literature study of antoni gaudi's building and his life

2. Born 25 June 1852
Reus or Riudoms, Catalonia, Spain(Baix Camp, Catalonia)
Died 10 June 1926 (aged 73)
Barcelona Catalonia, Spain
Father Francesc Gaudí i Serra (1813–1906)
Mother Antònia Cornet i Bertran (1819–1876)
Nationality Spanish
Occupation Architect
Buildings Sagrada Família, Casa Milà,
Casa Batlló
Projects Park Güell, Church of Colònia Güell

3. PROFILE
 After leaving the school, he went to Barcelona.
 He graduated as architect in 1878.
 Almost his entire professional activity took place in Barcelona.
 He was the youngest of five children, of whom three survived to adulthood.
 Rosa (1844–1879), Francesc (1851–1876) and Antoni.
 Gaudí's family originated in the Auvergne region in southern France.
 He became vegetarian at a young age.

4. PROFILE
 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.
 His favorite 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 3D models/sculptures.
 His nickname was 'God's Architect' due to the religious images in his work.

5. DEVELOPMENT AS A PROFESIONAL
ARCHITECT
 Upon graduation, Gaudí 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, Gaudí displayed a showcase he had produced, which impressed one
patron enough to lead to Gaudí'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 SagradaFamilia.
 The plans had been drawn up earlier, and construction had already begun, but Gaudí 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 Gaudí once again staged an
impressive showcase.

6. THE MATURED ARTIST
 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 thrusts 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.
ARCHITECTURAL TECHNOLOGIES
• 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.

7. FACTS & THEORIES OFGAUDI
- Those who look for the laws
of nature as a support for their
new works collaborate with
the creator.
- Nothing is art if it doesn’t come
from nature
- The creation continues
incessantly through the media
of man.
- There are no straight lines or
sharp corners in nature,
therefore buildings must have no
straight lines or straight corners.
- Color in certain places has
the great value of making the
outlines and structural planes
seem more energetic
ANYTHING CREATED BY
HUMAN BEING ALREADY
IN THE BOOK OF NATURE

8.  Reaction against the styles that were developedby
machine-production.
 Objects were simple in form, without decoration.
 Emphasize the qualities of the materials used ("truthtomaterial").
 Used patterns inspired by British flora and fauna.
 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.

9. THE STYLE
 A purely non-objective approach in the makingof artwork, 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.
METHODS AND 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 by International Constructivism
 Employed new materials, construction, and joining methods, including aluminum,
electroniccomponents and chrome-plating
 Industrial materials such as glass, steel, and plasticin clearly defined arrangements.
Because of their admiration for machines and technology, functionalism, and modern mediums

11. A
CHURCH
TEMPLE DE LA SAGRADA FAMILIA
For Antoni Gaudi, the Sagrada Familia, the massive structure was
meant as a tribute to both god and the Roman Catholic Church.
The Sagrada Familia
soars nearly
560 feet into
the Barcelona
skyline,
ensconced by
scaffolding,
towered over by
cranes
INSIDE OF
THE
CHURCH
TORTOISE
AT THE
BASE
STAINED GLASS WINDOWS

12. FLOOR PLAN

13. ENTRANCE DOOR INTERIOR
INSIDE ROOF(COLOUMNS
ARE DESIGNED AS TREES
BRANCHES)
VAULTS
UNDULATING ROOF & OSCILLATING FACADE

14. Roof architecture at Casa
Batlló
(A HOUSE)
 The main floor contains the large lounge
characterized by a long gallery with leaded
windows the fine woodwork in its interior.
 Another area is the loft, which is a perfect
combination of beauty and functionality,
inspired by Mediterranean construction, and
created using a series of catenary arches
which support the vaults of the ceiling.
 The tower were interpreted as its
four arms, the balconiesas the
skulls of the dragon’s victims, and
the stone columns as their bones.
 Casa Batlló was declared a
UNESCO world Heritage Site in
2005.
 facade reminds of an oil painting, a
carnival, in which the mosaic
tiling is confetti,
 the wrought-iron balconies are
masks, and the pinnacle of the
facade is a Harlequin’s hat.
 The outside of Casa Batlló represents the legend of SantJordi (Saint George), the patron saint of Catalonia.