The complete presentation on the Architect Antoni Gaudi.

1. ANTONI GAUDI
ARCHITECTURAL DESIGN -IV
PRESENTED BY : TAYYABA SEEMAAB
18(F)AR005

2. 01 INTRODUCTION
02 HISTORY
03 DESIGN PHILOSOPHY
04 DESIGN STYLE
CONTENTS
05 CASE STUDIES
04 COMPARATIVE
ANALYSIS

3. 01
PART ONE
INTRODUCTION

4. 1 ANTONI GAUDI-LIFE &
CAREER
He was an Spanish architect born
in Reus (Baix Camp, Catalonia)
After leaving the school, he went
to Barcelona.
He graduated as architect in 1878.
Almost his entire professional
activity took place in Barcelona.

5. 1 ANTONI GAUDI-LIFE &
CAREER Full name Antoni Placid Guillem Comet.
Spanish architect whose idiosyncratic work, characterized
by undulating curves and richly colored scrambled textures,
won wide international recognition only after the mid-20th
century.
Develop his unique style—blending element`s of gothic art, art
nouveau, known as modernismo in catalonia, and functional
structure.
Hisfavorite forms were inclined columns to add stress to ceilings,
paraboloid arches, thin edge-butted tile vaults, and the richest,
most colorful textures possible, often mosaics made of broken tile
scraps.
He didn't draw his buildings, but made 3dmodels/sculptures.
Hisnickname was 'god's architect' due to the religious images
in his work.

6. 02
PART TWO
HISTORY

7. 2 ANTONI GAUDI-HISTORY
Upon graduation, Gaudi initially worked in the artistic vein of his Victorian
predecessors,
Soon developed his own style, composing his works with juxtapositions of
geometric masses and animating the surfaces with patterned brick or stone, bright
ceramic tiles and floral or reptilian metalwork
During his early period, at the Paris world's fair of 1878, Gaudi displayed a
showcase he had produced, which impressed one patron enough to lead to
Gaudi's working on the güell estate and güell palace, among others.
In 1883, Gaudi was charged with the construction of a Barcelona Cathedral called
basilica I temple expiatori de la sagrada familia
The plans had been drawn up earlier, and construction had already begun, but
Gaudi completely changed the design, stamping it with his own distinctive style.
Experimented with various permutations of historic styles- the episcopal
palace and the casa de los botines both gothic, and the casa calvet which
was done in the baroque style. Some of these commissions were the result of the
1888 world's fair, at which Gaudi once again staged an impressive showcase.

8. 2 ANTONI GAUDI-HISTORY
He created a type of structure known as EQUILIBRATED i.e., it could
stand on its own without internal bracing, external buttressing, etc.
The primary functional elements of this system were columns that tilted
to employ diagonal trusts and lightweight tile vaults.
Notably, Gaudi used his equilibrated system to construct two Barcelona
apartment buildings: the casa ballot (1904–06) and the casa milà (1905–
10), whose floors were structured like clusters of tile lily pads. Both
projects are considered to be characteristic of Gaudi's style.

9. 2 ANTONI GAUDI-INSPIRATION
-Medieval Books
-Gothic Art
-Oriental Structures
-Art Nouveau(architectural art style usually morals, mosaics, jewellery
and furniture
-The Glory of Nature
-The desire to go beyond anything that has never been done before

10. 03
PART THREE
DESIGN
PHILOSOPH
Y

11. 3 DESIGN
PHILOSOPHY
 Gaudí’s work employing organic or natural forms, curved or
undulating lines, reclaimed materials, ceramic bricks, trencadís
mosaics, etc.
 He projects in such a way that the form does not become a mere
stylistic caprice, but rather finds its reason for being in the
function for which it was conceived. For examples: the schools at
the Sagrada Família and hyperbolic vaults.
 He used steel inside of the building to reinforce his structure.

12. 3 DESIGN
PHILOSOPHY
Reaction against the styles that were developed by machine-production.
Objects were simple in form, withoutdecoration.
Emphasize the qualities of the materialsused ("truth to material").
Used patterns inspired by British flora andfauna.
Influenced by the gothic revival (1830–1880) & interested in medieval
styles, using bold forms and strong colors based on medieval designs.
Believe in the moral purpose of art.
To express the beauty of craft, some products were deliberately left
slightly unfinished, resulting in a certain rustic and robust effect.

13. 04
PART FOUR
DESIGN STYLE
METHODS &
MATERIALS

14. 4 DESIGN STYLE
A purely non-objective approach in the making ofartwork, without
reference to the real world
Essentially geometric, precise and almost mathematical; in fact a number of
rodchenko drawings were executed with compass and ruler
Used squares, rectangles, circles and triangles as the predominant shapes
in carefully composed artworks, whether drawing, painting, design or
sculpture
Emphasized the dominance of the world of machines and structures over
nature

15. 4 DESIGN STYLE-METHODS &
MATERIALS
Dealt with such a wide range of materials that anything was possible; wood,
celluloid, nylon, Plexiglas, tin, cardboard and early forms of plastic were
used through a variety of constructing methods from glue through to
welding.
Lacked the more engineered approach developed byinternational
constructivism
Employed new materials, construction, and joining methods, including
aluminum, electronic components and chrome-plating
Industrial materials such as glass, steel, and plastic inclearly defined
arrangements. Because of their admiration for machines and technology,
functionalism, and modern mediums

16. 05
PART FIVE
CASE STUDIES

17. 5 CASE STUDY-DE LA SAGARDA
FAMILIA
The Sagrada Familia soars nearly 560 feet into
the Barcelona skyline, ensconced by
scaffolding, towered over by cranes.
For Antoni Gaudi, the Sagrada Familia, the
massive structure was meant as a tribute to
both god and the Roman Catholic Church.
Location – barcelona
Work started- 19th march, 1882 Antoni Gaudi appointed
architect in 1883 and worked on this projectuntil his
death in 1926.
Project completion-
is expected to complete BY2026
3 facades
• Nativity
• Passion
• Glory

18. 5 CASE STUDY-DE LA SAGARDA
FAMILIA
Church has five naves and a crossing with three, forming a Latin cross.
The interior measurements are: nave and apse, 90 m; crossing,60m
Follows the basic plan of a gothic cathedral.
PLAN OF THE CHURCH Plan of Cologne Cathedral Gothic architecture

19. 5 CASE STUDY-DE LA SAGARDA
FAMILIA
La Sagrada Familia in Barcelona is one of Antoni Gaudí's most impressive
works. This enormous church, as yet unfinished, is a summary of everything
that Gaudí designed before.
The structural difficulties he faced and errors he committed in other
projects are revisited and resolved in Sagrada Familia.
A notable example of this is Gaudí's innovative "leaning columns" (that is,
columns which are not at right angles to the floor and ceiling).
When designing the temple, Gaudí invented an extraordinary method for
determining the correct angle for each of the leaning columns. He made a
small hanging model of the church, using string to represent the columns. Then
he turned the model upside down and gravity did the math.

20. 5 CASE STUDY-DE LA SAGARDA
FAMILIA
The church will have a total of 18 towers, each dedicated to a different
religious figure, and each one hollow, allowing the placement of various
types of bells which will sound with the choir.
The architectural style of sagrada familia has been called "warped gothic”
and it's easy to see why.
The rippling contours of the stone façade make it look as though sagrada
familia is melting in the sun, while the towers are topped with brightly-
colored mosaics which look like bowls of fruit. Gaudí believed that color is
life, and, knowing that he would not live to see completion of his masterpiece,
left colored drawings of his vision for future architects to follow.

21. 5 CASE STUDY-DE LA SAGARDA
FAMILIA
TREE COLUMNS

22. 5 CASE STUDY-DE LA SAGARDA
FAMILIA

23. 5 CASE STUDY-CASA BATLLO
Location: Barcelona, Spain
Owner: Josep Batllo i Casanovas (textile manufacturer)
Masterpiece of Art Nouveau Architecture.
Declared a UNESCO World Heritage Site in 2005.
• A remodel of a previously built house, it was
redesigned in 1904 by Gaudí and has been
refurbished several times after that. Gaudí's
assistants also contributed to the renovation project.
• The local name for the building is Casa dels ossos
(House of Bones), as it has a visceral, skeletal
organic quality.

24. 5 CASE STUDY-CASA BATLLO
Designed by Emili Sala in
1877
Renovated by Antoni
Gaudi in 1905

25. 5 CASE STUDY-CASA BATILLO

26. 5 CASE STUDY-CASA BATLLO
• Most emblematic project of Gaudi’scareer. Both aesthetic and functional.
• Each and every part of the building is inspired from the nature.
• Common theory about Casa Batllo is that is pays tribute to the legend of the
Catalonian patron Saint, Saint George, and his battle with the dragon.
Façade:
• Decorated with a collage of stone, glass, ceramics tiles, flowing stonework and
large irregular windows .
• Called ‘house o yawn’ because of the large windows.
• Windows is useful functionality wise.
• Outside of this building represents the legend of Sant Jordi (Saint George).
• Introduced stone columns shaped bones, masks shaped balconies.

27. 5 CASE STUDY-CASA BATLLO

28. 5 CASE STUDY-CASA BATLLO
Roof:
• Roof is arched and scaly which resembles to the back of a dragon.
• Sculptures in the roof is chimneys connected to kitchen and fire place.
• The spire like feature on the roof represent the sword of St. George, which
has been plunged into the back of the dragon.

30. 5 CASE STUDY-CASA BATLLO
Noble Floor:
• Floor for Batllo family. This floor is dominated by the forms of nature. With more
than 700 meters from surface, is the main building housing.

31. 5 CASE STUDY-CASA BATLLO
Attic:
• Building facilities such as laundry and store room.
• Functionality wise this floor serves as thermal regulator, protecting lower floors
from changing temperature of outside elements.
• In terms of design, white color creates a sense of cleanliness and the
parabolic arches represents the ribs of the dragon.

32. 5 ART NOUVEAO INSPIRED BATHROOMS

33. 06
PART SIX
COMPARATIVE
ANALYSIS

34. 6 COMPARATIVE
ANALYSIS
• Through his work he shows how an interest in the extra-technical expression
can be intimately married with the primarily structural without sacrificing
one or another and to the enrichment of the total expression.
• He defined an architect as, ―a man with synthetic clear vision, who sees forms
precisely and in their totality before they materialize. That places the different
elements in their right plastic relationship and at the corner distance.
• It is all this that makes Gaudi a great pioneer of modern architecture: his courage,
his persistent research, his opposition to the academic revivalism, his attitude
towards new building methods- Gaudi, the man, from whose spirit we can
learn.

35. 6 COMPARATIVE
ANALYSIS
• Human centered design
• Engage with narrative
• Combine multi disciplines
• Gaudi's work is best described as free-flowing, full of curving organic forms
that are colorful and exuberant. His works contain shapes that come from
nature but move into the realm of the imaginary.

36. 6 COMPARATIVE
ANALYSIS

37. 6 COMPARATIVE
ANALYSIS
DESIGN CAN BE MORE THAN JUST
STRAIGHT LINES.

38. 6 COMPARATIVE
ANALYSIS

39. There are no straight lines or
sharp corners in nature,
therefore buildings must have no
straight lines or straight corners.
ANTONI GAUDI