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Introduction To Architecture By Prachi & Harshit
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ARCHITECTURE PHILOSOPHIES OF
ANTONI
GAUDI
Submitted By:
Prachi Verma
12AR10036
Harshit Sharma
12AR10020
1
CERTIFICATE
This is to certify that Harshit Sharma and Prachi
Vermahave successfully completed the project for
the first semester of the academic session 2012-
2013.
Signature:
Date
2
Acknowledgement
We would like to acknowledge and extend our
heartfelt gratitude to the following persons
who have made the completion of this project
possible:
Our professor Mr. Jaydip Barman for his
encouragement and support, all department
faculty members and staff members.
Also heartfelt thanks to our friends.
And to God who is always there for us.
3
INDEX
Sr No Title Page 1. Introduction .............................................. 3
2. Gaudi‘s Architecture................................ 7
3. Gaudi‘s works...............................................12
a) Casa Vicens...............................................12
b) Palau Guell.................................................13
c) Casa Calvet............................................... 14
d)Sagrada Familia........................................15
e) Parque Guell..............................................18
4. Bibliography…………………………………………………22
4
INTRODUCTION
Antoni Gaudi was a Spanish architect born in 1852. Gaudi‘s works are a reflection of his
individual and distinctive style. Most of his works can be found in the city of Barcelona.
His works were inspired by his passions in life: religion, nature and architecture. He
integrated various crafts which he was skilled at: carpentry, stained glass, ceramics
among many others. New techniques of treatment of materials were introduced by him
like ―trencadis‖, made of waste ceramic pieces. Gaudi rarely drew detailed plans of his
works, instead he preferred to create them as three-dimensional scale models,
moulding the details as he was conceiving them. Other famous architects and also the
common people are great admirers of his works. His still uncompleted, Sagrada Familia,
is the most visited monument in Spain. Between 1984 to 2005, he earned the nickname,
―God‘s Architect‖.
Birth ,Childhood and
Studies
Antoni Gaudi was born in 1852 in Reus or Riudoms. His exact birthplace is still unknown
as there are no documents supporting it, leading to a controversy whether he was born
in Reus or Riudoms.Gaudí had a deep appreciation for his native land and great pride in
5
his Mediterranean heritage. He believed Mediterranean people to be endowed with
creativity, originality and an innate sense for art and design. Gaudí reportedly
described this distinction by stating,
"We own the image. Fantasy comes from the ghosts. Fantasy is what people in
the North own. We are concrete. The image comes from the Mediterranean.
Orestes knows his way, where Hamlet is torn apart by his doubts."
Young Gaudi suffered from poor health, including rheumatism. This was the cause for
his reticent and reserved character. His religious faith and strict vegetarianism led
him to undertake several lengthy and severe fasts. These fasts were often unhealthy
and occasionally, as in 1894, led to life-threatening illness.
Between 1875 and 1878, Gaudi completed his compulsory military service as a military
administrator. But due to his poor health most of the time was spent as sick leaves. He
could not fight ―The Third Carlist War‖ because of his poor health. In 1876, his mother
died and so did his brother who had become a physician. During this time, Gaudi studied
architecture at the Llotja School and Barcelona Higher School of Architecture. To
finance his studies, Gaudi worked as a draughtsman to many architects and
constructors. In addition to architecture classes, he also studied French, economics
and philosophy.
Personal life
Gaudi completely devoted his life to his profession, remaining single throughout his life.
He took refuge in the spiritual peace his Catholic faith offered him. Gaudi is often
mentioned as unsociable and unpleasant. But his close friends and relatives say the
other way round, they describe him as friendly as polite, pleasant to talk and faithful
to friends.
Gaudi hardly left and written documents, apart from technical reports and a few
journal articles. The only written document Gaudí left is known as the Manuscrito de
Reus (Reus Manuscript) (1873–1878), a kind of student diary in which he collected
diverse impressions of architecture and decorating, putting forward his ideas on the
subject.
He was reluctant to be politically active. Politicians, of his time, asked him to run for
deputy but he refused.
6
Adulthood and
professional work
As first projects, Gaudi designed lampposts for the Plaça Reial in Barcelona, the
unfinished Girossi newsstands, and the Cooperativa Obrera Mataronense building. The
Casa Vicens provided him with wider recognition for his first important commission,
and subsequently he got various significant proposals.
In 1883, Gaudi was put in charge of the project to build a Barcelona Cathedral called
Basílica i Temple Expiatori de la Sagrada Família (Basilica and Expiatory Church of
the Holy Family, or Sagrada Família). Gaudi completed changed the first design and
implemented his own distinctive style. Till his death, he completely focused on this
project. Given the number of proposals he started receiving, he had to rely on his team
to work on multiple projects simultaneously. His team consisted of professionals from
all fields of construction. Many architects who worked under Gaudi gained fame later in
life.
At the beginning of the century, Gaudi
was working on numerous projects
simultaneously. They reflected his
shift to a more personal style inspired
by nature. In 1900, he received an
award for the best building of the
year from the Barcelona City Council
for his Casa Calvet.During the first
decade of the century Gaudi dedicated
himself to projects like the Casa
Figueras (Figueras house, better
known as Bellesguard), the Park Güell,
an unsuccessful urbanisation project,
and the restoration of the Cathedral of Palma de Mallorca, for which he visited
Majorca several times. Between 1904 and 1910 he constructed the Casa Batlló (Batlló
house) and the Casa Milà (Milá house), two of his most emblematic works.
In 1910, an exhibition in the ‗Grand Palais of Paris‘ was devoted to his work, during the
annual salon of ‗the Société des Beaux-Arts‘ (Fine Arts Society) of France. Gaudí
Sagrada familia
7
participated on the invitation of count Güell, displaying a series of pictures, plans and
plaster scale models of several of his works. Although he participated unrivalled, he
received good reviews from the French press. A large part of this exposition could be
seen the following year at the I ‗Salón Nacional de Arquitectura‘ that took place in the
municipal exhibition hall of ‗Buen Retiro‘ in Madrid.
The decade from 1910 was a hard one for Gaudí. During this decade, the architect
experienced the deaths of his niece Rosa in 1912 and his main collaborator Francesc
Berenguer in 1914; a severe economic crisis which paralysed work on the Sagrada
Família in 1915; the 1916 death of his friend Josep Torras i Bages, bishop of Vic; the
1917 disruption of work at the Colonia Güell; and the 1918 death of his friend and
patron Eusebi Güell.[37] Perhaps because of these tragedies he devoted himself
entirely to the Sagrada Família from 1915, taking refuge in his work. Gaudí confessed
to his collaborators:
“My good friends are dead; I have no family and no clients, no fortune nor
anything. Now I can dedicate myself entirely to the Church.”
Gaudí dedicated the last years of his life entirely to the ―Cathedral of the Poor‖, as it
was commonly known.
8
GAUDI’S
ARCHITECTURE
Gaudi never ceased to study the mechanical structures of other buildings. He was
inspired by oriental arts from countries like India, Persia, Japan. The influence of the
Oriental movement can be seen in works like the Capricho, the Güell Palace, the Güell
Pavilions and the Casa Vicens. Later on, he adhered to the neo-Gothic movement that
was in fashion at the time, following the ideas of the French architect Viollet-le-Duc.
This influence is reflected in the Colegi de les Teresianes, the bishop's palace in
Astorga, the Casa Botines and the Bellesguard house as well as in the crypt and the
apse of the Sagrada Família. Eventually, Gaudí embarked on a more personal phase, with
the organic style inspired by nature in which he would build his major works.
Undoubtedly the style that most influenced him was the Gothic Revival, promoted in
the latter half of the 19th century by the theoretical works of Viollet-le-Duc. The
French architect called for studying the styles of the past and adapting them in a
rational manner, taking into account both structure and design. Nonetheless, for Gaudí
the Gothic style was "imperfect", because despite the effectiveness of some of its
structural solutions it was an art that had yet to be "perfected‖. In his own words:
“Gothic art is imperfect, only half resolved; it is a style created by the
compasses, a formulaic industrial repetition. Its stability depends on constant
propping up by the buttresses: it is a defective body held up on crutches. The
proof that Gothic works are of deficient plasticity is that they produce their
greatest emotional effect when they are mutilated, covered in ivy and lit by the
moon.”
After these initial influences, Gaudí moved towards Modernisme. Modernisme in its
earlier stages was inspired by historic architecture. Its practitioners saw its return to
the past as a response to the industrial forms imposed by the Industrial Revolution's
technological advances. The use of these older styles represented a moral regeneration
that allowed the bourgeoisie to identify with values they regarded as their cultural
roots.Some essential features of Modernisme were: an anticlassical language inherited
from Romanticism with a tendency to lyricism and subjectivity; the determined
connection of architecture with the applied arts and artistic work that produced an
9
overtly ornamental style; the use of new materials from which emerged a mixed
constructional language, rich in contrasts, that sought a plastic effect for the whole; a
strong sense of optimism and faith in progress that produced an emphatic art that
reflected the atmosphere of prosperity of the time, above all of the aesthetic of the
bourgeoisie.
Gaudi‘s works go beyond any style or classification. They are imaginative works inspired
from the nature. Gaudi studied organic and anarchic geometrical forms thoroughly and
found ways to use them in his works of architecture.
GEOMETRIC FORMS:
This study of nature translated into his use of ruled geometrical forms such as the
hyperbolic paraboloid, the hyperboloid, the helicoid and the cone, which reflect the
forms Gaudí found in nature. Ruled surfaces are forms generated by a straight line
known as the generatrix, as it moves over one or several lines known as directrices.
Gaudí found abundant examples of them in nature, for instance in rushes, reeds and
bones; he used to say that there is no better structure than the trunk of a tree or a
human skeleton. These forms are at the same time functional and aesthetic, and Gaudí
discovered how to adapt the language of nature to the structural forms of
architecture. He used to equate the helicoid form to movement and the hyperboloid to
light. Concerning ruled surfaces, he said:
―Paraboloids, hyperboloids and helicoids, constantly varying the incidence of the light,
are rich in matrices themselves, which make ornamentation and even modelling
unnecessary.‖
Paraboloid Hyperboloid
Helix
10
Another element widely
used by Gaudí was the
catenary curve. He had
studied geometry
thoroughly when he was
young, studying
numerous articles about
engineering, a field that
praised the virtues of
the catenary curve as a
mechanical element, one
which at that time, however,was only used in the construction suspension bridges. Gaudí
was the first to use this element in common architecture.
In the middle ages, there had been ―no‖ style of architecture. All the churches, halls
and houses were constructed in the same way. With the renaissance however, a change
began to take place. The interest in cultures of the ancient Greece and Rome led to an
imitation which began to creep into contemporary architecture and to take its place
rather incongruously against the traditional background. Gradually, the traditional
medieval manner became less and less apparent and the Renaissance element stronger.
By the end of seventeenth century, the old manner of building had become superseded.
It did not only disappear, but it was considered to be rustic and unsophisticated. Too, it
had developed a name, it was called the Gothic Architecture.
Gaudi evolved from plane to spatial geometry to ruled geometry. These constructions
were suited for cheap building materials like bricks. This new construction technique
allowed Gaudi to achieve his greatest architectural goal, to perfect and go beyond
gothic style.
Interior view of the cathedral of
Palma de Mallorca.This interior
was transformed by Gaudi, who
tried to re-establish its original
gothic appearance to make it look
as it did during the middle ages. In
this attempt, he was criticized as
having gone ―too far‖, and was
asked to discontinue. But today,
when we consider what he was
attempting to do, we recognise his
real understanding of the qualities
of this magnificent structure.
11
Gaudi, the craftsman:
The relationship between culpture and architecture vary in many ways. The absence and
use of sculptural elements in buildings characterise different periods and fluctuate
with the taste of the time, with the latitudes and climates, with the materials in hand.
Gaudi‘s work from his earlier examples shows his appreciation of and interest in
sculpture. This can be seen in his ironwork of The Vicens House, The gates of the
Guell Villa and the Chimneys of the Guell House.
The chimneys on the roof of the Guell House are an example of Gaudi‘s early use of
colours. Gaudi from his early youth was deeply concerned with the use of colours. For
him, colours were a part of his life: it is everywhere in the work of ―the Creator‖, ao it
should be used likewise in every building. Only official action stopped him from
rejuvenating the Palma Cathedral by giving it back the polychrome it had lost with the
ages. And when somebody commented about the beautiful colour of the stone in the
Sagrada Familia he said,‖ it will be painted over.‖
The Garden fence of the Vicens house
makes use of a pattern of cast-iron leaves
bolted to a grid of laminated steel angle
irons. This simple repetitive design looks
great.
In this gate to the Guell villa, Gaudi
employs wire mesh for the dragon‘s
wings. Gaudi took up the tradition
of wrought ironwork and developed
it.
13
Gaudi’s works ___________Casa Vicens_______________
Casa Vicens is located in Barcelona. Gaudi built the house against the wall of a convent
beside it producing a large and spacious garden. He constructed a monumental fountain
on the other side of the garden with open brickwork, made up of a parabolic arch
topped by a passage between columns. The garden is surrounded by a stucco wall. At
the entrance stands the beautiful gate decorated with wrought ironwork in the form of
leaves.
Built in : 1883 – 1889
Architectural Style: Moorish
Revival
The house is constructed of
undressed stones, roughed red
bricks and coloured ceramic
tiles.
14
____________Palau Guell______________
The Palau Guell in a mansion situated in Barcelona. It is a part of the UNESCO World
Heritage Sites ― Works Of Antoni Gaudi.‖ The home is centered on a main room for
entertaining high society guests. Guests enter the house on horse carriages through
the front iron gates. The front gate features a parabolic arch and intricate patterns of
forged iron work. The main party room has a high ceiling and with small holes where
lanterns used to be hung at night to give a starry look.
15
___________Casa Calvet_______________
Casa Calvet is one of the most conventional works of Antoni Gaudi because it had to be
squeezed between two structures and also because it was cited as one of the most
elegant sections of Barcelona. Its symmetry, balance and orderly rhythm is extra-
ordinary as compared to Gaudi‘s other works. Bulging balconies alternate with smaller
and shallower balconies. Columns at the entrance are in the form of stacked bobbins.
16
__________Sagrada Familia_____________
Gaudi dedicated more than forty years of his life as an architect to the Neo-Gothic
unfinished cathedral.
He transformed the original design into a fantastical, soaring work that
incorporates Gothic, Moorish, African, and purely imaginative influences into its
structure.
Despite controversy over whether the cathedral should remain in its
uncompleted form as a monument to the architect, construction began again in
1979, closely following Gaudi‘s original plan.
The temple has a basilical floor-plan, with five naves and three transepts. The
interior is 90m long and the transept 60m wide; the central nave measures 15m.
17
A New Church
The idea for the construction of a new church was launched by a devout organisation
whose goal was to bring an end to the de-Christianisation of the Barcelonese, which had
started with the industrialization and increasing wealth of the city. The organisation
purchased a plot of land in the new Eixample district in 1877. The architect Francisco
de Paula del Villar designed a neo-Gothic church and led the construction which started
in 1882.
Antoni Gaudí's Design
One year later, the modernist architect Antoni Gaudí took over as lead architect at the
age of 31. From that moment on, Gaudí devoted most of his life to the construction of
the church. Instead of sticking to the original plans, Gaudí changed the design
drastically. The neo-Gothic style made way for Gaudí's trademark modernist style,
which was based on forms found in nature. When he died in 1926 only one façade (the
Nativity Façade), one tower, the apse and the crypt were finished. Because Gaudí was
constantly improvising and changing the design while construction was going on, he left
few designs and models. And most of these were destroyed in
1936 during the Civil War.
18 Towers
Still, architects now have a clear idea of what
Gaudí had in mind. The last version of his
design called for a church 95m/312ft long and
60m/197ft wide. The church will be able to
accommodate some 13 000 people. When
finished, the Sagrada Família will have a total of 18 towers.
18
Four towers on each of the three façades represent the
twelve apostles. The towers reach a height of 90 to
120m (394ft). Another four towers represent the four
evangelists. They will surround the largest, 170m/558ft
tall tower, dedicated to Jesus Christ. The last tower,
dedicated to Virgin Mary, will be built over the apse.
Construction
After Gaudí's death in 1926 construction slowed dramatically due to a lack of funds
and the outbreak of the Civil War. Construction pace started to pick up again in the mid
1950s and now two façades and eight towers have been completed. The main nave was
roofed in 2000. At that time construction was expected to last for another hundred
years, but modern technology has enabled architects to speed up construction so that
the Sagrada Família is now slated for completion before 2030.
19
___________Parque Guell_______________
Park Güell (Catalan: Parc Güell[ˈparɡˈɡweʎ]) 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 CatalanarchitectAntoni Gaudí and built in the years 1900
to 1914. 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".
ORIGINS AS A HOUSING DEVELOPMENT
The park was originally part of a commercially unsuccessful housing site, the idea of
Count Eusebi Güell, whom the park was named after. It was inspired by the English
garden city movement; hence the original English name Park (in the Catalan language
spoken in Catalonia where Barcelona is located,
the word for "Park" is "Parc", and the name of
the place is "Parc Güell" in its original language).
The site was a rocky hill with little vegetation and
few trees, called Muntanya Pelada (Bare
Mountain). It already included a large country
house called Larrard House or Muntaner de Dalt
House, and was next to a neighborhood of upper
class houses called La Salut (The Health). The
intention was to exploit the fresh air (well away
from smoky factories) and beautiful views from
the site, with sixty triangular lots being provided
for luxury houses. Count Eusebi Güell added to
the prestige of the development by moving in 1906 to live in Larrard House. Ultimately,
only two houses were built, neither designed by Gaudí. One was intended to be a show
house, but on being completed in 1904 was put up for
sale, and as no buyers came forward, Gaudí, at Güell's
suggestion, bought it with his savings and moved in with
his family and his father in 1906. This house, where
Gaudí lived from 1906 to 1926, was built by Francesc
Berenguer in 1904. It contains original works by Gaudí
andseveral of his collaborators. It is now the Gaudi
House Museum (Casa Museu Gaudí) since 1963. In 1969
20
it was declared a historical artistic monument of national interest.
MUNICIPAL GARDEN
It has since been converted into a municipal garden. It can be reached by underground
railway (although the stations are at a distance from the Park and at a much lower level
below the hill), by city buses, or by commercial tourist buses. While entrance to the
Park is free, Gaudí's house, "la Torre Rosa," — containing furniture that he designed —
can be only visited for an entrance fee. There is a reduced rate for those wishing to
see both Park Güell and the Sagrada Família Church.
Park Güell is skillfully designed and composed to bring the peace and calm that one
would expect from a park. The buildings flanking the entrance, though very original and
remarkable with fantastically shaped roofs with unusual pinnacles, fit in well with the
use of the park as pleasure gardens and seem
relatively inconspicuous in the landscape when
one considers the flamboyance of other
buildings designed by Gaudí.
The focal point of the park is the main
terrace, surrounded by a long bench in the
form of a sea
serpent. The
curves of the serpent bench form a number of enclaves,
creating a more social atmosphere. Gaudí incorporated
many motifs of Catalan nationalism, and elements from
religious mysticism and ancient poetry, into the Park.
Roadways around the park to service the intended
houses were designed by Gaudí as structures jutting out
from the steep hillside or running on viaducts, with
separate footpaths in arcades formed under these structures. This minimized the
intrusion of the roads, and Gaudí designed them using local stone in a way that
integrates them closely into the landscape. His structures echo natural forms, with
columns like tree trunks supporting branching vaulting under the roadway, and
thecurves of vaulting and alignment of sloping columns designed in a similar way to his
Church of Colònia Güell so that the inverted catenary arch shapes form perfect
compression structures.
21
The large cross at the Park's high-point offers the most complete view of Barcelona
and the bay. It is possible to view the main city in panorama, with the Sagrada Família
and the Montjuïc area visible at a distance.
The park supports a wide variety of wildlife, notably several of the non-native species
of parrot found in the Barcelona area. Other birds can be seen from the park, with
records including Short-toed eagle. The park also supports a population of Hummingbird
hawk moths.
22
BIBLIOGRAPHY
www.wikipedia.org
www.gaudiclub.com
www.greatbuildings.com
www.gaudiallgaudi.com
Antoni gaudi by j.j sweeney