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ISBN 978-84-15829-59-1 / Layout: 15 x 20 cm / Pages: 272 / Cover: Softcover / Barcelona: a spectacular city that operates with catchwords and slogans, that sometimes portrays itself more as a store window than as a reality. An architectural challenge, a social debate. A metropolis somewhat erratic in its movements, like all cities, like any other living organism. Is a densely populated city situated on a small plain between the Mediterranean and the Collserola mountain range. Architects of the importance of Antoni Moragas, José Antonio Coderch, Rafael Moneo, Josep Lluís Sert, Sixt Illescas, Germán Rodríguez Arias, Josep Torres i Clavé, modernists like Lluís Domènech i Montaner and Antoni Gaudí, have created a singular architecture, which is one of the biggest tourist attractions in the city.


  • 18

    Church of Sant Maria del PiIglesia de Santa Maria del Pi

    This church has a single nave covered by rib vaulting and small side chapels. Its dimensions179 feet long by 53 feetwide by 90 feet highillustrate the southern Gothic form of religious architecture, which does not strive for vertica-lity or a monumental scale. The seven sections of rib vaulting are supported by sturdy side buttresses, the bases ofwhich are used to mark out the side chapels. The main faade is distinguished by its austerity, as its only openings are a large rose window and a door whose de-coration backs against the wall without attempting to hide the stretch of wall that extends with barely an interruption.Two small moldings run along the whole faade: the lower onewhere the decoration on the door endsmarks theline covering the side chapels, while the upper oneframed by the upper third of the rose windowtraces the roofs ofthe central nave. This device emphasizes the horizontality and is the only decorative element in this building, whosepersonality is expressed via the architectural mass. Its interior is the prototype of Catalan Gothic architecture.

    El edificio es un iglesia de una nica nave cubierta con bvedas de crucera y pequeas capillas laterales. Susdimensiones (54,28 m de largo por 16,23 m de ancho y 27,30 m de alto) es un buen ejemplo de la arquitectura religiosadel gtico meridional, que no busca la verticalidad y posee proporciones aprehensibles. Los siete tramos de lasbvedas de crucera se sustentan en poderosos contrafuertes laterales, que se aprovechan de su base para delimitarlas capillas laterales. La fachada principal con un gran rosetn y una puerta como nicas aberturas se caracteriza por su austeridad. Ladecoracin de la puerta, adosada al muro, no oculta el pao de pared ciego que cubre casi toda la superficie. Dospequeas molduras recorren toda la fachada: la inferior donde acaba la decoracin de la puerta marca la lnea decobertura de las capillas laterales, mientras que la superior enmarcada en el tercio superior del rosetn delimita lalnea de cubiertas de la nave central. Este recurso acenta la horizontalidad y es el nico elemento decorativo de estaconstruccin, cuya masa arquitectnica envuelve de personalidad al edificio. Su interior es el prototipo de arquitecturagtica catalana.

    Architect_Arquitectos: Francesc Basset (1443) and Guillem Abiell (1415)

    Location_Localizacin: Plaa del Pi, s/n.

    Date_Fecha: 1322-1508

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  • 20

    Pedralbes MonasteryMonasterio de Pedralbes

    This historical-artistic complex has preserved the characteristics of an isolated monastery, even though it has lost someof its defining elements, such as the boundary wall that protected all the buildings.The monasterys church is typical of southern Gothic buildings, with its sober lines, emphasis on horizontality at theexpense of verticality and uninterrupted stretches of wall instead of openings. French Gothic design influenced theunitary spatial conception, as opposed to the separation of spaces by means of heights or interruptions to the mainnave. This single-nave building adapts to the terrain, thereby introducing slight variations from the traditional structureof other churches. The main entrance is not placed at the end opposite the main altar but in one of the sides, along-side the large clock tower. This innovative configuration overlooks a square.Other interesting features of the monastery are the chapter house and the cloister, 150 ft long and three stories high(the first two from the 14th century), but most striking of all is its strictly rational basis of the organization.

    Este conjunto histrico-artstico ha conservado las caractersticas de un monasterio aislado, pese a que parte de ellasya no existen, como la muralla que protega todas las edificaciones. La iglesia del monasterio est inscrita en las construcciones del gtico meridional: sobriedad de lneas, dominio dehorizontalidad sobre verticalidad y paos ciegos en lugar de aberturas. Del gtico francs influy la concepcin espa-cial unitaria frente a la segregacin de espacios mediante alturas o interrupciones de la nave principal. Este edificio deuna sola nave presenta algunas adaptaciones al terreno que cambian en parte la estructura tradicional de otras igle-sias. El acceso principal no est en el extremo opuesto a la cabecera, donde se ubica el altar, sino en uno de sus late-rales, y la gran torre del campanario est situada junto a la puerta principal, ambas novedades ubicadas ante una plaza.Otras zonas interesantes del monasterio son la sala capitular y el claustro, de 40 m de lado, que consta de tres pisoslos dos primeros del siglo XIV y de una organizacin estrictamente racional.

    Architect_Arquitecto: Unknown_Desconocido

    Chapter house_ Sala capitular: Antoni Nat and Guillem Abiell, 1419

    Location_Localizacin: Carrer Baixada del Monestir, 9

    Date_Fecha: 1326

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  • 22

    Church of Santa Maria del MarIglesia de Santa Maria del Mar

    This church was made possible by the contributions of the shipping merchants who were based in this wealthyneighborhood. Considering its dimensions, it was built over a brief period (55 years), and it became one of the moststriking and outstanding symbols of the citys seafaring power. The church has three naves with side chapels and four stretches of rib vaulting in the roof. The central nave is square,and the other two are half its size. The ambulatory of the apse follows the general scheme of the rest of the church,despite its oblique outlines. All the elements have simple proportions and are interrelated, endowing the interior witha refinement and harmony: for example, the height of the central nave is similar to the width of the church; the vaultsof the central nave are twice the size of the side ones; and the line which marks the start of the vaults of these sidenaves is half the height of the central one, and it is marked by capitals and a simple molding. The small gap in the heightbetween the central and side naves makes up a static, unitary space in the interior that complements the smoothoctogonal pillars, the chapels and the minimal decorative motifs.

    El edificio se erigi con las aportaciones de los habitantes del rico barrio de comerciantes martimos. Dadas sus dimen-siones se construy en un breve periodo de tiempo (55 aos), y fue uno de los smbolos ms evidentes y relevantes delpoder martimo de la ciudad. La iglesia tiene tres naves con capillas laterales con cuatro tramos de cubiertas de bvedas de crucera. La nave centrales de planta cuadrada y la mitad de esta son las dimensiones de los laterales. La girola del bside sigue el esquemageneral del resto de la iglesia, pese a sus perfiles oblicuos. Todos los elementos, de proporciones simples, estn rela-cionados entre s y otorgan una alta calidad y armona a su interior; como la altura de la nave central que es anlogaal ancho de la iglesia; las vueltas de la nave central, que son el doble de las laterales, o la lnea desde donde arrancanlas bvedas de las naves laterales, que es la mitad de la altura de la central y que est marcada por los capiteles y unasimple moldura. La escasa diferencia en altura entre la nave central y la lateral se percibe en el interior como un espa-cio unitario y esttico acorde con los lisos pilares octogonales, las capillas y los mnimos motivos decorativos.

    Architects_Arquitectos: Berenguer de Montagut,

    Guillem Metge and Ramon Despuig

    Location_Localizacin: Plaa de Santa Maria, s/n.

    Date_Fecha: 1329-1384

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  • 74

    Casas Fontser

    The plan to transform the military citadel into a park foresaw the use of part of the land to build houses, as both ameans to pay for the new park and barracks and as compensation for the former owners of houses destroyed by thewar in 1714.The result was five blocks of varying dimensions with a uniform faade overlooking the Parc de la Ciutadella (in whatis now the Passeig Picasso), with a large portico as an element of continuity between the blocks. Apart from theirimmaculately structured faade, these five blocks organize the transition between the old town and the rest of thecity by means of a major vertical axis: Carrer Comer, which directly links the Passeig de Llus Companys with themedieval city and the Estaci de Frana. Josep Fontser also designed the blocks to fit into the layout of the old citysroad network; Carrer Princesa was extended and a large, open-plan market was created at the end of the Passeig delBorn. This area became the financial powerhouse of the neighborhood for over a century.

    El proyecto de la transformacin de la ciudadela militar en parque prevea la utilizacin de una parte de los terrenospara la construccin de viviendas tanto para financiar el nuevo parque y las nuevas casernas como para indemnizar alos antiguos propietarios de las casas destruidas tras la guerra de 1714.El resultado de esta operacin es la construccin de cinco manzanas de distintas dimensiones con una fachada uni-forme orientada hacia el Parc de la Ciutadella actual paseo Picasso, con un gran prtico como elemento de con-tinuidad entre los bloques. Aparte de esta fachada perfectamente ordenada, estos cinco grandes bloques ordenan latransicin entre el casco antiguo y el resto de la ciudad mediante un eje vertical muy importante: la calle Comer,que comunica directamente el paseo de Llus Companys con la ciudad medieval y la estacin de Frana. Asimismo,Josep Fontser dise los bloques para que se integraran en el trazado vial del casco antiguo; la calle Princesa se pro-long, y se cre un gran mercado con un espacio abierto a la salida del paseo del Born. Esta zona se convirti en elmotor econmico del barrio durante ms de un siglo.

    Architect_Arquitecto: Josep Fontser

    Location_Localizacin: Carrer Comer /

    Passeig Picasso


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