2. the nineteenth century search for a style
suited to the new age
rational
incorporating new structural forms
nationalistic
emphasising colour & texture
naturalistic
non-historical
3.
4. Spanish Catalonia and
Catalan nationalism
ancient links with French Catalonia
and Mediterranean trade
distinct Catalan dialect
separate laws and tribunals until c
1830
industrially advanced
lamp post bearing the Catalan emblem
near the zoological Museum, Barcelona, probably from
the exhibition of 1888
Miles Lewis
5. Josep [José] Puig i Cadafalch
(1867-1967)
Catalan nationalist
President of the Mancomuinitat
discoverer of the Premier Art Roman
author of L'Art Wisigothique
Casa Amatller, 41 Paseo del Gracia, by Puig
i Cadafalch, 1900
Miles Lewis
6. Casa Amatller, 41 Paseo del Gracia, by Josep [José] Puig i Cadafalch, 1900
Casa Batlló, 43 Paseo del Gracia, the remodelling of an existing building, by Gaudi, 1905-7
Miles Lewis
7. Casa Batlló , 43 Paseo del Gracia, the remodelling of an existing
building, by Gaudi, 1905-7
Casa Milá, 92 Paseo del Gracia, by Gaudi, 1905-10
DIPPSA slides
8. Lluis Domènech i Montaner
(1850-1923)
Catalan nationalist
President of the Unió Catalana
(or Catalan Union) in 1892
author of 'En busca de una
arquitectura nacional' - 'In
search of a national
architecture'
Portrait of Domenech
Oriel Bohigas, 'Luis Domènech', in
Nikolaus Pevsner & J M Richards
[eds], The Anti-Rationalists (London
1973), p 71
9. Hospital of S Pau [Hopital de la Santa Creu i de Sant Pau], 167-173 Avinguda de
Sant Antoni Maria Claret, Barcelona, by Domènech, 1902-12: entrance pavilion
Miles Lewis
10. Hospital of S Pau, detail of a lamp on the staircase; interior of the library
Bohigas, 'Luis Domènech', pp 76, 77
11. Antonio Gaudi
(1852-1926)
Catalan nationalist
son of a coppersmith
worked for José Fontseré
[Josep Fontserè i Mestre]
and Juan Martorell
influenced by Viollet-le-Duc
Gaudi: photo in 1878
Rainer Zerbst, Gaudí (Cologne 1988), p 12
12. monumental cascade in the Parque de la Ciudedela [Parc de la Ciutadella], by
Fontseré and Gaudi, 1877-82
DIPPSA slide
13. draft designs for the Societat Obrera Mataronese, by Gaudi, 1878
Zerbst, Gaudí, pp 18-19
14. warehouse of the
Societat Obrera
Mataronese, by
Gaudi, 1878
half section, showing the
vertically laminated
parabolic arch
J J Sweeney & J L Sert, Antoni
Gaudí (London 1970 [c 1960]),
p6
17. Güell gatehouse
detail of finial
detail of dragon gate
Miles Lewis
MUAS19,744
18. Palacio Güell [Palau Güell, 345 Carrer Nou de la Rambla, Barcelona, 1885-9
cutaway isometric view and cross-section
G R Collins, 'Antonio Gaudí y Cornet', in A K Placzek [ed], Macmillan Encylopedia of Architects (4 vols, New York 1982), II, 173
Sweeney & Sert, Antonio Gaudi, p 61
19. Palacio Güell
the façade
detail of the entrance
gates.
Miles Lewis
Montaner, Barcelona, p 78
20. Palacio Güell
detail of metalwork,
executed by Joan Oños
Miles Lewis
21. Palacio Güell
the cellars
G R Collins, Antonio Gaudí
(New York 1960), pl 38
22. Palacio Güell, ceiling of living area, on the piano nobile
Collins, Antonio Gaudi, pl 38
23. Palacio Güell
interior of the main salon, and view of the dome
Collins, Antonio Gaudi, pl 34
Montaner, Barcelona, p 85
24. Palacio Güell: metalwork decoration in a bedroom; dressing table
anonymous; Collins, Antonio Gaudi, pl 101
44. Casa Milá
the balconies
view & detail showing
the glass tile floor
MUAS19,746, 13,352
45. Casa Milá, staircase in the larger light well &
detail of column head (inset)
Miles Lewis; Michel Tapié, Gaudí - La Pedrera (Barcelona 1971), pl 62
51. Cripta de la Colonia
Güell [Colonia Güell
Chapel], 1898-1915
inverted photo of a model
showing sheet calculations for
the external surfaces
Collins, Antonio Gaudí, pl 6
52. Colonia Güell
Chapel
proposed exterior
design based on a
photo of the model
Zerbst, Gaudí, p 109
53. Colonia Güell Chapel, crypt plan & proposed church interior
Collins, Antonio Gaudí, pls 24, 61
54. Colonia Güell
Chapel
view of the crypt
Perucho, An
Architecture of
Anticipation, pl 13
56. Colonia Güell
Chapel
the windows
Sweeney & Sert,
Antonio Gaudi,
pl 115
57. Colonia Güell Chapel
view and detail of the entry porch below the stair
Sert, Cripta de la Colonia Güell, pl 38.
Collins, Antonio Gaudí, pl 5
58. Colonia Güell Chapel
windows
view of stair
Collins, Antonio Gaudí, pl 5; MUAS 13,341; J L Sert, Cripta
de la Colonia Güell de A. Gaudí (Barcelona, no date [1960s]),
pl 41; MUAS 19,727
59. Parque Güell [Parc Güell], 1903-1930, plan
Sweeney & Sert, Antonio Gaudi, pl 144
66. Parque Güell, market hall
interior view & detail of ceiling
Zerbst, Gaudí, p 149
Montaner, Barcelona, p 155
67. Parque Güell
market hall
ceiling detail
Le Corbusier, p 55
68. Parque Güell
side view of the
market hall/orchestra
detail of the bench
DIPPSA 39
Miles Lewis
69. Parque Güell
orchestra bench
details
Perucho, An Architecture of
Anticipation,pls 66, 73, 77
Le Corbusier, Gaudi, p 59
70. Parque Güell
walkway on top of the viaduct
detail of a column head retaining
wall at the back of the theatre
S13,921
Perucho, An Architecture of Anticipation, pl 92
Miles Lewis
90. GAUDI’S DECLINING YEARS
gradual withrawal from secular work
1904-14 replanning the Cathedral of Palma de Mallorca
1910 exhibition of the Societé des Beaux-Arts, Paris
1914 death of Francesc Berenguer
1918 death of Eusebio Guell
public taste turns away from the modernismo
funds run out for the Sagrada Familia
Gaudi lives as a recluse
1926 Gaudi dies
91. Sagrada Familia
perspective view of the design as
intended at the time of Gaudi’s
death, 1926
Collins, 'Antonio Gaudí y Cornet', p 179
92. Sagrada Familia
the inside wall of the south transept
Miles Lewis
David Mackay, 'Berenguer', in Pevsner & Richards, The Anti-
Rationalists, p 68
94. Sagrada Familia
the final design
model & section
Collins, Antonio Gaudí, pl 24
Sweeney & Sert, Antonio Gaudi, pl 101
95. THREE POINTS
ABOUT GAUDI
nineteenth century
approach
creativity
rational
medievalism
Antonio Gaudi in the Corpus Christi
procession, Barcelona, 1924
Sweeney & Sert, Antonio Gaudi, pl 124
96. 1
GAUDI’S NINETEENTH CENTURY APPROACH
stylistic eclecticism
bold use of colour and texture
nationalism
naturalism
influenced by the standard nineteenth century writers, probably
Ruskin and Morris, and certainly Viollet-le-Duc
97. 2
GAUDI’S CREATIVITY
historical sources are transfused with a new life
colour and texture exceed that of Butterfield &c
nationalism goes beyond the Catalan Gothic Revival
naturalism - evokes fundamental biological structures and
geological forms
98. 3
RATIONAL MEDIEVALISM
Viollet wanted a Gothic architecture designed as he thought
medieval designers WOULD have done if they had iron
Gaudi did NOT use structural iron, steel or reinforced
concrete
Gaudi used traditional brick and stonemasonry, and board
vaults
Gaudi designed as medieval designers COULD have done if
they had used angled struts, parabolic arches and warped
surfaces
