Antonio Gaudi born June 25, 1852 in the small town of Reus, near Tarragona in Catalonia (Spain). Gaudi spent his childhood by the sea. He carried the impressions of his first architectural experiments throughout his life, which is why some of his houses resemble sand castles. Due to rheumatism, the boy could not play with children and was often left alone, spending a lot of time communicating with nature. Mobility limited due to illness sharpened the future architect’s powers of observation and opened up to him the world of nature, which became the main source of inspiration in solving both artistic, design and constructive problems. Antonio loved to spend a long time watching the mountains, clouds, flowers, and snails. Gaudi's mother instilled in the boy a love of religion. She inspired him that since the Lord had left him alive, Antonio must definitely find out why.
In the seventies of the 19th century, Gaudí moved to Barcelona, where, after five years of preparatory courses, he was admitted to the Higher School of Architecture, from which he graduated in 1878. It was an educational institution of a new type, in which teachers did everything to ensure that learning did not turn into a routine. At the School, students were encouraged to have the opportunity to participate in real projects, and practical experience is always very valuable to an architect. Antonio studied with pleasure and enthusiasm, sat in the library in the evenings, learned German and French in order to be able to read literature on his profile. Antonio was one of the best students, but was never loved.
In 1870-1882, Antonio Gaudi worked under the supervision of architects Emilio Sala and Francisco Villar as a draftsman, unsuccessfully participating in competitions; studied crafts, performing many small works (fences, lanterns, etc.), and also designed furniture for his own home.
In Europe at that time there was an extraordinary flowering neo-gothic style , and young Gaudi enthusiastically followed the ideas of neo-Gothic enthusiasts - the French architect and writer Violet le Duc (the largest restorer of Gothic cathedrals in the 19th century, who restored Notre Dame Cathedral) and the English critic and art critic John Ruskin. The declaration they proclaimed “Decorativeness is the beginning of architecture” was fully consistent with Gaudi’s own thoughts and ideas, whose creative style over the years becomes completely unique, architecture is as far from the generally accepted one as Lobachevsky’s geometry is from classical Euclidean.
During the period of early creativity, marked by the influences of the architecture of Barcelona, as well as the Spanish architect Martorel, his first, richly decorated, early Art Nouveau projects were built: “stylistic twins” - elegant House of Vicens (Barcelona) and the whimsical El Capricho (Comillas, Cantabria):
In accordance with the owner’s desire to see a “kingdom of ceramics” in his country residence, Gaudi covered the walls of the house with multi-colored iridescent majolica tiles, decorated the ceilings with hanging stucco “stalactites,” and filled the courtyard with fancy gazebos and lanterns. The garden buildings and the residential building formed a magnificent ensemble, in the forms of which the architect first tried out his favorite techniques:
● abundance of ceramic finishes;
● plasticity, fluidity of forms;
● bold combinations of different style elements;
● contrasting combinations of light and dark, horizontals and verticals.
El Capricho (Comillas, Cantabria):
The outside of the building is faced with rows of brick and ceramic tiles. The first floor is faced with wide rows of multi-colored bricks alternating with narrow strips of majolica tiles with relief casts of sunflower inflorescences.
The compromise pseudo-baroque dates back to the same period. House Calvet(Barcelona) - the only building recognized and loved by the citizens during his lifetime:
Also during these years the following projects appeared:
● School at the monastery of St. Teresa (Barcelona) in a restrained Gothic, even “serf” style:
● Neo-Gothic Episcopal Palace in Astorga (Castilla and Leon):
● Neo-Gothic Botines House (Leon):
However, his meeting with Eusebi Guelem . Gaudí later became a friend of Güell. This textile magnate, the richest man in Catalonia, no stranger to aesthetic insights, could afford to order any dream, and Gaudi received what every creator dreams of: freedom of expression without regard to the budget. Antonio carries out designs for the pavilions of the estate in Pedralbes near Barcelona for the Güell family; wine cellars in Garraf, chapels and crypts of Colonia Güell (Santa Coloma de Cervelho); fantastic Park Güell (Barcelona). In these works, Gaudi goes beyond the dominant historical styles within the eclecticism of the 19th century, declaring war on the straight line and forever moving into the world of curved surfaces to form his own, unmistakably recognizable style.
One day Güell conceived the idea of reconstructing his summer country residence. For this purpose, he expands his holdings by acquiring several more plots. He gave the order for the reconstruction of the country house to Antonio Gaudi, instructing him to remake the park, reform the country house, erect a fence with a gate, build new pavilions at the entrance to the estate, and the architect was also instructed to build a stable with an indoor arena. Now this complex is called Park Guell .
Like all subsequent works of Gaudí, these buildings are deeply symbolic; there are no random details here. The architect's plan was based on the myth of the magical garden of the Hesperides. This myth was reflected in the poem “Atlantis” by the Catalan author Jacinta Verdaguer, who often visited the Guell estate. The poem describes one of the labors of Hercules, who was ordered by the king of Mycenae, wanting to test the strength of Hercules, to get golden apples from the garden, which was carefully guarded. The most interesting, preserved part of the estate is the gate in the shape of a dragon. According to legend, the bloodthirsty dragon Ladon guarded the entrance to the garden, where there grew a tree with golden apples that bestow eternal youth and immortality.
Another Gaudí building for his philanthropist and friend is the manufacturer’s house in Barcelona, the so-called Palace Guell :
With the completion of the palace, Antoni Gaudí ceased to be an anonymous builder, quickly becoming the most fashionable architect in Barcelona, soon becoming an "almost unaffordable luxury".
At that time, Antonio Gaudi was still working as a draftsman in the architectural bureau of his former teacher at the Higher School of Architecture, Villar. This also played an interesting role in Gaudi’s later life. The point is that construction Temple of the Holy Family (Temple Expiatori de la Sagrada Família) has been going on in Barcelona for several years. And when the question arose about replacing the architect, Villar proposed the candidacy of Gaudi. Oddly enough, the Church Council accepted it. Antonio founded his own architectural bureau, recruited a staff of assistants and plunged headlong into work ( )
The clients, who were ready to spend half a fortune on construction, initially believed in the genius of the architect, who was effortlessly paving a new path in architecture. For the bourgeoisie of Barcelona, he built houses one more unusual than the other. One of these houses was the house Casa Mila - space that is born and develops, expanding and moving like living matter. The house is better known as La Pedrera, which translates as the quarry. The project was commissioned by entrepreneur Pedro Mila y Camps. He needed a house whose apartments he could rent out. Gaudí planned a wavy façade. The iron structures were faced with cut stone, which was cut down nearby in the province of Barcelona:
Design began in 1906, and the architect, with his characteristic scrupulousness, verified all the lines. He designed the space so that the neighbors felt as isolated as possible from each other, and besides, if the owner of the house decided to turn it into a hotel, then no problems should arise either. Nevertheless, Pedro Mila expressed impatience and urged him in every possible way. But obstacles arose at every step. Thus, the regulatory authorities were unhappy with the column, which protruded half a meter onto the sidewalk. They demanded that it be removed. Gaudi fought for every detail of his project. He threatened that if he still had to remove the column, then in the place where it should have been, he would write who exactly was guilty of its absence.
Then there were sizing issues. The height of the structure was four meters higher than permitted. There was a requirement to cut down the attic. In case of failure to comply with the requirement, the owner was subject to a fine that corresponded to a fifth of the entire project. A commission was created that recognized the building as of great value and thus all this disagreement with the law was resolved.
House Mila took three years to build. While the work was going on, the rich Pere Mila became poor, since he had already paid 100 thousand pesetas for the architect’s violation of all construction standards. Therefore, towards the end, he could not stand it and said: “I won’t pay.” Gaudi replied: “Well, then finish the construction yourself.” After which they dispersed, patting their empty pockets, vilifying each other and taking the case to court. But subsequent generations can now be inspired and enjoy the beautiful architectural monument.
A similar project by Gaudi - Casa Batlló - a living, trembling creature, the fruit of a bizarre fantasy that has an unusual origin: it has a developed plot - St. George kills the dragon. The first two floors resemble the bones and skeleton of a dragon, the texture of the wall resembles its skin, and the roof of a complex pattern resembles its spine. Above the roof rises a tower in the form of a spear piercing the dragon's body. Casa Batllo is also known as the "House of Bones":
WITH Church of the Holy Family - Sagrada Familia - became the most famous work of Antoni Gaudi, although he did not start building it and he did not finish it. But for the architect himself, this work became the culmination of his life and work. Attaching particular importance to this building as a monumental symbol of the national and social revival of Catalonia, Antogio Gaudí focused entirely on it from 1910, placing his workshop here.
According to Gaudí, the Sagrada Familia was to become a symbolic building, a grandiose allegory of the Nativity of Christ, represented by three facades. The eastern one is dedicated to Christmas; the western one - the Passion of Christ, the southern one, the most impressive, should become the facade of the Resurrection. The portals and towers of the Sagrada Familia are richly sculpted to resemble the entire living world, with a dizzying complexity of profiles and detailing that surpasses anything Gothic has ever known. This is a kind of Gothic Art Nouveau, which, however, is based on the plan of a purely medieval cathedral.
Despite the fact that Gaudi built the Sagrada Familia for thirty-five years, he managed to build and decorate only the Nativity façade, which is structurally the eastern part of the transept, and the four towers above it. The western part of the apse, which forms the largest part of this magnificent building, is still unfinished. More than seventy years after Gaudí's death, construction of the Sagrada Familia continues today. Spiers are gradually being erected (only one was completed during the architect’s lifetime), facades with figures of the apostles and evangelists, scenes of the ascetic life and atoning death of the Savior are being decorated. Construction of the Church of the Holy Family is expected to be completed by 2030.
The model of the future Temple of the Holy Family (Temple Expiatori de la Sagrada Família) in Barcelona, made up of suspended bags of sand, could only be “read” by modern computers! By connecting the bag dots, the researchers obtained a spatial model of the cathedral. In addition, in order not to “cut” the room into pieces, Gaudi came up with his own unsupported ceiling system, and only 100 years later a computer program appeared that could perform such operations. It was a NASA program that calculated space flight trajectories.
The architect spent his last years as an ascetic hermit, completely devoting all his strength and energy to creating the immortal Cathedral of the Holy Family - Sagrada Familia, which became the highest embodiment of not only his unique talent, but also his devout faith. He decorated the tops of the temple towers so carefully that the angels would be pleased to look at them.
At the end of lifeAntonio Gaudi became very ill. I caught brucellosis or Maltese fever, which is still difficult to diagnose today. Doctors believe that “brucellosis is characterized by sudden changes in mood, leading to suicidal depression. Interspersed with outbursts of anger and periods of distraction, this depressed mood is accompanied by physical exhaustion, excruciating headaches and painful arthritis.” There was no cure for this disease. Perhaps this can explain why Gaudi has changed so much for the worse. He walked around in saggy jackets, and his trousers hung around his legs, which he wrapped in bandages because of the cold... And no underwear! However, he did not change his outer clothes until they turned into rags. The great architect ate what was put into his hand while walking - a piece of bread, for example. If nothing was shoved in, I didn’t eat anything. When he didn’t eat anything for a very long time, he lay down and began to die. But one of the students came, changed his clothes, fed him...
On June 7, 1926, 73-year-old Gaudi was hit by a tram and lost consciousness. Cab drivers refused to take an unkempt, unknown old man without money or documents to the hospital, fearing non-payment for the trip. Gaudi soon died from his injuries.
Watch a video presentation of Gaudi's most famous works:
The Spanish architect Gaudi and his houses, which have become iconic in world architecture, turned the capital of Spain, Barcelona, into an architectural pearl. In what style did a unique, gifted person work, who additionally combined an artist, a sculptor and a builder? What is the secret of his creativity? What is the fate of a genius?
Gaudi - style in the service of tradition
The founder of his own architectural style, Antonio Gaudi i Cornet The Catalan architect, born on June 25, 1852, through his work expressed the cultural characteristics of his homeland through the fusion of architectural styles and traditions. It does not fit into any architectural movement. His work is unique and completely different from generally accepted concepts. And the power of the aesthetic experience of Gaudi’s creations only becomes greater over time.
There is not a single straight line in its structures. Architectural forms flow from one to another. He modestly built according to the laws of Nature and did not strive to surpass it.
What is the originality of Gaudi's style?
In 1878, the director of the Barcelona School of Architecture, Elies Rogent, said of Antonio at his graduation ceremony: “We have given this academic title to either a blockhead or a genius. Time will show". At first, Gaudi participated in competitions without success, studied crafts, designed fences, lanterns, and furniture.
“Nothing is invented, everything originally exists in nature. Originality is a return to the roots,” the master said about his works. The hallmark of Gaudí's style was the expression of natural forms in architecture.
Gaudi's style is
- the world of uneven surfaces such as we see in nature;
- design solutions proposed by nature;
- decorativeness that exists in nature;
- continuation of the space created by nature.
Five years after graduating from the School of Architecture in Barcelona, he received his first important commission from the owner of a ceramic factory, Manuel Vicens.
Bad luck - the beginning: the house of ceramics tycoon Vicens
Casa Vicens (1883-1888) is a residential building for the owner of a ceramic factory, which is clearly reflected in the facade "trencadis" (i.e. the use of ceramic waste). Gaudi decorated the facade of the house with a mosaic of pieces of tiles, which was completely unusual in the use of building materials.
At this time, in Europe there was an interest in the neo-Gothic style with the motto “Decorativeness is the beginning of architecture.” Gaudi also adhered to this rule in his works. His work at the time was reminiscent of the Moorish (or Mudejar) style of architecture, a unique blend of Muslim and Christian design in Spain.
A private house opens its doors to visitors once a year, on May 22. Everyone can appreciate the detailed design of the building, from the mosaics of the exterior to the stained glass windows and wall paintings.
Incredible luck and Gaudí's only unrequited love
In 1878, Antoni Gaudí decided to display his work at the Paris World Exhibition. His work impressed the richest man in Catalonia, esthete and philanthropist, Eusebi Güell. He provided Antonio with what every creator dreams of: complete freedom of expression with an unlimited budget!
Gaudi carries out projects for the family
- pavilions of the estate in Pedralbes near Barcelona;
- wine cellars in Garraf,
- chapels and crypt of the Colony Güell (Santa Coloma de Cervelho);
- the fantastic Park Guella and its palace in Barcelona.
This was the best and at the same time sad period in the personal life of the architect. The only girl who turned out to be worthy of his attention, Josepha Moreu, did not reciprocate his feelings. Having accepted his fate, Gaudi devoted himself entirely to creativity and religion.
Royal garden in Gaudi style
Gaudí's first large-scale project for his great patron, Eusebi Güell, was the pavilions of the estate. Construction took place between 1883 and 1887. The landscape design of the park of the count's summer residence, which today has become the park of the Royal Palace, the entrance gates, pavilions, and stables bear the characteristic features of the early period of creativity.
The most interesting work in the complex turned out to be the northern cast-iron gate. They are decorated with floral motifs in the style, and a medallion with the letter “G”. An impressive feature is the large wrought iron dragon with glass eyes.
This is the same Ladon who turns into the constellation Serpen for stealing golden apples. Its figure corresponds to the location of the stars in the constellation.
Palace Güell (Palau Güell) (1885-1890)
The residence of the philanthropist's family became the architect's first building in which structural elements also serve a decorative function. Antonio uses steel supporting structures as decoration.
The façade of the building features two pairs of large gates through which horse-drawn carriages and carts could proceed directly to the lower stables and cellars, while guests could climb the stairs to the upper floors.
The soul of the creator is looking for new forms. From the outside, the house has a calm façade reminiscent of a Venetian palazzo. But the interior and roof make up for the lack of Gaudí style elements on the exterior.
Living room of the Palace of Guella with a star ceiling in the style of Gaudi In the central living room, an unusual parabolic dome is dotted with round holes that make the ceiling look starry during the day.
The silhouettes of chimneys and ventilation shafts opening onto the roof take on various fantastic shapes. The roof is reminiscent of Park Güell.
The rich interiors of the palace combine works of decorative and applied art, intarsia (wood inlay) and custom-made furniture.
The design of the walls and flat vaults of the palace is unique. In 1984, Palace Güell, along with other architectural masterpieces of Gaudí, was inscribed on the UNESCO World Heritage List.
Expression of Gaudí's style in the architecture of Park Guella
In 1900 - 1914, Gaudí worked on creating a park residential area in the English style. To implement the concept of a garden city, fashionable in those years, Guell acquired 15 hectares of land for the construction of 62 private mansions. The project's economic failures forced his heirs to sell the park to the city. Now it houses Gaudi's house-museum.
For this site, Gaudí designed two magnificent entrance pavilions that serve as gates. A large ornamented staircase leads to the Hypostyle Hall, intended by the architect as a place for a market. The esplanade is surrounded by a long serpentine bench made of precast concrete blocks clad in ceramic mosaic.
Devoted to his principles, Gaudí used only local materials. He designed the system of streets and viaducts in such a way that their construction had minimal impact on the environment. They were maximally adapted to the landscape.
This principle makes his architecture and some researchers of his work call Gaudi's style eco-modern.
Gaudi and his houses “From the Bones” and “Quarry”
Thanks to his inimitable style, Gaudi becomes the most fashionable architect in Barcelona. It turns into “unaffordable luxury”, creating houses one more unusual than the other. The Spanish bourgeoisie spend their fortunes on the implementation of the artist's brilliant ideas.
Casa Batllo or House of Bones. Barcelona residents also call it “Yawning” and “Dragon House”, its façade is so diverse. Gaudi's style is a reverently respectful relationship with the Creator, which was established in childhood. Rheumatism limited the boy from playing with his peers, but did not interfere with long solo walks on a donkey.
Observing the world around him, the architect drew inspiration to solve constructive or decorative architectural problems for clients. In his work, he used elements of a wide variety of styles, transforming them into a special direction called Spanish ( modernismo).
Why did the city authorities criticize the House of Bones?
The fruit of the architect's whimsical imagination - the residential building of textile magnate Josep Batlló (Casa Batlló) - became a living, trembling creature. Gaudí reconstructed an existing building in 1904-1906, awaiting demolition. He used typical structural elements of Catalan architecture: ceramics, stone and wrought iron.
Although the work was criticized by the city, in 1906 the Barcelona City Council recognized him as one of the three best buildings of the year.
Due to the radical design, Gaudí violated all city bylaws during construction. And not because he is a “prankster”, but because the author’s style went beyond the limiting framework of traditional architecture and urban planning. Those in power had to change the laws.
Which building was Gaudí's last secular work?
Quarry house in Barcelona in Gaudi styleIn 1906, another great loss occurred in the life of the architect: his father, a blacksmith and boilermaker, Francesc Gaudí i Sierra, died. According to Antonio, it was in his father’s workshop that he felt space as living matter. His father taught him to understand the beauty of the objective world and instilled in him a love of architecture and drawing.
This is not the first loss in the master’s life. Born as the fifth child in the family, this year he was left completely alone with his niece in his care, whom he buried 6 years later.
It was during this period that Antonio's new ideas were embodied in the house for the Mila family (casa Mila, 1906 - 1910). His innovation was as follows.
- He is thinking over a natural ventilation system, which makes it possible to avoid air conditioning.
- Constructs a building without load-bearing and supporting walls (reinforced concrete structure with load-bearing columns). This makes it possible to move the interior partitions in each apartment at your discretion. Today this technology is popular among builders of monolithic frame houses.
- Sets up an underground garage.
- Every room in the house has a window, which is also unusual for the early 20th century. For this purpose, three courtyards are provided.
The undulating facade is a harmonious mass of all kinds of stone, which, along with the wrought iron balconies, was nicknamed “the quarry” or La Pedrera by Barcelona residents.
One of Gaudi's most interesting design solutions is the attic of the house. The room, once intended for washing and drying clothes, has now become the site of a permanent exhibition of Gaudí's work and life.
This building became the first structure of the twentieth century included in the UNESCO heritage (1984). And during construction, the customer and the builders paid more than one fine for violating generally accepted standards.
Casa Mila was the last secular work before the architect devoted himself entirely to the work of the Expiatory Temple of the Holy Family (Sagrada Familia). He no longer took on new orders, but worked on finishing current projects.
Colony Crypt of Guella
The word “colony” does not at all carry the meaning of “corrective labor.” What is this you can read at channel Zen Architecture.
The crypt, in this case, means the lower floor of the church, which Gaudí began construction in 1908 and completed in 1914, commissioned by his friend and philanthropist Eusebi Güell. The architect was tasked with providing a cultural and religious basis for the life of the town of workers employed in the industrialist's production.
Interior of the crypt of a church in the Colony of Guella. The columns are made of basalt, brick and limestone depending on the load. Following his principles, Gaudi organically integrated the church into the landscape of the area. For the interior, he designed amazing benches made of wood and iron, reflecting his roots as a hereditary blacksmith.
More details about the masterpiece Colony Guell crypt, if interested, read on the Zen Architecture channel.
The brilliance and poverty of the architect Gaudi
A dandy in his youth, a gourmet and theatergoer who traveled in his own carriage, in adulthood began to lead an ascetic lifestyle. On June 7, 1926, he, a 73-year-old man, dressed in a shabby suit and without documents, was hit by a tram. Not knowing that this was a great architect, the victim was taken to a hospital for the poor. The next day, the chaplain (Gaudi's main creation, to which he devoted more than 40 years) found him and transported him to another hospital. But the best doctors were powerless.
You will recognize the architecture of Antonio Gaudi and his houses in Barcelona, which have become a world heritage of mankind, even if you are not at all familiar with his work. They continue to build and hope to complete it by 2026.
Barcelona is the capital of Spanish Catalonia, the second largest and most populous city in Spain. Oh, Barcelona, proud and stubborn Catalan beauty! If a city can be dazzling, then Barcelona is it. It is like a wonderful song about itself: passionate, tragic and indomitable, sung by the brilliant duet of Freddie Mercury and Montserrat Caballe.
The capital of Catalonia in Spain is one of the main attractions of the country.
In this spectacular city, which is picturesquely located on the shore of a cozy bay, you can spin to the sounds of temperamental flamenco and lose your sense of reality: it seems that Barcelona is about to give every tourist a charming surprise!
Barcelona is the “ideal city” of the brilliant architect Antonio Gaudi!
The sights of Barcelona are a creative flight of fancy!
Plaza Columbus, Port of Barcelona.
In the center of Barcelona is Columbus Square. The Catalans call her Gate of the world. From here it is customary to start getting acquainted with the city and its attractions. A pedestal with images from the lives of the great discoverers is crowned with a ball on which a statue of Christopher Columbus is installed. There are four bronze lions around the monument, and inside there is an elevator that takes you to a small observation deck overlooking the seaport, the harbor and Montjuïc Mountain. The monument was erected for the first World Exhibition in 1888.
Rambla in Barcelona, Boqueria Market Mercat de la Boqueria.
Near the square there is the famous Ramblas- the main pedestrian artery and tourist center, which attracts its guests with its history and unique culture like a magnet. It is sometimes compared to Arbat in Moscow and called “the charm of Barcelona”.
It is surrounded by green trees, a scattering of shops, pet stores, souvenir shops, and newsstands. There are many artists, “living statues” showing mini-theater performances, flowers, paintings and all kinds of souvenirs. Next to the Rambla is the main grocery store Boqueria market: the counters are filled with fruits, vegetables, herbs, meat, sausages, and seafood.
The Boqueria market is a gastronomic attraction of the tourist center.
The Gothic Quarter in Barcelona is Barrio Gotico.
Gothic Quarter It especially delights with its narrow streets and cold alleys. Its history is separated from other younger areas of Barcelona by seven centuries. Avenues of Eixample, on the contrary, create a feeling of peace and tranquility, captivating with their width and bright illumination. Diagonal Street, crossing the city center, diverges into chains of boulevards, where the day and night life of the capital is in full swing. Boulevard "Paseo de Gracia"– a good place where the world of fashion organically combines with sights and architecture, forming the most elegant ensemble. Here, shopping lovers can find collections of affordable brands Zara, Massimo Dutti, Bershka, Blanco and luxury boutiques Loewe, Cucci and Chanel.
Quarter "Apple of Discord" - Manzana de la discordia.
On this boulevard of the capital of Catalonia there is Apple of Discord quarter, where the creations of the extraordinary architect Antonio Gaudi and his fellow rivals Puj i Cadafalch, Domenech i Montaner are adjacent to each other.
Architecture of Antonio Gaudi.
Gaudi, Casa Batllo, Barcelona
An integral part of Barcelona is its unique architectural style. The architect made a special contribution to its formation Antonio Gaudi. Each of his works is a work of art, thoughtful engineering solutions, and innovative decorative ideas. His most outstanding and famous works are: Casa Mila, Casa Batllo, Park Güell and Sagrada Familia. Six of his ingenious creations are included in the UNESCO World Heritage List.
For more than 150 years we have been talking about Gaudí when we talk about Barcelona as a city of ideal style. The brilliant architect Antonio Gaudi gave the appearance of Barcelona 12 buildings that have become world landmarks. All of them are “masterpieces” of style, decorating the streets with their bright colors and unusual shapes.
Casa Batllo is the House of the Dragon with its delightful stained glass windows, its twisting back-roof: multi-colored, like a rainbow. Casa Batllo is famous for another innovative attraction - one of the first underground parking spaces in Barcelona.
Casa La Pedrera (House Mila)- a striking structure that faces the street with three facades. The shine of the house's transparent glass decorations echoes its wavy walls, reminiscent of stone surf, and its wrought-iron balconies are akin to sea foam. House La Pedrera was built for the Mila family by the architect Antonio Gaudi, inspired by his trip to Mount Montserrat: there is not a single straight line in it. The interior layout of the huge halls and the decoration of the ceilings and walls with original stucco molding is simply mesmerizing. Work on the project began in 1906 and was due to end in 1912. However, due to a conflict between the client family and the architect regarding the concept of its construction, it was stopped earlier. In 1910, Gaudí resigned as an architect. The amazing Casa La Pedrera is the last civic project of Antoni Gaudi: since then he no longer built for people, but devoted his life to working on the Sagrada Familia.
It is believed that architecture is frozen music, then the works of Antoni Gaudi are jazz!
The Mila family donated the house to the city and now it has two parts: municipal (free entrance) and paid (simple tour 20 euros). Particularly impressive is the La Pedrera Night tour, where jazz music sounds!
The main attraction of Barcelona is Park Güell.
Park Guell- one of his main creations. It was created according to a design by Antoni Gaudi in 1899. It was planned to divide 15 hectares of land into 62 zones and build 62 houses, connecting them into an unusual, spectacular architectural ensemble. Initially, the project was conceived as a quarter for wealthy people, but it was too expensive, and the end result was a beautiful park of 17 hectares, on the territory of which there are only two houses, in one of which (the pink house) Antonio Gaudi himself spent 20 years of his life. Now the pink house has been a museum since 1963, which combines garden and residential areas. The second house was bought by his friend, a lawyer by profession.
The main idea of the park is the embodiment of nature in stone.
The main attraction of Park Güell is the observation deck with a fence-bench in the shape of a snake.
Park Güell is an exquisite garden city. In Park Guell, everything mixes and makes an exotic cocktail of delightful pleasure: Gingerbread houses, pavilions in the form of hills, stone palm trees, observation decks of the park in the form of intertwined tree roots, an elegant Grand Staircase with exhibits of strange animals, columns, amazing vaults of halls, caves, tunnels, sculptures, unusual fountains. All this splendor is buried in the greenery of plants.
Park Güell is the most important attraction in Barcelona.
Created by order and with the financial support of textile magnate and philanthropist Eusebio Güell, after whom the park was named, it is conveniently located in the upper part of Barcelona in the Gràcia district. Construction of Park Güell lasted from 1900 to 1914. Güell's heirs sold it to Barcelona City Hall and the park is now open to visitors. Here symbolism is combined with the myths of ancient centuries.
Park Güell is a creative triumph of the genius of world architecture, Antonio Gaudi!
In 1984 it was recognized by UNESCO as a World Heritage Site. along with Casa Mila and his other famous creations.
Attractions and iconic places of Park Güell:
The central entrance to the park is decorated two fabulous “Gingerbread houses”.
- The left pavilion with a pinnacle (spire) is topped with a five-pointed cross on the roof, symbolizing “Good”. It is intended for the park administration.
- The right pavilion was built for the gatekeeper, like a gatehouse building. A toadstool mushroom, symbolizing “Evil,” was installed on its roof. Now there are souvenir shops here.
Main staircase supplemented with 4 sculptural images of symbolic fountains:
- philosopher's Stone;
- mosaic lizard Salamander is a symbol of Antoni Gaudi and Barcelona. It is located at the bottom of the stairs, where tourists like to take pictures;
- the head of a snake is a fragment from the biblical story when Moses' staff turned into the head of a snake. The middle platform is decorated with a medallion with the Catalan flag;
- The Fountain itself is a symbol of the Llobregat River, which flows in Barcelona.
The front wide staircase with fountains leads to "Hall of a Hundred Columns". Now there are 86 Doric curved columns here, but the working name remains. The Hall of a Hundred Columns has excellent acoustics, so concerts are often held here. The “Hall of a Hundred Columns” is an astrological landmark etched in stone. The vault of the hall is crowned with 4 medallions or 4 lampshades, symbolizing the seasons, and 14 smaller medallions tell about the lunar cycles.
The center of the entire park ensemble is the terrace area, where the most famous and discussed part of Park Güell is located - bench in the shape of a wriggling sea serpent with chaotically arranged patterns of ceramics and porcelain on its back. This is the longest 300-meter bench in the world, the back profile of which follows the curve of the human body. It fascinates with its colorful multi-colored mosaics made of glass, broken dishes, and tiles. Also took part in creating the decor of the bench student of Antonio Gaudi Josep-Maria Jujol. It is his collages, amazing in color and brightness, that decorate the parapet bench. From the terrace-platform with a serpentine bench you can admire the panoramic views of Park Güell and the majestic architecture of Spain for a long time.
Walking alleys, passing through columned galleries and reminiscent of birds' nests, complete this wonderful park in Barcelona.
Stone balls in Park Guell symbolize prayer beads, since Antonio Gaudi was a believer.
Park Güell opening hours: in summer from 8:00 to 21:30; in winter from 8:30 to 18:00. Entrance for tourists to Park Güell became paid from October 25, 2013 (8 Euros at the park ticket office). There are discounts for children and pensioners.
You can order tickets to Park Güell on the city hall website three months before your intended visit, indicating a specific time and date (7 Euros). Today, Park Güell is visited daily by 25 thousand tourists. The plan is to limit park visits to 800 people per hour.
In 2012, Catalonia introduced a tax on hotel stays, however, their occupancy rates have not decreased! Park Güell, having become paid, still attracts a huge army of travelers for impressions and is one of the most popular attractions in Barcelona!
Cathedral of the Sagrada Familia in Barcelona - Sagrada Familia.
Construction of the Sagrada Familia in Barcelona began in 1882 and continues to this day.
The Sagrada Familia is a temple of expiation. It is believed that while Barcelona is building it, it will atone for its sins. The temple is being built only with private donations from Barcelona residents and money received from the sale of entrance tickets for tourists and guests of the city.
In 1883, Antonio Gaudi began construction of the cathedral and completely redesigned the original design. He proposed to build the cathedral with three facades in the modernist style with neo-Gothic elements and symbolizing the meaning of light:
- The main facade is the Nativity, announcing the birth of the god Jesus Christ. It faces east;
- The facade of the Passion - the death of the Lord. It faces west;
- Facade of the Glory of the Lord - the Greatness of the Lord. Shows a person’s place in this world and all his sins. It is illuminated by the sun throughout the day.
The building will consist of 18 columns, of which 12 have already been built.
The Tower of Jesus Christ is the tallest, just below is the Virgin Mary.
The twelve towers symbolize the twelve apostles, and four more - the evangelists.
The brilliant architect managed to complete only the façade of the Nativity Church. All the figures depicted on this facade are real people of that time, posing for him. Antonio Gaudi devoted most of his life (43 years) to the Sagrada Familia. It was here, in the crypt of the cathedral that had not yet been completed, that he and buried in 1926.
Since 1950 of the 20th century, the restoration of the temple has resumed. The facade of the Passion was completed in other styles by the architect's followers. Now there is a large-scale construction of the Facade of the Glory of the Lord in the modern Avangard style. If earlier the work was carried out from sandstone stone, now glass and reinforced concrete structures are used.
In November 2010 visited Spanish Catalonia Pope Benedict XVI. Purpose of the visit - consecration of the Sagrada Familia. Services are now held here, although the work has not yet been completed. The construction of the temple is planned to be completed by 2026 and then the Facade of the Glory of the Lord will become central.
During the life of the architectural genius, no one understood either his wavy houses without sharp corners, or his bizarre sculptures and fountains, or his extraordinary serpentine benches strewn with collages of broken glass and expensive porcelain. Today, millions of tourists travel to Spain, Barcelona and Reus to admire his magical works.
It is impossible to describe Gaudi's creations in words. You need to see them with your own eyes and get a personal impression, because it is impossible to clearly determine what exactly the architect wanted to convey. Each tourist creates his own images and figures of the famous masterpieces of Barcelona. One of the masterpieces of Antoni Gaudi's architecture is in Barcelona, Spain.
Plaza de España in Barcelona. Mount Montjuic.
Plaza de España, Barcelona
For the World Exhibition of 1929, construction began on Hill of Montjuic. Here are concentrated such “masterpiece” sights of Barcelona as: Plaza de España, Queen Maria Cristina Avenue with singing fountain, National Palace, which now houses the National Museum of Catalan Art. The identifying sign of the Plaza de España in Barcelona is two 47-meter high campanile towers, built by analogy with the tower in St. Mark's Square in Venice. The Albéniz Palace, Miramir Gardens, Mossena Vardagher, Labiral, Rosaleda and Font del Gat are also located on Montjuic.
Magic fountains in Barcelona - Magic Fountains Barcelona.
Separately, it is worth noting the 1929 project of the young ambitious engineer Buigas – Barcelona's singing fountain. He discovered a new facet of art - the magic of light, which was used not to dispel the twilight, but to decorate it. So, for the World Exhibition of 1929 and the general delight of tourists and city residents, he created four waterfalls and a “magic” or “singing” fountain. And at present - this is the symbol and main character of the night beauty of Barcelona!
The “singing” fountain is a mesmerizing spectacle: light, music, color and cascades of liters of water mix in an incredible dance! Scientists scientifically explain the fact that when a person is near a fountain, he experiences positive emotions, aesthetic pleasure and real delight from the fact that the splashes from the fountain emit negative ions into the air. They have a beneficial effect on our body and doctors call them “health vitamins.”
For the 1992 Summer Olympics, restoration work on the Olympic facilities was completed on Montjuic Hill, including Olympic Stadium(capacity 56 thousand spectators), which houses the Olympic Museum. The very first building is the Montjuic fortress, on the territory of which the Military Museum has been opened since 1963. One of the most visited attractions in Barcelona is the Spanish Village.
Spanish village(Poble Espanyol) is Spain in miniature, where the best structures and buildings from all over the country are collected, crafts and traditions of each of its parts are presented. This city is a museum of 116 life-size objects. This is the first such project in the World and it was implemented in 1927 by three architects: Xavier Nogues, Miquel Utrilt and Ramon Raventos. Today it is one of the most favorite places to visit among tourists and residents of Barcelona. At night, nightclubs, discos, bars, and cafes open their doors here. During the day there are exhibitions of traditional, industrial and graphic folk art, shopping shops with unique souvenirs and crafts, workshops where you can learn various crafts and create a souvenir with your own hands.
The World Exhibition of 1888, 1929 and the 1992 Olympics significantly changed the appearance of Barcelona, not counting, of course, the works of Antoni Gaudi.
The Barcelona Aquarium is one of the most unique in Europe.
It is located in the Port Vell (Old Port) area. Educational and entertainment zone consists of 35 themed aquariums with a volume of water occupying more than 5 million liters. All aquariums have their own natural habitat: deep-sea fish, inhabitants of the northern seas, tropical fish, and so on. There is also a children's mini-aquarium "Miniaguaria".
Giant aquarium- the main attraction of the aquarium.
The most breathtaking sight is its 80-meter glass tunnel.
Walking through the tunnel, as if on a real seabed, you admire the sharks, stingrays and other inhabitants of the ocean swimming past. The aquarium's collection includes 450 species of fish and 11 thousand sea creatures. This living world of “wild” nature, full of funny moments, will replenish your “bank of impressions” with new gifts.
More than 50 interactive exhibits for children are on display at the special educational exhibition “Explora!”, which is dedicated to the inhabitants of the underwater kingdom.
From the seaport are carried out excursions on “Swallows” - small pleasure yachts, which last from 30 minutes to 80 minutes. The price of such pleasure is in the range of 5-13 euros.
Camp Nou Stadium - Camp Nou.
Camp Nou is the most magnificent stadium in Europe, which in its own way shows the powerful position of Catalonia as a Spanish region, as well as the wayward character of its inhabitants.
Even its 120 thousand empty seats take your breath away! And going to a match and seeing how Barça players take football to a cosmic level of skill is simply an extravaganza in the life of a football fan! But Camp Nou is more than just a football arena, where Barça plays its home matches: voices are heard here and concerts of star artists of the magnitude of Julio Iglesias take place. The stadium is also an arena for significant events of the year: for example, the visit of the Pope to Spain on November 17, 1982.
The Palace of Catalan Music is one of the best in Europe for its magnificent interior decoration and excellent acoustics. It is listed as a UNESCO World Heritage Site. This musical palace in Barcelona hosts concerts of classical music, Spanish guitar and the famous Flamenco Shows.
One of the greatest architects in the world and the most famous architect of Barcelona, Gaudi could have died at birth. His mother’s birth was very difficult, and the midwife immediately gave up on the boy. To save the soul of the newborn, he was immediately baptized. Gaudí subsequently claimed that the fact that he survived was a miracle. And he believed that he had been chosen for a special purpose.
Childhood
Antonio Gaudi was born on June 25, 1852 in the small town of Reus, located in Catalonia. His father was the hereditary blacksmith Francesc Gaudi i Sierra, and his mother, after whom the boy was named, was Antonia Cornet i Bertrand. The child received his surname, as was customary in Spain, from both parents - Gaudi y Cornet.
The father taught the child to understand the beauty of the things around him and instilled in Gaudí a love for architecture and fine arts. From his mother he adopted faith in God and religiosity.
The boy grew up very sickly: he suffered from a severe form of arthritis, which caused severe pain from the simplest movements. He did not play outdoor games and rarely went for walks. It was difficult for him to walk, so he went for a walk on a donkey. But in mental development he was significantly ahead of many other children. Antonio was observant and liked to draw.
In 1863, he began studying at a school at a Franciscan monastery. In addition to Greek, poetry, rhetoric and Latin, he studied Christian doctrine, the history of religion and other religious disciplines, which influenced his way of thinking and creativity. Despite his intelligence, Antonio did poorly in school, and only geometry was easy for him.
Gaudi's family experienced many tragedies: his brother died in 1876. Following him, his mother also passed away. And 3 years later, the architect’s sister passed away, leaving her daughter in his care.
Studies
In 1868 Antonio moved to Barcelona. To pay for his education, he had to sell his father's lands. He became a student at the Higher School of Architecture only in 1874. Before this, Gaudi studied at the university at the Faculty of Exact Sciences, where he showed little diligence.
The school of architecture allowed more freedom for creativity and self-expression, and Gaudí soon became one of the best students. But his stubborn character and desire for protests often turned into low marks for him. The teachers decided that he was either a genius or crazy.
During his student years, the rheumatic pain in his legs finally disappeared, and Gaudí was able to walk normally. And this became one of his favorite activities.
Antonio completed his studies in 1878. And in 1906 he suffered another grief - the death of his father. Six years later, his niece followed him to the grave.
Carier start
From 1870 to 1882, Gaudí worked as a draftsman under the guidance of two architects, Francisco Villar and Emilio Sala. He learned crafts and entered competitions without success.
At first he carried out applied orders. The first official work of the architect Gaudi was lampposts in Plaza Reial.
These pillars were a candelabra of 6 arms mounted on a marble base. They are crowned with helmets of Mercury - a symbol of prosperity. This work was the first and last order of the city authorities, since the local municipality and Gaudí disagreed about his fee.
In 1877, the architect created his first major creation - fountain in Plaza Catalunya. And, starting from this time, he erected many unique buildings in the Art Nouveau style.
In 1883, Gaudí designs the first mansion. The wealthy manufacturer Manuel Vicens becomes his customer. It was necessary not only to build the house, but also to successfully fit it into the small space of the plot of land, frame it with a garden and at the same time create the illusion of space. The architect coped with this task brilliantly: turrets, bay windows, and balconies give the simple quadrangular building (cat. Casa Vicens) amazing volume.
In 1898 – 1900 is being built (cat. Casa Calvet). Unlike other Gaudi buildings, the house has a completely traditional appearance, and its facades are symmetrical. Its originality is given by alternating convex and flat balconies, as well as bobbins and columns in the form of coils - a tribute to the professional affiliation of the owner, who owned the textile industry. For the construction of this building, the architect was awarded the Barcelona Municipal Prize in 1900.
Gaudi rarely took into account the opinion of the customer. He was modest, but at the same time eccentric, and embodied all his fantasies in his works.
He was lucky to be born at a time when the Spanish bourgeoisie became rich and decided to show the whole world their triumph. Building a more elaborate house than your neighbor's was an easy way to prove your superiority. Therefore, architects with an original vision, and not always talented ones, were popular and had complete freedom of action.
During the same period, Gaudí erected buildings in the neo-Gothic style and in the spirit of the fortress, such as the one he started Bishop's Palace in the city of Astorga (cat. Palacio Episcopal de Astorga). The design of this building, located in Castilla, was entrusted to the architect in 1887 by the Bishop of Grau i Vallespinos, a Catalan by birth. Gaudi began to build a palace in the form of a medieval fortress, with a moat, four towers and battlements. This was a very daring decision for the clergyman's palace, but the bishop did not argue. The construction was interrupted by the sudden death of the customer in 1893, and the church council, dissatisfied with the excessive costs, entrusted the completion of the construction to another architect. 
In addition to large-scale architectural works, Gaudi was involved in interior design and development of furniture sketches.
Fame
All the sights of Barcelona and other cities created by Antonio Gaudi are magnificent, but the works created after meeting Eusebio Güell brought him real popularity. He was a textile magnate, the richest Catalan, with creative flair and taste. And he became a friend and patron of the brilliant architect.
There are two versions of their friendship - one, they met at the World Exhibition in Paris in 1878, where Gaudi presented the project for the village of Mataro. However, this version is hardly plausible, since the models of the unknown architect could not attract the attention of the public.
According to another version, Guell noticed Antonio when he was decorating a Barcelona glove store. After receiving his diploma, the young man needed money and took on any job. When decorating the window, Gaudi did it impressively: from gloves strung on wire, he created entire scenes of city life: horses pulling carriages, people walking and cats, beloved by all Catalans.
Fascinated by the master’s work, Guell watched his work for a long time, and then asked the store owner to introduce him to Gaudi. Having learned that the young man was an architect, he invited him to visit him, where he received him warmly and cordially. After this, Gaudí became a frequent guest in Güell's house. He showed him new sketches of his buildings, and Eusebio always entrusted him with the construction of those that became a real masterpiece.
Many of the works and houses of the architect Gaudí will survive centuries, but these are the ones that brought him fame and finally shaped his unique style.
Palace Güell (cat. Palao Guell).
This house, the construction of which journalists compared with the construction of the Tower of Babel, was built in 1885 - 1900. Guell did not limit the architect's funds for construction and interior design. Only the most luxurious materials were used in the interior decoration of this house: tortoiseshell, ivory, ebony and eucalyptus. And if in the interior the most interesting part was the hall with a sky dome, then in the exterior the most impressive thing is the roof with 18 chimneys in the form of fancy turrets.
Casa Mila (cat. Casa Mila)
Casa Mila or Casa Mila was created by Antonio Gaudi in 1906-1910. for the Mila family. At first, Barcelona residents did not appreciate this steep, curved building, and nicknamed it La Pedrera - the quarry. The roof is also decorated with turrets that look like knights in fancy helmets, one of which is inlaid with shards of green bottle glass.
Casa Batllo (cat. Casa Batllo)
Antoni Gaudi's Casa Batllo also known as Casa Batllo And House of Bones, was rebuilt by Gaudi in 1904 - 1906. In the building, transformed by a genius, there are practically no straight lines. Its facade obviously depicts a dragon - the image of Evil. And the skulls and bones visible in the balconies and columns are his victims. A tower with a cross - the sword of St. George, the patron saint of Catalonia - pierces the body of the dragon, symbolizing the victory of the forces of Light over Darkness.
Park Guell (cat. Parc Guell)
Park Güell in Barcelona was created between 1900 and 1914 and was a combination of residential areas and gardens. From a commercial point of view, this project was a failure because the Catalans did not want to live in the hills. But nowadays Park Güell is one of the brightest attractions of Barcelona. The central entrance to the park is decorated with two pavilions that look like huge gingerbread houses, and on the upper terrace there is a giant bench in the shape of a sea serpent. Gaudi chose this Park to live in and owned one of the houses.
(cat. Temple Expiatori de la Sagrada Familia)
With the birth of Antonio Gaudi, the architecture of the whole world was enriched with many works, but the most outstanding was the Sagrada Familia. Gaudi began work on this cathedral in Barcelona in 1883, but did not have time to finish it. In this structure, as in many others, the architect reflected what he saw in living nature. A forest of columns with capitals in the form of branches, intertwining, create the arch of the building, and each tower and stained glass window tells its own biblical story.
According to Gaudi's plan, the cathedral was supposed to have 3 facades depicting the life of Christ (Birth, Passion and Resurrection). It was also planned to install 12 towers symbolizing the apostles, 4 higher towers dedicated to the evangelists, the tower of the Virgin Mary and the highest - 170 m, which was intended for Christ. The God-fearing Catalan did not want the temple to be higher than the Montjuic hill (171 m), because the mountain is the creation of God, and the building is man’s.
Gaudí's architecture was far ahead of its time. During the construction of the Temple, Antonio Gaudi based the columns, vaults and other details on complex three-dimensional shapes, which can now only be recreated using computer modeling. And the architect developed them only with the help of his imagination and intuition.
It is curious that the temple is being built exclusively on anonymous donations from parishioners. When this structure is completed (expected to happen by 2026), it will become the tallest church in the world.
Antonio Gaudi was extremely extravagant and stubborn. This is probably why quite funny incidents arose with him.
Despite the fact that Gaudí rarely had conflicts with male customers, disputes with their wives were not uncommon. The owner of the Batlo house was upset with the way the construction of their home was being carried out. She noticed that due to the oval shape of the room in the music salon, it would be impossible to place her daughter’s piano. Gaudi ignored tactfully made comments and left everything unchanged. The angry woman spoke harshly to the architect, but he, without embarrassment, said: the piano won’t fit, buy a violin.
Gaudí and his father were vegetarians and were committed to clean water and fresh air. At the same time, Antonio, like a true Christian, showed moderation in food. For lunch, he, a rather large man, ate only lettuce leaves, dipped in milk, and a handful of nuts.
Gaudi loved Catalonia dearly and dreamed of enriching its culture. One day, the police mistook an unkemptly dressed architect for a tramp and stopped him. They asked him several questions in Castilian, but he answered them in Catalan. At this time, there was a fight against “Catalan nationalism”, and Gaudí was threatened with prison. Having finally realized that they were dealing with an architect who was already well-known at that time, they wanted to hush up the matter, but he continued to chat carefreely in his native language. That's why he spent 4 hours in the police station.
Gaudi's construction costs were enormous. When the architect, in addition to the main bill, presented the Mila family with an invoice for overtime work, the couple refused to pay. The architect went to court, and the decision was made in his favor. The Mila family had to take out a mortgage on the house they built to pay the bill. Gaudi gave the money to one of the convents.
More scandalous things are also attributed to the architect: it is believed that for the scene of the beating of infants he made casts of stillborn children, and in order to accurately repeat the contours of the animals, he put them to sleep with chloroform before applying plaster.
Personal life
The great architect Gaudi spent his entire life alone. In his youth, he dressed very flashily and attracted the attention of women. However, having learned about his profession, which at that time was considered akin to an artisan, they lost interest in him. Women were concerned about the well-being of the groom, and the work of an architect did not guarantee financial stability.
Antonio's first love was the beautiful Josepha Moreu, funny nicknamed Pepeta. In 1884, this wayward woman worked as a teacher at the Mataro cooperative school. Gaudí carried out orders for this enterprise and often visited Pepeta and her sister.
Pepeta gladly accepted the advances of the young, educated architect. Together they visited the Güell drawing room, where all the intellectuals of Barcelona gathered once a week. But at the same time, she kept the inexperienced gentleman at a distance. Finally, Antonio proposed to her. And he was taken aback: Pepeta announced that she was already engaged to a successful timber merchant.
Gaudi never proposed to another girl. Years later, he fell in love again with a woman, a young American. But their relationship ended when she returned to the States.
Death
Throughout his life, Gaudi loved to walk around Barcelona. But if in his youth he looked good and dressed elegantly, then in the middle of his life he stopped paying attention to his appearance and resembled a beggar.
On June 7, 1926, he left the house to take his usual walk to the temple of Sant Felip Neri. At this time he was already 73 years old, and the architect visited this church every day. While he was walking absentmindedly between the streets of Girona and Bailén, he was hit by a tram. Antonio lost consciousness.
The unkempt appearance of the tramp led people astray. The cab drivers did not want to take him to the medical department, fearing that they would not receive money. In the end, the great architect was taken to a hospital for the poor, where he received the most primitive care. Only on July 8th was he identified by the chaplain of the Sagrada Familia Cathedral, but any treatment was already useless.
On June 10, 1926, the genius died. They buried him in the crypt of the temple, which he did not have time to complete.
Do people live in Gaudí's houses?
A man with a hundred oddities and the great architect Antonio Gaudi was born in 1852. He lived to be 74 years old and the peak of his work was between the 1890s and 1910s.
At that time, Catalonia was experiencing a financial boom, closely intertwined with the ideological task of reviving the former glory of the region and the national language. Literary critics and politicians wrote about the Catalan soul, the poet Jacinth Verdaguer created the long-desired epic in the original Catalan language - Atlantis. Textile magnates were trying to compete with London and Paris and wanted to think of themselves as little more than regional merchants. The Barcelona elite wanted to feel like a metropolitan elite, and not a peripheral one; their companion and accomplice in this was the local national movement - Catalanism. Magazines and shops on the theme of Catalanism and the Fatherland multiplied like mushrooms after rain, and all art, wittingly or unwittingly, was thrown into the task of glorifying Catalonia and everything that this undoubtedly great land gave birth to.
Casa Mila, also known as La Pedrera. In 1984 it became the first 20th century building to be included on the UNESCO World Heritage List.
Architecture became the main art of the city. Rich people ordered their houses from Catalan architects, who glorified their homeland in stone and brick. Sometimes houses were built from scratch, sometimes they were artistically remodeled. As a rule, the owners of the buildings lived on the second floor - that is why in Spain it is called principal, that is, “main”, where the owners live. The remaining three or four floors, rising above the owners' chambers, were rented out - mostly to people who were not poor either. That’s why people live in houses by Antoni Gaudi: that’s what houses were built for.
Of all the Procatalan figures, this architect was the most Catalan. He was born in the city of Reus, spent his childhood there and eventually became the main attraction of this tiny town 100 km from Barcelona. Naturalness, unevenness, natural asymmetry are recognizable motifs of the Gaudian style in architecture, and Gaudi observed the endless curves of plants and life in Catalonia. For the devout master, nature embodied life and creation, it was God as he was, and this God was inseparable from the Catalan land. In the works of Gaudí, a radically religious and austere man, Catalonia, nature and God are a kind of reimagined Holy Trinity. The architect refused to speak Spanish and, even when he was introduced to King Alfonso XIII, he answered all questions in Catalan, greatly shocking the courtiers.
Main entrance to La Pedrera
1 of 6The corridor where Carmen Burgos-Bosc's apartment is located - Afisha Daily asked to visit her. The owner flatly refused to be photographed from the front
2 of 6The main dining room, where guests used to be received
4 out of 6Wooden bench - according to the owner, the work of Gaudi himself
5 out of 6A living room that looks like a museum
6 out of 6What happened to the houses
In Barcelona itself, not counting the Sagrada Familia (to preempt the question - it will be completed by 2026), there are seven buildings by Antoni Gaudi. These are Casa Batllo and Mila, located on Avenida Gracia, Casa Vicens, the Palace and Pavilions of Güell, Casa Calvet and the Bellesguard Tower. Of these seven, four buildings were not rented out, but were owned entirely by the client's family. And Calvet, Batllo and Mila initially combined two functions: permanent residence of the owners and rental income.
The Calvet house is still owned by private individuals - the descendants of João Boyer-Vilaseca, who bought it from the Calvet family in 1927. The Boyer-Vilaseca family is not interested in commercializing the building and does not open it to tourists. On the ground floor there is an elite restaurant, Casa Calvet, where Hollywood stars supposedly dine. Here, for example, .
The residence of Carmen Burgos-Bosc is one of the last two private apartments in the Mila building
The fate of the houses Mila and Batllo - the most spectacular in Gaudi's career and located five hundred meters from each other - turned out to be very similar. After the customers of the buildings died, their children and grandchildren looked after them for some time. Gaudí's works were then resold to various corporations.
Mr. Batlló's daughters Carmen and Mercedes sold the family home in 1954 to the insurance company Seguros Iberia, which used it for offices. At the time, Spain was under Franco's control and few people came to Barcelona to stroll along Las Ramblas in the relaxing atmosphere of a right-wing dictatorship. The situation changed dramatically in 1992, when the city hosted the Olympics: it was an unambiguous, stunning success, and Barcelona began the path to its current glory as the main resort in Europe.
Just a year after the Olympics, Casa Batllo was bought by the Bernat family, owners of the Chupa Chups company and, apparently, people with exceptional financial sense. They restored the building (in the Franco era, houses that embodied the pride and claim to Catalan exclusivity were not restored) and opened it to tourists. Today, few people leave Barcelona without paying their €30 entrance fee to the “dragon house”. It is called so because of one of the interpretations of the decor: the facade looks like the scaly mounds of a dragon defeated by St. George, the patron saint of Catalonia. There are rumors around the city that an old woman of about a hundred years old still lives in Batlló, but there is no documentary evidence of this information.
Casa Mila - also known as La Pedrera, "The Quarry" - was originally conceived not only as a residence, but also as a luxury residential complex. Gaudi even designed an underground car park for future residents. Work began in 1906, La Pedrera was built with scandals and was somehow completed by 1912. The result of the conflict between Gaudi and the clients - Mr. Per Mila and Ms. Ruser Segimon - was the architect’s refusal to ever again work with private individuals and his subsequent move to a workshop on the territory of the Sagrada Familia.
During the Civil War, Mila and Segimon were forced to flee, and the building came into the possession of the Republican government of Catalonia. After Franco's victory and the unification of Spain, La Pedrera changed hands many times, until in 1986 the building was bought by the region's main bank, Caixa de Catalunya. People lived in the house, as Gaudi intended, renting premises under open-ended contracts. The Bank of Catalonia, having become the owner, decided to respect these contracts, and the bulk of the residents remained in their apartments. All residents of La Pedrera received the right to occupy premises in the building until their death, without the right to transfer the contract to children, relatives or anyone else. Now two people live here; They can get to their apartments through a separate elevator, inaccessible to tourists.
Impressive ornament on the living room ceiling
Live in La Pedrera
I made an appointment by telephone with a resident of Mila House, Carmen Burgos-Bosc. She is 87 years old and has speech aphasia: she speaks in short, abrupt words, skimping on articles, conjunctions and sometimes verbs. On the phone, she simply gave the date and time - Tuesday, 10 am.
Wedding of Carmen and Luis
© Photo from the Finestres de la Memoria website, courtesy of the Roca-Sastre family
Carmen moved to La Pedrera in 1960, shortly after marrying the son of famous Barcelona notaries, Luis Roca-Sastre. “I was always very happy when my husband and I lived here,” says Carmen. - We had a daughter. And there was enough space for all of us. Guests came to us! They came to have lunch and dinner with us. We had a concierge. We knew all our neighbors, everyone who lives here. Everyone lived in silence, in peace. When we left the house, a car was waiting for us at the entrance. The check-in was from Provença Street, and we went straight to Paseo de Gracia! There were also two Swiss rooms in La Pedrera. It was a family home. I knew everyone!”
The official nickname of the building is La Pedrera, which, as already mentioned, means “quarry”. This gigantic house really looks like a rock full of caves. The author of the canonical Australian Robert Hughes compares the interiors of apartments with grottoes. Curving, unpredictable, with phantasmagoric stucco, they are designed to remind residents of the roots of Catalan life, of the primitive caves and earthy, earth-breathing Romanesque churches of the 10th century that can still be found here and there.
View from the kitchen; Carmen Burgos-Bosc collects needlework from the table
1 of 6Cast iron stove installed in the house during the life of the great architect
2 of 6Living room overlooking Paseo de Gracia
3 out of 6Heart pierced by an arrow - another greeting from Gaudi
4 out of 6Former maid's room. On the floor there are tiles from Gaudi's workshop with marine motifs in patterns
5 out of 6View from the balcony of Paseo de Gracia
6 out of 6In a corridor that curves like the trail of an underground serpent, Carmen, an almost ethereal old woman in a peignoir, meets me and the photographer. Her aphasia makes her abrupt speech sound very angry. The resemblance to an underground cave is enhanced by the lack of light: all the windows in her apartment - there are about two dozen of them - have wooden shutters. All the walls of the corridor are densely hung with paintings - a study of Picasso, a study of Matisse, charcoal drawings in the style of Ramon Casas. All the paintings have a signature in the corner - “L. Roca”, Carmen’s husband.
She first takes us around the entire apartment, explaining the function of each room and giving barking instructions: “Raise the blinds! 50 centimeters! Clear everything from the table!” The rooms seem endless and seem to appear by themselves in these naturalistic turns of the corridor-tunnel. The total housing area is 300 square meters; Many rooms have no purpose - someone just lived there before. The servants lived here, the cook lived here, children once lived here.
In the last room, light suddenly bursts through the window overlooking the patio - in the middle of the space there is a piano in the center. Below our feet we find Gaudí's famous turquoise tiles, symbolizing the seabed. Between the curves of ceramic squids and starfish, apparently indelible dirt was clogged. The house is over a hundred years old. In the inner patio you can see a glass roof, something like a cafe with sun loungers and tables. “What kind of restaurant is this?” - I ask Carmen. She replies that there is no restaurant here.
A room with sea patterns and a view of the courtyard
The interiors give a strange impression - there is luxury and decadence at the same time. Decadence is rare in Barcelona in 2017, when the whole city is teeming with vegan cafes and craft beer bars. “Previously, my salon was completely in the Catalan Art Nouveau style,” says the owner. “At that time I was still living with my husband, and then I sold a lot.” She doesn’t hear my questions and talks on the radio about how she lived when her husband was alive. There were neighbors - Doctor Puig Verd, the Iglesias family with five daughters. Burgos-Bosc often breaks off in the middle of a sentence, takes a deep breath, clenches her fist - as if she is irritated by the disease, she does not want to succumb to it.
Having shown the apartment, Carmen leaves to clean up. He returns in a silk cape with a hairstyle and scarlet lipstick. It is impossible to eradicate the habits of a 20th century grande dame - you have to talk to journalists during the parade. She seats us at the table and now answers questions after all. The rent is terribly expensive: she currently pays 2,000 euros a month. That is why we had to sell off all the Art Nouveau. Although she still has some things left - for example, original works by the famous furniture designer of the Catalan Renaissance era, Gaspar Omar. This is why the house is dark: direct sunlight will destroy antiques.
View of the patio with tables and chairs
Suddenly Carmen apologizes: “Sorry for shouting so much, I’m deaf. I'm limping. I have problems with speech." We are silent. She smiles and leads us back into the salon, where she tells us to raise the shutters - it's not easy. Carmen is indignant: “God, this is lightness! If I weren’t 87 years old, I would have raised it myself!” Finally the sun floods the room - the rays fall on a turn-of-the-century bust, a table, armchairs, photographs, stucco molding. Carmen calls to the balcony - Barcelona is seething below, Mount Tibidabo is visible, you can hear the hubbub of tourists. She complains about the restoration of the balcony: three clumsy rods have been stuck into the architectural monument. “They don’t hold anything,” she explains and shows real points of support. “Gaudi thought of everything, they put it there out of stupidity.”
I ask her what she likes most about the house. She shows the salon ceiling with a spiral pattern - a whirlpool leading from the apartment above. "Gaudi!" - the old woman exclaims and points to the corner. There you can see a jumble of letters a, g, u, d, i - the author’s signature. In the next corner there is a small bas-relief with a heart - a symbol of love. Behind it are the four recognizable stripes of the Catalan flag. Then the carved letter f, which is read in the Catalan alphabet as "fe", which means "faith". It turns out love, Catalonia, faith - the Holy Trinity of the great architect.
