Gaudi works: Works of Antoni Gaudí – UNESCO World Heritage Centre

Works of Antoni Gaudí – UNESCO World Heritage Centre

Outstanding Universal Value

Brief synthesis

The Works of Antoni Gaudí is a serial property consisting of seven buildings by the architect Antoni Gaudí (1852–1926) located in Barcelona and its surrounding areas. The property attests to the exceptional creative contribution of this architect to the development of architecture and construction technology in the 19th and early 20th centuries. The Park Güell, the Palau Güell, the Casa Milà-La Pedrera, the Casa Vicens, the Nativity Façade and the Crypt of the Sagrada Família, the Casa Batlló, and the Crypt of the Colònia Güell reflect an eclectic, very personal style to which Gaudí gave free rein in the field of architecture, as well as in the design of gardens, sculptures, and indeed all the arts.

The Works of Antoni Gaudí is an exceptional and outstanding creative contribution to the architectural heritage of modern times. His work is rooted in the particular character of the period, drawing on the one hand from traditional Catalan patriotic sources and on the other from the technical and scientific progress of modern industry. Gaudí’s work is a remarkable reflection of all these different facets of society and has a unique and singular character. In fact, his works are particularly associated with Modernisme, and in this sense, Gaudí can be regarded as the most representative and outstanding of the Modernista architects.

Gaudí’s work is an exceptional creative synthesis of several 19th-century artistic schools, such as the Arts and Crafts movement, Symbolism, Expressionism, and Rationalism, and is directly associated with the cultural apogee of Catalonia. Gaudí also presaged and influenced many forms and techniques of 20th-century Modernism.

Criterion (i): The work of Antoni Gaudí represents an exceptional and outstanding creative contribution to the development of architecture and building technology in the late 19th and early 20th centuries.

Criterion (ii): Gaudí’s work exhibits an important interchange of values closely associated with the cultural and artistic currents of his time, as represented in el Modernisme of Catalonia. It anticipated and influenced many of the forms and techniques that were relevant to the development of modern construction in the 20th century.

Criterion (iv): Gaudí’s work represents a series of outstanding examples of the building typology in the architecture of the early 20th century, residential as well as public, to the development of which he made a significant and creative contribution.

Integrity

In general, all the component parts of the property enjoy a high degree of integrity and have retained a good relationship with their surroundings, whether urban or natural.

The Palau Güell, originally a family home, is now a cultural and tourist facility that retains its architectural integrity, form, and original decoration. The Park Güell is still used as a public park and green space, the purpose for which it was designed; now combining this with tourist and cultural use, while conserving the original features in their entirety. The Casa Milà-La Pedrera and the Casa Batlló, a pre-existing building remodelled by Gaudí, largely conserve their original design as apartment buildings, combining this in present day with other uses, such as offices and cultural and tourist facilities. Some monuments, such as the Casa Vicens, have retained over time both their physical appearance and their use as family homes. The Crypt of the church of the Colònia Güell is the only component to have been built as part of a larger project for the church. Subsequently, a temporary roof was erected over the Crypt. The present roof maintains the overall integrity of the Crypt as constructed by Gaudí. It also currently retains its use as the church of the Colònia Güell. In the case of the Sagrada Família, the integrity of the part built by Gaudí is intact. Furthermore, its current function as a church corresponds with the use originally intended, maintaining its religious symbolism and being a landmark for the city of Barcelona.

Authenticity

In general, all the buildings by Antoni Gaudí that are part of the serial property possess a fair degree of authenticity. Restoration works have reflected these qualities in the conditions for interventions.

The Palau Güell has undergone a general restoration to improve its conservation and enhance its cultural use, highlighting the authenticity of its architectural and decorative features. The Park Güell has undergone a variety of minor and structural restorations to repair damage caused by its intensive public use and exposure to the elements. The Casa Milà-La Pedrera has been comprehensively restored to improve its state of conservation, highlight certain unique features such as the roof, attics, “noble” floor, etc., and to make it more suitable for cultural uses and public visits. The Casa Vicens has undergone only minor conservation and restoration work. The Casa Batlló has been restored to improve its state of conservation and enhance its use for cultural purposes.

At the Crypt of the Colònia Güell, the structure has been restored, preserving and consolidating Gaudí’s Crypt, substituting the stairs and the deteriorating temporary roof. The new roof is based on modern design criteria and does not interfere with visibility from the surrounding area. There were also structural problems, due to the fact that the columns were not receiving the load they were originally designed to take. Nonetheless, the work by Gaudí in the Crypt has been correctly restored and has not lost its originality.

In the case of the Sagrada Família, the authenticity of the part built by Gaudí – the Nativity Façade and the Crypt – has been preserved in terms of its material, form, and workmanship.

Construction work on the church is continuing at the present time. The work originally performed by Gaudí must be considered in the context of the overall project that he himself had planned, which is now close to being brought to completion in accordance with the evidence and guidelines that have been drawn up and scientifically verified.

Protection and management requirements

Protection legislation includes Law 16/1985 of 25 June concerning Spanish Historical Heritage, Law 9/1993 of 30 September concerning Catalan Cultural Heritage, and Decree 276/2005 concerning Territorial Commissions for the Cultural Heritage. Legislation at the municipal level, including the Metropolitan General Plan, the Special Plan to protect the architectural heritage of the city of Barcelona, and the Special Plan to protect the architectural heritage of the Colònia Güell residential district, grants additional protection.

In terms of management, there are numerous authorities involved in decision making at the levels of the State, the Autonomous Community, and the municipality. Similarly, ownership is varied: Park Güell is owned by the Barcelona City Council, Palau Güell by the Barcelona Provincial Council, Casa Milà-La Pedrera by the Fundació Catalunya – La Pedrera, and Casa Vicens is private property. Casa Batlló is owned by Inmobiliaria Casa Batlló SL, Sagrada Família by the Board of the Sagrada Família, and the Crypt of the Colònia Güell by Colònia Güell Consortium. Management of the property also has to reconcile diverse uses such as public garden (Park Güell), culture and tourism, and religious and residential use.

The Territorial Commission for the Cultural Heritage of Barcelona and the Territorial Commission of the city of Barcelona are ultimately responsible for the management and administration of the inscribed property, in accordance with the legislative and regulatory framework. In addition, different component parts have specific conservation, maintenance, and master plans to address particular conditions. The management of the property will need to respond effectively to the increased pressure from the growing number of visitors and continue its work on the protection and restoration of the structural and decorative elements, with attention paid to the behaviour and decay processes of the materials used (iron, ceramics, etc.).

Works of Antoni Gaudí – Gallery

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Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: M & G Therin-Weise

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

Works of Antoni Gaudí (Spain)

Author: Barbara Blanchard

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Biography of Antonio Gaudí

1852 Antonio Gaudí was born on June 25 in Reus, the son of Francesc Gaudí y Serra, a coppersmith from Ryudoms, and Antonia Cornet y Bertrand. From childhood, Antonio helped his father in the workshop. The young Gaudi had rheumatic pains in his legs, and therefore he could not take part in outdoor games with his peers and spent a lot of time observing nature.
1869 Antonio travels to Barcelona with his brother Francesco. Francesco begins to study medicine, and Antonio is preparing to enter the architectural school. The father sells part of his property in Reus to pay for his sons’ education and moves to Barcelona.
1873 Gaudí begins studying architecture at the Escola Provincial d’Architecture, an architectural school that in 1875 was transformed into the Faculty of Architecture of the University of Barcelona.
1876-1878 In order to be able to pay for his studies, Gaudí works as a draftsman for Josep Fontsere, manager of the construction of the first public urban park in Barcelona, for the architect Francesc Paula Villar y Lozano, at the Padros y Borras machine factory, and for architect Leandre Serralach y Mas. In 1876, Gaudí’s mother and brother die.
1878 On March 15, Gaudí receives his diploma in architecture.
In the workshop of the craftsman Eudaldo Punti, he has his own drafting table, and he begins to receive his first orders. Textile merchant Esteve Comella commissions Gaudí to design a window display for the Paris World’s Fair. Count Eusebio Güell y Basigalupi drew attention to this showcase, and since then he began to find small orders for Gaudí.
This year, Gaudí designed street lamps and also worked on a project for a workers’ camp for the textile cooperative Obrera Mataronense. If Gaudí’s lanterns can still be seen on the Plaza Real in Barcelona, then only one warehouse has come down to us from the buildings of the cooperative.
Gaudí, along with other members of the Association of Architects of Catalonia and the “Centre of excursionists”, gets acquainted with the architectural monuments of Catalonia.
The architect’s sister, Rosa, dies. Her daughter Rosita and father Gaudí settle down with him.
1880-1882 An architect designs an altarpiece for the cathedral in Tarragona. In February 1881, the architect publishes an article in the magazine La Reinaxensa in which he criticizes the exhibition of applied arts in Barcelona.
1882 Gaudí works in the workshop of his former teacher, Professor Joan Martorell y Monttels.
For Eusebio Güell, he designs the Hunting Pavilion at Garraf near Sitges, which was never built.
1883 From 1883 to 1888, Gaudí worked on the design of the House of Vicenza.
In the same year, he begins the construction of El Capriccio in Comillas (the work was then continued by the architect Cristofol Cascante y Coloma).
On November 3, at the suggestion of Joan Martorel, Gaudí was appointed chief architect for the construction of the Sagrada Familia. He succeeds Francisco de Paolo del Villar y Lozano, who started the project a year ago. Gaudi also begins the construction of several buildings in the Güell Estate, which ends in 1887.
1885 Gaudí designs the altarpiece for the private chapel of Josep Maria Bocabella y Verdaquer. This publisher and bookseller was the founder of the Society of the Admirers of St. Joseph, who was the organizer of the construction of the Sagrada Familia.
1886 An architect starts work on the Palau Güell in Barcelona, which was completed in 1890.
1888 Gaudí works on pavilions for this year’s World’s Fair in Barcelona. By order of the Marquis de Comillas, Gaudí exhibits a project for the Transatlantic Company in the Department of Navigation, and presents his own works in the Department of Arts. The burgomaster instructs him to rebuild the Senators’ Hall in the town hall, but this project remains unrealized.
1889 From the primate of the order of St. Theresa of Avip, Rev. Enric d’Osso i Cervelho, Gaudí receives an order to complete the construction of the School of St. Theresa.
1889-1893 Construction of the Bishop’s Palace in Astorga. After the death of the customer – Bishop Joan Batista Grao y Vallespinos, with whom Gaudi was friends, the architect stops work on the Bishop’s Palace.
1891-1894 The House of Botines (House of Fernandez and Andreev, or House of Fernandez) was erected in Leon.
1892 Together with the Marquis de Comillas, Gaudí travels to Malaga and Tangier to study the area where Maximo Dias de Quijano, Marquis de Comillas, wanted to establish a missionary center for the Franciscan order.
1893 The crypt and walls of the apse of the Sagrada Familia were erected. As a result of Gaudí’s strict observance of the fast, his life is in danger.
1895 Architect designs the tomb of the Güell family in Montserrat; the project was not carried out. Also, Gaudi (together with his friend, the architect Francesc Berenguer y Mestres) erects several outbuildings on the Güell estate in Garraf.
1898-1900 Casa Calveta was built in Barcelona, which was awarded by the municipality as the best architectural project of 1900. Gaudi creates the first sketches of the church in Colonia Güell (the village of Santa Coloma de Cervello near Barcelona). The church was not completely built, Gaudí built only the crypt (the underground part of the church).
1899 Gaudí becomes a member of the Society of Artists of St. Luke and the Spiritual Society of Our Lady of Montserrat.
1900 Gaudí receives an order to create a sculptural ensemble for a monastery in Montserrat and begins work on this project, which was never completed. Work begins on the construction of a garden city, known today as Park Güell, arranged on the hillside of Muntanha Pelada in Gracia, a suburb of Barcelona (today this area is located within the city), commissioned by Eusebio Güell. Work stopped at 1914 year.
1900-1905 Commissioned by Doña Maria Sages, Gaudi builds Villa Bellesguard on the site of the former royal summer residence.
1902 Gaudí designs the fence and gate for the manor of the manufacturer Miralles in Barcelona.
1903 The redevelopment of the Cathedral in Palma (Mallorca) by order of the Bishop of Mallorca, Pere Campins y Barcelo, has begun. The work, which Gaudí only occasionally oversaw, was stopped in 1914.
1904 Construction and interior design of Barcelona’s first cinema, Sala Merce; later the building was destroyed, but in 2002 it was rebuilt on a smaller scale.
Gaudí begins to rebuild Batlo House, which he finishes in 1906.
1906 The architect purchases a plot in Parc Güell in order to build a model building on it; after the house was built, the Gaudí family (his father and niece) moved into it.
The architect Josep Maria Juchol begins cooperation with Gaudí.
1906-1910 Casa Mila is being built in Barcelona, also called “La Pedrera” – “quarry”. Gaudi is working on the arrangement of the Artigas Garden park in La Pobla de Lillet.
1907 Work on the crypt in Colonia Güell resumes.
Gaudí receives an order for a skyscraper hotel project in Manhattan, New York. The work ends at the sketching stage.
1909 Construction of the parochial school attached to the Sagrada Familia.
1910 Due to health problems, Gaudí spends the spring with friends in Vis. On the occasion of the 100th anniversary of the birth of the philosopher Jaime Balmes, the architect designs two lamps made of basalt and cast iron for the Plaza Mayor in Vise.
In Paris, the Exhibition of Fine Arts was held, at which numerous works by Gaudí were exhibited. Gaudí himself did not appear at the exhibition.
1911 Exhibits from the Paris exhibition are presented at the architectural exhibition in Madrid.
1914 Gaudí stops work on all current projects and does not take new orders; he concentrated entirely on the construction of the Sagrada Familia.
1924 Gaudí, on his way to a religious procession, is arrested.
1925 Gaudí moves into a workshop next to the construction site of the Sagrada Familia. After the death of his relatives – his father (in 1906) and his niece (in 1912), work completely replaces his family.
1926 7 June Gaudí hits a tram; June 10 Gaudí dies in the Hospital of the Holy Cross in Barcelona.

Antonio Gaudí’s hanging chain model

The use of catenary (also called chain or broken) arches is another characteristic feature of Gaudí’s architecture. The broken arch was also borrowed by the architect from nature. If you take, for example, a twig and start bending it, turning it into a parabolic arch, then sooner or later it will break. Moreover, it will break precisely in those places that will be loaded as much as possible. And the force of action is equal to the reaction. So it turns out that a smooth arch, which is more difficult to build, can be replaced by a broken line assembled from straight beams. It is only necessary that they converge in those places where stresses are concentrated. Gaudi did just that, although he could not mathematically calculate these arches. But on the other hand, he used his famous hanging chain model, which was actually invented not by Gaudi, but by the German architect Wilhelm Tappe at the end of the 18th century.

The suspended chain model allowed Gaudí to design and build both the crypt in the colony Güell and the Sagrada Familia, a neo-Gothic temple without buttresses and buttresses, in which the loads are taken up by inclined and vertical pillars, elongated exactly along the lines of force. And here it is interesting that the calculation of loads using a suspended model does not require mathematical calculations at all.

The suspension chain model works like this: first, a building plan is applied to the ceiling of the workshop, then a chain is attached to those places where the arch should rest on the ground. The chain sags under its own weight and forms a parabolic arch. Now the chain can be loaded by hanging sandbags from it. Under load, the arch will become broken. So, step by step, it is possible to model the entire power frame of the future building in chains. Then it remains to photograph it, measure the angles formed and transfer it to paper. No math and no additional buttresses. The entire power structure is inside and outside at the same time. That is, in fact, the Sagrada Familia Church is not an ordinary building, but a single shell.

Sagrada Familia in terms of its geometric parameters (the length of the nave together with the apse is 95 m, the length of the transept is 60 m) is very similar to Cologne Cathedral, which Gaudi greatly appreciated, although he called its buttresses – “crutches”. And one of the tasks that the architect set for himself was to create a grandiose neo-Gothic temple, but without “crutches”.

As a building manager, Gaudí was also more of a man of the past. He behaved with the workers like a patron or the head of a construction artel. And literally lived on a construction site. When other architects spent most of their time preparing the project, Gaudí preferred to fine-tune everything on the spot. At the same time, he was stubborn, persistent and very demanding. Therefore, its construction usually lasted a long time.