“Gaudi alone is worth the whole trip to Spain.”-an airline advertise in 1970 (O’Neal, 1973, p.xiii)
Barcelona; the city of innovation
One may imagine enjoying delicious tapas with icy sangria under dazzling sun as a response to hearing the word Spain. Some connect Spain to Barcelona immediately as a familiar city. Barcelona, located in the northeast of Spain, is the capital of Catalonia and is known as the second largest city of the country with its population of 7.5 million. () Barcelona has attracted countless tourists all around the world with its prominent art culture as it was considered home for well-known artists such as Salvador Dalí, Joan Miró, Antoni Tápies, and Antoni Gaudi. However, at some point, touring Barcelona became an equivalent of visiting Gaudi’s buildings for tourists. It is out of the question that the city is formed of magical, extraordinary masterpieces by three major Catalonian architects-Antonio Gaudi, Doménech i Montaner, and Puig i Cadafalch-and the street block on Passeig de Grácia proves it. Here, we see three powerful stylistic contrasts by these architects as if they are boasting their own stylistics buildings. Manzana (apple/block) de la Discordia-apple of the discord is a play of words which became a name for the following buildings built in the early 20th century: Casa Lleó-Morera by Lluís Doménech i Montaner; Casa Amatller by Josep Puig i Cadafalch; and Casa Batlló by Antoni Gaudí. Just like a Greek myth, the start of these three houses later became a great dispute in Modern architecture. Although individual expresses their figures distinctly by the designer, they still have a common in using tiled surfaces differed from brick construction and following neo-Mudéjar style, adopting the loca...
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...ate. He discovers.” (Casanelles, 1967, p13) This statement closely links together to his own works as most of his inspirations came from the nature. His theory in architecture was the study of the laws of nature and with translation of religious symbolism. (Collins, 1973, p.xiv) With his obsession in nature, religion and Catalonia, he reinforced the national identity expressed through architecture. Gaudi’s influence still remains alive by the work of young architects at the period somewhat became a cultural hero. (O’Neal, 1973, p.xiv)
Catalonians wish for independence. It was only after Franco’s death when Catalonia began to search for its identity successfully through Modernisme. Although Catalonia is a powerful, industrialized region on its own and the people are proud of their own identity and language, the debate over their independence will still be remained.
The astonishingly brilliant artist Francisco José de Goya y Lucientes has always been revered and adored for his incredible paintings of the Spanish Royal family, but not many know that he was also a masterful engraver. In the exhibit titled Renaissance to Goya: Prints and Drawings from Spain, many of the pieces displayed were based on social commentary of the period within the country. This disdain is particularly palpable in the etching by Goya titled The Sleep of Reason Produces Monsters. The psychological and emotional state of Goya at the time is masterfully rendered and the presentation of the exhibit is absolutely remarkable due to its brilliant color scheme and expert presentation of the works.
Eagleton, Terry. El sentido de la vida (2007) Tr. Albino Mosquera. Barcelona: Paidós, 2008. Print.
Antoni Gaudi considered himself to be directly connected to Gothic styles through his art and architecture, deemed Neo-Gothic. A Spanish Architect known mostly for his dabbling in Art Nouveau. Gaudi is the best known example of these types of structures. Bordering on the fantastical and fluctuating between real and imaginary, his works make you think twice and leave you awestruck, much like the impressions of the original Gothic structures. La Sagrada Familia in Barcelona is one of the best known buildings in the world. A UNESCO World Heritage site since 2005, it's construction began more than 120 years ago. Starting in 1882 with a man named Joseph Bocabella, the basilica as we know it today would not have been possible without the changes of Antoni Gaudi starting in 1883. Prior to his involvement, Bocabella, a
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
García Lorca,F. La casa de Bernarda Alba. Alianza Editorial: Biblioteca García Lorca. Ed. M.Hernádez. Madrid:Spain. 2008.
Q: Use St. Peter’s Basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vier(7) in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form. During the period of Renaissance, human’s thought and intelligence has reached its highest and its effect on the architectural form, it became clear and its engagement of rational aspect on the building. Mainly geometrical forms are the characteristics which can be identified. Not so long after the Renaissance period of Baroque architecture was introduced, rather than logic and reasoning they wanted to capture the emotional atmosphere by using the architectural elements such as light, height, crafted art, costly materials and so on as mentioned by(Scotti 2007, 5-10).
One of Spain’s awe-inspiring painters in history, Diego Velazquez not only painted beautiful and detailed artwork, but also created a broad story for the viewer to recreate and reinvent. One such painting, according to the Prado Museum, is “Las Meninas,” in which he tells the story of Infanta Margarita, her little meninas, and of course her parents (“Museo del Prado”). Velazquez effectively uses baroque style, intricate colors, and accurate positions in “Las Meninas” to allude that social status is imperative.
During Barcelona matches, independence flags are waved and chants for independència are called at 17:14 of each match. In the football world of Catalonia, FC Barcelona represents the Catalan people and Real Madrid represents Francoist/Nationalist Spain. The rivalry is heated and intense. When FC Barcelona wins, their victory acts almost as a chosen glory. Defeating Real Madrid to win a title can keep the Catalan ethnic tent strong, and give a victory for the Catalan cause worldwide. With an independence referendum coming to Catalunya in less than six months, the issue of Catalan separatism will begin to gain much more international attention and recognition. Catalunya and their people will continue to strive for more autonomy and freedom, backing themselves around a strong historic culture and an ultra competitive top tier football club.
During the day the Barcelona Pavilion is completely naturally lit. It captures the light with its’ clear walls surrounding the façade. The overhang from the long roof blocks direct sunlight to soften its intensity. He “was replacing the visual dependence of architecture on effects of light and shadow by playing with reflections” (Kostof p.703). The reflective pools are also a way to play with light.
Renzo stated in an interview, “Architecture is about exploring. Culturally, historically, psychologically, anthropologically, and topographically, every job is different.” Renzo is particularly well known for adapting designs to their location. He later went on to say “(architecture) should make a contribution to the contex. … you must employ a homeopathic process, ... you can easily destroy their (cities) subtle dynamics” (Archinect, 2006).
His work encapsulates a high degree of naturalism. The generations that succeeded him pressed forward with research and innovation to create a linear prospective for painting with the integration of the human anatomy which lead to the discovery of a scientific style of naturalism. Architects of the Italian Renaissance were influenced by the classical Roman architecture. This was also pushed by a revival of the classical literature that was seen in humanism. Architects traveled to Rome and studied the remains and ruins of ancient Roman buildings, colosseums, and pantheons.
“The Temple [of The Sagrada Família] grows slowly, but this has always been the case with everything destined to have a long life. Hundred-year-old oak trees take many years to grow tall; on the other hand, reeds grow quickly, but in autumn the wind knocks them down and there is no more to be said"1. These words, spoken by Antoni Gaudi about his life-long work, Temple Expiatori de la Sagrada Família, are a means to justify the extremely long time needed for the construction of the Sagrada Família, while referencing the themes and structural concepts he borrowed from nature in his designs. While this logical explanation may give comfort to some, others doubt the temple’s eventual completion, as its construction has just passed 123 years, with roughly half of the temple completed.1 Although churches and cathedrals have always endured long periods of construction, the plan set forth by Gaudi is of such an elaborate nature as to set the temple in a league of its own. The drive of Gaudi and others involved in the project are very representative of the Catalan people. Catalonia, and specifically Barcelona, has historically been a successful and prosperous region in Western Europe, a leader in politics and trade, but lost much of its importance and independence in modern times. Catalan nationality persevered, and Barcelona sought ways to reaffirm their identity and show the world it is a city rich with life and culture. While many projects would follow, perhaps the best example of this desire to show the world the worth of Catalonia is embodied in the Sagrada Família. The grand magnitude and elaborate attention to detail involved in the construction of the Sagrada Família are a clear portrayal of the ideal of Catalan pride.
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
The pavilion is significant figure in the history of modern architecture, regarded to be influential with its open plan and use of exotic material. There is a blurred spatial demarcation where the interior becomes an exterior and exterior becomes the interior. The structure constantly offers new perspectives and experiences, as visitors discover and rediscover in the progress of moving throughout the in’s and out’s, a non directional conforming circulating movement pattern. To facilitate this movement, even though it is a visually simplistic plan, its complexity is derived from the strategic layout of walls with its intimation of an infinite freedom of
Nature in architecture is critical. Laugier made this clear in the 1700s with his basic, but insightful, claims in “An Essay on Architecture.” Modern architects have taken his beliefs further than he probably ever imagined with technology and the cutting-edge idea of biomimicry. After studying natures’ artistic design, architectural stature, and overall success rate on this earth, I believe that the incorporation of nature is vital to architectural design.