical cost four arms designed by Gaudí, symbol of Jesus Christ.
These towers have parabolic profile inside a spiral staircase around an area where you have to place the tubular bells, Gaudí studied for years and that will sound compressed air and percussion.
Clearly the deep Christian symbolism that the entire building and its contribution is complemented by sculpture. Thus, all ornamental program follows a cycle of strong iconographic Christian content and supplemented with mixed religious issues. No details are missing purely organismic, like many lizards around the walls and towers throughout the temple, if not, mathematical games, as in the facade of the passion in which is inscribed in a square, 16 figures that allow 310 different combinations always sum 33: the age of Jesus at the time of his death.
As in the great projects of the Middle Ages, the Holy Family is a mammoth work, if just on schedule, to have cost over a century and a half. Only data and warns that the monumentality and grandeur of this unique and extraordinary work.
We are faced with the image of the Temple of the Sagrada Familia Expiatorio Barcelona is a complex work in the same plastic Gaudí. Enciera whole gaudiano evolutionary process of modernism, from which in 1884 took charge of the works, and raised in the Gothic style by architect Francisco de Paula del Villar. The current problem of the unfinished temple lies in the debate about whether it is legitimate artistic finishing a work to which only the teacher could have made an end, especially that involves constant evolution and that was cut with Gaudí’s death in 1926, or one must complete the temple, which is the ultimate goal, Gaudí arisen before and was designed by the teacher as a medieval building, because I knew I could never see it finished.The crypt, apse and complete the Nativity façade is what we term Gaudí. On the structural basis of the four towers, finished in crosses aimed at the four cardinal points, as he did the architect, articulates a complicated program where the word is attached to the sculpture and color to achieve organic union, natural, and therefore living, nature and artifice, in order to praise God made Man.
Speaking of Modernism in architecture is a term that usually talk about the overlap of Art Nouveau artistic criterion dog. A style, which is a very wide artistic phenomenon that can not be confined just to architecture.
Arguably, this is a decorative style, based on a curvaceous beauty, lush, colorful, floral, which somehow was both a style and fashion. In a word, an art of design.
So it is a total art that the specific area of architecture calls for the collaboration of mosaítas, glaziers, carpenters and sculptors. Even assumed that the architects associated with this movement, as Gaudí, Doménech i Montaner, Guimard, Van de Velde or Mackintosh not only project their buildings, but also designed the decorative elements fixed to the furniture of the houses built.
In any case, designed their buildings just as housing or intended to use the purely practical, but they understand as Magna artistic achievements in which plastic creations all designed by them and carried out by other specialists, are integrated into the whole.
It arises from a fanciful architecture, decorative intent, fond of ornaments based on organic motifs, especially floral and sometimes zoomorphic colorful exuberance, broke with the traditional and customary laws, and no doubt a huge imagination. Therefore, we can say that architectural design is dematerialized, overlapping and marginalizing their own architectural structures.
An architecture that seeks pleasure also provides integration of beauty and wellbeing. And all through the joint where the prevailing sense of taste and harmony, based on light ornaments, delicate and unstable, and does not reject the technical innovations of the century, but incorporates them into his repertoire, for example the frequent use made of iron. However, it brings a new sensibility, subtle and precious, which gets reconciling these innovations of the time with the traditional values of architecture and folk art.
The most notorious example of this movement in regard to architecture unique is the figure of Antonio Gaudí (1852-Barcelona Reus 1926), undoubtedly the most representative of modernist architecture in Spain and one of the great modern masters worldwide. Yet there Gaudí not be linked exclusively to the movement. Gaudí was much more than a modernist, was an architect of genius, full of magic, able to mix with a creative sense elements of different origin. Ahead of his time is seemingly irrational forms, so he was criticized sharply in his time, eventually had to be regarded the forerunner of organic architecture, and their works are reproduced in imaginary animals often organic U-General, is camouflaged in an appearance that mimics nature, if they are added directly reliefs and sculptures of plants and animals. His ability to match the architectural model to convert imagination dictated his works, in a display of sculpture. Equally original plants and the solution of their supports and casings that are resolved with formal elements novel also uses different materials to complement the stone, like Iron and ceramic.