Antoni Gaudí

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Antoni GaudÃÆ' i Cornet ( Catalan pronunciation: Ã, [? not? ni ?? w 'ÃÆ' Â ° i] ; June 25, 1852 - June 10, 1926) was a Spanish architect from Catalonia. He is the most famous Catalan Modernist practitioner. GaudÃÆ' â "¢ Works has a very individual, and one-of-a-kind style. Most are located in Barcelona, ​​â € <â €

The work of GaudÃÆ' â "¢ is influenced by his passions of life: architecture, nature, and religion. He considers every detail of his creation and is integrated into his architecture such as ceramics, stained glass, wrought-iron forgings and carpentry. He also introduced new techniques in the treatment of materials, such as trencadÃÆ's which uses pieces of trash ceramics.

Under the influence of neo-Gothic art and Oriental techniques, GaudÃÆ' became part of the Modernista movement that culminated in the late nineteenth and early twentieth centuries. His work goes beyond the mainstream of Modernism, culminating in an organic style inspired by natural forms. GaudÃÆ' rarely draws a detailed plan of his work, instead preferring to create them as a three-dimensional scale model and mold the details as he contains them.

GaudÃÆ' â "¢ Works enjoy global popularity and continued admiration and learning by architects. The masterpiece, still incomplete Sagrada Familia, is the most visited monument in Spain. Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO. The Roman Catholic religion of Gauda is increasing during his life and religious images appear in many of his works. This earned him the nickname "The Architect of God" and caused the call for his beatification.

Video Antoni Gaudí

Biography

Birth, childhood and lessons

Antoni Gaudi was born in 1852 in Riudom or Reus, to coppersmith Francesc GaudÃÆ' i Serra (1813-1906) and AntÃÆ'²nia Cornet i Bertran (1819-1876). He is the youngest of five children, three of whom survived to adulthood: Rosa (1844-1879), Francesc (1851-1876) and Antoni. The GaudÃÆ' family is from the Auvergne region of southern France. One of his ancestors, Joan GaudÃÆ', a peddler, moved to Catalonia in the 17th century; possible origins of the Gaudà keluarga family name include Gaudy or Gaudin.

The birthplace of Gauda is unknown because no supporting documents were found, which caused controversy about whether he was born in Reus or Riudoms, two neighboring towns of the Baix Camp district. Most of Gaudá's identification documents from both the students and the professionals of the year gave Reus a place of his birth. GaudÃÆ' stated in various occasions that he was born in Riudoms, his father's family village. GaudÃÆ' was baptized in the Sant Pere ApÃÆ'²stol church in Reus the day after his birth with the name "Antoni PlÃÆ' cid Guillem GaudÃÆ' i Cornet".

GaudÃÆ' has a deep appreciation for his homeland and great pride in his Mediterranean heritage. He believes the people of the Mediterranean to be endowed with creativity, originality and innate sense for art and design. Gaudá reportedly describes this distinction by stating, "We have pictures, fantasies are from ghosts, fantasy is what the people of the North themselves, concrete images from the Mediterranean Orestes knows the way, where Hamlet is torn apart by his doubts. "The time spent outdoors, especially during the summer stay at the Gaudá Mas de la Calderera family house, gives Gauda a chance to learn nature. GaudÃÆ''s worldly pleasures took him to the Excursionista de Catalunya Center in 1879 at the age of 27. The organization arranged an expedition to explore Catalonia and southern France, often horseback riding or walking ten kilometers a day.

Young Gaudà menderita suffers from poor health, including rheumatism, which may have contributed to his quiet and reserved character. This health problem and Dr. hygienic theories. Kneipp contributed to GaudÃÆ' toÃ, decision to adopt vegetarianism early in life. Her religious faith and strict vegetarianism drove her to do some long and heavy fasts. This fast is often unhealthy and sometimes, as in 1894, causing life-threatening illness.

GaudÃÆ' attended a nursery school run by Francesc Berenguer, whose son, also called Francesc, was one of Gaudá's chief assistants. He enrolled in the school of Piaris in Reus where he displayed his artistic talent through pictures for a seminar called El ArlequÃÆ'n (Harlequin). During this time he worked as an apprentice at the textile factory "Vapor Nou" in Reus. In 1868 he moved to Barcelona to study teaching at Convent del Carme. In his teenage years, Gauda became interested in utopian socialism and, together with his fellow students Eduard Toda i GÃÆ'¼ell and Josep Ribera i Sans, planned the restoration of the Poblet Monastery which would turn it into a utopian phalanstÃÆ'¨re.

Between 1875 and 1878, GaudÃÆ' completed his conscription at the infantry regiment in Barcelona as a Military Administrator. Most of his services were spent on sick leave, allowing him to continue his studies. His poor health prevented him from fighting in the Third Carlist War, which lasted from 1872 to 1876. In 1876 GaudÃÆ''s mother died at the age of 57, as did his 25-year-old brother, Francesc, who had just graduated as a doctor. During this time Gauda studied architecture at Llotja School and Barcelona Higher School of Architecture, graduating in 1878. To finance his studies, GaudÃÆ' worked as a draftsman for various architects and constructors such as Leandre Serrallach, Joan Martorell, Emile Sala Cortà ©, Francisco de Paula del Villar y Lozano and Josep FontserÃÆ'¨. In addition to his architectural class, he studied French, history, economics, philosophy, and aesthetics. His grades are average and he sometimes fails the course. When awarding the title, Elies Rogent, director of the Barcelona School of Architecture, said: "We have given this academic degree either to a fool or a genius. GaudÃÆ', when receiving his title, reportedly told his friend, the sculptor LlorenÃÆ'§ Matamala, with his ironic sense of humor, "LlorenÃÆ'§, they say I am an architect now."

Mature and professional work

The first project of Gaudá was the lamppost he designed for PlaÃÆ'§a Reial in Barcelona, ​​an unfinished Girossi newspaper kiosk, and the Cooperativa Obrera Mataronense building (MatarÃÆ'Â P Workers' Cooperative). He gained wider recognition for his first important commission, Casa Vicens, and subsequently received a more significant proposal. At the Paris World Expo in 1878 GaudÃÆ' showed an exhibition he produced for the Comella glove manufacturer. Its functional and aesthetic modernist design impressed the industrialist Catalan Eusebi GÃÆ'¼ell, who then commissioned some of GaudÃÆ''s most prominent works: the GÃÆ'¼ell wine cellar, the GÃÆ'¼ell pavilion, the Palau GÃÆ'¼ell (GÃÆ'¼ell palace), the Park GÃÆ'¼ell (GÃÆ'¼ell park) and the basement of the ColÃÆ'²nia GÃÆ'¼ell church. GaudÃÆ' also became a marquis friend of Comillas, the father-in-law of Count GÃÆ'¼ell, whom he designed "El Capricho" in Comillas.

In 1883 Gauda was assigned a project which was recently initiated to build a Barcelona church called Basálica i Temple Expiatori de la Sagrada Familia (Basilica and Expiatory Church of the Holy Family, or Sagrada Familia). GaudÃÆ' completely changed the initial design and imbued it with its own distinctive style. From 1915 until his death he devoted himself completely to this project. Given the amount of commission he receives, he must rely on his team to work on multiple projects simultaneously. His team consists of professionals from all areas of construction. Some of the architects working under him became prominent in the field later, such as Josep Maria Jujol, Joan RubiÃÆ'³, CÃÆ'¨sar Martinell, Francesc Folguera and Josep Francesc RÃÆ' fols. In 1885, Gauda moved to rural Sant Feliu de Codines to avoid a cholera epidemic that struck Barcelona. She lives in Francesc Ullar's house, for whom she designed the dining table as a token of her gratitude.

The 1888 World Exhibition was one of the great events of the era in Barcelona and represents a key point in the history of the Modernism movement. Leading architects showcase their best works, including GaudÃÆ', which showcases the buildings he has designed for CompaÃÆ'Â ± ÃÆ'a TrasatlÃÆ'¡ntica (Transatlantic Company). As a result, he received a commission to restructure SalÃÆ'³ de Cent from the Barcelona City Council, â € <â €

In 1899 GaudÃÆ' joined Cercle Artic de Sant Lluc (art circle Saint Luke), a Catholic artistic society founded in 1893 by bishop Josep Torras i Bages and brothers Josep and Joan Llimona. He also joined the Lliga Espiritual de la Mare de DÃÆ' Â © u de Montserrat (spiritual league Our lady of Montserrat), another Catalan Catholic organization. The conservative and religious character of his political thought is closely linked to his defense of the Catalans' cultural identity.

At the beginning of this century, GaudÃÆ' was working on many projects simultaneously. They reflect the change to a more personal style inspired by nature. In 1900, he received an award for the best building of the year from the City Council of Barcelona for his Casa Calvet. During the first decade of the century, Gauda dedicated himself to projects such as Casa Figueras (Figueras house, better known as Bellesguard), Park GÃÆ'¼ell, failed urbanization project, and restoration of the Palma de Mallorca Cathedral, which he visited Majorca several times. Between 1904 and 1910 he built the Casa BatllÃÆ'³ (BatllÃÆ'³ house) and Casa MilÃÆ' (MilÃÆ'¡ house), his two most symbolic works.

As a result of GaudÃÆ''s rise in fame, in 1902 painters Joan Llimona chose the GaudÃÆ'â "¢ s feature to represent Saint Philip Neri in painting for the Sant Felip Neri church aisle in Barcelona. Together with Joan SantalÃÆ'³, son of his friend Pere SantalÃÆ'Â dokter doctor, he was unable to establish a wrought iron manufacturing company that same year.

After moving to Barcelona, ​​Gauda often changed his address: as a student he lived in residence, generally in the Gothic Quarter area; when he started his career, he moved to some rented flats in the Eixample area. Finally, in 1906, he settled in a house in the Gà © nà © r garden he owned and which had been built by his assistant Francesc Berenguer as a display property for plantations. Since then it has been transformed into Gaudá Museum. There he lived with his father (who died in 1906 at the age of 93) and his niece Rosa Egea GaudÃÆ' (who died in 1912 at the age of 36). He stayed in the house until 1925, a few months before his death, when he began to dwell in the workshop at the Sagrada Familia.

The event that had a huge impact on GaudÃÆ'â "¢ personality was Tragic Week in 1909. GaudÃÆ' remained at his home in GÃÆ'¼ell Park during this tumultuous period. The anticler atmosphere and attacks in churches and monasteries caused Gauda to worry about the safety of Familia Sagrada, but the building escaped the damage.

In 1910, an exhibition at the Grand Palais of Paris was devoted to his work, during the SociÃÆ'Ã © tÃÆ' Â © des Beaux-Arts (Society of Fine Arts) French saloon. GaudÃÆ' participates in the GÃÆ'¼ell count invitation, featuring a series of drawings, plans and models of the plaster scale of some of his works. Even though he participated horse subordinates , he received good reviews from the French press. Much of this exposition can be seen the following year at I SalÃÆ'³n Nacional de Arquitectura taking place in the exhibition hall of the city of El Buen Retiro in Madrid.

During the Paris exposition in May 1910, GaudÃÆ' spent his holidays at Vic, where he designed two basalt and wrought-iron posts for PlaÃÆ'§a Major Vic in honor of a hundred years of Jaume Balmes. The following year he stayed as a man who recovered in PuigcerdÃÆ' when suffering from tuberculosis. During this time he contains ideas for the facade of the Passion of the Sagrada Famlia. Because of illness he prepared a will in the office of notary Ramon CantÃÆ'³ i Figueres on June 9, but then completely recovered.

The decade of 1910 was a difficult year for GaudÃÆ'. During this decade, the architect experienced the death of his nephew Rosa in 1912 and his main collaborator, Francesc Berenguer in 1914; a severe economic crisis that paralyzed Sagrada Famlia's work in 1915; 1916 death of his friend Josep Torras i Bages, bishop of Vic; 1917 work disorder in Colonia GÃÆ'¼ell; and 1918 the death of his friend and protector Eusebi GÃÆ'¼ell. Perhaps because of these tragedies he devoted himself fully to Sagrada FamÃÆ'lia from 1915, seeking refuge in his work. GaudÃÆ' confessed to his colleagues:

My good friends are dead; I have no family and no clients, no luck or anything. Now I can surrender completely to the Church.

Gauda dedicates the last years of his life to the "Cathedral of the Poor", as it is commonly known, where he takes alms to continue. Despite his dedication to this goal, he participated in several other activities, most of which were related to his Catholic faith: in 1916 he participated in a course on the Gregorian chant at the Palau de la MÃÆ'ºsica Catalana taught by Benedictine monk Gregori M Sunyol.

In 1936, during the Spanish Civil War, the Gaudá workshop in the Sagrada Familia was attacked, destroying a large number of modernist documents, plans, and models.

Personal life

GaudÃÆ' devotes his life entirely to his profession, remains single. He is known to be interested in only one woman - Josefa Moreu, teacher at MatarÃÆ'³ Cooperative, in 1884 - but this is not reciprocated. After that, Gauda took refuge in deep spiritual peace, her Catholic faith offered to her. GaudÃÆ' is often described as unfriendly and unpleasant, a man of rough reaction and arrogant movement. However, those close to him describe it as friendly and polite, pleasant to talk to and loyal to friends. Among these, his patron Eusebi GÃÆ'¼ell and Vic's bishop, Josep Torras i Bages, stand out, as well as writers Joan Maragall and Jacint Verdaguer, Pere SantalÃÆ'Â dokter physicians and some of his most loyal collaborators, such as Francesc Berenguer and LlorenÃÆ'§ Matamala.

Gaudà pribadi's personal appearance - Nordic features, blonde hair and blue eyes - change radically over time. As a young man, he dressed up as an expensive outfit, sporting hair and beard, indulging gourmet tastes, frequenting the theater and opera and visiting his project site on a horse-drawn carriage. The old Gauda ate frugally, wore old clothes, worn out, and ignored his appearance until sometimes he was taken as a beggar, as after the accident that caused his death.

GaudÃÆ' left virtually no written documents, apart from technical reports of his work required by official officials, some letters to friends (especially to Joan Maragall) and several journal articles. Some excerpts collected by his assistants and students have been saved, especially by Josep Francesc RÃÆ' fols, Joan BergÃÆ'³s, CÃÆ'¨sar Martinell and Isidre Puig i Boada. The only document written by GaudÃÆ' was known as Manuscrito de Reus (Reus Manuscript) (1873-1878), a kind of student diary in which he collected various architectural and decorative impression, put forward his idea of ​​the subject. Included is the analysis of the Christian church and its ancestral home, as well as texts on ornaments and comments on the table design.

Gaudá always supported Catalan culture but was reluctant to become politically active to campaign for his autonomy. Politicians, such as Francesc Camba and Enric Prat de la Riba, suggested that he run for a deputy but he refused. In 1920 he was beaten by police in the riots during the Floral Games celebrations. On September 11, 1924, National Catalonia Day, he was beaten during a demonstration against the Catalan ban by the dictatorship of Primo de Rivera. GaudÃÆ' was captured by the Civil Guard, resulting in a short visit in prison, from which he was released after paying 50 pesetas guarantees.

Death

On June 7, 1926, GaudÃÆ' was taking the daily walk to the church of Sant Felip Neri for his prayers and confessions. While walking along the Gran Via de les Corts Catalanes between Girona and BailÃÆ'Â Â © n the streets, he is struck by tram number 30 passing and losing consciousness. Allegedly a beggar for lack of identity documents and worn out garments, the unconscious Gauda does not receive direct assistance. Eventually some passersby transferred him by taxi to Santa Creu Hospital, where he received an imperfect treatment. At that time the pastor of the Sagrada Familia, MosÃÆ' Â © n Gil ParÃÆ'Â © s, recognized him the next day, Gauda's condition had deteriorated too badly to benefit from additional care. GaudÃÆ' died on June 10, 1926 at the age of 73 and was buried two days later. A large crowd gathered to say goodbye to him in the chapel of Our Lady of Mount Carmel in the basement of the Sagrada Familia. The headstone bears this inscription:

Antoni Gaudi Cornet. Reusensis. At the age of 74, a living example, an eximiusque artist, this beautiful masterpiece, the temple writer, died a good death to Barcelona for the day of June 10, 1926, on one side of a man's ash, the resurrection of the dead, waiting. R.I.P.

(Antoni GaudÃÆ' Cornet From Reus At the age of 74, an exemplary man, and a remarkable craftsman, the author of this magnificent work, the church, died godlyly in Barcelona on the tenth day of June 1926, and then the ashes of a man very great awaiting the resurrection of the dead.Hopefully he rest in peace.)

Maps Antoni Gaudí

Style

GaudÃÆ' and Modernism

Gaudi's professional life is very distinctive because he never stops investigating mechanical building structures. Early on, GaudÃÆ' was inspired by oriental art (India, Persia, Japan) through the study of theoretical theories of architecture, such as Walter Pater, John Ruskin and William Morris. The influence of the Oriental movement can be seen in works such as Capricho, GÃÆ'¼ell Palace, GÃÆ'¼ell Pavilions and Casa Vicens. Later, he followed a neo-Gothic movement that was in vogue at the time, following the ideas of the French architect Viollet-le-Duc. This influence is reflected in Teresian College, Episcopal Palace in Astorga, Casa Botines and Bellesguard houses as well as in the basement and apse of the Sagrada Familia. Eventually, GaudÃÆ' started a more personal phase, with an organic style inspired by nature in which he would build his masterpiece.

During his time as a student, GaudÃÆ' was able to study a collection of photographs of Egyptian, Indian, Persian, Mayan, Chinese and Japanese arts owned by the School of Architecture. The collection also includes a Moorish monument in Spain, which leaves a deep mark on it and becomes an inspiration in many of his works. He also studied the book The Plans, Improvements, Sections and Details of Alhambra by Owen Jones, which he borrowed from the School's library. He took various structural and ornamental solutions from the art of bottle nazarÃÆ' and mudà © Ã… ©, which he used with variations and freedom of style in his work. In particular, Gauda observes the Islamic art of space uncertainty, the concept of structure with unlimited space; sense of order, fragmented with holes and partitions, which create a split without disturbing the feeling of open space by closing it with a barrier.

Undoubtedly the style that most influenced him was the Gothic Awakening, promoted in the second half of the 19th century by the theoretical work of Viollet-le-Duc. French architects are calling to learn the style of the past and adapt it in a rational way, taking into account the structure and design. Nevertheless, for GaudÃÆ', the Gothic style is "imperfect", because apart from the effectiveness of some structural solutions, it is an art that has not yet been "perfected". In his own words:

Gothic art is not perfect, only half completed; it is a style created by a compass, a repeatable industry that is formulated. Its stability depends on the constant support by the support: it is the defective body held by crutches. (...) The evidence that Gothic works are less plasticity is that they produce the greatest emotional effect when they are mutilated, covered by vines and lit by the moon.

After this initial influence, GaudÃÆ' moved towards Modernism, then in his prime. Modernism was originally inspired by historic architecture. Practitioners see their return to the past in response to the industrial forms imposed by the technological advances of the Industrial Revolution. The use of these old styles represents a moral regeneration that allows the bourgeoisie to identify with the values ​​they perceive as their cultural roots. The RenaixenÃÆ'§a (rebirth), the Catalan culture revival that began in the second half of the nineteenth century, brought more Gothic forms into the Catalan "national" style that aims to combine nationalism and cosmopolitanism while simultaneously integrating into the European modernization movement.

Some important features of Modernism are: the anticolytic language inherited from Romanticism with a tendency to the lyrics and subjectivity; architectural connections determined by applied art and artistic work resulting in an open decorative style; use of new materials from which emerging mixed contrast language, rich in contrast, which seeks the plastic effect for the whole; a sense of optimism and a strong belief in progress that produces a decisive art that reflects the atmosphere of time prosperity, above all the aesthetics of the bourgeoisie.

Look for a new architectural language

GaudÃÆ' is usually regarded as a great master of Catalan Modernism, but his works go beyond one style or classification. They are imaginative works that find their ultimate inspiration in nature. GaudÃÆ' studied organic and geometric forms of anarchist nature as a whole, looking for ways to give expression to these forms in architecture. Some of his greatest inspirations come from a visit to Montserrat mountain, Mallorca caves, salt caves in CollbatÃÆ'³, Fra Guerau cliffs in the Prades Mountains behind Reus, Pareis mountain in north Mallorca and Sant Miquel del Fai in Bigues i Riells.

Geometric shapes

The study of nature is translated into the use of geometric forms that are mastered such as hyperbolic parabola, hyperboloid, helicoid and cone, which reflect the forms of Gauda found in nature. The ruled surface is forms produced by a straight line known as generatrix, as it travels through one or more lines known as directrices. Gauda found many examples of them in nature, such as rush, reeds and bones; He used to say that there is no structure better than tree trunks or human skeletons. These shapes are at the same time functional and aesthetic, and GaudÃÆ' discovered to discover how to adapt natural language to structural architectural forms. He is used to equate helical forms with motion and hyperboloid to light. Regarding the controlled surface, he said:

Paraboloids, hyperboloids and helicoids, constantly varying the incidence of light, are rich in the matrix itself, which makes ornamentation and even unnecessary modeling.

Another element widely used by GaudÃÆ' is the catenary arch. He had studied geometry thoroughly when he was young, studied many articles about engineering, a field that praised the goodness of the catenary curve as a mechanical element, which at that time, however, was only used in the construction of suspension bridges. GaudÃÆ' was the first to use this element in the general architecture. Catenary arches in works such as Casa MilÃÆ', the Teresian College, the basement of ColÃÆ'²nia GÃÆ'¼ell and Sagrada Famlia allow GaudÃÆ' to add a large power element to its structure, given the catenary distributes the weight that it regularly carries evenly, affected only by tangential forces that cancel self.

GaudÃÆ' evolved from field to spatial geometry, to a controlled geometry. These forms of construction are particularly suitable for the use of cheap materials such as bricks. Gauda is often used brick laid with mortar in successive layers, as in the traditional Catalan vault, using a brick laid flat, not on its side. This search for new structural solutions culminated between 1910 and 1920, when he exploited his research and experience in his work, the Sagrada Familia. GaudÃÆ' contains the inside of the church as if it were a forest, with a set of tree-like columns split into various branches to support the structure of the intertwined hyperboloid dome. He tilted the column so that they could hold the pressure upright on their part better. He also gave them a double-turn helixidal shape (turn right and turn left), as in branches and tree trunks. This creates a structure now known as a fractal. Along with the modulation of space that divides it into small, self-contained, and independent modules, it creates structures that perfectly support mechanical traction forces without the need for a support, as demanded by neo-Gothic styles. GaudÃÆ' thereby achieves a rational, structured and very logical solution, creating as well as a new, simple, practical and aesthetic architectural style.

Beyond Gothic

This new construction technique enabled GaudÃÆ' to achieve its greatest architectural objectives; to perfect and surpass the Gothic style. The hyperboloid dome has their center where Gothic urns have their keystone, and hyperboloid allows for a hole in this space to let natural light in. At the intersection between the dome, where Gothic fox has a rib, hyperboloid allows a hole as well, which GaudÃÆ' is used for gives the impression of a starry sky.

Gauda completes this organic architectural vision with a unique space vision that enables him to imagine his designs in three dimensions, unlike traditional flat architecture designs. He used to say that he has gained this spatial understanding as a boy by looking at the pictures his father made from the boiler and the stills he produced. Because of this spatial conception, Gauda always preferred to work with casts and scale models or even improvise on the spot as a developing work. Reluctant to draw a plan, only on the rare occasion of whether he sketched his work - in fact, only when required by the authorities.

Another innovation GaudÃÆ' â "¢ in the technical field is the use of scale models to calculate the structure: for the ColÃÆ'²nia GÃÆ'¼ell church, he built a 1:10 scale model with a height of 4 meters (13Ã ,¼ f) in the warehouse next to the building. There, he prepared a model that had a string with little bags full of birdies hanging there. On the drawing board attached to the ceiling he drew the floor of the church, and he hung a rope (for catenaries) with a birdshot (for weight) from the supporting points of the building - columns, wall junctions. This weight generates a catenary curve in both the arch and the vault. At that moment, he takes a picture that, when reversed, shows the structure for the column and the curve that GaudÃÆ' searches. GaudÃÆ' then painted these pictures with gouache or pastels. The outline of the church is defined, he notes every detail of the building: architectural, stylistic and decorative.

GaudÃÆ'â "¢ 's position in architectural history is that a creative genius who, inspired by nature, develops his own style that achieves technical perfection as well as aesthetic value, and bears the mark of his character. Gauda's structural innovation is as far as the result of his journey through various styles, from Doric to Baroque through Gothic, his ultimate inspiration. It can be said that these forces culminate in his work, which is reinterpreted and perfected. GaudÃÆ' passed the historicalism and eclecticism of his generation without being connected to other architectural movements of the 20th century which, with their rationalist postulates, originated from the Bauhaus school, and represented the antithetical evolution for that initiated by GaudÃÆ', given that it later reflected disparaging and lack of early understanding of the work architect of modernista .

Among other factors that led to the early abandonment of Catalan architect work was that despite having many assistants and helpers, Gauda did not create her own school and never taught, nor did she leave written documents. Some of his subordinates adopted innovation, especially Francesc Berenguer and Josep Maria Jujol; others, such as CÃÆ'¨sar Martinell, Francesc Folguera and Josep Francesc RÃÆ' fols graduated towards Noucentism, leaving behind his master's footsteps. However, the level of influence can be seen in some architects who form part of the Modernista movement or leave it and who have no direct contact with it, such as Josep Maria Pericas (Casa AlÃÆ'²s, Ripoll), BernardÃÆ' Martorell (Olius cemetery) and LluÃÆ's Muncunill (Masia Freixa, Terrassa). Nevertheless, GaudÃÆ' left a deep mark on 20th-century architecture: masters such as Le Corbusier declared themselves admirers, and the works of other architects such as Pier Luigi Nervi, Friedensreich Hundertwasser, Oscar Niemeyer, FÃ © Â © candix Candela, Eduardo Torroja and Santiago Calatrava was inspired by GaudÃÆ' Frei Otto using the Gauda form in the construction of the Munich Olympic Stadium. In Japan, Kenji Imai's works contain evidence of GaudÃÆ''s influence, as can be seen in the Memorial for the Twenty-Six Japanese Martyrs in Nagasaki (Japanese National Architecture Award in 1962), where the use of well-known "trencad" stands outside.

Design and expertise

During his student days, GaudÃÆ' attends craft workshops, as taught by Eudald PuntÃÆ', LlorenÃÆ'§ Matamala and Joan OÃÆ' Â ± ÃÆ'³s, where he studies the basic aspects of engineering related to architecture, including sculptures, carpentry, wrought iron, stained glass, ceramics, plaster modeling, etc. He also absorbed new technological developments, integrating into his techniques the use of iron and reinforced concrete in construction. Gauda takes a broad view of architecture as a multifunctional design, in which every detail in the setting must be harmonious and proportionate. This knowledge enabled him to design an architectural project, including all elements of his work, from furniture to lighting to wrought iron.

Gaudá is also an innovator in the field of expertise, understanding new technical and decorative solutions with materials, for example the way he designs ceramic mosaics made from trash pieces ("trencadÃÆ's") in original and imaginative combinations. For the restoration of Mallorca Cathedral he invented a new technique for producing stained glass, consisting of juxtaposing three primary color glass panels, and sometimes a neutral, varying the thickness of the glass to pass the light intensity.

This is how he personally designed many statues of Sagrada Famlia. He will actually study the anatomy of the figure, concentrating on the movement. For this purpose, he studies the human skeleton and sometimes uses a wire-made doll to test the appropriate posture of the figure he wants to chisel. In the second step, he photographed his model, using a mirror system that provides multiple perspectives. He then made a cast of figures, both people and animals (on one occasion he made the donkey stand so it would not move). He modified the proportion of this cast to get the character's desired appearance, depending on his place in the church (the higher, the bigger it would happen). Finally, he sculpts the numbers with stones.

Urban space and landscape

GaudÃÆ' â "¢ also practiced landscaping, often in urban settings. He aims to place his work in the most appropriate natural and architectural environment by studying the construction site thoroughly and trying to integrate it naturally into the environment. To this end, he often uses the most common materials in the immediate environment, such as the Bellesguard slate and the gray Bierzo granite at the Episcopal Palace, Astorga. Many of the projects are gardens, such as GÃÆ'¼ell Park and Can Artigas Gardens, or incorporated gardens, such as at Casa Vicens or GÃÆ'¼ell Pavilions. The harmonious approach of GaudÃÆ' â "¢ to the landscape is exemplified in the First Mystery of the Rosary Glory in Montserrat, where the architectural framework is nature itself - here Montserrat rocks - nature surrounds a group of sculptures that adorn the way to the Holy Cave.

Interior

Similarly, Gaudá stands out as an interior decorator, decorating most of the building in person, from furniture to the smallest detail. In each case he knows how to apply the specificity of style, personalized decoration to the taste of the owner, the dominant style of setting or the place around him - whether urban or natural, secular or religious. Much of his work is related to liturgical furnishings. From the desk design to his office early in his career to the furnishings designed for the Sobrellano Palace of Comillas, he designed all the furniture of Vicens, Calvet, BatllÃÆ'³ and MilÃÆ' houses, from the GÃÆ'¼ell Palace and Bellesguard Tower, and the liturgical furnishings of the Sagrada Familia. It should be noted that GaudÃÆ' studied several ergonomics to fit his furnishings with human anatomy. Many of the furniture is on display at the Gaudi House Museum.

Another aspect is the intelligent distribution of space, always with the goal of creating a comfortable and intimate interior atmosphere. For this purpose, GaudÃÆ' will divide the space into sections, tailored to their specific use, by means of low walls, decreased ceilings, sliding doors and wall cabinets. In addition to paying attention to every detail of all structural and ornamental elements, it ensures that its construction has good lighting and ventilation. For this purpose, he studies each project orientation with respect to the cardinal points, as well as the local climate and its place around it. At that time, there was an increase in demand for better domestic comfort, with tap water and gas and the use of electric light, all of which were Gauda's expertise. For Sagrada Familia, for example, he did a thorough study of acoustics and illuminations, to optimize it. With regard to light, he states:

The light reaches a maximum alignment at a 45 ° inclination, because it resides on the object in a non-horizontal and vertical manner. It can be regarded as moderate light, and it offers the most perfect object vision and the most beautiful feel. This is the light of the Mediterranean.

Lighting also serves GaudÃÆ' for space organizations, which requires careful study of the gradient of light intensity to adapt adequately to each particular environment. He achieved this with various elements such as skylights, windows, shutters and curtains; an important case is the color gradation used in the Casa BatllÃÆ'Â at atrium to achieve a uniform distribution of light throughout the interior. He also tends to build a house facing south to maximize sunlight.

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Work

The work of Gaudà ©  © is usually classified as a modernista, and it is included in this movement because of his desire to renovate without breaking the tradition, his quest for modernity, a sense of ornament applied to work, and a multidisciplinary character of effort, where expertise plays a central role. For this, GaudÃÆ' added a baroque dose, adopting technical progress and continuing to use traditional architectural languages. Together with his inspiration from nature and the original touch of his works, this amalgam gives his works of their personal and unique character in the history of architecture.

Chronologically, it is difficult to establish guidelines that illustrate the evolution of the Gauda style faithfully. Although it moves from its historic early approach to immersing itself fully in the modernist movement that emerged so strongly in the last third of the nineteenth century in Catalonia, before finally achieving its personal, this process does not consist of clear stages with clear boundaries: more precisely, at each stage there is a reflection of all that is before, because it gradually assimilates and transcends them. Among the best descriptions of the works of GaudÃÆ' â "¢ created by his disciple and biographer Joan BergÃÆ'³s, according to plastic and structural criteria. BergÃÆ'³s establishes five periods in the production of GaudÃÆ' â "¢: the early period, mudÃÆ'Â © jar-morisco (Moorish/mudÃÆ' Â © jar art), mimicking the synthesis of Gothic, naturalist and expressionist, and organic.

Initial work

GaudÃÆ' first worked well from his student days and the time right after his graduation stands out for the accuracy of their details, the use of geometry and the prevalence of mechanical considerations in structural calculations.

Year of the university

During his studies, GaudÃÆ' designed various projects, among which the following stand out: the funeral gateway (1875), a Spanish pavilion for the Philadelphia World Fair of 1876, a side building dock (1876), a courtyard for DiputaciÃÆ'³ de Barcelona (1876) monumental for PlaÃÆ'§a Catalunya in Barcelona (1877) and the university meeting hall (1877).

Antoni GaudÃÆ' started his professional career while still at university. To pay for his studies, he worked as a draftsman for some of Barcelona's most prominent architects at the time, such as Joan Martorell, Josep FontserÃÆ'¨, Francisco de Paula del Villar y Lozano, Leandre Serrallach and Emili Sala Cortà ©. GaudÃÆ' has a long-term relationship with Josep FontserÃÆ'¨, because his family is also from Riudoms and they have known each other for some time. Despite not having an architectural degree, FontserÃÆ'¨ received a commission from the city council for the construction of the Parc de la Ciutadella, conducted between 1873 and 1882. For this project, GaudÃÆ' was responsible for the design of the park entrance, the bandstand balustrade and the water project for the fountain monumental, where he designed an artificial cave that showed his passion for nature and the organic touch he would give his architecture.

GaudÃÆ' worked for Francisco de Paula del Villar in the apsis of the Montserrat monastery, devising a niche for the image of the Black Virgin Montserrat in 1876. He would later replace Villar in the works of Famália Sagrada. With Leandre Serrallach, he works on the tramway project to Villa Arcadia in MontjuÃÆ'¯c. Finally, he collaborated with Joan Martorell in the Jesuit church at Carrer Casp and Salesian monastery at Passeig de Sant Joan, as well as the Villaricos church (Almera). He also undertook a project for Martorell for a competition for a new facade for Barcelona's cathedral, â € <â € Initial post-graduate project

After graduating as an architect in 1878, Gaudá's first work was a set of lampposts for PlaÃÆ'§a Reial, a project for the Girossi news kiosk and the MatarÃÆ'Â k cooperative, which was his first important job. He received a request from the Barcelona city council in February 1878, when he graduated but has not received his degree, sent from Madrid on March 15 of the same year. For this commission he designed two types of lampposts: one with six arms, two of which were installed in PlaÃÆ'§a Reial, and the other with three, two of which were installed in Pla del Palau, in contrast to the Civil Government. Lampposts were inaugurated during the MercÃÆ'¨ celebration in 1879. Made from cast iron with marble base, they have decorations where the Mercury caduceus stands out, the trade symbol and the symbol of Barcelona.

The Girossi news kiosk project, which was never done, was a commission of the merchant Enrique Girossi de Sanctis. It will consist of 20 newsstands, scattered throughout Barcelona. Each will include public toilets, flower booths and glass panels for advertisements as well as clocks, calendars, barometers and thermometers. GaudÃÆ' contains structures with iron and marble columns and glass sheets, crowned by a large iron and glass roof, with a gas illumination system.

The Cooperativa Obrera Mataronense (MatarÃÆ'³ Workers' Cooperative) was GaudÃÆ''s first major project, where he worked from 1878 to 1882, for Salvador PagÃÆ'¨s i Anglada. The project, for the headquarters of the cooperative in MatarÃÆ'³, consists of factories, worker housing, social centers and service buildings, although only factory and service buildings are completed. On the roof of the factory Gauda uses the catenary arch for the first time, with a bolt assembly system designed by Philibert de l'Orme. He also used ceramic decorations for the first time in the service building. Gaudá lays sites that pay attention to the orientation of the sun, other signatures of his works, and include a garden area. He even designed a Cooperative banner, with a bee, a symbol of persistence.

In May 1878 GaudÃÆ' designed a display cabinet for the Esteban Comella glove factory, which was exhibited in the Spanish pavilion at the Paris World Expo that year. This is a work that attracts the attention of businessman Eusebi GÃÆ'¼ell, visiting the French capital; he was so impressed that he wanted to meet GaudÃÆ' on his return, start a long friendship and professional collaboration. GÃÆ'¼ell became GaudÃÆ''s main protector and sponsor of many of its major projects.

First GÃÆ'¼ell Projects

The first task of GÃÆ'¼ell for GaudÃÆ', in the same year, was the design of the furniture for the pantheon chapel of Palacio de Sobrellano in Comillas, which was later built by Joan Martorell, Gaudà guru's teacher, at the request of the Marquis of Comillas, GÃÆ'¼ell's father-in-law. GaudÃÆ' designed chairs, benches and prayer benches: the chair was velvet-lined, finished with two eagles and the Marquis emblem; a prominent bench with a dragon motif, designed by LlorenÃÆ'§ Matamala; prayer chairs decorated with plants.

Also in 1878 he devised plans for a theater in the former city of Sant Gervasi de Cassoles (now the district of Barcelona); GaudÃÆ' did not take part in the theater development, which no longer exists. The following year he designed furniture and counters for the Gibert Apothecary, with a marquetry of Arab influence. That same year he made five pictures for a procession in honor of the poet Francesc Vicent Garcia i Torres in Vallfogona de Riucorb, where this famous 17th-century author and fellow Lope de Vega is a parish priest. Project GaudÃÆ' â "¢ centered on poets and on some aspects of agricultural work, such as harvesting and harvesting wine and olives; However, as a result of organizational problems, GaudÃÆ'Â ¢ ¢ idea is not done.

Between 1879 and 1881 he drafted a proposal for the decoration of the church of Sant PaciÃÆ', belonging to Colegio de JesÃÆ'ºs-MarÃÆ'a at Sant Andreu del Palomar: he created altars in Gothic style, monsters with Byzantine influence, mosaics and lighting, as well as school furniture. The church burned down during the Tragic Week of 1909, and now only the mosaic is left, from the "opus tesselatum", perhaps the work of the muscular Luigi Pellerin in Italy. He was given the task of decorating the church of Colegio de JesÃÆ'ºs-MarÃÆ'a in Tarragona (1880-1882): he created an altar in Italian white marble, and its front, or antependium, with four columns containing medallions of polychrome alabaster, with angelic figures; ostensori with golden wood, by Eudald PuntÃÆ', adorned with rosary, angel, tetramorf and dove symbol of the Holy Spirit; and the choir booth, which was destroyed in 1936.

In 1880 he designed an electric lighting project for Barcelona Muralla de Mar, or a sea wall, which was not done. It consists of eight large iron street lamps, decorated very much with plant motifs, friezes, shields and battle names and Catalan admirals. In the same year he participated in a competition for the construction of the San Sebastià ± a social center (now city hall), won by Luis Aladrà ©  © n Mendivi and Adolfo Morales de los RÃÆ'os; GaudÃÆ' submitted a project that synthesized several previous studies, such as a fountain for PlaÃÆ'§a Catalunya and the provincial Council page.

Collaboration with Martorell

The new task of GÃÆ'¼ell-LÃÆ'³pez's for Comillas was the gazebo for Alfonso XII's visit to the town of Cantabria in 1881. GaudÃÆ' designed a small pavilion in the form of a Hindu turban, covered in mosaics and decorated with small bells that jingle always. It was later moved to the GÃÆ'¼ell Pavilion.

In 1882 he designed the Benedictine monastery and the church dedicated to the Holy Spirit in Villaricos (Cuevas de Vera, Almeria) to his former teacher, Joan Martorell. It is a neo-Gothic design, similar to the Convent of the Salesians that GaudÃÆ' also planned with Martorell. In the end it was not done, and the project plan was destroyed in the looting of Famalia Sagrada in 1936. That same year he was assigned to build a hunting lodge and a wine cellar in a country residence known as La Cuadra, in Garraf (Sitges), owned by baron Eusebi GÃÆ'¼ell. In the end the wine cellar, but not the cottage, was built a few years later. Together with Martorell he also collaborated on three other projects: the Jesuit School of the Carrer Caspe; The Salesian Monastery at Passeig de Sant Joan, a neo-Gothic project with an altar in the middle of a cross; and the facade project for Barcelona's cathedral, for the competition hosted by the cathedral chapel in 1882, was finally won by Josep Oriol Mestres and August Font i Carreras.

GaudÃÆ''s collaboration with Martorell was a decisive factor in GaudÃÆ'â "¢ s recommendation for FamÃÆ'lia Sagrada. The Church is the idea of ​​Josep Maria Bocabella, the founder of the Saint Joseph Association, who gained a complete block from Barcelona's Eixample district. The project was originally entrusted to Francisco de Paula del Villar y Lozano, who planned the construction of a neo-Gothic church, where work began in 1882. However, the following year Villar resigned due to disagreements with the construction council, and the task of going to GaudÃÆ', redesigning the project, in addition to part of the built-in basement. Gaudó devotes the rest of his life to the building of the church, which is the synthesis of all his architectural discoveries.

Oriental period

During these years GaudÃÆ' completed a series of works with clear oriental taste, inspired by Middle Eastern and Far Eastern art (Indian, Persian, Japanese), as well as Hispanic-Islamic art, especially Mudejar and Nazari. GaudÃÆ' uses an abundance of ceramic tile decorations, as well as Moorish arches, exposed brick columns and peaks in the shape of pavilions or domes.

Between 1883 and 1888 he built Casa Vicens, commissioned by Manuel Vicens i Montaner stockbrokers. Built with four floors, with facades on three sides and a spacious garden, including a monumental brick fountain. The house is surrounded by walls with iron gates, decorated with palmetto leaves, by LlorenÃÆ'§ Matamala. The walls of the house are stones alternated with tile lines, which mimic the typical yellow flowers of this region; the upper house with a chimney and a turret. Inside the polychrome wooden block protruding, decorated with papier flower theme machà ©  ©; the walls are decorated with vegetable motifs, and paintings by Josep Torrescasana; finally, the floor consists of a Roman-style mosaic "opus tesselatum". Amongst the most original rooms is the smoking room, the famous ceiling, adorned with Moorish honeycomb, reminds Generalife of the Alhambra in Granada.

That same year, in 1883, Gaudi designed the SantÃÆ'simo Sacramento chapel for the parish church of San FÃ © ix lix de Alella, as well as some topographic plans for the country residence of Can Rosell de la Llena in Gelida. He also received a commission to build a small attachment to the Palacio de Sobrellano, to the Baron of Comillas, in the city of Cantabria of the same name. Known as El Capricho, it was commissioned by MÃÆ'¡ximo DÃÆ'az de Quijano and was built between 1883 and 1885. CristÃÆ'²for Cascante i Colom, student of Gauda, ​​is directing its development. In the oriental style, it has an elongated shape, on three levels and a cylindrical tower in the shape of a Persian tower, faced entirely in the ceramic. The entrance is located behind four columns supporting the distressed arch, with the capital decorated with birds and foliage, similar to those seen at Casa Vicens. Notable is the main room, with large windows, and a smoking room with a ceiling consisting of a fake Arabic-style safes.

Gaudá did a second commission from Eusebi GÃÆ'¼ell between 1884 and 1887, GÃÆ'¼ell Pavilions at Pedralbes, now on the outskirts of Barcelona. GÃÆ'¼ell has a country residence at Les Corts de SarriÃÆ', which consists of two adjacent properties known as Can Feliu and Can CuyÃÆ's de la Riera. Architect Joan Martorell has built a Caribbean-style house, which was destroyed in 1919 to pave the way for the Royal Palace of Pedralbes. Gaudá make home improvements and build cottage walls and porters. He completed a stone wall with several entrances, a main entrance with a dragon-shaped iron gate, with a symbology that refers to the myth of Hercules and the Garden of Hesperides. Buildings consist of a stable and closed longeing ring and guard's cottage: the enclosure has a rectangular base and catenary arch; the longeing ring has a square base with a hyperboloid dome; the porter hut consists of three small buildings, the center is polygonal with a hyperbolic dome, and the other two smaller and cubic. All three are terminated by a ventilator in the form of a chimney faced with a ceramic. Exposed brick walls in various shades of red and yellow; in certain parts of prefabricated cement blocks are also used. The Pavilions is now the headquarters of Real CÃÆ'¡tedra GaudÃÆ', the Polytechnic University of Catalonia.

In 1885 Gauda received a commission from Josep Maria Bocabella, a promoter of the Sagrada Familia, for an altar in the oratory of the Bocabella family, who had obtained permission from the Pope to have an altar in their home. The altar is made of polished mahogany, with a white marble slab in the middle for relics. It is adorned with plants and religious motifs, such as the Greek alpha and omega, the beginning and ending symbols, the Gospel phrase and the image of Saint Francis of Paola, Santa Teresa of Avila and the Holy Family and covered with a red embroidered curtain. It was made by cabinet maker Frederic LabÃÆ'²ria, who also collaborated with GaudÃÆ' in Sagrada FamÃÆ'lia.

Shortly afterwards, GaudÃÆ' received an important new commission from GÃÆ'¼ell: the construction of his family home, at Carrer Nou de la Rambla in Barcelona. Palau GÃÆ'¼ell (1886-1888) continues the tradition of a large urban Catalan mansion such as in Carrer Montcada. GaudÃÆ' designed a monumental entrance with a magnificent parabolic arch above an iron gate, emblazoned with Catalan symbol and helmet with winged dragon, by Joan OÃÆ' Â ± ÃÆ'³s. An important feature is the entrance space of three altitudes; it is the core of the building, surrounded by the main hall of the palace, and it is remarkable for the double dome, deep parabolic and conical on the outside, a typical solution of Byzantine art. For the gallery on the street facade, GaudÃÆ' â "¢ uses a genuine catenary arch system and column with hyperbolic capital, a style that is only used here. He designed the palace interior with a luxurious Mudejar-style décor, where the pinned wood and iron ceiling stand out. Chimneys on the roof are amazing features, encountered in brightly colored ceramic tiles, such as tall towers in the form of lantern towers, which are the external stoppers of the dome inside, and are also faced with ceramic tiles and above. an iron weather vane.

At the World Expo held in Barcelona in 1888, GaudÃÆ' built a pavilion for CompaÃÆ' Â ± ÃÆ'a TrasatlÃÆ'¡ntica, owned by the Marquis of Comillas, in the Maritime Section of the event. He created it in the Nazari Granadinian style, with horseshoe arches and plaster decorations; building survived until Passeig MarÃÆ'tim opened in 1960. After the event he received a commission from the Barcelona Council to restore SalÃÆ'³ de Cent and the large staircase at Barcelona City Hall, as well as a seat for queen Maria Cristina; only the seats were made, and Mayor Francesc Rius i Taulet handed them to the Queen.

Neo-Gothic period

During this period Gauda was inspired above all by medieval Gothic art, but wanted to improve its structural solutions. Neo-gothic was one of the most successful historical styles of the time, mainly as a result of Violet-le-Duc's theoretical studies. Gauda studied examples in Catalonia, the Balearic Islands and Roussillon in depth, as well as the buildings of Leonese and Castillian during his stay at LeÃÆ'³n and Burgos, and became convinced that it was an imperfect style, leaving the main structural problem only partially solved. In his works, he removes the need for a support through the use of a ridden surface, and removes excessive crenelations and filigree.

The first example is Teresian College (1811-1889), at Barcelona Carrer Ganduxer, commissioned by San Enrique de OssÃÆ'³. GaudÃÆ' fulfills the wishes of the command that buildings should be harsh, in keeping with their promise of poverty. He designed a simple building, using bricks for the exterior and some brick elements for the interior. Wrought iron, one of Gaudi's favorite materials, appeared on the facade. The building is crowned by a row of merlons showing a castle, a possible reference for Saint Teresa's Interior Corset . The angle has a top of a brick topped by a helicoidal column and culminates in a four-handed cross, typical of GaudÃÆ''s works, and with a ceramic shield with various symbols of the order. The interior includes a well-known corridor with a series of catenary arches it contains. This elegant arch is decorative and supports the ceilings and floors above. For GaudÃÆ', catenary arches are ideal construction elements, capable of supporting large loads with slender bricks.

GaudÃÆ' received the next commission from a pastor who had become a childhood friend in Reus. When he was appointed bishop of Astorga, Joan Baptista Grau i VallespinÃÆ'³s asked Gauda to design a new episcopal palace for the city, since the previous building was on fire. Built between 1889 and 1915, in a neo-Gothic style with four cylindrical towers, surrounded by a moat. The rocks built (gray granite from the El Bierzo region) are in harmony with the surroundings, especially with the surrounding cathedral, as well as with the natural landscape, which at the end of the 19th century Astorga are more visible than today. The porch has three large, blazing arches, built from the ashlar and separated by sloping supports. This structure is supported by columns with decorated capital and with a striped dome on a pointed arch, and above it with Mudejar style merlons. GaudÃÆ' withdrew from the project in 1893, at the death of Bishop Grau, due to disagreements with the Chapter, and it was completed in 1915 by Ricardo GarcÃÆ'a Guereta. Today there is a museum about Saint James Street, which passes through Astorga

Other Gaudá projects outside Catalonia are the Casa de los Botines, in LeÃÆ'³n (1891-1894), commissioned by SimÃÆ'³n FernÃÆ'¡ndez FernÃÆ'¡ndez and Mariano Andrà © Luna, textile merchants from Leon, recommended GaudÃÆ' by Eusebi GÃÆ'¼ell, with whom they do business. The GaudÃÆ'â "¢ project is an impressive neo-Gothic style building, which bears the imprint of the modernist modernista . The building is used to accommodate the downtown office and textile shop, as well as the upstairs apartment. It was built with solid limestone walls. The building is flanked by four cylindrical towers flanked by slate towers, and is surrounded by an area with an iron grille. The Gothic facade style, with its cusped arches, has a clock and statue of Saint George and the Dragon, by LlorenÃÆ'§ Matamala. In 2010 it is the headquarters of Caja Espaà ± a.

In 1892 Gaudi was commissioned by Claudio LÃÆ'³pez Bru, the second Marquis of Comillas, with the Franciscan Mission of Franciscan to the city of Tangier, in Morocco (at that time a Spanish colony). The project includes a church, hospital and school, and GaudÃÆ' constructs a rectangular planar floor structure, with catenary arches, parabolic towers, and hyperboloid windows. GaudÃÆ' deeply regrets the project's death, always keeping the design with him. Nevertheless, this project influences the works of the Sagrada Familia, specifically the design of the tower, with their paraboloid form like the one in the Mission.

In 1895 he designed the GÃÆ'¼ell family funeral chapel in the Montserrat monastery, but little is known about this work, which was never built. That year, the construction finally began in Bodegas GÃÆ'¼ell, the 1882 project for hunting lodges and several wineries at La Cuadra de Garraf (Sitges), owned by Eusebi GÃÆ'¼ell. Built between 1895 and 1897 under the direction of Francesc Berenguer, aides of GaudÃÆ' â "¢, the winery has a triangular end facade, a very steep rock roof, a bunch of chimneys and two bridges that join them into an older building. It has three floors: the bottom for the garage, the apartment and the chapel with catenary arches, with an altar in the middle. It is equipped with a porter hut, famous for iron gates in the form of fishing nets.

In the township of Sant Gervasi de Cassoles (now Barcelona district), widow Jaume Figueras commissioned Gauda to renovate Torre Bellesguard (1900-1909), former summer palace of King Martin I the Humane. GaudÃÆ' â "¢ designed it in neo-Gothic style, respecting the original building possible, and trying to always integrate architecture into the natural environment. This affects the choice of local slate for construction. The spatial plan of this building is 15 x 15 meters, with angles oriented to the four cardinal points. Built in stone and brick, it is taller than wide, with the top of the tower topped with a cross of four hands, the Catalan flag and the royal crown. The house has a basement, ground floor, first floor and attic, with a saddle roof.

Naturalist period

During this period GaudÃÆ' perfected his personal style, inspired by organic natural forms, practiced a series of new structural solutions derived from his in-depth analysis of the geometry being mastered. For this he added great creative freedom and imaginative decorative style. His works acquired great structural wealth, with form and volume without rational stiffness or classical premises.

1898-1900

Commissioned by the company Hijos de Pedro MÃÆ'¡rtir Calvet, GaudÃÆ' built Casa Calvet (1898-1899), at Barcelona Carrer Casp. The facade is built from the stone MontjuÃÆ'¯c, decorated with wrought iron balconies and topped with two pedimals with wrought iron cross. Another prominent feature of the facade is the gallery on the main floor, decorated with crop motifs and mythology. For this project, GaudÃÆ' â "¢ uses Baroque style, visible in the use of Solomon columns, floral decorations and storied roof designs. In 1900, he won the award for the best building of the year from Barcelona City Council.

A work almost unknown to GaudÃÆ' was the Casa ClapÃÆ' Â © s (1899-1900), at 125 Carrer Escorial, commissioned by painter Aleix ClapÃÆ'Â © s, who collaborated on occasions with GaudÃÆ', as in the decorations of Palau GÃÆ'¼ell and Casa MilÃÆ'. It has a ground floor and three apartments, with cement walls and cast iron balconies. Due to lack of decorations or structural solutions the original authorship was not known until 1976, when the architect's plan signed by GaudÃÆ' was discovered. In 1900, he renovated his house. Pere SantalÃÆ'³, at 32 Carrer Nou de la Rambla, an equally important work. SantalÃÆ'³ is GaudÃÆ''s friend, who was accompanied during his stay at PuigcerdÃÆ' in 1911. It was he who recommended him to do manual work for

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