ANTONI GAUDÍ
Vida y personalidad
Antoni Gaudí nació el 25 de junio de 1852 en el campo de Tarragona. En sus partidas de bautismo y defunción y en la documentación de su etapa escolar figura como nacido en Reus (Cataluña), and being the only documents that are currently available, we can say that it was Gaudí Reus. Yet there is a dispute between Reus and Riudoms on the origin of the architect.
studied at the School of Architecture of Barcelona, \u200b\u200bwhere he graduated in 1878. During her studies she worked with teachers known works: these Fontseré, who was planning the cascade to the Ciutadella Park, and Francis P. del Villar, a school teacher. At the end of his career opened his own office, which later develop his famous works.
artistic genius Gaudí relied on a great character. Young moved to faith passionate, impetuous, irascible, a man calm, balanced, exemplary. He thought deeply about the problems of art and life, he acted strictly in accordance with his thinking, came to live with absolute loyalty to their deeply rooted religious beliefs, their high-minded civic and its refined aesthetic ideals, and showed that the highest inspiration artistic crown hard work, sustained, methodical and disciplined.
Catalan Modernism is an architectural style that develops mainly in Catalonia and Barcelona over 50 years, between 1880 and 1930. Although part of a general trend that emerges in all Eusopa in Catalonia acquired its own distinct personality, and becomes more developed probably modernism. In the late nineteenth century architectural trends emerging in Europe to break with traditional approaches and seek new ways to build towards the twentieth century, which give great importance to aesthetics. This movement is a consequence of the Industrial Revolution and the developments resulting from it have changed entirely the way of living of the population and have resulted in growth of cities, which have been established industries who run an increasing number of bourgeois. Modernism is thus an urban and bourgeois style. Modernism rejects unattractive style of architecture industrial in the first half of the nineteenth century, and develops new architectural concepts based in nature, consisting of the construction materials used in the forms of buildings and figures of their facades. The architects and sculptors placed outside buildings birds, butterflies, leaves and flowers as a decorative element, either as figures or ornament attached to the stone or ceramic. Also placed larger figures, mythical animals or people, and the cornices colored ceramic elements. The windows and balconies have wrought iron railings, which are carved artistically and contain motifs inspired by nature.
The work
At the Universal Exhibition in Paris in 1878, showcased his by Gaudí for a glove factory. He was so impressed that this work aroused Eusebi Güell, on his return, he contacted the architect to order some custom. This was the beginning of a friendship and patronage, which produced some of the most remarkable works of Gaudí. Güell was a patrician elite and generous at the same time he became a patron at the height of genius. He believed in Gaudí, in their original ideas, and gave all kinds of support, especially economic. Güell commissioned Gaudí several works, including construction of his palace: his example was followed by other choice spirits, this led to the production rich in civil architecture of Gaudí.
But Gaudí was far more than an architect: he was a high value considered minor arts: painting, pottery, wrought iron and woodwork. I thought the buildings as a whole, to the smallest detail. Between the exterior and interior of a building but there was no difference harmony. So did sculpture and designed furniture and many decorative items.
can say that Gaudí is one of the pioneers of recycling because their buildings using all types of material: iron used, broken tiles, pieces bottles and glasses.
They wanted to see a revolutionary Gaudi just inaccurate. He did not believe it possible to go forward without relying on the past and make the effort and achievements of the generations that preceded us before: "We must build on the past to get to do some work of value, but avoid their mistakes, the real novelty is to return to home "justified" does not have to want to be original because the style is already carried in and out spontaneously. "
Gaudí began practicing when everyone still looked back: the developers and owners continued to use the recipe last neoclassical principal architect restauraban los edificios medievales siguiendo la moda romántica. Gaudí siguió al principio la corrente de sus compañeros y también volvió atrás pero no como fin sino como punto de partida para ampliar el legado de las generaciones pasadas. El novel arquitecto procedió a una revisión de la plástica y la estética de los estilos arquitectónicos y los evolucionó en un sentido moderno y se valió de ellos con una libertad y un acento personales.
En el incesante movimiento pendular de la historia del arte, era natural que se reaccionase contra la seca ejecución neoclásica con un nuevo barroquismo. Además el barroco era el último estilo más arraigado al país y al alma española, y la única atadura viva cercana al pasado. Nos explicamos, pues, la preferencia de Gaudí por estas formas dinamizadas y que, partiendo del barroco, con su progresión lenta, llegase a las formas vitalistas, a la plástica cosmica del Parque Güell, de la Casa Batlló y de la Casa Milá, en que por primera vez la arquitectura desborda su campo e irrumpe en el de las artes imitativas.
ÉPOCAS CARACTERÍSTICAS
No es posible clasificar de una manera estricta unas épocas de producción porque el tIempo empleado en la construcción arquitectónica a menudo hace que se empiecen obras pertenecientes a una nueva modalidad, mientras sigue la ejecución de las planeadas with another orientation.
preliminary period is made up of the work done when Gaudi was acting as assistant to architects and other small personal works, executed while he was studying the last years of his career and shortly after it ended. WORKS
Ciutadella Park (1877-1882): Master Font works as I will be helpful when I had planned and carried out the waterfall, the little square Aribau fence and gates and fences. Fontserè, possessor of a neoclassical approach very poor, was soon displaced by his assistant.
STREET OF THE REAL AND THE PLAZA BARCELONETA (1878): These lamps streetlights are still the most beautiful in Barcelona, \u200b\u200bis an example of combination of different materials, in this case stone and metal. PERIOD
MUDÉJAR
-Moorish decoration of the compositions of this group is mainly polychrome, obtained by the contrast between the brick and masonry, complete with ceramic rivestimento abundant in the auction, with temples and cupolas of Moorish flavor also coated with colored glazes
Palau Guell: Between 1886 and 1889 he built the palace in the Barcelona Carrer Nou de la Rambla occupying the site of three old houses. It is a real majesty expressly sought the building consists of a total of six levels from the basement for the carriages to the original plant cover with the eerie forest of chimneys with whimsical shapes and colors. This book is the culmination stately type of composition of this group and at the same time, the determined sense utiización Gothic elements, the transition to the next. GOTHIC
EVOLVED
Gaudí concluded that a true Gothic style, but fails to maturity. "Gothic art is imperfect. There is complete unity: the structure is not fused with the-decoration-geometrized you saw, this decoration could be deleted without the work would suffer. Gaudí suppresses the capitals and imposts of the windows. TORRE
Bellesguard STATELY: Gaudí In this work adopts a quintessential Gothic composition; chose the finest elements of Gothic architecture. This building, designed by Gaudi Figueras family stands in the same place in the fifteenth century King Martin I had built a villa homes, a little retreat away from the city. The architect retained and completed the fragments of the actual towers, uniting them in a rectangular enclosure constituted viewpoint.
Naturalism
EXPRESSIONIST This period is characterized by lively modernism, which begins in the Baroque spirit: but Gaudí did not conform with the traditional Baroque exterior dynamism, but that increased their chances, facing nature. In nature is the essential rules of architectural elements: "The spine is the trunk, the trunk deck is the mountain, the slopes and the summit, the roof of the cave ...". From this it is that without being imitative childishness inadmissible in architecture, the whole world to see in the work of this group, for its evocative power, life forms, natural, columns like elephant legs, openings that seem lips, waves sea, polychrome landscape.
Park Guell (1900-1914): The original plan was to build a model luxury development on the outskirts of Barcelona. This magnificent garden city was planned for 60 houses. Although Gaudí turned in this work, once again, his prodigious imagination, the project was a resounding commercial failure. Only two plots were sold. So, years later, this area became a public park in Barcelona. In the center of a double staircase, a large lizard or dragon welcomes the visitantes: la decoración de toda esta zona está realizada con el revestimiento que tantas veces utilizó en sus obras. Baldosas rotas de forma irregular, que se acomodaban perfectamente a las superficies curvas que creaba el genial arquitecto. Tras subir esta escalera, se accede a un gran espacio cubierto, sostenido por 86 columnas dóricas, que estaba previsto para dedicarlo a los puestos de mercado donde podrían proveerse los habitantes de la futura ciudad-jardín. Los bellísimos rosetones del techo están realizados con trozos multicolores de baldosas y de cristales. En la gran plaza llamada del teatro griego, sustentada por las citadas columnas con capiteles dóricos, un largo y serpenteante banco decorado a la manera gaudiniana, closes the limits of its surface. Gaudí flatly refused to clear the forest to trace the paths. By contrast, drawing on uneven terrain, created trails covered porches supported by columns with inclined. Despite the apparent thinness of these, reminiscent of palm trunks have been of outstanding weather resistance to attack. By using the very stones of the place, got even more, that architecture was an integral part of the natural landscape. UNESCO appointed to the Park Güell, in 1984, artistic monument of international protection.
HOME MILA (1906-1910): is located on Paseo de Gracia, number 92, was commissioned by Rosario Segimón of Mila. The artist conceived the work as a monument to the Virgen del Roser. The façade, which has made the baptized with the name of La Pedrera by its appearance of indestructible pile of stones is built on its largest by thin plates Vilafranca limestone, which is easy to work with minimal iron that would scare the technicians. The sinuosity of the façade provides openings of different orientation because of its great extent, reduce considerably the walls, the large number of windows on the facade and interior patios and sosteniemiento only allowed to distribute pillars like housing tenants and, if need be, you could easily change the fate of the building. It seems that an irresistible force that has formed geological huge block, leaving him the impression of movement, the twinning with the forms of nature is complete. The set is a monumental foot had to be the base of a magnificent group of sculptures, carved in stone, gilt metal and glass, representing the Virgin and two angels moving on Barcelona, \u200b\u200bwhich is why each terminal crest is carved facade word of the angelic salutation. Too bad that this particular work has been incomplete, not only the lack of the sculptures which justify it, but also because most of the finishing works were abandoned by Gaudí.
ORGANIC SYNTHESIS
This step is overcoming the previous, now the role, structure and plastic bones are full of expression and mutual dependence. Artistically the architectural integration of structural plastic humans: is replaced with new column by culumna tree trunk. Old age, rich in experience, Gaudí us back to the purity of images of children marvel at nature and at the service of religious art.
THE HOLY FAMILY: Construction began in 1882 and a year later Antoni Gaudi was appointed Project Director. Gaudí radically changed by replacing a first draft of their own, more ambitious, original and daring than the first. He worked there for over 40 years until his death in 1926. The general plan and its thorough study of the project, based on the innovative use of naturalistic shapes, are the material from which the architects of the temple continues today. The facade of the Nativity, is the part of the work that Gaudi deseaba dejar terminada como muestra y ejemplo para sus continuadores, ya que él, muy a su pesar, tuvo que aceptar que era imposible llegar a realizar una obra de esta envergadura en el corto periodo de una vida. Actualmente hay ocho torres construidas, las correspondientes a las fachadas del Nacimiento y de la Pasión. El proyecto tendrá un total de 18 torres. Las 12 más bajas, entre las que se encuentran las ocho ya construidas, corresponden a las tres fachadas, y están dedicadas a los apóstoles. Cuatro, de superior altura, a los Evangelistas. Sobre el ábside, de mayor diámetro, a la Virgen María y la más alta que remata todo el templo, estará dedicada a Jesucristo. Construido bajo el concepto de templo expiatorio, has been financed from the beginning exclusively on handouts from individuals, and thus continues to be, thanks to donations received from faithful and admirers of the work.
-Summary Adapted from Joan Bergos - Gaudi, the man and the work and Wikipedia
