Antoni gaudi history ppt

9,484 views

Published on

presentation on Anotoni Gaudi- architect of 19 the century. Presentation covers 2 important buildings of Gaudi.

Published in: Education
0 Comments
9 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
9,484
On SlideShare
0
From Embeds
0
Number of Embeds
170
Actions
Shares
0
Downloads
712
Comments
0
Likes
9
Embeds 0
No embeds

No notes for slide
  • The columns divide into different branches, and the same law that serves to design the trunk, with a double twist, from the star to the circle, will serve for the branches to return from the circle to the star or the polygons, and as many times as necessary according to the different levels of superimposition of branches in each case. For example, the column of the upper part of the choir in the side nave presents a straight line in the upper section which, as the column descends, is transformed into a rhomboid, a square, an octagon, polygons with 16 and 32 sides and the circle. The four upper columns begin in the square that is transformed as the column rises into the octagon, the polygon with 16 sides, the polygon with 32 sides and the circle
  • Antoni gaudi history ppt

    1. 1. ANTONI GAUDI HIS WORKS AND INFLUENCES -AKSHAT BANSAL NITYA BALI
    2. 2. THE CATALAN BACKGROUND Antoni Gaudi Gaudí in 1878, by Pau Audouard Born 25 June 1852 [1][2] Reus, Catalonia, Spain Died 10 June 1926 (aged 73) Barcelona, Catalonia, Spain Nationality Spanish Buildings Sagrada Família, Casa Milà, Casa Batlló Projects Park Güell, Church of Colònia Güell Figure 1.1 antoni gaudi www.unesco.org ANTONI GAUDI ‗S PLACE IN THE HISTORY OF MODERN MOVEMENT IN ARCHITECTURE IS BASED ON THE INTRINSIC VALUE OF HIS WORKS AND THE MAJOR PART HE PLAYED IN THE PERIOD OF ―CATALAN MODERNISM- 1880-1914.‖ THE MOVEMENT WAS ROUGHLY ACTIVE FROM 1888 (THE FIRST INTERNATIONAL EXHIBITION OF BARCELONA) TO 1911 (THE DEATH OF JOAN MARAGALL, THE MOST IMPORTANT MODERNISTA POET). THE MODERNISME MOVEMENT WAS CENTRED ON THE CITY OF BARCELONA, AND IS BEST KNOWN FOR ITS ARCHITECTURAL EXPRESSION, ESPECIALLY THE WORK OF ANTONI GAUDÍ, BUT WAS ALSO SIGNIFICANT IN SCULPTURE, POETRY, THEATRE AND PAINTING—NOTABLE PAINTERS INCLUDE SANTIAGO RUSIÑOL AND RAMON CASAS.
    3. 3. HOW CATALAN MODERNISM CAME INTO EXISTENCE? SPAIN TAKES OVER CATALONIA – END OF 18TH CENTURY RESPONSE- REVIVAL OF CULTURAL & POLITICAL NATIONALISM-1870‘s UNIFIED STRUGGLE FOR NATIONAL IDENTITY PRACTICAL & COMMERCIAL INSTINCT OF THE CATALANS COMBINED WITH RAPID INDUSTRIALIZATION OF PRODUCTION-DEVELOPED THE ROMANTICIZNG OF MEDIEVAL PAST THESE CIRCUMSTANCES PRODUCED A NEW STYLE IN ARCHITECTURE- ―MODERNISM‖
    4. 4. CATALAN MODERNISM ? MOORISH DECORATIVE FORMS & TECHNIQUES LIKE TILED SURFACES USED IN CONTRASTING PATTERNS ON BRICK BUILDINGS. CATALAN MODERNISM COMBINED ELECTIC CHOICE OF HISTORICAL REFERENCES WITH THE INTRODUCTION OF MODERN MATERIALS, & INFUSED DECORATION MUCH MORE THAN A LOCAL VARIANT OF ART NOUVEAU AS IT BECAME A STYLE IDENTIFIED WITH A MOVEMENT TO AFFIRM CATALAN NATIONHOOD & CULTURAL AUTONOMY
    5. 5.  THE SPANISH MODERNISM HAD A DECISIVE INFLUENCE ON GAUDI‘S IMAGINATION, & LED HIM TO A VENERATION OF CRAFTWORK AND THE HONESTY OF MEDIEVAL ART, AND TO NATURE AS A SOURCE OF INSPIRATION FOR DECORATIVE DETAILS AS WELL AS STRUCTURES.  HIS IMAGINATION LED HIM TO INTERPRET MODERNISM IN A BAROQUE MANNER. HE BROKE AWAY FROM CLASSICAL DISCIPLINES OF ARCHITECTURE AND CREATED A PERSONAL STYLE.  THE WRITINGS OF ENGLISH THEORIST JOHN RUSKIN WERE DEVOURED IN SPAIN, AND THIS DID NOT FAIL TO HAVE AN EFFECT – EVEN ON GAUDI. ―ORNAMENT IS THE ORIIGN OF ARCHITECTURE,‖ AS RUSKIN PUT IT IN 1853. THREE DECADES GAUDI ADVOCATED THE ORNAMENT IN MUCH THE SAME WAY, AND IN HIS OWN ARDENT MANNER.  FOR THE TIME BEING, GAUDI CONTINUED TO SEARCH FOR A STYLE OF HIS OWN, ALLOWING HIM TO BE INFLUENCED BY THE PREVAILING TRENDS- ONE PARTICULAR OUT OF THESE WAS NEO-GOTHIC.
    6. 6. Casa batllo THE CASA BATLLO IS A KEY PART OF THE ARCHITECTURE OF MODERNIST BARCELONA. IT WAS BUILT BY ANTONI GAUDI IN 1904-1906 COMMISSIONED BY TEXTILE INDUSTRIALIST JOSEP BATLLO. TODAY, THE SPECTACULAR FAÇADE IS AN ICON OF BARCELONA. THE CASA BATLLO IS A MASTERPIECE OF ANTONI GAUDI WHICH PROPOSES A JOURNEY INSIDE. THE ARCHITECTURE AND DESIGN OF THE CASA BATLLO ARE AN EXAMPLE OF GAUDI TECHNICAL AND THEREFORE STRUCTURAL ADDITION GAUDI AND MODERN ORNAMENTAL. . THE CASA BATLLO PRESENTS SOME CONCEPTS OF VENTILATION, A PROVISION OF THE FITTINGS, LARGE WROUGHT IRON SKYLIGHTS ARE HITHERTO UNKNOWN MODERNITY. TAKEN TOGETHER, CASA BATLLO IS OF ENORMOUS EVOCATIVE POWER OF THE SEA, LANDLOCKED, NATURALISM, THE THEATRICALITY, CARNIVAL AND MAGIC. Figure 1.2 casa batllo, spain http://jillsbooks.wordpress.com
    7. 7. Timeline- casa batllo
    8. 8. timeline of casa batllo, spain http://www.casabatllo.es
    9. 9. ROOF A space for the imagination in highlighting chimney sets, and above all, the dragon's back. Patio Cozy Patio With Direct Access From The Main Floor. The Attic Service Area Built With Catenary Arches. Construction Singular And Independent Of The Rest Of The House. facade The Facade Of Casa Batllo, A Marvel Of The Most Admired Modernist City Of Barcelona. Noble Plant The Family Home Is The Largest Batlló House. Stresses The Great Room, A Space Dominated By Forms Of Nature, With Spectacular Views Of Passeig De Gràcia. The Courtyard It Is The Core Of The House, The Space That Allows Light And Air To Reach The Building. More Than 15,000 Blue Tiles, Inspired By The Sea, Decorate It. The Lobby Private Access To The Batlló Family Housing. Noted For Its Organic Appearance, Similar To An Underwater Grotto. The Ladder Simulates The Vertebrae Of A Large Animal. Figure 1.3 section of casa batllo, spa http://www.casabatllo.es
    10. 10. THE BUILDING THE CASA BATLLO IS AN APOLOGY OF JOY. A HOUSE THAT IS A SYMBOLIC UNIVERSE, A CANVAS MARINE INSPIRATION, A DREAM WORLD WITH HIS ORGANIC, NATURE OR SUGGEST EVOKES FANTASTIC THINGS. BESIDES ITS ARTISTIC VALUE, THE WORK HAS ENORMOUS FUNCTIONALITY. Figure 1.4 old façade of casa batllo, spain http://www.casabatllo.es Figure 1.5 new facade of casa batllo, spain http://www.casabatllo.es
    11. 11. THE FRONT AT THE LEVEL OF THE MAIN FLOOR, GAUDI INCORPORATED A GRAND STAND TO SEE AND BE SEEN, THAT PROTRUDES A FEW FEET ON THE PASSEIG DE GRACIA. HE ADDED LARGE AND OVAL WINDOWS. HE INTRODUCED STONE COLUMNS SHAPED BONES, MASKS SHAPED BALCONIES . THE BUILDING IS CROWNED BY A SPECTACULAR ROOF, CONSISTING OF LARGE SCALES, SIMULATING THE BACK OF A DRAGON, AND A TOWER FROM WHICH PROJECTS A CROSS WITH FOUR ARMS POINTING TO THE CARDINAL POINTS. OVERLAID ENTIRE FACADE WITH GLASS TRENCADÍS CERAMIC DISKS AND ACHIEVE A WAVY SURFACE. THE END RESULT IS THERE: A WORK OVERFLOWING, EVOCATIVE AND SUGGESTIVE THAT ALL ALREADY KNOW AND ADMIRE FROM OVER A CENTURY AGO. MYTH OR LEGEND, MONET'S WATER LILIES, EVOKED A CARNIVAL MASKS, CONFETTI, A ROOF SHAPED HARLEQUIN HAT, SANT JORDI WHICH OCCURS BY THE DRAGON, SWORD, SKULLS…
    12. 12. ROOF • MORE ABOUT GAUDI CELESTIAL MANTLE DISPLAYS WIT, IMAGINATION AND CREATIVITY IN ABUNDANCE. THIS IS AN AREA OF ​ENORMOUS POETIC, WITH EXCELLENT VIEWS OF BARCELONA AND THAT BECOMES A UNIVERSE OF SHAPES, SILHOUETTES AND TEXTURES. • EXCELS ESPECIALLY WHAT IS POPULARLY KNOWN AS THE DRAGON'S BACK, WHICH CHARACTERIZES THE FACADE.GAUDÍ REPRESENTS THE BACKBONE OF THE ANIMAL WITH TILES OF VARIOUS COLORS TO ONE SIDE AND COLOR IT USING THE TECHNIQUE OF TRENCADÍS INTO THE ROOF. • ADORN THE ROOF AND FOUR FIREPLACES SETS SINUOUS, STYLIZED POLYCHROMATIC IN A CONSTANT FLIRTATION WITH THE SKY, WISELY DESIGNED TO PREVENT AIR BACK INSIDE HUFF. Figure 1.5 3d view of roof, casa batllo, spain http://www.casabatllo.es
    13. 13. Figure 1.6 3d view of loft, casa batllo, spain http://www.casabatllo.es LOFT • ONE OF THE MOST UNIQUE, AN EXQUISITE COMBINATION OF AESTHETICS AND FUNCTIONALITY. IT IS A SERVICE AREA FOR THE TENANTS OF THE PROPERTY WITH LAUNDRY, STORAGE, ETC. • IT IS CHARACTERIZED BY THE SIMPLICITY OF ITS FORMS, THROUGH THE MEDITERRANEANINSPIRED WHITE AND BY THE OMNIPRESENCE OF LIGHT. 60 HIGHLIGHTS A SERIES OF CATENARY ARCHES, MAKING A SPACE THAT EVOKES THE RIBS OF AN ANIMAL. PERHAPS THE DRAGON LOCATED ON IT, ON THE ROOF. TO THIS WAS ACCESSED VIA SPIRAL STAIRS.
    14. 14. NOBLE FLOOR • IT IS THE FORMER HOME OF THE BATLLÓ FAMILY. WITH MORE THAN 700 METERS FROM SURFACE, IS THE MAIN BUILDING HOUSING. • ACCESS IS VIA A PRIVATE LOBBY SPLENDID EVOKES CAPTAIN NEMO'S UNDERWATER CAVES WITH SKYLIGHTS THAT APPEAR TURTLE SHELLS, SINUOUS VAULTED WALLS AND A SPECTACULAR STAIRCASE. THEIR CARVED HANDRAILS, WOOD INTERIOR, IS THE BACKBONE OF A LARGE ANIMAL. • ONCE IT REACHES THE LEVEL OF THE MAIN FLOOR, WE REACHED A GENEROUSLY SIZED DISTRIBUTOR TO FRONT OVERLOOKING THE COURTYARD FACADE BLUE LIGHTS. • TOWARDS THE PASSEIG DE GRÀCIA ARE THE OFFICE OF BATLLO AND A WHOLE FESTEJADOR OR IDEAL ENCLOSURE FOR COURTSHIP ROMANTIC PROTECTED FROM MUSHROOM-SHAPED FIREPLACE, FLANKED YES, BY TWO BANKS, ONE FOR THE RIFLE, ONE FOR COUPLE TO WATCH. • THEN THAT THE GREAT HALL, WITH THREE CONNECTED SPACES, IS A SHOWCASE TO THE PASSEIG DE GRÀCIA WITH LARGE WINDOWS THAT LET IN LIGHT. CREATED LARGE OAK DOORS WITH ORGANIC SHAPES IN WHICH COLORED GLASS JOINED. THESE DOORS, WHILE SEPARATING THE THREE ROOMS, ALLOW YOU TO CREATE A UNIQUE SPACE FILLED WITH LIGHT. THE ROOF OF THE HOUSE, IN ALLUSION TO THE SEA, IS COMPLETELY CURLED. EXCELS A NIFTY SWIRL BASE GAUDI ACHIEVED A FILLING OF ESPARTO AND THAT EVOKES THE STRENGTH OF THE SEA.
    15. 15. Figure 1.7 3d view of noble floor, casa batllo, spain http://www.casabatllo.es
    16. 16. IMPORTANT FEATURES OF CASA BATLLO 1. GAUDÍ GAVE THE CASA BATLLO AN ORIGINAL FACADE, FANTASTIC AND FULL OF IMAGINATION. IT REPLACED THE OLD FACADE WITH A NEW SET OF STONE AND GLASS. SENT RINGING THE EXTERIOR WALLS TO GIVE THE WAVE-SHAPED, THEN PLASTERED WITH LIME MORTAR AND COVERED WITH STAINED GLASS TRENCADÍS AND CERAMIC DISCS. 2. AT THE TOP OF THE FRONT ROOF-SHAPED AND LARGE ANIMAL SPINE IRIDESCENT FLAKES. THE CLOSING CORD IS MADE LARGE SPHERICAL PIECES WITH CHANGING COLORS FROM END TO END ACROSS THE RIDGE. Figure 1.8 front façade http://www.casabatllo.es Figure 1.9 front of roof http://www.casabatllo.es
    17. 17. 3. THE GREAT TRIBUNE OF THE MAIN HALL OF THE MAIN FLOOR, FACING PG DE GRÀCIA CONSISTS OF WOODEN WINDOWS WHICH ARE DRIVEN UP AND DOWN BY COUNTER, WITH THE PARTICULARITY THAT NO JAMBS OR STUDS, SO THAT IT IS POSSIBLE LIFT ALL WINDOWS AND HAVE AN OPENING RUN, PANORAMIC, ACROSS THE WIDTH OF THE ROOM. 4. AT GROUND LEVEL, MAIN FLOOR AND FIRST FLOOR, THE FACADE INCORPORATES SLENDER COLUMNS MONTJUÏC STONE, BONE FORMS OUTLINING DECORATED WITH FLORAL ELEMENTS TYPICALLY MODERNIST. 5. THE BALCONY RAILINGS SHAPED MASKS ARE MADE OF CAST IRON IN ONE PIECE AND ARE FIXED VIA TWO ANCHOR POINTS, SO THAT PART THEREOF OVERHANGS. Figure 1.10 wooden windows http://www.casabatllo.es Figure 1.11 bone shaped columns http://www.casabatllo.es
    18. 18. 6. ON THE MAIN FLOOR, FAMILY RESIDENCE BATLLO , GAUDI MADE ​A NEW DISTRIBUTION OF UNDULATING WALLS AND DECORATED THE ROOMS. 7. FROM THE LOBBY ON THE GROUND FLOOR, A STURDY IRON FENCE SEPARATES THE PRIVATE ACCESS TO THE FAMILY HOME BATLLO . A GRAND WOODEN STAIRCASE MAKES ITS WAY FROM A HALL OF VAULTED CEILINGS, SKYLIGHTS EQUIPPED WITH TURTLE SHELL FORMS. THE BACKBONE OF A LARGE ANIMAL CARVED HARDWOOD STANDS AS HANDRAILS FOR HOLES IMPOSSIBLE, GIVING THE ENTIRE ROOM A SUBMARINE THAT CARRIES THE FANTASTIC WORLD OF JULES VERNE. HERE THE IDEA IS VERY PLAUSIBLE SEABED, THE CHROMATICISM OF THE SURFACE OF THE SEA, THE SAND, THE SEA MOUTHS. Figure 1.12 wooden staircase, lobby http://www.casabatllo.es Figure 1.13 skylight http://www.casabatllo.es
    19. 19. 8. THE FAMILY HOME IS EQUIPPED WITH A PRIVATE PATIO TO THE INTERIOR OF THE BLOCK, OFF THE DINING ROOM, IN THE MOST INTIMATE OF THE HOUSE. 9. TOWARDS THE PG DE GRÀCIA IS THE MAIN HALL OF THE HOUSE, CONSISTING OF A CENTRAL HALL AND TWO SIDE LOUNGES CAN JOIN TO FORM A GREAT STAY CURRENT STYLE LOFTS. IN THE CENTRAL PART, INCORPORATES THE GRANDSTAND, ALREADY MENTIONED, WHICH PROTRUDES INTO THE STREET. Figure 1.14 patio http://www.casabatllo.es
    20. 20. 11. THE INNER COURTYARD IS VERY IMPORTANT PART OF THE REFORM. GAUDÍ WIDENS THE PATIO LIGHTS AND COMPLETELY COVERED WITH EMBOSSED TILES IN VARIOUS SHADES OF BLUE, WHICH ARE MORE INTENSE IN THE UPPER AND CLEARER IN THE BOTTOM, THUS A UNIFORM DISTRIBUTION OF LIGHT. THE WINDOWS ARE SMALLER AT THE TOP WHERE IT REACHES AS MUCH NATURAL LIGHT, WHILE ON THE DOWNSIDE, THEY ARE BECOMING LARGER.THE BOTTOM OF THE WINDOW WOOD INCORPORATES SLITS CAN BE OPENED OR CLOSED ENSURING GOOD VENTILATION. IN THE MIDDLE OF THE PATIO LIGHTS INSTALLED THE LIFT, WHOSE BEAUTIFUL ORIGINAL WOOD CABINET CONTINUES TO OPERATE. 12. THE LARGE CENTRAL SKYLIGHT CONSISTS OF LARGE IRON AND GLASS ELEMENTS AND COVERS THE LARGE PATIO LIGHTS WIDENED BY GAUDÍ. THIS IS THE LARGE SKYLIGHT THAT LETS IN LIGHT CASCADING ACROSS THE PATIO. 13. THE WHOLE WORK IS A MARVEL OF DESIGN THROUGH HATCHING ORNAMENTAL TRADES. GAUDÍ WORKED WITH THE BEST CRAFTSMEN IN ALL TRADES. THE TRANSFORMATION WROUGHT IRON, WHERE THE CURVE IS NOT ONLY RHETORIC AND AESTHETICS, BUT ALSO STRUCTURAL REINFORCEMENT; WINDING WOODWORK AND DOORS WITH STRIKING THREEDIMENSIONAL RELIEFS, COLORED LEADED LIGHTS, THAT FILTER THE NATURAL LIGHT EMBOSSED CERAMIC TILES, SANDSTONE ORNAMENTAL ELEMENTS OF MONTJUIC, ALL REALIZE THE MASTERY OF THE CRAFTSMEN OF THE TIME. 14. THE LOFT OPEN SPACES AND AIRY, REMINISCENT OF MEDITERRANEAN ARCHITECTURE, DRAWS ATTENTION TO THE STRUCTURE OF ARCHES. FROM THE MAIN ROOM IN THE ATTIC, YOU CAN SEE THE WONDERFUL ORGANIC WORLD OFGAUDÍ . IT SHOWS THE STRUCTURE OF RIBS AND STERNUM THAT CREATE THE PARABOLIC ARCHES, VERY MODERN, WHICH SUPPORTS THE ROOF. THE LARGE SPIRAL STAIRCASES STRUCTURAL NUDITY, WHICH COMMUNICATE WITH THE ROOF, ARE ALSO OF A GREAT POWER. THE IRON RAILINGS ARE SIMPLE LINES ITSELF A SCULPTURE OF S. XX.
    21. 21. 15. ON THE ROOF, THE ROLE OF THE DRAGON'S BACK IMPORTANT AESTHETIC BALANCE TO THE FRONT FACE, YIELDS TO THE FOUR GROUPS OF WINDING CHIMNEYS. AFTER THE AESTHETIC, IS ALWAYS FUNCTIONAL. NEVER THE WIND MAY OBSTRUCT THE RELEASE OF SMOKE THANKS TO CAPS ON TOP OF THE CHIMNEYS, COVERED THE SAME TRENCADIS GLAZING THE FACADE. GAUDÍ CURVED SURFACES COVERED WITH TILE PIECES, AS DID THE BYZANTINES. Figure 1. 15 The building is crowned with a spectacular roof which, being composed of large scales, looks like a dragon's backhttp://fjalonso.blogspot.in
    22. 22. Figure 1.16 winding chimneys in dragon form http://www.bugbog.com 16. THE WORK CONSISTS OF GROUND FLOOR, MAIN COURTYARD, FOUR ENTIRE FLOORS, ATTIC AND ROOF, PRIVATE ACCESS TO THE MAIN FLOOR OR PRINCIPAL, A NEIGHBORING LADDER RUNNING THROUGH A PATIO LIGHTS AND ARTISTICALLY TILED WIDENED AS IF IT WERE A FACING OUTER FACADE. FROM THE STREET TO THE GARAGE IS ACCESSED AT STREET LEVEL, WHICH ENTER THE UNDERGROUND PORTION OCCUPYING THE COURTYARD OF THE MAIN FLOOR AND FROM WHICH YOU ACCESS THE CARBONERAS, ON THE BOTTOM. IN TOTAL, THE HOUSE HAS OVER 5,000 M2 WITH HIS FOREHEAD TO PASSEIG DE GRÀCIA AND THE REAR FACADE COURTYARD
    23. 23. Basilica de la sagrada familia Location – barcelona Work started- 19th march, 1882 Antoni Gaudi appointed architect in 1883 and worked on this project until his death in 1926. Project completionis expected to complete BY 2026 Fig. 2.1, Sagrada familia, www.sagradafamilia.cat
    24. 24. PLAN OF THE CHURCH Fig. 2.2, plan, www.sagradafamilia.cat 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. Fig. 2.3, plan, www.architecturalreview.com Plan of Cologne Cathedral Gothic architecture
    25. 25. Main parts of the church apse Crossing Passion façade Cloister Main nave Glory façade Crypt The nativity facade Gaudí's original design calls for a total of eighteen spires, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary and, tallest of all, Jesus Christ. Eight spires have been built as of 2010, corresponding to four apostles at the Nativity façade and four apostles at the Passion façade. The completion of the spires will make Sagrada Família the tallest church building in the world. Fig. 2.3, 3d view , national geographic chanel ltd.
    26. 26. Ellipsoid • ELLIPSOID is a solid in which all the flat sections are ellipses. Because of its elliptical shape it was chosen by Gaudí for the knots or capitals that subdivide the lower columns into branches. The different knots are the result of adding and subtracting ellipsoids from one another Fig. 2.9, trees pillar www.sagradafamiia.cat
    27. 27. Fig. 2.10, roof National gegraphic chanel ltd, tree trunks Designed to house artificial lights, Gaudí‘s columns copy the scars that form naturally when a tree branch is cut.
    28. 28. Hyperboloid The hyperboloid is a surface generated by a hyperbola which revolves around a circle or ellipse. They can be solid or empty, solid to pass from the column to the vaults, empty where the light enters the interior of the church Fig. 2.11, hyperboloid Unesco world heritage org. Double roof A unique feature of the church‘s roof, quadric surfaces , reflect and filter natural light. Fig. 2.12, hyperboloid www.sagradafamilia.cat.
    29. 29. Fig. 2.13, tree pillars www.sagradafamilia.cat. when columns reach the vaults we can see hyperboloids is on the capitals of the columns.
    30. 30. Hyperbolic paraboloid It is simply a twisted plane. in one direction it has the sections in the form of a parabola with the branches pointing upwards, while in the perpendicular part the sections are in the form of a parabola with the branches pointing downwards. Fig. 2.13, hyperbolic parabloid National geographic chanel ltd.. Fig. 2.14, parabola roof www.sagradafamilia.cat.
    31. 31. proportions Plan of the church Total length from the entrance to the back of the apse: 90 m Width of the main nave: 45 m (= 1/2 • 90 m) Length of the crossing 60 m: (= 2/3 • 90 m) Total length from the entrance to the back of the apse: 90 m Height of the main nave: 45 m (= 1/2 • 90 m) Height of the crossing: 60 m (= 2/3 • 90 m) Fig. 2.15, plan www.sagradafamilia.cat.
    32. 32. Beyond the gothic Gaudi had a desire to overcome all the defects he found in the Gothic structural system, mainly the following: • Shifting of the loads to flying buttresses, more exposed and more vulnerable, • Excessively complex and fragile structural web. The demolition of one part can bring about the ruin of the whole building. • Light wooden roofs, excessively vulnerable to fire, damp, insects Gaudí's contributions to going beyond the Gothic can be summarised as: • Double roof of stone • verticalisation of the forces and reduction of the horizontal thrusts. He thus achieves the total suppression of the exterior structural elements • Inclined columns branching like trees. Fig. 2.17, NATIONAL GEOGRAPHIC CHANEL The Crypt – gothic arches prominent Gothic cathedral Sagrada Familia Fig. 2.16, heicoid , Basilica de la sagrada familia ltd.. While retaining the gothic window, he loosened its formal stringensy by counterbalancing with different circular elements to it.
    33. 33. Design by nature – Ornaments Gaudi pioneered an architecture inspired from nature‘s forms. honeycomb gates patterns of honeycomb and palm fronds are etched on the gates, walls and floors. Eg. iron railings on the nativity facade. Fig. 2.18, Honeycomb National Geographic Chanel ltd. crystals
    34. 34. vine lines naturally spiraling helices.passion fruit tendrils, for instance, adorn the side walls of the nativity facade. organic windows following the patterns found on natural objects like those on a marine diatom, gaudi designed windows to allow for greater passage of natural light. pinnacles of detail- the tower tops are modelled on architects study of crystals,cereal grain and grasses. lavender, wheat and grasses were some of the plants gaudi studied as he designed his pinnacles. Fig. 2.19, vine lines National Geographic ltd. Fig. 2.19, organic windows National Geographic ltd.
    35. 35. Nativity Façade Dedicated to the birth of Jesus, it is decorated with scenes reminiscent of elements of life. Characteristic of Gaudí's naturalistic style, the sculptures are ornately arranged and decorated with scenes and images from nature, each a symbol in their own manner. Four towers complete the façade and are each dedicated to a Saint (Matthias the Apostle, Saint Barnabas, Jude the Apostle, and Simon the Zealot). Fig. 2.21 , façade Fig. 2.20 , shires Fig. 2.21 , facade Passion Sagradofamilia.cat Façade Sagradofamilia.cat Sagradofamilia.cat in contrast to the highly decorated Nativity Façade, the Passion Façade is 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. Construction began in 1954, following the drawings and instructions left by Gaudí for future architects and sculptors. Fig. 2.22,spires Sagradofamilia.cat Fig. 2.23 , façade Sagradofamilia.cat Fig. 2.24 entrance Sagradofamilia.cat
    36. 36. Glory Façade The largest of the façades will be the Glory Façade, To reach the Glory Portico, there will be a large staircase.It will be decorated with demons, idols, false gods, heresy and schisms, etc. Purgatory and death will also be depicted. The portico will have seven large columns dedicated to spiritual gifts. At the base of the columns there will be representations of the Seven Deadly Sins and at the top seven heavenly virtues, Apse Fig. 2.26 , interior Sagradofamilia.cat Crypt
    37. 37. Fig. 2.27 , National Geographic Chanel ltd.
    38. 38. columns Gaudi saw three great basic models of columns in history • The Greek Doric column • The Corinthian order column • The barley sugar column, typical of the Baroque Double Twisted Columns – synthesis of 3 historical column models. Star shaped bases ending in circles. the main columns of the sagrada Familia come in four sizes and shapes, all of which finish in a circle. the diameter and number of sides depend on the load the column needs to bear.
    39. 39. Tree columns Fig. 2.28 , National Geographic Chanel ltd.
    40. 40. LEARNING FROM GAUDI 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 ARCHITET 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 RIVIVALISM,HIS ATTITUDE TOWARDS NE WBUILDING METHODS- GAUDI, THE MAN, FROM WHOSE SPIRIT WE CAN LEARN.
    41. 41. Bibliography 1. Tafuri, Manfredo. History of Architecture - Modern Architecture /1. s.l. : Electa. 2. Mackay, David. Modern Architecture in Barcelona 1854-1939. s.l. : Rizzoli. 3. Antoni Gaudi - an enigma. 2006. 4. Casa Batllo - Gaudi - Barcelona. [Online] Casa Batlo S.L.U. [Cited: 10 13, 2013.] http://www.casabatllo.es/en/. 5. National Geographic. la sagradafamilia. basilica la sagrada familia. [Online] 2010.

    ×