Delirious Barcelona Auguste Juozapaviciute
Individual Part of the World Urbanism Essay BArch Year 3 Other Contributors: Alistair Hume, Chloe Bellou, Shahrukh Ahmed, Jane Perry, Sotiris Skaros
Figure 1. Roman Walls 1:1250 marking the Roman city grid on the left and Medieval houses being built over within the same frame on the left. It shows how main areas and the grid is respected, preserving the main arteries.
Barcelona chronicles a series of historical and political events mediating its development and expansion. The bustling and vibrant city has become a tourist attraction, due to its open historical traces impregnated through different varying areas. Only by analysing its rich history, one can fully understand the relation between the overlapping architectural styles and their location. Moreover, only by acknowledging the range of events, the city can blossom and thrive. As the author of the great Barcelona expansion engineer Ildefonso Cerda exclaimed: ‘ It is impossible to understand the meaning and the problem of the cities of today without referring to the history of which they are the product’. (Choay, Francoise, 1997) Therefore, with this essay I will try to provide evidence and explain the historical influence on Barcelona’s urban development and expansion.
two main streets of Cardus Decumanus and Cardus Maximus created the main square for public (Spanish Arts). Apart from the temple for the current Caesar Augustus, Barcino did not have any other common public places, which leads to a conclusion of its still minor importance on the Iberian Peninsula. Nevertheless, in the late 5th century Barcino was the pioneer of an intramural Christian cult through preserving the Roman grid and surrounding walls. By strictly following the perimeter, a Christian basilica was built within one street block and a city wall facing the Northeast side. Barcino was unique not to follow the more common tradition of central public condensation, not knowing that later, it would become the centre of the medieval city (Kulikowski, 2010). The Roman city walls marked the perimeter of Barcelona until the 11th century, when it was neglected due to the city expansion (Kevin, 2011). However, up until now one can feel Roman presence in the Barri Gotic, where the grid of their settlement was followed when building the medieval quarters (Figure 1). Furthermore, later on some parts of the great wall were incorporated into a gothic chapel of Santa Agata.
The Walls The very early trace of today’s Barcelona appears in the year of 15 BC, when after the Cantabrian wars it becomes Colonia Faventia Julia Augusta Pia Barcino, widely known as Barcino. (Spanish Arts) It was a small Roman settlement which was dedicated for the retired soldiers of theirs. (Kevin, 2011) However, geographical position and an immunity from the imperial taxes Born caused the city to grow and expose its position on the via Augusta. (Marshall, 2003) Successful trades and economic activities lead to rapid growth in population, which resulted in a new Barcelona has spent most of its existence under area development and city expansion (Espuche A. the protection of fortified walls. The first one was built G., 2013). The workforce was pushed away to a new as most of Roman settlements to protect and mark the area where they created a new active manufacturing perimeter of Barcino (Kevin, 2011). Furthermore, the centre that was to be called Born. The new district city was laid out in a perpendicular grid that with the was unique in its division between different crafts; the
street names that were informed by the tradesmen living there. The merchants, craftsmen, fishermen and construction workers were situated in this part of the city with their own markets within their small districts. Born became the active part of Barcelona, whereas even though Palau Reial Comtal, Diputacio de la Generalitat and Casa Ciutat were the centre of power, they belonged to the more passive Medieval part. (Kevin, 2011)
Figure 3. Figure Ground Map of Barcelona 1:1250 showing the Roman wall (red) and the Medieval walls (blue and black) that expanded the city’s territory over the time.
However, it did not take long, until the workers became well respected merchants. The port situated closely to the district was their link to the trading world. ‘Barcelona’s silver-workers, among the most prominent in Europe, attracted buyers from faraway places and sold their output to people from all social classes.’ (Espuche A. G., 2013, p.19) Born inhabitants started to show their wealth through architecture and funded the Santa Maria del Mar church which is still present in the area (Kevin, 2011). (Figure 2) All of this led to vast development of the area and its importance within the city. Raval
Figure 4. Umbracle- the first iron structure for the 1888 Exposition.
generally poor nature of food production and priestly orders, land prices in Raval were fairly low, which attracted immigrants from all around Catalonia. It was the last vast expansion of the city up until the 19th century (Wynn, 1984). Medieval Walls After high growth in territory Barcelona was in need of new protection from its enemies. The Roman walls were no longer suitable to protect Iberian capital port of trade. The new wall expansion was started in the 13th century by Jaume I to protect the new active part of the city. Its perimeter followed today’s Carrer Trafalgar all the way to the sea. The second expansion was needed in the 14th century to protect the poor, however, religiously important Raval district (Kevin, 2011). This extension was created in two phases; starting from the Ramblas to Parallel and another to create protection from the sea side. (Figure 3.) ‘This imposing object had a thick membrane around it, the city wall, which also served as the frontier, and it had a monumental entrance facing the sea. It had a large proportion of open expanses in the form of large vegetable gardens, ornamental gardens and courtyards, and one could note a clear contrast between the major civil or religious buildings and the rest of the city, made up of 5500 houses, most of them three storeys height.’ (Espuche A. G., 2013, p. 16)
Barcelona’s development similarly to any European city was continuous and rapid. However, a very unique differentiation between the districts was preserved: ‘<…> the trades and activities were distributed in an orderly fashion, facilitating manufacturing processes while also conferring a unique personality on different areas within the city.’ (Espuche A. G., 2013, p. 14) Nevertheless, this medieval wall served as both Hence, in the 14th century, a new generation of farmers protection and imprisonment, due to the later loss of began to cultivate countryside, which led to expanding the city’s autonomy. the city’s regional reach (Kevin, 2011). However, due to
Citadel 18th century brought dark times on to Catalonian culture and development of Barcelona. The war of Spanish Succession was extremely influential both politically and culturally, as it was followed by suppression from Bourbons. (Cardona, 2013) Figure 5. The Barceloneta- fishermen’s village. This district has a specifically different typology to the rest of Barcelona, due to the vast expansion and the trade of fishing. Thus, buildings are significantly lower.
Figure 6. Figure Ground Map 1:1250 that exposes the different typologies between the Old City (brown) and Barceloneta districts (yellow).
Catalans were people of brave and resistant nature, thus, at the time of Habsburg and Bourbon battle for the greater influence, they chose to support Archduke Charles of Austria that meant a prosperous future in mercantilism, manufacturing, industry and constitutionalism (Balcelis, 1996). However, even though at first successfully, after being crowned to be Charles III, the Archduke lost his power over the Iberian Peninsula to Philippe V. Nevertheless, it was only after a year that Barcelona’s inhabitants surrendered to his siege. The siege of Barcelona resulted in great damage of the city walls and a military fort being built to oversee control of the city (Espinosa, The Born Archaelogical Site, 2013). In a shape of a star, Citadel fort was placed on the Eastern side of Born district. However, due to safety regulations, 17 % of the area’s buildings were to be removed (Espuche A. G., 2013). ‘With two of the five bulwarks pointing directly towards the city, which required a security zone, an esplanade between the city and the fortress, where no building were allowed <…>’ (Espuche A. G., 2013) p.38. Between 1718 and 1802, the neighbourhood ‘was thus buried under tons of rubble and soil forming a protective esplanade around the Citadel.’ Furthermore, up to Santa Maria del
Mar church, Placa del Born and Montserrat Street 20% of inhabitants were dislocated to an area extending behind the great city wall. There in 1753 the military authorities established Barceloneta today known as the fishermen district (Wynn, 1984). (Figure 5.) Furthermore, due to the fast displacement of citizens to the area of high proximity to the sea, Barceloneta has a different archetypology to the rest of the city and reads as an annexe to Barcelona. (Figure 6.) Nevertheless, Philip V did not care for the cultural or economic development of the Catalonian capital, thus, he forbade any expansion beyond the wall’s perimeter. Moreover, such actions against Barcelona’s economical centre of production crippled the city up until 1868, when Citadel was torn down (Espinosa, The Born Archaelogical Site, 2013). Exposition 1888 The International Exposition that was held in 1888 was a window to the prosperous future and the first spark of the nationalistic Modernisme movement (Fontabona, 2006). To celebrate the recent growth in Barcelona’s wealth, art of industrial revolution was exhibited. Moreover, as for a first international event, Catalans were determined to show their confidence in their economical state within Europe as well as to celebrate their unique culture and history. Hence, the exhibition park area was chosen to be designed on the previous Citadel site so as to express ‘Barcelona’s aspirations for progress and autonomy through the concrete, physical reality of bricks, mortar, and stone.’ (Robinson & Lord, 2006, p.8) After demolishing the symbol of monarchical repression, it was turned
into a symbol of possible Catalan autonomy that was later used for the city’s museum of art as well as the parliament palace of Catalans. It is where Josep Fontsere, Antoni Gaudi and other architects, by celebrating Catalan architecture in alternative ways, started the movement of Modernisme. And even though most of the constructions were to be erased from the surface after an unsuccessful reach for independency, most of the buildings were left, that up to date reminds of the intellectual fight for preservation. (Fontabona, 2006) Josep Vilaseca’s design of Arc de Triomf is seen as an early example of the new Modernisme that is often associated with the Art Nouveau (Fontabona, 2006). The leitmotif of references to the glorious medieval times and the industrial revolution was the key difference that separated them from the organic nature shaped movement which was popular in the Western Europe. (Robinson & Lord, 2006)
Figure 7. El Born Market plan showing the segregation of merchants: yellow- wealthy mercants; blue- peasants.
Market Born
Figure 8. Section of Market Born 1:100 showing the iron structure and activities.
New materials that were developed during the industrial revolution gave birth to completely different ways of construction. The Umbracle or the Shadow House is one of the examples that were presented during the 1888 Exposition (Mimoa). (Figure 4.) Nevertheless, the metal frame structure, designed by Josep Fontsere that today serves as a botanical garden, was only a smaller replica of what was situated more than ten years ago almost across the street of Ciutadella Park. The first, impressive iron construction was built as a modernisation of an old Born market. Designed by the same architect with
Gaudi as his employee it was a part of a big scale market modernisation in Barcelona (Robinson & Lord, 2006). New possibilities for manufacturing, transport and erection lead to systemised standardisation of a market design that was distributed throughout the city (Manel Guardia, 2013). (Figures 9 and 10) Born was just the beginning of the iron market community that was further developed by La Maquinista Terrestre I Maritima and later approved with the government’s 1898 regulation. (Manel Guardia, 2013) It was constructed manufacturing standard parts that were set together occupying an entire block of the city. The building itself was situated within the boundaries of an old outdoor market, that due to the growing impact on the streets was decided to be sheltered and enclosed, as with most of the market places in Europe. 152 hollow cast-iron pillars that were aligned every 5 metres created the base for the two main naves that span 28 metres crossing perpendicularly in the middle as well as serving as a duct for the rainwater to run. (Figure 8.) The metal skeleton using the Polonceau principle supported the dead load of the ceiling as well as created structure for the openings. (Figure 21.) Whereas, ‘the exterior walls were two-toned brick up to three metres high over a plinth of ashlars and a crown of the same material’. Rectangular layout market was shaped of overall 6 naves, of which 4 were lower by 3 metres; four slim niches in the middle of the main naves were marking the main entrances of the market, bringing ‘monumentality on the structure’. (Figure 20.) Whereas, heraldic motifs that were placed on the peak of every pediment marked the symmetrical lines all coming together in the centre of the building; the
Figure 9. Sant Antonio Market that was another example of market industrialisation process- it follows the same typology of the Born Market’s. Figure 10. Detail of Sant Antonio Market, that is almost identical to El Born’s.
structure was complimented with ‘large windows with laminated iron frames and glass panels’ and the roof was coloured with flat tiles that were a fairly unique appropriation of such material. However, other four side entrances as well as a central clock fountain that was decorated with artistic figures are today missing due to the renovation works that took place in the 21st century (Manel Guardia, 2013). Nevertheless, the Born market was an example of visually weightless structure that denied conventional monumentality and stagnation.
of temporality led him to idealise an urbanisation that would meet ‘spatial, organisational, symbolic and social needs of a society’ at that particular moment and into the future. (Miller B. , 1977, p. 18)
After 1921 Born’s spaciousness was finally used efficiently by turning it into a wholesale market that centralised the trade. ‘The inside was completely cleared to provide an open space for the middlemen and to store goods’, whereas the outside ‘a canopy was built to shelter the pavement around the market, where hundreds of peasants sold their products.’ (Manel Guardia, 2013, p. 55) (Figure 7.) By privatising the space, independent peasants and commercial merchants were separated.
Cerda did not believe in a perfect or static model of urbanisation or in the refinements of an existing one. Only a critical history analysis and understanding could bring one closer to the comforting solution.
Cerda Figure 11. Diagrams of Cerda’s plan variations. The ones on the right explains the green area proposals and the systemic equality of life conditions; the bottom analysis the the circulation of pedestrians and transport within the grid.
‘We are never able to create any permanent system or legal framework and neither do we lay down any principles that may be applied in similar cases, which is exactly what we need and wish to achieve and what is in the interests of governments and society’ (Puig, 1999)
The theoretical approach was explained in General Theory of Urbanisation, published in 1867; the first volume, where he defined urbanisation and city, allowed further development in the field; by gathering and analysing data on the living conditions of Barcelona’s workers, he tackled the solutions to the current industrialisation problems in the second volume (Miller B. , 1977). It showed massive decline in rural areas and high urban growth, due to great demand in work force, however, very low average expectancy of life. The outcome of such an unsustainable model of industrial capitalism was no longer to be ignored or tolerated by the Spanish government.
Ildefonso Cerda was a man of theory and politics (Miller B. , 1977). Devoting his life to society, he spent most of his time developing Parliamentary democracy in Spain and creating a model of inhabitation that would fulfil the needs of a dweller. He believed that progress was in man’s nature, thus, historical and behavioural analysis was the key of his research. However, unlike ‘Urbanisation resides in nothing other than the other utopians such as le Corbusier, he did not have relation between rest and movement, or rather between an almost paranoiac need to prove the rightness of the spaces that accommodate human repose and his design (Koolhaas, 1994). A rational understanding those that facilitate movement, that is, building and
the network of streets’ (Choay, Francoise, 1997)
Figure 12. The diagram above shows the devolution of Cerda’s original dwelling. The buildings expanded leaving less recreational space.
Figure 13. Casa Mila- the mature work of Gaudi’s. The fluid stone exterior creating organic shapes supported by a steel frame.
Ildefonso Cerda was highly concerned about urban circulation; however, the crucial point was the needs of an individual and the society; (Figure 11.) his Barcelona expansion plan revealed an almost a socialist manifesto regarding the wealth of the city. He believed that every inhabitant deserved equal conditions of living, taking into account the living space and natural resource distribution; the reach of leisure and recreational areas; as well as services and collective transport that is less needed having all the amenities on the doorstep. His aim was to create a city extension of similar characteristics that would neglect centralisation of any kind, preventing social and areal segregation, caused by inequality of service and functional distribution (Miller B. , 1977). His plans efficiency was based on an absolute belief in equality and co-operative manner rather than competitive development. Plan Barcelona- Cerda’s Theory Made Concrete His prospective design came to be a practical adaptation of his theory specifically designated for the city of Barcelona, following the invitation from the Madrid government. Analysis of its plain topography that is surrounded by hills on three sides and a boarder of sea allowed Cerda to acknowledge natural and artificial surfaces. However, despite the nature of such, he treated the area with same respect while planning the future expansion and designed a grid that was to fulfil his theoretical requirements. It was developed using a series of geometrical shapes such as octagons, squares and diagonals to exploit
the specific topographic condition, allowing the main arteries use the natural passages of the mountains that surround the city. (Miller B. , 1977) Furthermore, artificially created circulation routes allowed easy access to the main road arteries and due to certain orientation of the grid itself provided equal possibilities of ventilation and natural daylight in the planned dwellings. Cerda believed that mobility and communication was the future of society, thus, he created highly developed rules for his urbanisation model. Streets and pavements were to be left wide enough to create green areas for the pedestrians as well as individual vehicles that he imagined to be an inevitable aspect of the future. (Figure 11.) What is more he developed a priority flow route system to avoid any possible problems in traffic. In fact, some existing inter-urban roads dictated the basis of future major road links such as the Diagonal, the Meridiana, the Paralelo and the Granvia (Miller B. , 1977). Moreover, Cerda encouraged recreational space development by planting trees and egalitarian distribution of green spaces to stimulate social interaction within the community. To finalise the utopian green intersections, he planned a clock on every pedestrian island that would enhance private and public relation. Furthermore, to design healthier living conditions, only 36 per cent coverage was to be provided, with only 16 metres building height restrictions, creating a new city model that distributes leisure and utilities for all classes equally (Miller B. , 1977). Comparing to the previous state of the Barcelona, such change was to be a grand and extreme improvement. Nevertheless, Cerda did not wish to invade the personal preference of the community that
Figure 14. The facade of Casa Mila showing the organic forms of the dwelling.
Figure 15. An interior courtyard- Gaudi’s organic take on a standard courtyard typology. A source of natural ventilation and light.
Figure 16. Contextual Plan of Casa Mila 1:250 showing the central position of the building on the main Exiemple arteries.
was to inhabit certain zones. Thus, his plans were to be used as a guide - as systematic instructions for the future dwellers that were to inform and get involved in more detailed arrangements. (Miller B. , 1977)
However, unstable political forces in Barcelona, caused by growing Catalonian nationalism, brought various obstacles for Cerda and his vision of Barcelona’s future. Some politicians saw his idea’s ideologically threatening, thus, the expansion scheme was greatly altered, leaving only the road system and the services being installed. (Figure 12.)The rest of the planning was resigned to the speculators. Thus, even though trees were planted as planned, the coverage of the area was risen up to 96 per cent in some cases, removing most social aspects of the proposed design. Furthermore, only a few of those buildings were erected according to Cerda’s original model and varied from 3 to 12 storeys (Miller B. , 1977). Hence, idealistic equality in services and natural sources of the design was never to materialise. Cerda was soon forgotten by the society, leaving him alone in poverty up until 20th century, when his theories were given new light through the modernist movement. Nevertheless, the essence of his scheme survived through the grid and provided the platform for the city to reinvent its typologies at a larger scale. Modernisme The cultural movement of Modernisme was a result of the vast changes in industry, wealth and political perception of the Catalans that took place in the 19th century (Tolosa, 2001). Originally the movement tried
to deny the romanticism of Renaixenca as well as the conservative mentality and pragmatism brought with the industrialism. Particularly in Barcelona the newly formed class of bourgeois turned the movement into a vital element that became inexplicably relevant socially and a noteworthy part of the city’s vernacular. Furthermore, not only a sign of financial and statual declaration it developed into a contradictory expression of Catalan identity. However, rather than depicting medieval history, architects choose to reinterpret conventional materials and find new ways of using iron, brick, ceramics and stained glass (Robinson & Lord, 2006, p. 9). The pioneers and developers of this movement were Domenech, Gaudi and Josep Jujol that having a unique understanding, never abandoned ‘time-honoured themes and medieval craft traditions’ (Robinson & Lord, 2006, p. 10). However, mostly discovered and exposed to this day is Antonio Gaudi that even though said to belong to the new Catalan modernisme school, was never restricted to any movement apart from his own interpretations of it. ‘No one personified Barcelona’s contradictory spirit more than Gaudi’ (Robinson & Lord, 2006, p. 18). Having himself a conflicting personality of a Catholic and a nationalist he was more than capable of exposing the cultural richness of the city. Through his experimental interpretations Gaudi created new ways of appropriating traditional construction systems and materials (Robinson & Lord, 2006). Furthermore, the extravagant and unique architecture of his was a suitable and even desirable tool of recognition, thus, most of his clients belonged to the rising bourgeoisie families. As Henry- Russel Hitchcock wrote: ‘Not since the Baroque has there been architecture so rich in all
its aspects.<…> The art of Gaudi is so rich, so varied, so impossible to reduce to a single formula… (GiraltMiracle, 2006, p. 185)’ Thus, only through separate designs and proposals one can get to know and try to understand the schemes and hidden strategies of the architect. Casa Mila- a Moderniste Appropriation of the Apartment Typology
Figure 17. Section of Casa Mila 1:50 showing the natural ventilation and lighting.
Figure 18. Axonometric drawing of Casa Mila to show its organic curves the resemble to the seascape.
Ordered by the Mila family in the beginning of 20th century Casa Mila exhibits mature work of Gaudi’s (Lapunzina, 2005). (Figure 14.) Emerging with its fluid façade of stone that flows around the corner of previous arteries of Example it was integrated within Cerda’s grid; contemporary skeleton construction was used to avoid any load-bearing walls. (Figures13. and 16.) The following consisted of organically placed pillars that follow no static plan, stabled with girders that framed columns together (Tolosa, 2001). However, this relatively light structure was superimposed with large blocks of stone creating the weaving thick skin that resembles of neatly preserved ‘seascape’ (Tolosa, 2001) or ‘a song in stone’ (Lapunzina, 2005). (Figure 18.) Behind which a generous number of apartments was designed around three quasi-oval and wide-growing atriums that were to bring natural daylight and ventilation to the structure. (Lapunzina, 2005) (Figure 15.) However, even though the general nature of circulation and services were to be equally distributed, the dwellings itself were all visually different to fulfil the needs and desires of the growing bourgeoisie that were to inhabit the building. (Figure 17.) The walls were painted with elements of nature through which Gaudi tried to emphasize on the forms
and organic shapes using the colours ; the ground floor consisted of a garage for vehicles, creating another rebel against dullness of the century adding difference and recognition for the dwellers and the architect. (Miracle, 2006) The rooftop terrace that was held by a vaulted attic ‘supported of parabolic arches made in brick’ was another distinction of the build; vertical circulation was created through enclosed volumes that were sculpturally inhabited with ‘ventilation chimneys’. (Lapunzina, 2005) Elements of surrealistic nature and thorough detailing on the chimneys created artificial landscape that was decorated with irregularly shaped pieces of ceramic tiles, bottle glass or mortar covering. (Robinson & Lord, 2006) Unique design of Casa Mila exposed the possibility of general apartment typology being a piece of art that does not follow the conventional rules. ‘In his mind, there were no higher or lesser arts, nor did he differentiate among architecture, sculpture, painting, or crafts.’ Casa Mila as well as his other designs created harmony of the whole, a heterotopia, where all elements and details come together as a piece of art.’ (Giralt-Miracle, 2006) p. 191 Barcelona similar to Gaudi’s designs is a collection of heterotopias. Developing people’s activities created the need of expansions, which created different typologies of districts through the religion and trades. (Figure 19.) Moreover, due to its rapid growth, it was forced to re-define its typologies within areas as the city increased in scale, rather than reappropriating the existing parts. Whole new areas
Figure 19. Three dimentional drawing 1:1250 analysing different typologies of every district, showing the density of the city.
were built with a specific function and characteristics like the one of Born. Furthermore, every district had its own character, its genius loci that is highly present up to date. Strong nationalistic and economic influence on various developments created a pattern of expansion rather than change allowing further growth of the city, preserving the precious cultural and historical periods. Furthermore strong sense of trade in the nature of Catalans meant functional displacement and segregation of classes; districts varied from rich and prosperous, however passive, to hectic, but poor. Theoretical work of Cerda’s and the architects of Modernisme created an incubator for the Catalan art, which was later rediscovered and reappropriated. There were many notable examples of concrete catalysts such as the earlier mentioned Arc de Triomph and Casa Mila that deeply influenced the development of Modernisme and Catalan typological improvement taken over by future engineers and architects. The sophisticated Barcelona’s grid allowed a vast expansion, which preserved the old and created the new horizons of the future. Hence, one is not able to describe Barcelona as a whole single sided development, rather than a vibrant hectic city that is full of hidden gems. All the activities of the past and the future are alive in one massive area, reminding the Catalans and the visitors of the great history leading to today’s city as we know it. Bibliography Badia, E. S. (2013). The Architecture of the Born Market. In Q. Torra, F. X. Cardona, M. Guardia, J. L. Oyon, A. G. Espuche, T. F. Espinosa, et al., El Born. Barcelona: Ajuntament de Barcelona. Balcelis, A. (1996). Catalan Nationalism Past and Present.
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Figure 20. Explorative Sketch of el Born, showing their progressive ironwork.
Figure 21. Detail photograph of el Born, showing its original ironwork, supporting a refurbished roof assembly.