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

1. ANTONI GAUDI
HIS WORKS AND INFLUENCES
-AKSHAT BANSAL
NITYA BALI

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. 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. 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CHOICE OF HISTORICAL
REFERENCES WITH THE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.  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. 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. Timeline- casa batllo

21. timeline of casa batllo, spain
http://www.casabatllo.es

22. 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

23. 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

24. 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…

25. 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

26. 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.

27. 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.

28. Figure 1.7 3d view of noble floor, casa batllo, spain
http://www.casabatllo.es

29. 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

30. 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

31. 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

32. 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

33. 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.

34. 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

35. 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

36. 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

37. 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

38. 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.

39. 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

40. 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.

41. 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.

42. Fig. 2.13, tree pillars
www.sagradafamilia.cat.
when columns reach the vaults we
can see hyperboloids is on the capitals
of the columns.

43. 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.

44. 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.

45. 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.

46. 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

47. 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.

48. 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

49. 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

50. Fig. 2.27 ,
National
Geographic
Chanel ltd.

51. 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.

52. Tree columns
Fig. 2.28 ,
National
Geographic
Chanel ltd.

53. 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.

54. 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.]
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