Antoni Gaudí was a Spanish architect known for designing unique structures in Barcelona using natural forms and vivid colors. Some of his most famous works discussed in the document include Park Güell, Casa Batlló, Casa Milà, and the Basílica i Temple Expiatori de la Sagrada Família. The document provides details on the origins, designs, and architectural elements of these buildings, noting Gaudí's influences from nature and use of innovative structural techniques.

1. Antoni Gaudí
And
His Works.
- Maria AntoniettaCrippa

2. About Gaudí
• Antoni Plàcid Guillem Gaudí i Corne.
• The son of a coppersmith, Antoni Gaudí was born in 1852, in Reus in Spain.
• Gaudí graduated fromthe ProvincialSchool of Architecture in 1878.
• Upon graduation, Gaudiinitially work in the artistic vein of his Victorian
predecessors, buthesoon developed his own style.
• Composing his works with juxtaposition of geometric masses and animating
the surfacewith patterned brick or stone, brightceramic tiles and floral or
reptile metalwork.
• He created a type of structureknown as Equalibrited i.e. it could stand on its
own without any bracing and external buttressing, etc.
• He developed his own unique style - a blending element of Gothic art and art
nouveau, known as Modernismo in Catalonia.
• He never draw building drawings, buthe always made3d models out of
gypsumand stone.

3. Park Güell

4. Introduction
• Park Güell is a garden complex with architectural elements situated on the
hill of El Carmel in the Gràcia district of Barcelona, Catalonia, Spain. It was
designed by the Catalan architect Antoni Gaudí and built in the years 1900
to 1914. The park was built from 1900 to 1914 and was officially opened as
a public park in 1926
• It has an extension of 17.18 ha (0.1718 km²), which makes it one of the
largest architectural works in south Europe. It is part of the UNESCO World
Heritage Site "Works of Antoni Gaudí".
• Parc Güell is a park designed by Antoni Gaudí upon the request of Count
Eusebi Güell, who wanted to build a stylish park for the aristocrats
of Barcelona. The Count had planned to build a housing development that
would take advantage of the area's views and fresh air.
• The park is a common tourist attraction in Barcelona, and is known for
its famous terrace and iconic entrance, flanked by two Gaudí buildings.
• Antoni Gaudí better reflects the complete and perfect harmony of nature
and architecture than Barcelona’s Park Güell

5. • The park was originally part of a commercially unsuccessful
housing site, the idea of Count Eusebi Güell, after whom
the park was named.
• The intention was to exploit the fresh air and beautiful
views fromthe site, with sixty triangular lots being
provided for luxury houses.
• The Parc Guell is the only large-scaleurban project
designed by Gaudi.
• The symbolic value, the detailed route, the character of
each of the differentspaces, the variety of vegetation,
and geographic location, have made the Parc Guell in
one of Barcelona’s greatestattractions for tourists, and in
turn, is a Single lung Catalan people who find in him a
creative and magical shelter itself froma city with
immense cultural value added.

6. Origins as a housing
development
• The park was originally part of a commercially unsuccessful
housing site, the idea of Count Eusebi Güell, after whomthe
park was named.
• Itwas inspired by the English garden city movement; hence
the original English name Park (in the Catalan language
spoken in Catalonia whereBarcelona is located, the word for
"Park" is "Parc",and the name of the place is "Parc Güell" in
its original language).
• The intention was to exploit the fresh air and beautiful
views fromthe site, with sixty triangular lots being provided
for luxury houses.

7. The Monumental
Staircase
• The ladder begins with two symmetrical sections on each side of a bed.
• This staircase has three flights of eleven steps, one twelve, and is
contained between crenellated walls.
• In the central space between the two sections are located three fountains
and sculptures representative of Catalonia: the French side to the north
and south the Spanish side.
• This first source is a circle that symbolizes the world, along with a
compass symbolizing the task of the architect. In the second of which
appears the shield of Catalonia and a snake, some say that is because the
symbolism of the medicine, and others refer their presence in a religious
sense. And finally, the third source is the main protagonist of the park: a
colorful salamander sits looking straight ahead and access to the city.
• On the right of the staircase sits a circular room decking, which is
handled by a central column in an inverted cone. The particularity of
this room, is that inside there is an acoustic effect that allows two people
talk normally while back (thanks to the volumetric envelope).
• The flight of steps, with its famous dragon covered in coloured broken-
ceramic pieces.

8. Hipóstila Board
• The stairway ends in this space called Hipóstila
Chamber or Chamber of the Hundred Columns. In
this space lies the largest open plaza in the park, so
its image is provided by the columns, which is hidden
below ground.
• The Hall was built between 1907and 1909with the
goal to be the market that cater to the new
development. Due to the aforementioned
commercial failure, the Board changed its role and
now serves as a place of rest and enjoyment of any
piece of music.

9. Plaza
• This point is central to the park, fromwhich you configure
the set. The discovery of ovoid squarewas built between
1907 and 1913 and has 3000 squaremeters. Itsits on
absorbentground as below it are the columns of the Board
Hipóstila by which rainwater drains and is stored in
underground storageof 1200m3.
• The plaza was designed as a Greek theater, with the goal of
being an outdoor space for celebrations, meetings, and
cultural or religious events. But more than anything, should
be the common meeting spaceand exchange among
neighbors.
• The large cross atthe Park's high-pointoffers themost
complete view of Barcelona and the bay. It is possible to
view the main city in panorama, with the
Sagrada Família and the Montjuïcarea visible at a distance.

10. Viaducts
• Gaudí designed a set of viaducts should be
the connection between different plots of
the “City”. Although the project changed
drastically after its function, these
pathways remained intact.
• The initial concept was a major step higher
for carriages or any motorized vehicles
(12% slope), and down a path for
pedestrians arcade (slope 6%). Due to the
change, the original idea remained the
same, although both functions are used as
passages to explore on foot.
• One of the porticos, which adopts
the shape of a great wave.

11. The Calvary
• In the original draft Gaudí designed a church at
the top of the mountain,a decision that was
showing his true beliefs. But that first idea then
changed and became what is now known as
Calvary.
• At this end of the ascent to spiritual growth,
and the symbolism of being closer to God,
Gaudí placed on top of the mountain’swork
most direct allusionto the religion of the entire
park.

12. CASA BATLLÓ

13. Casa Batlló
• Casa Batlló is a building in the Center of Barcelona. It was
designed by Antoni Gaudi, and is considered one of his
masterpieces. 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 Domenec Sugranes Gras, Josep Can
aleta and Joan Rubio 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.

14. Exterior.
• The inspiringimaginationof Antoni Gaudíundoubtedlyrevealsitself inone
of hismost poeticandartisticdesignsforabuilding, CasaBatlló.Hissynthesis
of animal shapes, vine-likecurves,hintsof bone andskeleton,andhisuse
of lustrouscoloured bitsof glazedceramicandglasscreate amasterpiece that
will foreverastonishitsobservers.
• Hisstyle encompassesall thatdefinesthe ArtNouveau,aSchool of
Frenchdecorative artistsfromthe 1890s whotookinfluencefromsinuous
shapesin plantsandnature.
• He exploredhisinterestsinflowingshapes,patternsand coloursinthe
Casa Batlló,
• The front facade revealsstrikingtextures, colours,andimagerythat
work togethertoconjure thoughtsof fairytalesandphantasmal dreams.The
largersculptural piecesthatcreate the boundariesof the balconiesandthat
frame the entrance resemblebones,suggestingaseptum, eyebrowsor
clavicles,which keeptothe anthropomorphictone. Aseyeswanderuptothe
topof Casa Batlló,theyare greetedbythe dominating reptiliansurface of the
roof.

15. Interior.
• As an artist and believer in an all-encompassing
design, it is unsurprising that the intensity of detail
and materiality is not left to the exterior alone.
• The interior is perhaps even more detailed and
designed, a continuation of the sinuous flowing walls
and edges as well as colour manipulation and
incredible varying of the scale.
• The interior is just as alive as it appears from the
street; the knobbly spine lines the staircase through
flowing wall forms of scale-like surfaces. The winding
and twisting exhibited in the decorative features of
doors, frames, peepholes, mouldings and screens are
all interpretations of the natural forms that
inspired Gaudí's art nouveau style.

16. Casa Milà

17. Casa Milà
• The Casa Mila was made in art nouveau style. It is a style of art and architecture which em
braces vivid decorative shapes and prefers curves over straight lines.
• Casa Mila is one of the most fascinating buildings in the world.
Casa Mila have a spectacular roof.
• Gaudi designed the Casa Mila exclusively with natural forms, in result not a single right angl
e can be found.
• 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
decorations.
• 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.

18. Architect’s Philosophy
• The building’s overall form took inspiration from waves.
The sine wave confers a unique movement to the stone
facade absolutely continuous circumventing the corners,
representing the sea.
• He designed the house as a constant curve, incorporating
ruled geometry and naturalistic elements.

19. 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
harmonious, emblematic entirety of design.

20. • Patios are key as supportingloads of interior facades.
The floor of the courtyardis 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 stretchedradial beams, like
the spokes of a bicycle.
• Although the patios can’tbe seen from the street,
they show carefully thoughtout hand crafted
details such as the wroughtiron railings that nish odd
the windows.
• The building uses a completely original solution
to solve the issue of a lobby being too closed
and dark. Its open and airy courtyardsprovide a
place of transit and are directly visible to those
accessing the building. There are two patios on the
side of the Passeig de Graciaand of the street
Provence.

21. Natural
Influences
• Antoni Gaudi devised the Casa Milà to mutate
nature. If I’mtheinterior structurethe
adaptability of living beings is emulated, then
the exterior reflects their movement. With
its unusualcurves, the building undulates like
natural-landscape.
• However the architect is believed to have
been inspired by some concretereference,
although this hypothesis has never
been confirmed. Given the great
evocativepower of the work, the
theories about the sources of inspiration forLa
Pedrera areinfinite.

22. Elements
• The facade of Casa Milais nota structural element:ratherthan servingthe traditionalfunctionofload-bearingwall,it
isinsteadacurtain wall.The blocksof stone are connectedtothe structure bymetal components,therebymaking
the large windowsinthe frontage possible,enablingmaximumlightpenetration.
• Wrought-ironbalconieswere the designof JosepMariaJujol,Gaudí'sfrequentcollaborator.Eachis differentandwas
improvisedinthe forge.The complexbalconieswere made usingscrapironsheets,bars andchainsinan unusual
buteffective accumulationthatcomplementsthe architectureand providesadecorativeelement.
• Ironworkhasbeena Catalantrade since time immemorial, andGaudíhad no trouble incorporatingitasa structural
and decorative elementin hiswork.

23. Elements
• Gaudi foreseen the necessities of modern life and in the basement of Casa Mila
built a garagefor coaches and cars, the firstin a residential building. He used
slender iron columns, as well as an innovativemetal structurereminiscentof a
bicycle wheel, to supportthe floor of the courtyard above. Theuse of iron
enabled him to reduce the built volume and to gain maneuvering space.
• In the attic, Gaudí built a series of catenary arches of varying heights depending
on the width of the corridor. Thesearches supportfor the side walls of the inner
and outer walls and abovethe deck staggered.
• Catenary brick arch of varying height connected by a centralspine makes
user feel like they areinside a whale’s stomach and the arches arethe ribcage.
This design gives it a slight claustrophobic and catacomb-likefeel. Some
described it as a walk inside an undulating whale skeleton.

24. • Several structuralinnovations include self-
supporting stone façade, a free-plan floor,
undergroundgarage and the spectacular terrace on
roof.
• The buildingis dividedstructurallybetween
structure and skin. The structural systemconsists
of forged steel joists and the
Catalanbovedillasbehindbyjacenas onmetal
pillars. Steel beams with the same curvature
support the facade’s weight byattachingto the
structure. Self-supporting
limestone facade discards the needof load-bearing
walls. Steelbeams with the same curvature
support the facade’s weight byattachingto the
structure. The facade connects to internal structure
of each floorusing curvedironbeams surrounding
the perimeter of eachfloor.
• This allows large openings inthe facade, enabling
light penetration, not to mention free structuring
of different levels, so that internal wallscanbe
added and demolished without affecting the
stabilityof the building. This allows the owners are
able to modifythe interiorlayout of homes
without problems.

25. • Roofterrace witch abstract chimneys ofthe Casa Mila.
• The house has a natural ventilation system, which makes an air
conditioner unnecessary.
• Trecandís Also known as pique assiette, broken tile mosaics,bits
and pieces, is a type of mosaicmade from cemented-together
tile shards and broken chinawaret.

26. • Gaudí deliberately focused on the
design of the building, used very
little paint and left the materials
natural. Creamy tones of
the limestone facades and bright
stone of this building distinguishes
it from Gaudí's other works such as
Casa Batllo which is famous for its
colorful trecandis facades and
looks very expressionistic.
• 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.

28. Basílica i
Temple
Expiatori de la
Sagrada Família

29. Basílica i Temple
Expiatori de la Sagrada
Família
• It is the largest unfinished roman catholic church in the world,
located at Barcelona, Spain. designed by Catalan architect Antoni
Gaudi.
• In 1882, construction of Sagrada Familia started under
Architect Francisco de Paula Del Villar y Lozano.
• After completion of foundation of crypt and somehow he reigned
in 1883, then the Gaudi was charged with the
construction of Barcelona Cathedral.
• After 1910, the Gaudi abandoned nearly all other work to focus
on the Sagrada Familia.
• Relying solely on private donations, Sagrada Familia’s construction
slowly progressed and was interrupted by the Spanish civil war.
• The current chief architect is Joardi Fauli.

31. Planning.
• The chruch plans that of a latent cross
with 4 aisles, which was decided by
the first architect and Gaudi didn’t
change that.
• Guadi plan to build a basilica with five
naves a monumental construction with
18 spires. When he died only one of
them had been completed.
• Thera are two main sources of his
inspiration were the Christian message
in The Holy Bible and The Nature.
• Gaudi decided to plan the construction
of Sagrada Familia in modules.
• He started construction with apse and
the nativity façade.
• Aimed to create new architecture with
balanced and self-supporting structures.

32. Proportion.
• The Former chief architect "Jordi Bonet"
found that,
• The nave of the church is 90 X 45 m.,
• Every single unit is 7.5 X 7.5 m.,
• The transept is 60 X 30 m.,
• The foundation to the nave vault is 45mt
high, 30mt high in side aisle, its 15mt high in
choir, its 75mt high in transept, its 90mt high
in apse,
• Everything is in this proportions,
• According
to "The Jewish Christian" numerology this
number have a symbolic meaning.

33. Why Guadi take
only those dimension.
• If we look at the measurements, 90,60,45 this are associate with
the Temple in Jerusalem describe in The Bible.
• But even more important is the Tabernacle in the desert,
which the Israelites take with them through the desert.
• This shrine in the desert is divided into two parts, The holy of
holies and the holy place.
• So these measurement is quite similar to those in Sagrada Familia.
• The similar measurement is within Solomon's temple, The big
temple in Jerusalem, again this temple is also divide into two part
the holy of holies and the holy place.
• Where the holy place is 18mt long mind that Gaudi wanted
his highest tower to be 180mt tall.
• So these would be the direct reference to that.

34. Gaudi's Column.
• Gaudi invented the column that is the intersection of two columns.
• We certainly know the baroque column and Solomonic column which can wind in
either direction.
• When those two column combined, we have the column invented by Gaudi.
• When a square plinth turn in the both direction, the knot slowly disappearand the
sqaure turns into the octagon.
• Then into a 16 side polygon, a 32 side Polygone, a 64 side and in the end, after the
infinite turns there is a circle, which we cannot reach because we cannot reach infinity.
• 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.

35. Weight distribution
in column

36. The hyperbolic - Shaped paraboloids.
• Similar to double carved surfaces beforehetry this concept in to Sagrada Familia he
needs to know that’s actually works.
• Because this type of structureever built yet.
• The small church of Colonia Guell becomes Gaudi's test laboratory.
• He use the catenary, that is a shape forming itself, an arch with only tensile forces
present.
• If weturn it upsidedown we get an arch with only compression forces.
• Tension - Upside down- Compression Thatis a simple principle.

37. The church of Colonia
Guell.
• It only become complicated when we
put weights on it or when we construct
a complicated support structure.
• The result is an entanglement of
forces having effect on each other.
• Over the course of 10 years, the
visionary constructthe gigantic
suspended model of the church of
Colonia Guell 19ft long, 13 ft high.
• His technique is unique. The
tension createdby weight gives the
threads their spatial shape.
• Professor Graefe and his team
reconstructthe model.

38. The original picture of Guadi's structure.

39. Façade sketch upon picture by Gaudi.

43. Sagrada
Familia
structure.

44. Hyperboloids.
• The skylight can certainly the
cylindrical like this one, but to better
catcha light the skylight should not
be vertical. It should have tilt that
matches the rays of light.
• This shape is better suited tocatch
light and disperse in the interior.
• This is the hyperboloid.
• All the skylight are hyperboloids and
the arches and the windows are the
cross section of hyperboloids.

47. God's Architect.
• He walks Sevenmiles everyday, thinkingabout hisproblems on the construction site and not paying attentionto traffic.
• He felt that the drivers had to stop whenhe wantedto crossthe street instead of him having to stop forthe cars.
• So, he had couple of accidents, the last of which was fatal.
• In the evening ofJune 7, 1926Gaudi is hit bythe tramwayon hiswayto the churchsaint Felip Neri.
• The Sagrada Familia offers sucha direct juxtapositionof contrast.

51. Thank you.
• Irva Patel
• Hetavi Shah
• Vikas Katariya
• Ronak Jangid
• Meet Panchal
• MayankPadaliya