- Alexander Graham Bell
- Benjamin Franklin
- Michael Faraday
- Stephen Hawking
- Marie Curie
- Charles Darwin
- Isaac Newton
- Albert Einstein
- Antoni Gaudi
The above names are just a few selected independent and permanent constructive geniuses that brought change to the world that included science, medicine and technology. Dedicating their time, announcing new creations of experimented and assessed (for) safety, performance and, effectively to be a responsible cure for illness, electrical equipment and methods of existence; analysing possibilities, reinforcing abilities, initially allowing the world and its use to be continuously functional.
Stephen Hawking-English theoretical physicist and cosmologist, presently indicates the continuous expertise of developing theories and scientific narrations, his theory on life?
"No-one created the universe and no one directs our fate. There is probably no heaven and no afterlife either. We have this one life to appreciate the grand design of the universe, and for that, I am extremely grateful."
-Stephen Hawking
Hawking; firstly married to Jane-a Christian, had different views on life and religion and sometimes this caused havoc in their relationship. His motivation was feeding on the Penrose-Hawking singularity theorems -a situation where matter is forced to be compressed to a point (a space-like singularity). Before his health deteriorated Hawking was known to be a daredevil, always trying out new experiences without a care in the world. His passion is what has kept him going, reluctant to give up to this day, he remains loyal. It is firm proof that humans who come across a certain taste become stubborn and reject other agendas, instead they delve into resources assembling more technology, more medical cures initiated by new concoctions and in response, people willingly, sacrificing their time. The least we can do is acknowledge, support and admire their dedication to make the world updated and secure. History holds so many names and with every direction we take we will always come across man-made blueprints and structures.
Neuroscience studies have recently confirmed Mathematicians who come in contact with a new equation have the same increased regional brain activity as with someone looking at a beautiful painting or listening to a certain song. This allows me not only to understand the internal desire to carry on a specific interest but the result it offers. I wanted firstly to analyse the compelling connection between Human and pleasure in activity, particularly architects/architecture.
Architecture we know becomes a visual display of individual’s constructive work(s) and imagination(s) that form together using compassion and dedication to the end. And, we look on and admire the extensive work but never fully appreciate the time and its beauty. The sculpture or building has to stand out, to formulate something that overlaps ones emotions and they can do nothing but fall in love. Antoni Gaudi did this before and after his death. Antoni Gaudi AKA The-Architect-of-God is a name honoured by the citizens of Barcelona/Spain but not truly well-known in other countries which is a real shame.
Stricken with severe rheumatism that caused great pain walking, Gaudi missed out on a lot of school days and contact with children, which possibly contributed to his reticent and reserved character as a man. His doctor recommended a vegetarian diet and an occasional walk in the evenings. Although he missed out on school he did not give up on studying. On the warmest of days, Antoni, living at the family home in Mas de la Calederera Riudoms, took advantage of the grand acres of land and became immersed with nature. Nature is a common influence to many creative souls. Gaudi, being spiritual, with a great passion for God’s creations analysed the slightest details amongst plants, reptiles and stone. Nature is a gift, functional, spiritual and beautiful, not many people recognise the true beauty of the world but Gaudi did.
Gaudi was not the only famous architect of Catalonia; Josep Puig I Cadafalch was also a famous Catalan Modernism architect. Born 17th October 1867 and died 23rd December 1956 he was a disciple of Lluis Domenech i Muntaner -the designer of "Palau de la Musica" and "Casa Fuster"-Woody Allen’s favourite hotel. Emblematic and in the centre of Barcelona this Hotel was built in 1908 commissioned by Mariano Fuster to give to his wife. It is a tremendous-breath-taking-hotel. Josep projected Gothic and Medieval aspects, introducing them in his final work(s).
Analysing the internal parts of a human and the outline of trees, Gaudi realised at a young age, how they mimicked certain structures, providing him with artistic and functional benefits that would eventually, play a huge part in his future. He noticed how columns mirrored trees or human bones, roof structures mirrored leaves, arches mirrored rib cages; this ultimately gave him the inspiration to turn common architecture to a unique display of reptilian and floral designs carved into stone and vaults.
In 1863 Gaudi, aged eleven entered Pious School in Reus. It became apparent how substantially intelligent he was on the grounds of geometry. Although Antoni had great visual accomplishment, his exterior language was noticeable and his grade wasn’t as high as his intentions were. However, after years of studying, his grades increased and so did his interest in learning more. Using his skills as an advantage, Antoni contributed drawings to illustrate the weekly school newsletter front page and designed scenes for the school theatre. He adored school field trips which allowed him more opportunities to observe new landscapes.
In 1868 Gaudi and his youngest brother Francesc moved to Barcelona where studying was more practical.
The rest of Antoni Gaudi’s family moved to Barcelona in 1869.
From 1874-1877 Gaudi was brought in for compulsory military service as part of the Spanish Infantry. He was then transferred into the Military Administration Department in December 1876. Due to his ill-health he missed out on a lot of services, giving him more time to study. His poor health also saved him from having to fight in the Third Carlist War, which in total lasted four years; from 1872-1876. Although Gaudi was not faced with combat, he left with the title "Distinguished Veteran" ending the service in 1877. Army records revealed some unusual facts about Gaudi, such as that he was described as a draftsman and that he had to pay 37.25 pesetas for his own uniform. Unfortunately there was no mention on location of birth, making it more difficult for people to have substantial proof and ending the debate once and for all.
1876 was a tragic year for Gaudi. His mother aged 57 and his youngest brother Francesc both passed away. Francesc was young, 25 years of age and had just graduated as a physician. Their death caused a severe religious crisis for Gaudi, he felt un-eased, lost and alone. He delved further into his work, keeping his mind occupied; he was now a machine draftsman for the firm of Padros I Borras. He also went on to complete a variety of school projects. To finance his studies Gaudi worked as a draughtsman for various architects and constructors giving him more experience and more people became aware of his capabilities.
In 1878 Gaudi set his eyes on attending the Provincial School of Architecture, Barcelona.
Before he was allowed access to the Provincial School of Architecture he had to pass three exams, once completed he had to take a further two other exams in science, to be accepted in the Escuela Tecnica Superior de Arquitectura (English Translation -Upper Technical School of Architecture). Here he had to pass an initial course a preparatory course and four years of study. (To finance his studies Gaudi worked as a draughtsman for various architects and constructors giving him more experience and gaining popularity with many individuals.) His attendance in class was not 100%, he did, however, frequently visit the library. Not only did he study architecture he also studied philosophy, history, economics and aesthetic classes. He highly believed that architecture was not reliant on aesthetic ideas but on social and political atmospheres. Gaudi showed early indications of genius with his constant success which gained him his architect’s diploma in January 1878. When Elies Rogent, director of Barcelona Architecture School, handed him his degree it is reported that she said "We have given this academic title either to a fool or a genius. Time will show." Gaudi, happy and with his ironical sense of humour told his friend the infamous sculptor Llorenc Matamala, "They’re saying I’m an architect now."
After leaving the Provincial School of Architecture Antoni Gaudi, feeling more than confident, set up his own firm. After a few months of small projects, Esteve Comella became aware of Gaudi’s grand organic work and introduced himself. Esteve Comella, the owner of a luxurious glove shop in Barcelona, commissioned Gaudi to produce a glass display
cabinet that would be practical exhibiting his products at a Paris World Fair, inaugurated in May 1878. Gaudi introduced wood, iron and glass into his craft and inserted metal plant forms inside which allowed the gloves a home and onlookers to notice. Once the fair began people were not shy to show their enthusiasm towards the crafted display cabinet, and was awarded a silver medal. Amongst all the admirers was Catalan industrialist Eusebi Guell I Bacigalupi. Guell travelled to Barcelona to be introduced to Gaudi. Gaudi and Guell instantly hit it off resulting in a professional relationship. His first assignment was to make furniture for a chapel for Guell’s father-in-law. Guell, loving the passion clearly shown from Gaudi, encouraged him to craft more, eventually leading up to the famous emblematic modernist architecture Park Guell. He also designed some lesser-known projects such as furniture at Palau Guell. 1878 was a busy but creative and fulfilling time for Gaudi.
Gaudi was then commissioned to work on Palau Guell, Casa Botimes, Casa Calvet, Park Guell, Bellesguard, Casa Batillo, La Pedrera and many other buildings. (After I have written about Antoni Gaudi’s life I will be then going into more detail about each of his designs, which will be added to my blog in sections for you to pick out the ones you are interested in.)
Gaudi at that time in his life took great pride in his appearance, attending concerts and operas that would influence his mind. He also certainly knew how to place himself with important intellectuals at the time. This, being, for his own benefit; in the way he needed good patrons that were capable of comprehending and financing his unique ideas. Gaudi always came across passionately stimulated to his assignments, devoting his full attention.
Gaudi lived in various flats situated in Barcelona with his father and his mentally unstable niece, whom he looked after since the death of his sister Rosa in 1879. He completed many projects, although the majority of them were nothing to do with architecture but furniture and decorative arts. Both furniture and decorative arts was another passion Gaudi had, devoting his time to his interests.
In the early 1890’s Gaudi’s name became renown all over Spain, and as far as Leon, France. This allowed him to have projects on the Episcopal Palace, Astorga and the Casa Botines-all situated in Leon, France.
Before the Casa Calvet was built there was much controversy, the proposed height would have exceeded Barcelona’s regulations for that street. Gaudi was far from letting anyone knock his ideas; he threatened to abandon the top of the building, making it look unfinished, deliberately. This seemed to have worked because there was no comeback. Gaudi set to work. The interior is full of colour and very well detailed. Gaudi received his first award for Best Building of Barcelona.
Casa Vicens, Casa Calvet, Casa Battlo, Casa Mila, the Palace Guell, Colonia Guell Chapel, the Monastery school of the Theresian Order and the awe inspiring "unfinished" Cathedral Sagrada Familia were all styled in Art Nouveau. Gaudi, as well as implementing Art Nouveau both interior and external, took an interest in fantasy, symbolism and humour, making his creations unique, a signature of Barcelona.
The most prolific building in Barcelona is Basilica I Temple Expiatori d la Sagrada Familia; a Roman Catholic Church that was conceived and inspired by Josep Maria Bocabella (1815-1892); a Catalan Bookseller and Chairman of the Holy Brotherhood. Josep was determined to build a Cathedral having witnessed the one in Loreto. In 1881 the location was granted and Francesc de Paula I Villar (1828-1901) was commissioned to build Sagrada Familia. However, Frances resigned due to constant discrepancies with Joan Mortorell-an architect who worked well with Josep. Mortorell was then offered the job; he immediately turned it down, proposing architect Antoni Gaudi.
Gaudi changed the original concept, seizing the opportunity to express his devout feelings. Gaudi wanted the Cathedral to have 18 Towers: 12 for each of the Apostles, 4 for the Evangelists, and one for the Mary and the final one for Jesus.
After years of his Frugal diet -inspired by naturist Sebastian Kneipp, Gaudi started a strict fast diet during Lent. He lost a lot of weight and his health deteriorated, and at one point nearly lost his life. After concerns from a friend Gaudi began to eat again.
During his time working on Sagrada Familia Gaudi’s life turned for the worst. Family and friends began to die and his attitude began to change. These sad events affected him but did not limit his energy and passion towards building Sagrada Familia. He became so withdrawn he shied away from all kinds of publicity and only when evening arrived did he take a stroll to a local church. His appearance dropped from looking smart to not getting shaved or wearing clean clothing. There aren’t many photos of the late Gaudi, avoiding photographers and journalists he lived in the basement of the Sagrada Familia Cathedral for the last year of his life. On 7th June 1926 Gaudi was hit by a tram at the intersection of Carrer de Bailen and the Gran Via. People walked past him, Taxis avoided him. He simply weren’t recognised by his simple clothes and excessive facial hair. He was, eventually, taken to Hospital de la Santa Creu where he was later identified. He refused to be moved to a more "Richer" ward. He died surrounded by co-workers and friends, aged 74. The police fined Taxi drivers who were in the area for not assisting an injured man. The day of his funeral the streets gave final homage to the Catalan Architect, homage to the God-of Architecture, homage to Antoni Gaudi. He was buried in the Chapel of the Virgin del Carme in the Crypt of the Sagrada Familia where he had worked for the last forty three years of his life. Had he not being hit that day, he may have lived for many more years, and sculptured more unique designs. Gaudi is still, and will continue to be, the most infamous Catalan Architect of Barcelona.
After his death all that was done on the Cathedral was the Crypt, the Apse Walls, One Portal and One Tower. By 1930 three more Towers where added, completing the North-East Façade. However, in 1936 anarchists burned the interior, destroying Gaudi’s Workshop, Plans and Models. Gaudi relied on his vision and imagination more than Blueprints, therefore after the Spanish Civil War there was very little design left. In 1952 work began again, although this caused much controversy. Many people believed, and still believe; due to the loss of Gaudi’s models the completion will not therefore be Gaudi’s creation, believing architects will create a monster that will have little to do with Gaudi’s original plans and style. Donations are to pay for the continuous work. The deadline is 2026, to mark the 100th anniversary of Gaudi’s death.
So, who was Antoni Gaudi?
There is substantial evidence that supports Gaudi’s passion for nature, as well as his independency, artistic capabilities, unique expression and his signature foundation(s). Spurred on by his Mediterranean blood and genetic skills, Gaudi, from a very young age, showed his great love for nature, plants and animals. Analysing daily, he had, what people refer to as photographic-memory. A lot of architects, engineers and so forth now commonly use blueprints, models and computer graphics, whereas Gaudi preferred to build from vision; claiming it to be too hard to put new ideas on paper.
Gaudi, as a young boy, found solace in religion. The more he aged, the more he committed himself to Catholicism. Although he denied himself to collaborate with Photographers and Journalists, he profoundly flaunted religion through his sculptures and buildings, particularly Sagrada Familia. He also refused to follow the City of Barcelona’s rules when it came to height restrictions, deliberately obeying (disobeying); his buildings were always above the set standard(s). Gaudi brought life into his buildings, with bright colours and a lot of curvaceous columns, placing his own signature all over.
Monster Architecture: Not many people are aware of this label, yet the majority of citizens all go through the same symptom. When architects are granted planning permission a feeling of dread, rather than exhilaration floods the mood. When we are greeted with a new building, many emotions feed on natural resistance to change, and the rapid realisation of how little control we have over new designs and constructions of the spaces in which we live, consequently leaving many of us anxious. Monster Architecture is the uncertainty and the entrapment it could/does represent to those who are unaware of the completed look and height. Same goes for a building that has being created, no matter the decorative look some people can feel fear, depression, closed in, sadness or the opposite; feelings of peace, happiness, inspiration, love and safety. Feng Shui can be a curse to some people and great for others, it all depends on the mind-set of the individual. In truth I am not a religious person, however, whenever I step into a church to admire the vivid structures this rain of peace cascades over me. I feel at ease with myself and the world, without any explanation. However, I do partially believe it is due to the work(s) of the architects that formulates stone, glass and bricks into monuments of symbolism that can be a cause of one’s solace.
La Sagrada Familia is classed as a Monster Architecture. "It does not look like a welcoming feel good place to find serenity and God..."
Gaudi’s Cathedral draws in attention of onlooker’s everyday and, with a dense assumption of the building’s exterior people cherish his evident fervour from every angle. The purpose was to replicate him into a building, aware he would not be alive to see the completion day. Gaudi compressed his passion and believes into stone panorama; biblical plays, symbols, inscriptions, reptiles, birds, flowers, and also fruit. Capturing time in his illustrations he had unique formative ideas constantly evolving inside his head. Forming its way around the structure is a Gothic theme. This is the talkative part of the Cathedral. Many believe the Gothic theme is distasteful, quote "Looks like something out of a horror film." This is where the opinions of many visitors divide. From a distance the front of La Sagrada could be compared to a haunted house from a horror film, due to its Gothic approach and the dark imprints people can so easily recognise.
From a distance the stone façade looks as though the building is slowly melting in the sun, or a child’s dripping castle placed together with sand and salted sea water. Plaster and coloured moulds look mismatched and can easily be disregarded. It is only on a closer inspection you can see figures abound and words etched on stone that you come to
realise the true potential of architects manual beauty and creative skills, their hands turning stone into figurines bonding together with the outer-layered columns. Gaudi loved vivid colours coinciding with sunlight; he envisaged three types of windows inside Sagrada, ranging from Gothic Revival to his own unique interpretations. Gaudi never got the chance to create the mosaic glass windows that are now fitted. However, in 1991 Stained Glass Artist, Joan Vila Grau, was commissioned to devise all the windows for the Cathedral.
Joan Vila Grau (1932-) is known to be one of the best Stained Glass Artists and in the past has restored a lot of Medieval Stained Glass windows in expensive Cathedrals and Churches; such as the Church of Santa Maria del Marin, Barcelona. He has also organised a book stating facts about Medieval Glass of Catalonia. From his strength in creativity he has recently being awarded the Cross of St George, one of the highest national honours in Catalonia.
Joan wanted the final mosaic windows to be of Gaudi’s design, but not to abuse the original ownership. He respected Gaudi, a lot. Analysing what tugged on Gaudi’s passionate strings he crafted a lot of rainbow colours into his work(s). Creating stained glass can be very tiring sometimes, just finding the right colours can be challenging with over 70 different shades of individual colours to choose from.
Once the mosaic glass was inserted it was an awe inspiring moment, with the Sun beams seeping through it looked magical and peaceful, and the exact atmosphere Gaudi wanted to design.
Bringing Art Nouveau, Gothic and Religion themes into the same Cathedral does come across as strange to a lot of people. Sternly believing a Cathedral/Church is supposed to bring the symbol of light and a strong sense of religious power. However, if you are new to the viewing of such a powerful building, you may just latch onto the exterior unaware of its history. Gaudi, through his handmade statues, depicted the crucifixion of Christ. He also imported many religious words in sections of the stone columns. It is not possible to see these, in less (unless) you are standing within the ground. Once inside, the Gothic sense disappears. Gaudi, wanting natural light to seep through the top, used hyperboloids on the ceiling. The light would come in and follow the straight lines in the curve of the hyperboloid. The purpose, giving it a larger diameter than a simple cut out hole. It was efficient, due to the lack of electricity back in the days. The silver looking columns are inclined at all angles, representing the way trees in a forest lean. Gaudi calculated the load, without the help of extra buttressing.
The total length of the temple, including the nave and the apse is 95 meters. The transept is formed by three naves with a calculated 30 meters and length of 60. The transept leads to two exits, one to the Nativity Façade and the other to the Passion Façade and, the main nave exists to the Glory Façade, although this is still not completed. The Glory Façade, when complete, will be the main gate of the Cathedral, situated on the Mallorca Street. The facades, due to the curved out stone statues, purposely holds the illustration of the birth, passion and resurrection-glory-of Jesus.
Gaudi’s personal insight to the Cathedral allowed him to foresee the construction of twelve bell towers-one for each apostle, four more for the evangelists, another dedicated to the Virgin and the most important one of 170m of height-crowned with the typical cross of four arms of himself, symbol of Jesus. The only part built by Gaudi himself was the apse, a port of the cloister and the Nativity Façade with its four bell towers. Gaudi used a large amount of symbolic content in the Cathedral, in his architecture, sculptures and dedicating each part of the church to a religious theme.
La Sagrada Familia to this date (March 2014) is still being built by many architects. Josep Maria Subirachs; a famous Catalan sculpture and artist, has worked and sculptured stone onto the Sagrada. However, this has sparked many complaints not only from those who live in Barcelona but critics and tourists have also voiced their anger. Gaudi, as we know, avoided straight lines, loving his curved lines of nature instead. Josep introduced straight lines, angering those who believe in order for Sagrada to remain true, it has to stick to original blueprints.
Gaudi’s name has become a sentiment on the tongue of present architects around the world and of those who, like me, have a high regard for his completed structures. Apart from the continuation of La Sagrada Familia no-one has ever tried to replicate the signature of Gaudi’s designs. No current architecture has the same modifications that Gaudi imprinted on his. I am so thankful for this, not only would it end in controversial accusations, Gaudi fans would be left feeling cheated.
From studying Antoni Gaudi for the past few months I have learnt a lot, not only about him, but how people adapt and commit themselves to their passions. However, I cannot help but wonder, had Gaudi lived in the present day, and paid as much attention now as he did then, would he be classed as having OCD? I mean, yes he loved architecture, it was his life, but would people not question now if it was the passion that drove him or the OCD. Due to his temper when things he saw in his head was not able to be seen on paper, or created correctly by other members, it makes me question the possibilities. Obviously no-one has ever questioned this, well that I am aware of anyways. It was not a planned analysis; it just kind of came to me and the more I questioned myself the more it sounded plausible. This is just a theory, nothing concrete.
So….
In 2026 it will be a 100 year on from Gaudi’s death; it is also the deadline for La Sagrada Familia. Many question whether this can still be classed as Gaudi’s, given the amount he structured before he died.
My answer…?
Evidently Gaudi worked less on Sagrada Familia than those who have kept it going all this time, and many more years to come. Gaudi was the blueprint, allowing his mind to hold much data, calculations and the outlook of the complete Cathedral. He was not one for sharing his ideas, nor could he ever transfer his ideas onto paper. After the Spanish Civil War demolished large parts of the Sagrada and Gaudi’s living area. Much of his paperwork, models and photos were burnt, removing the majority of his final plan.
It is amazing to see to this day how far technology has brought so much more dimensional columns, vaults and colour. You can clearly see, just like Gaudi himself, the passion each architect has. The constant smile captures your heart, just like La Sagrada Familia.
If, however, time passes by and the percentage of people have acknowledged the current architects over Gaudi, we can never dismiss the genius of his mind and motivation and how much he felt privileged of his Mediterranean background and the devotion he put into making Barcelona its own city, with its own culture.
I hope my in-take on Antoni Gaudi has given you a clear idea of Antoni Gaudi and his passion for creativity that brought colour, co-ordination and given Barcelona its own cultural look.
please read, enjoy and appreciate.
Leah Lopez
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