ANTONIO GAUDI CORNET was a Spanish Catalan architect and the best-known representative of Catalan Modernism. •Gaudís works are marked by a highly individual style and the vast majority of them are situated in the Catalan capital of Barcelona. •Gaudís work was marked by the four passions of his life: architecture, nature, religion, and his love for Catalonia •Gaudí meticulously studied every detail of his creations25 June 1852 - 10 June 1926
•In his architecture he used a series of crafts, in which he himselfwas skilled, such as ceramics, stained glass, wrought ironworkforging and carpentry•Introduced new techniques in the treatment of the materials,such as his famous trencadís, made of waste ceramic pieces•Under the influence of neo-Gothic art,and certain oriental tendencies, Gaudíbecame part of the Catalan Modernistamovement which was then at its peak•Gaudís work, however, transcendedmainstream Modernisme, culminating inan organic style that was inspired bynature without losing the influence of theexperiences gained earlier.
•Gaudí’s first projects were the lampposts he designed for the Plaça Reialin Barcelona, the unfinished Girossi newsstands and the CooperativaObrera Mataronense (Workers Cooperative of Mataró).•At the Paris world fair in 1878 his modernista designs which werefunctional and aesthetic impressed the catalan industrialist Eusebi Güellwho later requested him to carry out his various projects.•This patronage later resulted in some of the most distinguished of Gaudi’sworks like the Guell wine cellars, Guell pavilions, Palau Guell(Guell palace),Parc Guell (Guell Park), and the crypt of the church of Colonia Guell.
HIS WORKSSagrada Família : Basilica and Expiatory Church of the Holy Familycommonly known as the Sagrada Família, is a large Roman Catholic church inBarcelona Gaudí devoted his last years to the project and at the time of hisdeath in 1926, less than a quarter of the project was complete. The basílica hasa long history of dividing the citizens of Barcelona—over the initial possibility itmight compete with Barcelonas cathedral, over Gaudís design itself, over thepossibility that work after Gaudís death disregarded his design, and the recentpossibility that an underground tunnel of Spains high-speed train could disturbits stability
The style of la Sagrada Familia is variouslylikened to Spanish Late Gothic, SpanishBaroque and to Art Nouveau. While theSagrada Família falls within the Art Nouveauperiod, known as "Modernisme" in Spain,Nikolaus Pevsner points out that, along withCharles Rennie Macintosh in Glasgow,Gaudi carried the Art Nouveau style farbeyond its usual application as a surfacedecoration.
SpiresGaudis original design calls for a total ofeighteen spires, representing in ascendingorder of height the Twelve Apostles, the fourEvangelists, the Virgin Mary and, tallest ofall, Jesus Christ. Eight spires have beenbuilt as of 2010The masterpiece has been builtin such a way that theappearance of the buildingchanges with change in thequality of light fallling on it.The colour and visual of thebuilding looks Rugged andcoarse in sunlight whileappears to dazzle brightly innight in artificial light.
Glory FaçadeThe largest andmost striking of thefacades will be theGlory Façade, onwhich constructionbegan in 2002
Nativity FaçadeConstructed between 1894 and 1930,the Nativity façade was the first façadeto be completed. Dedicated to the birthof Jesus, it is decorated with scenesreminiscent of elements of life
Passion Façade contrast to the highly decorated Nativity Façade, the Passion Façade is austere, plain and simple, with ample bare stone, and is carved with harsh straight lines to resemble a skeleton if it were reduced to only bone. Dedicated to the Passion of Christ, the suffering of Jesus during his crucifixion, the façade was intended to portray the sins of man The stone used is of various shades of yellow ochre mixed with brown which gives symbolic skeleton like feeling to the structure.Façades
INTERIORSThe columns of the interior are a unique Gaudídesign. Besides branching to support their load, theirever-changing surfaces are the result of theintersection of various geometric forms. The simplestexample is that of a square base evolving into anoctagon as the column rises, then a sixteen-sidedform, and eventually to a circle. This effect is theresult of a three-dimensional intersection of helicoidalcolumns (for example a square cross-section columntwisting clockwise and a similar one twisting counter-clockwise).The insides are done in white and cream tones whichreflect a large amount of light which gives the feelingof enlarged space as well as increases the height ofthe roof.The yellowish lamps that are lit go very harmoniouslywith the roof and the surrounding columns.
SymbolismThemes throughout thedecoration include words from Geometric shapes are cut inthe liturgy. The towers are stone which is of a slatydecorated with words such as colour and texture and give"Hosanna", "Excelsis", and the feeling of ancientness"Sanctus"; the great doors of the which relates to the ancientPassion façade reproduce wordsfrom the Bible in various stories of Bible and very aptlylanguages including Catalan present them to the viewer.
•The home is centered on a main room forentertaining high society guests. Guests enteredthe home in horse drawn carriages through thefront iron gates.•The ornate walls and ceilings of the receivingroom disguised small viewing windows high onthe walls where the owners of the home couldview their guests from the upper floor.•The main party room has a high ceiling withsmall holes near the top where lanterns werehung at night from the outside to give theappearance of a starlit sky.•Since it is a guest house it is done in shades ofdark brown with engraved and intricate designswhich creates dark pores which get themselves PALAU GUELLhighlighted due to the starkness of black overany other colour.
Casa Batllóis a building restored by Antoni Gaudí andJosep Maria Jujol, built in the year 1877and remodelled in the years 1904–1906The building looks very remarkableThe ground floor, in particular, is ratherastonishing with tracery, irregular ovalwindows and flowing sculpted stone work.goal of the designer was to avoid straightlines completelyMuch of the façade is decorated with amosaic made of broken ceramic tiles(trencadís) that starts in shades of goldenorange moving into greenish bluesGaudi has again used a plethora of colourswithout creating noisiness in the building.The effect is smooth and very well mergeswith the curves and textures present in thefaçade.
ROOF OF CASA BATLLO:We can see in the roof the use of coloured broken ceramic tiles.The colours used are vibrant and very smoothly merge from warm to coolThey are intricately used and the spire is made white to extenuate the hieght ofthe spire which makes it look taller and more beautiful.The slow transform of colour creates a very interesting visual and holds the viewerin awe. It also looks fresh and diferent every next time you see it.
The Church of Colònia Güellis an unfinished work by Antoni Gaudí. It wasbuilt as a place of worship for the people in amanufacturing suburb in Santa Coloma deCervelló, near Barcelona (Spain). Colònia Güellwas the brainchild of Count Eusebi de Güell.Due to losses only the crypt was completed.In 2000, local architects set about repairing thecrypt. This took away aspects of the unfinishednature of the buildings. However it did present amore tourist-friendly structure, and now visitorscan stand on the roof, what would have beenthe church floor.The tiles Gaudi used here are more of theshades of brown interspersed with reddishbrown which creates a sombre effect and thetexture also melds well with the colour. Theshades of brown are very appropriate forworshipping and meditating purposes.
Casa VicensCasa Vicens is a family residence inBarcelonaand built for industrialist Manuel Vicens. Itwas Gaudís first important work. It wasadded to the UNESCO World Heritage Site"Works of Antoni Gaudí" in 2005.The house is constructed of undressedstone, rough red bricks, and coloredceramic tiles in checkerboard and floralpatterns. The yellow, zinnia-flowered tile,designed by Gaudí.The plan is asymmetrical with protrudinggables and buttresses. Galleries projecteven farther at the top. Rooftop towers arereminiscent of Moorish architecture.The schemes used here gives a vibrantand lively feel to the residence. It alsoblends with the randomness of the streeton which it stands and appears to be a part
Episcopal Palace, AstorgaWhen the original Episcopal Palace wasdestroyed by a fire in the 19th century,bishop Grau decided to assign the designof the new building to his friend AntoniGaudí.The edifice, built in gray granite from ElBierzo, is in a neo-medieval styleharmonizing with its location, including thecathedral in particular.The roof tops are dark grey and the glasswindows also appear grey they go well withthe clear blue background of the sky. Thescheme here is harmonious and appearspeaceful.