Post on 30-Jun-2018
the nineteenth century search for a style
suited to the new age
rational
incorporating new structural forms
nationalistic
emphasising colour & texture
naturalistic
non-historical
Spanish Catalonia and Catalan nationalism
ancient links with French Catalonia and Mediterranean trade
distinct Catalan dialect
separate laws and tribunals until c 1830
industrially advanced
lamp post bearing the Catalan emblemnear the zoological Museum, Barcelona, probably from
the exhibition of 1888
Miles Lewis
Casa Amatller, 41 Paseo del Gracia, by Puigi Cadafalch, 1900
Miles Lewis
Josep [José] Puig i Cadafalch(1867-1967)
Catalan nationalist
President of the Mancomuinitat
discoverer of the Premier Art Roman
author of L'Art Wisigothique
Casa Amatller, 41 Paseo del Gracia, by Josep [José] Puig i Cadafalch, 1900Casa Batlló, 43 Paseo del Gracia, the remodelling of an existing building, by Gaudi, 1905-7
Miles Lewis
Casa Batlló , 43 Paseo del Gracia, the remodelling of an existing building, by Gaudi, 1905-7
Casa Milá, 92 Paseo del Gracia, by Gaudi, 1905-10
DIPPSA slides
Lluis Domènech i Montaner(1850-1923)
Catalan nationalist
President of the Unió Catalana(or Catalan Union) in 1892
author of 'En busca de unaarquitectura nacional' - 'In
search of a national architecture'
Portrait of Domenech
Oriel Bohigas, 'Luis Domènech', in Nikolaus Pevsner & J M Richards
[eds], The Anti-Rationalists (London 1973), p 71
Hospital of S Pau [Hopital de la Santa Creu i de Sant Pau], 167-173 Avinguda de Sant Antoni Maria Claret, Barcelona, by Domènech, 1902-12: entrance pavilion
Miles Lewis
Hospital of S Pau, detail of a lamp on the staircase; interior of the library
Bohigas, 'Luis Domènech', pp 76, 77
Antonio Gaudi(1852-1926)
Catalan nationalist
son of a coppersmith
worked for José Fontseré[Josep Fontserè i Mestre]
and Juan Martorell
influenced by Viollet-le-Duc
Gaudi: photo in 1878Rainer Zerbst, Gaudí (Cologne 1988), p 12
monumental cascade in the Parque de la Ciudedela [Parc de la Ciutadella], by Fontseré and Gaudi, 1877-82
DIPPSA slide
warehouse of the Societat ObreraMataronese, by
Gaudi, 1878
half section, showing the vertically laminated
parabolic arch
J J Sweeney & J L Sert, AntoniGaudí (London 1970 [c 1960]),
p 6
Palacio Güell [Palau Güell, 345 Carrer Nou de la Rambla, Barcelona, 1885-9cutaway isometric view and cross-section
G R Collins, 'Antonio Gaudí y Cornet', in A K Placzek [ed], Macmillan Encylopedia of Architects (4 vols, New York 1982), II, 173Sweeney & Sert, Antonio Gaudi, p 61
Palacio Güellinterior of the main salon, and view of the dome
Collins, Antonio Gaudi, pl 34Montaner, Barcelona, p 85
Palacio Güell: metalwork decoration in a bedroom; dressing tableanonymous; Collins, Antonio Gaudi, pl 101
Casa BattlóStaircase, and entrance
to the principal apartment
Montaner, Barcelona, p 96Collins, Antonio Gaudí, pl 82
Casa Battlóplan of the principalapartment, and viewof the dining room
Collins, Antonio Gaudí, pl 78 83
Casa Battló:roof details: turret, ridge and fleuron
George Tibbits, 1976Perucho, An Architecture of Anticipation, pl 65
Casa Milá (‘La Pedrera’), 92 Paseo del Gracia, 1905-10Gaudi’s original elevational drawing
Collins, Antonio Gaudí, pl 87
Casa Milá
original schematic plans or the third floor
and the basement
Collins, Antonio Gaudí, pl 22
Casa Milá, staircase in the larger light well &detail of column head (inset)
Miles Lewis; Michel Tapié, Gaudí - La Pedrera (Barcelona 1971), pl 62
Cripta de la ColoniaGüell [Colonia GüellChapel], 1898-1915
inverted photo of a model showing sheet calculations for
the external surfaces
Collins, Antonio Gaudí, pl 6
Colonia Güell Chapel
view and detail of the entry porch below the stairSert, Cripta de la Colonia Güell, pl 38.
Collins, Antonio Gaudí, pl 5
Colonia Güell Chapelwindows
view of stair
Collins, Antonio Gaudí, pl 5; MUAS 13,341; J L Sert, Criptade la Colonia Güell de A. Gaudí (Barcelona, no date [1960s]),
pl 41; MUAS 19,727
Parque Güell, market hallinterior view & detail of ceiling
Zerbst, Gaudí, p 149Montaner, Barcelona, p 155
Parque Güell
orchestra bench details
Perucho, An Architecture of Anticipation,pls 66, 73, 77
Le Corbusier, Gaudi, p 59
Parque Güell
walkway on top of the viaductdetail of a column head retaining
wall at the back of the theatre
S13,921Perucho, An Architecture of Anticipation, pl 92
Miles Lewis
Sagrada Familia, Barcelonadesign by Francisca de Paula Del Villar y Carmona [Lozano], 1882
Collins, Antonio Gaudí, p 14
Sagrada Familiaapse and finials by Gaudi, 1887-1893
plan
Miles LewisSweeney & Sert, Antonio Gaudi, p 100
Sagrada Familia
sketch for the west portal
(introducing parabolic forms)
Sweeney & Sert, Antonio Gaudi,pl 89
GAUDI’S DECLINING YEARS
gradual withrawal from secular work
1904-14 replanning the Cathedral of Palma de Mallorca
1910 exhibition of the Societé des Beaux-Arts, Paris
1914 death of Francesc Berenguer
1918 death of Eusebio Guell
public taste turns away from the modernismo
funds run out for the Sagrada Familia
Gaudi lives as a recluse
1926 Gaudi dies
Sagrada Familia
perspective view of the design as intended at the time of Gaudi’s
death, 1926
Collins, 'Antonio Gaudí y Cornet', p 179
Sagrada Familiathe inside wall of the south transept
Miles LewisDavid Mackay, 'Berenguer', in Pevsner & Richards, The Anti-
Rationalists, p 68
Sagrada Familiathe final designmodel & section
Collins, Antonio Gaudí, pl 24Sweeney & Sert, Antonio Gaudi, pl 101
Antonio Gaudi in the Corpus Christi procession, Barcelona, 1924Sweeney & Sert, Antonio Gaudi, pl 124
THREE POINTS ABOUT GAUDI
nineteenth century approach
creativity
rational medievalism
1GAUDI’S NINETEENTH CENTURY APPROACH
stylistic eclecticism
bold use of colour and texture
nationalism
naturalism
influenced by the standard nineteenth century writers, probably Ruskin and Morris, and certainly Viollet-le-Duc
2GAUDI’S CREATIVITY
historical sources are transfused with a new life
colour and texture exceed that of Butterfield &c
nationalism goes beyond the Catalan Gothic Revival
naturalism - evokes fundamental biological structures and geological forms
3RATIONAL MEDIEVALISM
Viollet wanted a Gothic architecture designed as he thought medieval designers WOULD have done if they had iron
Gaudi did NOT use structural iron, steel or reinforced concrete
Gaudi used traditional brick and stonemasonry, and board vaults
Gaudi designed as medieval designers COULD have done if they had used angled struts, parabolic arches and warped
surfaces