Antoni Gaudi’s work, in all its dramatic detail and deep intensity, enjoys a preeminent status in Barcelona as it transcends the events in the architect’s life and provides a timeless interpretation of his work. As a result of decades of dedication to his work, Gaudí continued his intricate design style until his unexpected death in 1926.
Developed by very specific political and ideological strategies, the interests of his clients – the upper bourgeoisie and the Church – dictated many of Gaudi’s projects, According to the National Art Museum of Catalonia. However, Gaudi not only found a way to conceptualize the desires of his clients, but also managed to capture Catalan society as a whole.
Transcending the boundaries of official architectural styles, Gaudi’s work is emblematic of life in Barcelona at the time, shattered by the class struggle, according to the museum. Their buildings move like lines in a poem. The outer walls are curved and windy. The materials crease and come off. The beauty lies in her raw and authentic creations of broken ceramics, wavy window panes and multicolored tiles.
According to the museum, Gaudi uniquely realized his visions with infused science. Looking to nature for inspiration and inheriting a sense of craftsmanship from generations of cauldron makers in his family, Gaudí captured nature’s appealing features.
Although Gaudi embodied his creativity in many forms, it would be wrong not to attach special importance to his religious architecture.
Since the beginning of his career, Gaudi has used liturgical objects and religious architectural styles in his work. According to the museum, Gaudi’s great concern for the salvation of the Church and Catalonia as a whole is revealed in the “liturgical restoration” of the Mallorca Cathedral. In this project, Gaudi changed the elements from their original positions, giving them a new, symbolic meaning.
[Tablao flamenco brings energy to Barcelona’s oldest theater]
While churches are a specialty of sorts for Gaudi, none hold candles to the beloved Sagrada Familia Temple.
According to the museum, the temple dedicated to the Holy Family was first conceptualized in the 1870s as a means of countering the communal violence stemming from the class struggle in Barcelona. Francisco de Paula del Villar, who later resigned in 1883, began the design of the temple. Gaudi was tasked with completing the design to which he inevitably depended until his death. The temple – although unfinished – stays true to Gaudi’s plans.
Rising above the rest of Barcelona, the Sagrada Familia filters the light from its stained glass windows through its columns like a lush forest on a sunny day. The ceiling seems to mimic a kaleidoscope, as the surprisingly modern interior reflects a gamut of colors from its cream-colored walls.
Combining the ideological and symbolic production of modern Barcelona, the unfinished temple stands as the most popular monument in the city of Barcelona.
Gaudi’s career began after studying at the Barcelona School of Architecture and working for other architects, notably Josep Fontseré, where he contributed to the Ciutadella Park, and Villar, where he worked together at the church of the Virgin of Montserrat. museum.
In the 1880s, Gaudi received his first independent commissions: Casa Vicens and Finca Güell Pavilions For the Güell estate in Pedralbes.
Although modest in comparison to his later designs, Gaudi turned these smaller-scale works into a manifestation of his talents, both in his magnificent material skills and using ceramics and iron. – and its eccentric cultural and visual references.
After building the pavilions for Finca Güell, Gaudi became the architect of the property’s owner, Eusebi Güell. Translating Güell’s aristocratic ideology into noble design, Gaudí built a palace, a suburban park, and a temple in the heart of Barcelona’s old city, according to the museum.
Gaudi continued to commission projects outside of the Güell estate. He freely designed three houses in the ensanche development in Barcelona, according to the museum.
[‘Pianissima’: UMD family comes together for performance at The Clarice]
Currently, some homeowners have articulated a new concept of “super-consumer wealth” that allows architects to design the facades of their homes in an eccentric way. These designs came to showcase the homeowners’ sense of luxury as they moved away from neoclassical architectural norms. Gaudi created Casa Milà, Casa Batllo and Casa Calvet using exotic and naturalistic styles.
Waves that cover the entire street corner and ripple through the adjacent streets, Casa Milà it represents the Mediterranean in its seemingly flowing glory. Meanwhile, Casa Batllo It is covered by a reptilian-like, scaly roof, grooved balconies, and a multicolored exterior, all topped with a cross. Casa Calvet is less intense but in touch with highly concentrated balcony style and intimate details.
Apart from these studies, furniture design was among Gaudi’s first professional projects. interesting make-up and curiously carved wooden benches and entries was among his designs.
A beveled mirror stood in the middle of a vanity, with a wooden frame taking up just over half of its frame. The front right leg of the vanity has grown an extra branch to create a small seat for its owner.
Somewhat classic with its perverted, off-centre design, Gaudi’s work took on a more grandiose style over the next decade. In 1909, Gaudi built massive double-doored entrances with warped glass windows that only let in ambient light. The wooden door frames were blessed with undulating ornaments, and in a grand entrance, Gaudi connected the wooden door to a magnificent set of benches and cabinets on either side.
According to the National Art Museum of Catalonia, Gaudi’s extraordinary and sometimes bizarre architectural projects quickly became treasures in Barcelona, leaving some to question what the city would have looked like without his influence.