Gaudi bcon 1

Antoni Gaudí Antoni Gaudi was born1852
Adolescence. The
awakening of a genius
1867
He moves to Barcelona
to study Architecture
1868
He completes his
architecture studies
1878
A decisive meeting :
Eusebi Guell
1878
A major exhibition
in Paris
1910
Was knocked down
by tram
1926
Antoni Gaudi
died
1926
International Year
of Gaudi
2002
Born in 1852 in Riudoms or Reus, Antoni Gaudi
was a Spanish modeler from Catalonia. He is the
best known professional of Catalan Modernism.
Gaudí's works have an exceedingly individual-
ized, and stand-out style. Most are situated in
Barcelona, including his fundamental work,
the congregation of the Sagrada Família.
Gaudí's work was affected by his interests
throughout everyday life: engineering, nature,
and religion. Gaudí once in a while drew point by
point designs of his works, rather liking to make
them as three-dimensional scale models and trim
the subtle elements as he imagined them. Nick-
named "God's Architect" the same number of
religious pictures show up in huge numbers of his
fills in as his Roman Catholic confidence escalat-
ed amid his life.
After 1910, Gaudí deserted almost all other work
to center around the Sagrada Familia, which he
had started in 1883, sequestering himself on
location and living in its workshop. On 7 June
1926, Gaudí was taking his day by day stroll to
the Sant Felip Neri church for his constant petition
and admission. While strolling along the avenues,
he was struck by a cable car
INRTRODUCTION

1 . Gaudí's was exceptionally inventive
regarding his investigations of structure,
seeking through an assortment of pro-
vincial styles previously seizing on the
allegorical, hyperbolic, and catenary
brick work shapes and slanted seg-
ments that he created through weighted
models in his workshop. These are
frequently incorporated with character-
istic and exceedingly emblematic
religious symbolism that encrust the
structure with energetic, vivid surfaces.
2 . Gaudí's work is the most creative,
brave, and showy of Catalan Modern-
isme (the Catalan strand of Art Nou-
veau) originators, however it isn't
strange of the development all in all.
3 . Gaudí's work is profoundly close to
home, to some extent because of his
sincere Catholicism, a confidence that
expanded intense as his profession
advanced. To some extent along these
lines, his work contains numerous refer-
ences to religious topics.
4 . Gaudí regularly teamed up with a
few other Catalan creators, industrial-
ists, specialists, and experts on his
undertakings, most unmistakably Josep
María Jujol, who was frequently in
charge of the broken tilework (tren-
cadís) that is basic to quite a bit of
Gaudí's structures. This clarifies why
Gaudí's structures frequently highlight
such a wide assortment of materials,
utilized in innovative and shrewd ways.
KEY IDEAS OF GAUDI’S WORK
INRTRODUCTION

CASABATLLO
Casa Batllo, like the Crypt in Colonia Guell, the Park Güell,
Milà House, the Calvet House and the restoration of the
Cathedral of Palma de Mallorca, belongs to the naturalistic
stage, during which the architect perfected his style staff,
inspired by the organic forms of nature, for which imple-
mented a series of new originated structural solutions in the
deep analyzes carried out by Gaudí of regulated geometry.
The local name for Casa Batlló is Casa dels ossos (House of
Bones), as it has a visceral, skeletal organic quality. Like
everything Gaudí designed, it is only identifiable as Mod-
ernisme or Art Nouveau in the broadest sense.
At present, Casa Batlló is a UNESCO World Heritage site
and an icon in Barcelona, a must see for those who want to
discover Gaudí’s work and modernism at its finest. It is also
one of the most highly rated cultural and tourist attractions,
welcoming 1 million visitors every year.
Casa Batlló is a proclamation of joy, a canvas of marine
inspiration, a dream world that evokes nature and fantasy.
Its facade is the doorway to this symbolic universe, filling the
beholder with feelings that are set against a backdrop of
continuous dialogue with light and colour. Casa Batlló was
a symbolic variation on the legend of the patron saint of
Catalonia, St. George. The scaly facade is the body of the
serpent, the balconies gaping with the holes are the eye
sockets, the skulls of its victims, and the tower, the spear of
the serpent, is pierced by a cross topped with a blue glazed
tile (the spine of a monster) in the sun.
Casa Batlló
Casa Batlló is a building in
the center of Barcelona.Casa
Batlló is located on the Pas-
seig de Gràcia, which is one
of Barcelona's most famous
streets because of its vibrant
shopping scene
The original building1877
Josep Batllo buys
the building
1903
The one he selected
was Antoni Gaudi
1904
Josep Batllo died1934
Chamartin animation
studios settle in Casa Batllo
1941
Seguros Iberia acquired
Casa Batllo
1954
Main facade and building
well restoration
2000
Preparations for opening
to the public
2001
Cultural visits to the
Noble Floor
2002
Historical Timeline
Building Overview

CASABATLLO
The construction of Casa Batlló marked a new milestone in the work of Antonio Gaudi: he com-
pletely departed from the well-known styles at that time and began to exclusively follow his archi-
tectural decisions. To construct the building, he involved many workers, who often did not under-
stand Gaudi's vision so he had to explain the meaning of each element.
Architect’s philosophy
Features of Casa Batlló
Gaudí made sure that anyone walking
through Casa Batlló would not feel too
far from the water. His oceanic palette
and fluid frameworks in wood and tile
englobe the visitor into a sea-like prome-
nade without turbulent waves but with a
rippling serenity. The ground floor, in
particular, is rather astonishing with trac-
ery, irregular oval windows and flowing
sculpted stone work. The ceilings of the
house continue with organic forms that
evoke the undulating movement of the
sea, including a striking swirl made with
esparto.
One of the best characteristic of the
building would be the symbolism at the
top of the structure, which includes a
tower crowned by a cross, studded with
the tiled monograms of Jesus, Mary and
Joseph of the Holy Family in the Chris-
tian tradition. This turret rises from an
undulating roof covered in iridescent
tiles. It is said that the form of the turret is
supposed to resemble the hilt of the
sword of St. George, the patron saint of
Catalonia, whose blade is piercing the
skin of the dragon that he slays. In this
way, the building indicates the deeply
personal nature of the design, reflecting
both Gaudí's regionalism and his mind-
fulness of Catholicism.
The facade has three distinct sections which are
harmoniously integrated. The lower ground floor
with the main floor and two first-floor galleries are
contained in a structure of Montjuïc sandstone with
undulating lines. The central part, which reaches
the last floor, is a multicolored section with protrud-
ing balconies. The top of the building is a crown,
like a huge gable, which is at the same level as the
roof and helps to conceal the room where there
used to be water tanks. There are 2 main motifs of
the walls:
The facade resembles water, in which a stone was
thrown, showing a reference to the painting Monet
"Pond with water lilies". Ceramic circles and mul-
ti-coloured glass shards change the colour of the
facade, when they are illuminated by the morning
sun, shimmering with all the colors of the rainbow.
Gaudi personally watched the work and indicated
where and what colour to sculpt. On the facade
there are no straight lines.
Exterior Facade

CASABATLLO
Materials and construction method
For the facade, Gaudí modernist building
elements typically used as ceramics, glass,
stone and wrought iron with an extraordinary
result. Gaudi was a pragmatist - for the recon-
struction of Casa Batllo, he often used con-
struction debris from other objects of the city
and thus saved materials.
Facade
Trencadís is a type of mosaic used predomi-
nantly by Catalan Modernists. What sets this
mosaic apart is that the pieces are purposely
broken, rather than precise and complete.
Gaudi covered the Casa Batllo in trencadis
and ceramic pieces. This material Gaudi took
as construction debris from other construction
sites or new tiles were broken and then work-
ers selected different pieces, collecting them
as a puzzle to create the effect of nature and
harmony. The ground floor, the main floor,
and the two first floors are contained in a
structure of Montjuic sandstone with undulat-
ing and rippling lines. Above the central part
of the facade is an iron balcony. Two iron
arms near the balcony were installed to sup-
port a pulley for getting furniture into the
building.
The facade of the main floor is made in
sandstone entirely. It is supported by two
columns. The main floor contains joinery
stained glass windows. Six fine columns can
be found in front of the joinery windows. The
loft of the building is unusual, containing
over 60 catenary arches. Gaudi liked the
aesthetic of the broken masonry, although it
was broken on accident while transporting
the materials. Gaudi asked that the pieces be
stuck with lime mortar to the structure. It was
held in place with a brass ring.
Close Up Of Facade.
Details of trencadís at Casa Batllo.

CASABATLLO
Spaces
The Loft
The loft is one of the most unique spaces, and is a delightful combination of aesthetics and
functionality. It was formerly a service area for the tenants of the building and housed laundry
rooms, storage areas, etc.
It is characterised by the simplicity of its shapes, its Mediterranean influence through the use of
the colour white, and its all-pervading light. It contains a series of sixty catenary arches of Cata-
lan bricks that creates a space which represents the ribcage of an animal. Some people believe
that the “ribcage” design of the arches is a ribcage for the dragon’s spine that is represented in
the roof.
The staircase that connects this space with the terrace is a robust iron spiral staircase. Gaudí
wrought iron took advantage not only as an aesthetic and ornamental feature, but also as
structural reinforcement.
Attic stairs to roof.There are more than 60 parabolic arches in the loft area.
Construction details
The parabola is a curve created when a double cone slice at an angle. There are other definitions of the
parabola, but the definitions of the parabola as a conic section is the easiest to visualize. Gaudi used the
parabolic arch to great effect. One of the first times he used the parabolic arch was in his design of the Palau
Guell in Barcelona. The entrance gates are in the shape of parabolic arches.
Parabola Hyperbola Catenary archesParabolic cross section of a cone.
The prototype of which Gaudi took from the whale's ribs. Thus, the pressure is uniformly distributed throughout the roof and visually
increases the space.
Spatial experience

CASABATLLO
Spaces
The Patio
The central patio well of Casa Batlló
The patio of lights is a fundamental part of the house, as it distributes the air and light that
enter through the main skylight. Gaudí extended the patio (there was one and he included a
second) to ensure that natural light would reach all of the rooms of the house. He also deco-
rated it with tiles of different blue tones (with more intense colour in the upper part and lighter
tiles at the bottom) in order to ensure the uniform distribution of the light.
Following this same logic, the upper windows are smaller and they become bigger as we
descend (allowing more light to enter). The lower windows have wooden slits which can be
opened or closed for ventilation control.
Gaudí installed the lift in the centre of the patio of lights. Its beautiful original wooden lift car is
still in use today.
The whole yard is covered with ceramic embossed on, more intense at the top and lighter at
the bottom blues, achieving a uniform distribution of light. Ceramic tiles that is exposed to sun-
light will not lose their colour or began to fade. Due to this property, it helps to ensure that it
will remain in original condition for their entire lifetime.
Ceramic tile is made from natural clay, sand and water. These materials are molded to form
square or rectangular tiles and then baked in a kiln to remove most of the moisture. The tiles
are arranged in an orderly and repetitive manner throughout the walls of the atrium. They have
a hard protective top layer that makes the tiles impervious to water and most stains, making
them naturally resistant to the ravages of high humidity conditions.
Materials
Close up details of the blue tiles.

CASABATLLO
Spaces
The Noble Floor
Large windows in the noble floor of the Casa Batlló.
The noble floor is larger than seven-hundred square meters. It is the main floor of the building.
The noble floor is accessed through a private entrance hall that utilizes skylights resembling
tortoise shells and vaulted walls in curving shapes. On the noble floor, there is a spacious landing
with direct views to the blue tiling of the building well. On the Passeig de Gracia side is Mr.
Batlló’s study, a dining room, and a secluded spot for courting couples, decorated with a mush-
room-shaped fireplace. The elaborate and animal-like décor continues throughout the whole
noble floor.
The rounded shapes of the gaps and the
lip-like edges carved into the stone surround-
ing them create a semblance of a fully open
mouth, for which the Casa Batlló has been
nicknamed the "house of yawns."
With the aim of allowing the maximum
possible light to pass through the windows,
he invented the continuous window in the
Hall on the Noble floor, allowing it to be
open to the outside without any interrup-
tion. To avoid possible excessive sunlight
and to contribute to the warmth he put
leaded glass on the top part of the window
with different shades of blue that help to
soften the daylight. Notable this resource to
incorporate stained glass, repeated in
different interior doors allowing that in this
way the rooms did not get direct sunlight
but also received light from one of three
light sources.

CASABATLLO
Spaces - The Noble Floor
Constuction method
The main floor, made entirely in sandstone, is supported by two columns. The design is comple-
mented by joinery windows set with multicolored stained glass. In front of the large windows, as
if they were pillars that support the complex stone structure, there are six fine columns that seem
to simulate the bones of a limb, with an apparent central articulation.Gaudí uses natural light to
light up the house during the day and the usage of stained glass windows delicately illuminate this
space.
Details of sandstone texture.
Sandstone is a sedimentary rock ; It is rela-
tively soft, making it easy to carve. It has
been widely used around the world. It has
also been used for artistic purposes to
create ornamental fountains and statues.
Sandstones are resistant to weathering, yet
are easy to work. This makes sandstone a
common building and paving material.
Stained glass is glass that has been colour-
ed by adding metallic salts during its man-
ufacture. The coloured glass is crafted into
stained glass windows in which small
pieces of glass are arranged to form
patterns or pictures, held together (tradi-
tionally) by strips of lead and supported by
a rigid frame.
Sandstone Stained glass

CASABATLLO
Spaces - The Noble Floor
Like sandpaper, sandstones usually have a rough, granular texture, but to really identify a
sandstone you have to peer closely at its surface and look for individual sand grains. The deli-
cate and malleable sandstone columns of the facade was able to evoke organic characteristics,
both human tibiae and delicate flowers. By abstracting natural forms, the architect creates a
fundamental ambiguity in this imagery space that contributes a dreamlike quality to the house.
The spiral shape of the ceiling with a chandelier in the centre resembles the movement of water
in a whirlpool. As the windows overlook the Passage of Gracia, the concept of the window is
that it is a showcase showing the condition of the owner of the house. Stained glass windows
from the bottom to the top become cloudier, scattering sunlight providing a gentle rhythmic
atmosphere.
The undulating rhythms and the organic imagery of the interior create the feeling that the
house lives and breathes. Spiral forms on the walls and ceilings lend a sensation of movement
to the spaces.
Spatial experience
Casa Batlló was groundbreaking for its use of creative architecture and superfluous proof that
in his works, besides design, he paid a lot of attention to rationalism and his calculations. Previ-
ously, architects could not combine engineering and aesthetics in one building, and Gaudi did
it admirably, which to this day is the subject of people's admiration.
Gaudi speaks to us still from Casa Batllo. However, he in not speaking Catalan, but he is
speaking to us in an organic language easily recognized by anyone familiar with nature. Gaudi
said, “Everything that any architect could need…is already in natural forms in nature.” This is
surely the source he referenced when designing Casa Batllo. In conclusion, Casa Batllo is the
premier modernist building in Barcelona. This is because of Gaudi’s brilliant technical solu-
tions, his use of new materials and techniques, his eclectic sampling of other architectural styles
such as arabesque and medieval, his voracious quoting of natural forms, and heavy use of
symbolism. However, the truly impressive thing about Casa Batllo is not the presence of these
individual elements, but the unequivocal unity with which they were assembled by the all too
masterful architect, Antoni Gaudi.
Conclusion

CASABATLLO
Drawings of Casa Batllo
1. Ground- plan of basement to be
renovated according to the application
submission on 26 October,1904, signed
by Gaudí and the owner.
2. Ground-plan of the ground floor
3. Ground- plan of the 1st floor
4. Ground- plan of the 2nd , 3rd and 4th
floors
5. Ground-plan of 5th floor
6. Ground-plan of the attic and cross
section thereof
7. View of the facade and cross section
thereof.
8. Ground- plan of the ground floor
9. Ground plan of the basement
10. Ground - plan of the 1st floor
11. Ground- plan of the 2nd ,3rd and 4th
floors
12. Ground plan of the 5th floor
13. Ground plan of the attic

CASAMILA
Casa Milà
Casa Milà's development begun in 1906, appointed by Pere
Milà I Camps and his wife, Roser Regimon.'Casa Milà' origi-
nates from the way that it was the new home of the Milà family.
The couple involved the primary floor and leased alternate
flats. Involving 1,323 m2 for each floor on a plot of 1,620 m2,
the private building is situated in the area Eixample in Barcelo-
na. The development of the house started in 1906 and was
finished four years after the fact. As the primary working of the
twentieth century, Casa Milà was incorporated into the
UNESCO World Heritage List in 1984. It is a standout amongst
the most critical pioneer structures. Presently works as the base
camp of the Fundació Catalunya La Pedrera which deals with
the visit to the building, shows and other social and educative
exercises.
Known as La Pedrera (stone quarry in Catalan) since it takes
after an open quarry in appearance, the building highlights
frames drawn from nature.The front of the house resembles an
enormous shake, broken just by wavy lines and iron decora-
tions. The brilliant stone and the generally dull exterior of this
building separates it from Gaudí's different works and looks
extremely expressionistic. Building idea propelled from natural
states of nature, for example, leaves, blooms and breathtaking
lines are coordinated as enlivening components, present in
everything about the whole structure
Developed in 1912 for Roser Segimon and Pere Milà, the build-
ing is separated into nine levels: storm cellar, ground floor,
mezzanine, principle floor, four upper floors, and loft. The storm
cellar went about as the carport, the mezzanine for passage,
the principle floor for the Milàs, and the upper floors for lease.
It is located in down-
town Barcelona,It has a
total of five floors, two
large internal court-
yards and several
smaller ones.
Natural Influences
Antoni gaudi devised the Casa Milà to
mutate nature. If I’m the interior structure
the adaptability of living beings is emulat-
ed, then the exterior reflects their move-
ment. With its unusual curves, the building
undulates like natural-landscape. Howev-
er the architect is believed to have been
inspired by some concrete reference,
although this hypothesis has never been
confirmed. Given the great evocative
power of the work, the theories about the
sources of inspiration for La Pedrera are
infinite.

CASAMILA
It is situated in downtown Barcelona,It has an
aggregate of five stories, two vast inner yards and a
few littler ones.
The building did not regard any guidelines of ordi-
nary style, for which Gaudí got much feedback. In
the first place, the name "La Pedrera" is in actuality
an epithet doled out by the subjects who disliked its
irregularity. The one of a kind structure of the build-
ing and the connection between the building's
draftsman and Pere Milà turned into the question of
criticism for the general population of Barcelona
and numerous comical distributions of the time.
Casa Milà comprises of two structures, which are
organized around two yards that give light to the
nine stories: storm cellar, ground floor, mezzanine,
principle (or respectable) floor, four upper floors,
and a storage room. Nothing about this house is
uniform. The ground floor designs of each floor
don't look like each other. In the same way as other
of his point of reference works, he for the most part
abstained from conveying dividers like as observed
in Casa Batlo. Everything is borne by various
columns and backings. The rooms are of contrast-
ing statures in keeping the wavy type of the exterior.
The subsequent format is molded like an uneven "8"
due to the diverse shapes and sizes of the yards.
Overview of the building
Architect’s Philosphy
The building’s overall form took inspiration from
waves. The sine wave confers a unique movement
to the stone facade absolutely continuous circum-
venting the corners, representing the sea. He
designed the house as a constant curve,incorporat-
ing ruled geometry and naturalistic elements.
Large stone slabs of the facade were attached first
and then worked on by the stonemasons. The
facade, with its irregular shapes, reminds of a
quarry. Front of the house looks like a massive rock,
broken only by wavy lines and iron ornaments. The
bright stone and the otherwise colourless facade of
this building distinguishes it from Gaudí's other
works. Consist of two components, which are con-
nected only by the facade, the ground floor and the
roof. Each has its own yard and entrance. Deliber-
ately focused on the design of the building, used
very little paint and left the materials natural.
1
1 Main Entrance
Leads into the
vestibule, from where
the aprtments can be
accessed.
2 Ground Floor
Built for businesses.
The first was a tailor’s,
which opened in
1928.
3 Main Floor
It would be taken over
by the owner of the
property, the Milas.
4 Attic windows
5 Interior Patio
These openings
guarantee ventilation
and luminosity on all
floors.
6 Sentry Pass
With four cupolas, it
allows access around
the facade.
Casa Mila’s facade design inpired by waves.
Atrium of Casa Mila.
Axono of Casa Mila
2
6
4
5
3 1

CASAMILA
Features of Casa Milà
The unique feature of Casa Milà is that its
shape continues from its exterior to the
interior and vice versa, creating a harmoni-
ous, emblematic entirety of design.
The highlight of Casa Milà is without a
doubt the roof. Not only the outstanding
view over the city attracts the attention of
the visitors. Rather, the chimneys, ventila-
tion shafts and staircases do it with their
imaginative colors and shapes. Some chim-
neys look like medieval knights guarding
the roof.
The Roof
The Ceiling
The ceilings inside the apartments of Casa
Mila are very varied: some are in high relief;
others bear engravings and even poems. All
of them are intended to continue the undu-
lating rhythms of the façade.
Sectional axono of Casa Mila
Distribution of a floor of apart-
ments
The distribution of a typical floor is notable for its
irregular geometry and its well-defined internal
organisation, intended to make the most of the
south-facing main façade.
People circulate within the building by using the
well-lit, wide corridors around the courtyards. The
lifts provide direct access to the entrance of the flats
on each floor. Each floor is divided into four apart-
ments in such a way that each one has a section of
the main façade.
1
2
3
5
1 Columns
Made from stone on
the lower floor and
plastered masonary on
the upper levels
2 Auxiliary ventilation
patio
4 The windows
5 Patio edge of Provence
4
Lower down on the
patios the windows are
larger so natural light
can flood into the
apartments.
3 Patio of Passeig de
Gracia
With a circular shape, it
is connected by means
of a passage to the
patio of Provence
Distribution of a floor of apartments

CASAMILA
Materials and Construction Methods
Facade
The facade of Casa Mila is not a structur-
al element: rather than serving the tradi-
tional function of load-bearing wall, it is
instead a curtain wall. The blocks of
stone are connected to the structure by
metal components, thereby making the
large windows in the frontage possible,
enabling maximum light penetration.
The facade is composed of large blocks
of limestone from the Garraf Massif on
the first floor and in some of the structur-
al elements. Villefranche del penedes
quarry for the bulk of facades, which are
on higher levels. Lastly, limestone from
Ulldecona for some features such as
frames of some windows. The blocks
were cut to follow the plot of the projec-
tion of the model, then raised to their
location and adjusted to align in a con-
tinuous curve to the pieces around them.
Viewed from the outside the building has
three parts: the main body of the six-sto-
rey blocks with winding stone floors, two
floors set a block back with a different
curve, similar to waves, a smoother
texture and whiter color, and with small
holes that look like embrasures, and
finally the body of the roof.
Wrought-iron balconies were the design of
Josep Maria Jujol, Gaudí's frequent
collaborator. Each is different and was
improvised in the forge. The complex
balconies were made using scrap iron
sheets, bars and chains in an unusual but
effective accumulation that complements
the architecture and provides a decorative
element.
Wrought Iron
Ironwork has been a Catalan trade since
time immemorial, and Gaudí had no
trouble incorporating it as a structural
and decorative element in his work.
Gaudí used iron extensively in his work,
most importantly in its created and manu-
factured assortments.

CASAMILA
Patios
Patios are key as supporting loads of interior
facades. The floor of the courtyard is supported
by pillars of cast iron. In the courtyard, there
are traditional elliptical beams and girders but
Gaudí applied an ingenious solution of using
two concentric cylindrical beams with stretched
radial beams, like the spokes of a bicycle.
They form a point outside of the beam to two
points above and below, making the function of
the central girder a keystone and working in
tension and compression simultaneously. This
supported structure is twelve feet in diameter
and is considered "the soul of the building" with
a clear resemblance to Gothic crypts. The cen-
terpiece was built in a shipyard by Josep Maria
Carandell who copied a steering wheel, inter-
preting Gaudí's intent as to represent the helm
of the ship of life.
The building uses a completely original
solution to solve the issue of a lobby
being too closed and dark. Its open and
airy courtyards provide a place of transit
and are directly visible to those access-
ing the building. There are two patios on
the side of the Passeig de Gracia and of
the street Provence.
Hall and Courtyards
Wavy strip
Although the patios can’t be seen from
the street, they show carefully thought
out hand crafted details such as the
wraught iron railings that finish odd
the windows
The iron railings

CASAMILA
Basement
Gaudi foreseen the necessities of modern life
and in the basement of Casa Mila built a
garage for coaches and cars, the first in a
residential building.
He used slender iron columns, as well as an
innovative metal structure reminiscent of a
bicycle wheel, to support the floor of the
courtyard above. The use of iron enabled
him to reduce the built volume and to gain
manoeuvring space.
In the attic, Gaudí built a series of cate-
nary arches of varying heights depend-
ing on the width of the corridor. These
arches support for the side walls of the
inner and outer walls and above the
deck staggered.
Attic
Catenary arches in the attic.
Like in Casa Batlló, Gaudí shows the
application of the catenary arch as a sup-
port structure for the roof, a form which he
had already used shortly after graduating
in the wood frameworks of Mataró's coop-
erative known as "L'Obrera Mataronense."
In this case, Gaudí used the Catalan tech-
nique of timbrel.
Catalan method of constructing a domed vault of thin
tiles without framework. The first row of tiles rests on
the perimeter support and temporary cantilever
supports. Subsequent layers are added after the mortar
of the first row is set.
Catalan method
The Courtyard entrance, with car access to an
underground garage.

CASAMILA
The stepped roof of La Pedrera, called "the
garden of warriors" by the poet Pere Gimfer-
rer because the chimneys appear to be pro-
tecting the skylights, has undergone a radical
restoration, removing chimneys added in
interventions after Gaudí, television anten-
nas, and other elements that degraded the
space.
The restoration brought back the splendor to
the chimneys and the skylights that were cov-
ered with fragments of marble and broken
Valencia tiles. One of the chimneys was
topped with glass pieces – it was said that
Gaudí did that the day after the inauguration
of the building, taking advantage of the
empty bottles from the party. It was restored
with the bases of champagne bottles from the
early twentieth century. The repair work has
enabled the restoration of the original impact
of the overhangs made of stone from
Ulldecona with fragments of tiles. This whole
set is more colorful than the facade, although
here the creamy tones are dominant.
The house has a natural ventilation system,
which makes an air conditioner unnecessary.
Casa Milà roof architecture, chimneys
known as espanta bruixes (witch scarers).
The work of Gaudí on the rooftop of La
Pedrera brought his experience at Palau
Güell together with solutions that were
clearly more innovative – this time creat-
ing shapes and volumes with more body,
more prominence, and less polychroma-
sia.
On the rooftop there are six
skylights/staircase exits (four of which
were covered with broken pottery and
some that ended in a double cross typi-
cal of Gaudí), twenty-eight chimneys in
several groupings, two half-hidden vents
whose function is to renew the air in the
building, and four domes that
discharged to the facade. The staircases
also house the water tanks; some of
which are snail-shaped.
Roof and Chimneys
Rooftop Chimneys in Casa Mila.
Chimney vents on the roof of Casa Mila.
Roof terrace witch abstract chimneys of the Casa
Mila.

CASAMILA
Structure
Several structural innovations include self-supporting stone façade, a free-plan floor, underground
garage and the spectacular terrace on roof.
The building is divided structurally between structure and skin. The structural system consists of forged
steel joists and the Catalan bovedillas behind by jacenas on metal pillars. Steel beams with the same
curvature support the facade’s weight by attaching to the structure. Self-supporting limestone facade
discards the need of load-bearing walls. Steel beams with the same curvature support the facade’s weight
by attaching to the structure. The facade connects to internal structure of each floor using curved iron
beams surrounding the perimeter of each floor.
This allows large openings in the facade, enabling light penetration, not to mention free structuring of
different levels, so that internal walls can be added and demolished without affecting the stability of the
building. This allows the owners are able to modify the interior layout of homes without problems.

CASAMILA
Spaces
The roof of Casa Mila not only seals the building against the elements but also reveals three of Gaudi’s
concerns: insulation, lighting and ventilation. On the rooftop, beauty and tremendous functionality are both
incorporated in the built features: stairwells, ventilation towers and chimneys.
Rooftop Terrace
Rooftop at Casa Mila.
To soften the volumes of the rigid stairwell’s constructions, Gaudi used curving forms derived from ruled
geometry which, because of their concavity and convexity and conical shape, alleviate the effect of the built
features. They are constructed using brick covered with lime, broken marble and other ceramics.
Of the six stairwells, only four are covered with trencadís mosaic. In this case fragments of recycled and mon-
ochrome limestone, marble, glass or ceramic used to face the curving surfaces. The other two are rendered
with lime and plaster.
Some of the chimneys are individual freestanding constructions, while others are joined in groups of three or
four. They rotate about their own axes, following an interior and exterior line that corresponds to the aerody-
namic displacement of the smoke emerging from them.
Upper floor and roof chimneys. Chimney covered by trencadis mosaic.

Materials
CASAMILA
Spaces : Rooftop Terrace
Example of broken tile mosaics.
Trecandís
Also known as pique assiette, broken tile mosa-
ics, bits and pieces,is a type of mosaic made from
cemented-together tile shards and broken china-
waret.
Gaudi created random designs, pictorial scenes,
geometric patterns, or a hybrid of any of these on
the stairwells, ventilation shafts and chimneys.
He used discarded pieces of ceramic tile collect-
ed from the factory Pujol i Bausis located in
Esplugues de Llobregat, as well as pieces of white
ceramic from broken cups and plates discarded
by other Spanish manufacturers.
Ceramic mosaics made of waste pieces in original
and imaginative combinations. He used the tech-
nique of juxtaposing of neutral mosaic pieces,
varying the thickness of the glass in order to grad-
uate the light's intensity.
There are two main methods for trencadís. In the
first, an initial design is drawn up and the ceramic
fragments are carefully fitted into the design; in
this case, the mosaic is only cemented together
once all of the fragments have been placed. Alter-
natively, an artist may spontaneously arrange frag-
ments without a prior design; here the success of
the finished work depends greatly on their
improvisatory skill.
Trencadís detail in badalots the roof of Casa Mila.
Limestone
Piedra Ulldecona is a kind of pink lime-
stone quarried in Spain. This stone is espe-
cially good for exterior, interior, wall clad-
ding and other design projects due to its
technical qualities. It is also called Crema
Cenia, Piedra Cenia, Crema Ulldecona,
Piedra d'Ulldecona, Senia, Senia Stone,
Ulldecona Limestone, Piedra Ulldecona
Limestone.
It was formed in the Lower/Early Creta-
ceous Period. It falls within the category of
sedimentary limestone that has been
recrystallized by metamorphosis and is
classifiable as marble. Formed over centu-
ries through the action of ancient waters
and great pressure. Geological activity
below the earths’ surface produces hard
rock formations. Once reclaimed from the
fossilized earth, the stones are cut to reveal
their authentically beautiful one-of-a-kind
surfaces.
The material is usually finished in the
flamed, bush hammered, honed, aged and
sanded version or just sawed. In the case of
casa mila, flamed Piedra Ulldecona is used
to cover the brick structures of chimneys,
ventilation shafts and stairwells.
Brick structure covered by limestones.

Originally, the attic of Casa Mila housed the communal laundry area and acted as a vast insulating air cham-
ber. Today, it is home to the Espai Gaudi, a unique display devoted to Gaudi’s life and work, particularly La
Pedrera, presenting his creations by means of models and plans, objects and designs, photographs and
videos.
The Attic section of Casa Mila displaying all of Gaudi's work.
CASAMILA
Spaces
The Attic
The attic of the house is unusually large, built using 272 catenary arches made of bricks connect-
ed by a central spine. The catenary arch is light, easy to build, supports itself and needs no
buttressing. Each arch differs in height, which explains the uneven floor and steps on the rooftop.
This structural system provide support for the roof by absorbing the lateral loads. This allowed
Gaudí to add an element of great strength to his structures, given that the catenary distributes the
weight it regularly carries evenly, being affected only by self-cancelling tangential forces.
The constructional forms of catenary arch are highly suited to the use of cheap materials such as
brick. Gaudí frequently used brick laid with mortar in successive layers, as in the traditional
Catalan vault, using the brick laid flat instead of on its side.
It served as an insulating chamber and played a part in the building’s energy efficiency, yet it
hardly increases the weight of the buildings due to the lightness of materials used in constructing
this space.
The attic of Casa Mila formed by 272 catenary brick arches.

Materials
CASAMILA
Spaces : The Attic
Catenary bricks arches:
The theory of the chain, which is based in the shape of a hanging collar, was proposed by Robert
Hooke (1676) and was used by Christopher Wren in Saint Paul’s dome (1675).
It is a type of architectural pointed arch that follows an inverted catenary curve. It is common in
cathedrals and in Gothic arches used in Gothic architecture. A catenary is that shape formed by
a chain, hanging down in the middle when supported on both ends.
What makes the catenary arch important is its ability to withstand weight. For an arch of uniform
density and thickness, supporting only its own weight, the catenary is the ideal curve. Catenary
brick arches are strong, as they redirect the vertical force of gravity into compression forces
pressing along the arch's curve. In a uniformly loaded catenary arch, the line of thrust runs
through its center.
Stones, brick or blocks are used in the construction of the catenary arches. In casa mila’s case,
bricks are used due to the lightness of the material in order to not increase the weight of building
too much. In compression they are extremely strong. In tension they are relatively weak. The pur-
pose of the arch is to spread the load on the brick in such a way that the brick is always in com-
pressionchimneys, ventilation shafts and stairwells.
Curved Arches in Attic of Casa Mila.
Types of Catalan method. Catalan vault.

Rooftop Terrace
CASAMILA
Spaces : Spatial experience
Gaudí deliberately focused on the design of
the building, used very little paint and left the
materials natural. Creamy tones of the lime-
stone facades and bright stone of this build-
ing distinguishes it from Gaudí's other works
such as Casa Batlo which is famous for its
colourful trecandis facades and looks very
expressionistic.
The stairwells rise up like telluric forces of
nature—earth, water, fire and air—while the
chimneys, like guardians of the building
since time immemorial, come to life and
speak to users of the origins of the building.
Gaodi used limestone and materials such as
trecandis and broken marbles to cover the
rigid brick structures such as chimneys and
ventilation towers, which results in fascinating
elements that are dynamic and symbolic in
their forms but they serve the utilitarian pur-
pose for which they were designed.
Catenary brick arch of varying height con-
nected by a central spine makes user feel
like they are inside a whale’s stomach and
the arches are the ribcage. This design gives
it a slight claustrophobic and catacomb-like
feel. Some described it as a walk inside an
undulating whale skeleton.
Following the stairs up to the attic, the cosy
atmosphere which is surprising considering
those were the stairs for the servants. Gaudí
designed this area with marble, green and
orange walls to give it a homely feel. This is
because his father was a blacksmith, there-
fore he had a huge level of respect for the
maids and wanted them to be comfortable.
In total, there are 200 steps leading up to
the attic.
The Attic

CASAMILA
Casa Milla has an overall ‘raw’ outlook to its facade and alo finishes in its overall spaces where-
as in Casa Batlo the finishes are more colourful and ‘playful’. Casa Batlo was finished with the
use of the ‘trencadis’ method, where pieces of mosaics are broken up and stuck onto the facade
and also the roof of the house. Casa Milla however has a more rough quarry like outlook from
the use of limestone and unrendered finish on the facade. Both buildings however follows the
architects philosophy of his inspiration from nature. Casa Batlo inspired from a dragon’s skin
while Casa Mila inspired from waves.
Casa Mila vs Casa Batllo
Facade of Casa Mila. Facade of Casa Batllo.
Conclusion
The Casa Milà, which was ultimately a controversial building, contributed greatly to the Moderni-
sta movement and modernism as a whole. It pushed formal boundaries of rectilinearity and, as
Gaudi intentionally drew from natural and organic forms for the building’s shape, significantly
inspired practices of biomimicry. Gaudi was a genius of structure and form, and the Casa Milà
attests to that.

Drawings of Casa Mila
1. Original layout (singed by Gaudí and Milà)
2. Cross-section
3. Frontal view
4. Ground plan of the basement
5. Plan of the ground floor
6. Ground plan of the second floor
7. View and ground plan of the facade facing the street by Martinelli (1967)
CASAMILA

CASACALVET
Casa Calvet
The Casa Calvet pays tribute to the baroque Catalan style and was built from stone quarried on Mont-
juïc, and features splendid wrought ironwork on the balconies. The hall and ground floor are particu-
larly interesting and the latter now houses a restaurant, where you can see the typical Catalan ceiling,
granite Solomonic columns and arches with their vine-shaped reliefs
Casa Calvet's facade, it terminates in a curve comprising three inverted lobes and two protruding
ones, crowned with iron crosses. There are three busts beneath the inverted lobes: Saint Peter the
Martyr (Sant Pere Martir – the owner's namesake), Saint Genesius of Arles and Saint Genesius of
Rome (the patron saints of Calvet's hometown). Indeed, Antoni Gaudí made his client happy by filling
the building with details that referred to his life and career, such as the columns in the shape of
cotton bobbins that flank the entrance, or the initial“C”over the house's door.
The Casa Calvet de Barcelona (1899) is one of Antoni Gaudí's earliest buildings. Some people
consider it his most conservative work but it also contains markedly modernista elements, such
as the façade which terminates in a curve and the attic balconies, which look like something
from a fairy tale. The ground floor now houses a restaurant. The Casa Calvet was built by Antoni
Gaudí for the textile manufacturer Pere Màrtir Calvet, who set up his business premises on the
ground floor and in the basement, and used the upper floors as his private residence. In 1900,
Barcelona City Council awarded it the prize for the best building of the year. Although it may
appear to be one of Gaudí’s most conservative and least daring projects, many ornamental
details and the layout of spaces, like the lightwell, bear the seal of the great architect.
Overview of the building
Closed up details of the ballcony.
It is located at Carrer de Casp
48, Eixample district of Barcelo-
na.
Exterior facade of Casa Calvet.

Casa Calvet is based on the traditional model
which was most popular among the bour-
geoisie of the times, a discrete principal floor
with a staid elegant bay window and a large
terrace overlooking the interior courtyard of
the city. In the rest of the building there are
two rental apartments on each floor with five
rooms giving onto the facade, in keeping
with the most common size of the plots in
this area. Gaudi designed the facade on
Carrer Casp in a restrained orthodox way but
without concealing a certain contained
expressionist spirit, which may be glimpsed
in the design of the balconies and the bay
window.
On the other hand, on designing the rear
facade that overlooks the interior courtyard
of the city block, Gaudi took a completely
different approach and avoided the typical
galleries which give the interior courtyards
of the Eixample their characteristic domestic
appearance. Surprisingly, here the balconies
are very similar to those of the front façade of
the building and the innovative bay
windows provide some well-needed visual
and solar protection. The example for this is
to be found in the Guell Palace, where Gaudi
had already experimented with new solu-
tions which he would subsequently apply,
adapting them to the needs of each situa-
tion. This insistence on improving the char-
acteristics of the rear façades of residential
buildings would also mark his work on the
Casa Batllo and Casa Mila.
Features of Casa Calvet
Facade : Traditional in-
front , innovative behind
Stresses on the site, the area of internal com-
munication, consisting of an elevator, a stair-
case and two interior courtyards. The staircase
leads to a great sense of space thanks to the
ingenious method used by Gaudí to design the
patio of lights, while getting a great clarity of
irradiation.
Gaudi transforms the space necessarily devot-
ed to the vertical accesses of a rental apart-
ment building into a place of beauty that archi-
tecturally enhances the whole structure. In the
entrance doorway (flanked by columns shaped
like spools of thread), there is an original
wrought iron door knocker in the shape of a
cross which, when used, strikes against a figure
of a bed bug, in an allegory of the faith that
crushes sin.
The main floor has an exit to the courtyard
inside the apple, with a flower that must also be
attributed to Gaudí, who worked in the
construction and Joan Francesc Berenguer
Rubió Bellver.
The staircase and the two
adjoining light wells
CASACALVET

Catalan vault is a building technique that lays plain bricks lengthwise over the parallel wooden
beams or centering to form an arch-shaped ceiling. This technique was then improved by Cata-
lan people with layers of thinner, lighter bricks to create a ceiling not only light but also very
strong. Up till now the technique has been widely used in buildings all over the region, for which
it is named “Volta Catalana”.
Structure
CASACALVET
The structure consists of load on the walls of which are supported jácenas and iron lattice
girders, in basement and ground floor joists and wood floors in the other.
Catalan Ceiling

CASACALVET
Spaces
The Facade
Masonary sandstone
Built with sandstone from Montjuic quarry. Dominant, and practically only source of rock starting
in the foundation of Colonia Barcino in that era. It’s carved to provide building blocks. Excellent
mechanic properties and high resistance to decay. Porosity and permeability behavior provide
optimal durability in the context of a Mediterranean climate.
Wrought iron
Ironwork has been a Catalan trade since time immemorial. Incorporated as a structural and
decorative element.The last place Gaudí used thick, bar handrails.
Construction method
Sediments heaved up to form the mass of Montjuic. The sands, thoroughly cemented together
with silica, turning them into tough and durable sandstones - and an ideal building and sculpt-
ing material. Composing by means of unprecedented juxtapositions of geometric masses, the
surfaces of which were highly animated with building blocks of stone.
Wrought iron has a low carbon content, which makes it pliable when heated in a forge — it is
easily "wrought" or worked on by a hammer to shape it. Anthoni Gaudi designed the sculptural
wrought iron and statuary decorations Lluís Badia helped craft in wrought iron. Arranged at the
balconies of Casa Calvet.
Spatial experience
Gaudi's use of molded stonework and wrought iron characterizes the Spanish Art Nouveau.
The rough granularity of the casa calvet’s front façade becomes familiar to the hand and eye,
solid, enduring, comforting. Meanwhile, revealing their tempestuous origins as rivers ripped
through the ancient landscapes Stone and iron take on new forms and integrate with each other
in a new explosion of architectonic fantasy coupled with an extraordinary technical capability.

CASACALVET
Casa Calvet vs Casa Batlo
Casa Calvet has a more plain and rough outlook in the facade compare to casa Batlo. Casa
Batlo has a more colourful, fun and playful outlook. This is due to the use of the trecadis
method, mosaics that has been stuck onto the facade and also with the design of the roof of
the house which resembles a dragon’s back. Both Casa Calvet and Casa Batlo following his
style and philosophy which is having a more organic outlook as this can be seen from Casa
Calvets, balcony. It is elaborated and decorated with motifs and also using wrought iron to
form his designs similarly as seen in Casa Batlo
Comparison of Casa Calvet (left) and Casa Batllo (right) exterior facade.
Antoni Gaudi did also the design of the furniture and the decoration on the inside of the house,
he used a modernist style on the decoration of the inside. The furniture that belonged to Cal-
vet's living room it was fully designed by Gaudí and now it can be seen in the Gaudí
House-Museum in the Park Güell.
In the process of working in Casa Calvet is when Gaudí reaches his artistic peak, his passion
for nature arises, he perfects his personal style inspiring himself with the organic shapes in
nature. Although it might not be the most representative work of Gaudí as it is not as colourful
or as spectacular as others, we need to recognize that it was his first period and this house
helped him define the style he has been known for.
Conclusion

Drawings of Casa Calvet
1. Ground plan of the ground floor
2. Ground plan of he basement
3. Ground plan of the second, third and fourth floors
4. Frontal view of he facade and section through the facade
CASACALVET

Gaudi bcon 1

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