Nature inside: The organic as a structure, form and function in the interior of Gaudi’s Casa Batlló Course Work : Essay Iliana Mitova Student no.
CONTEXTUAL STUDIES - JC1FH7C Module leader: John Cross Submission date: January 14, 2012
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Table of contents Introduction…………………………………………………………………………3 Section 1: Antoni Gaudi – Architect and designer....………………..……..4 Section 2: Casa Batllo -‐ The organic as structure, form and function..…5 Conclusion…………………………………………………………………………..6 Bibliography & References..………………………………………….…….……9 Image sources: Cover page, Casa Batlló, Photo by Adrian Beesley/iStockPhoto.com Page 4, Fig. 1 Casa Mila Landmark photography by R Duran 45 Classic Places Around The Globe, desdevweb.com Page 6, Fig. 2 Stairwell, Gaudi designer http://www.gaudidesigner.com/uk/casa-‐batllo-‐ blue-‐ceramic-‐-‐in-‐the-‐staircase_480.html Page 6, Fig. 3 Light Well – Page 7, Fig. 4 Blue tile and a sea creature http://www.casabatllo.es/en/unmask-casa-batllo/ Page 8, Page 8, Page 8,
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Introduction During the early modern period in Europe, the search of new and experimental form, more organic and natural, lead to the formation of a movement mostly known as Art Nouveau (from French - New Art). Using the biomorphoic fantasy world as an inspiration, this style quickly spread around Europe and the United States. Across Europe this trend has received similarly revealed names - In Austria and Hungary, it was known as Secession; in Germany it was Jugendstil and Modernismo in Spain. 1 It first started within the fine art but later developed in architecture, interior design, and furniture making. In Architecture characteristic for the movement was the use of natural forms: flowers, plants and zoo morphological decorative forms transformed in ironwork, ceramics and stained glass. The aim was to create a modern art, based on old traditions, mixed with the use of new materials, like glass and wrought iron. Some of the most famous architects using this style are: the Belgian - Victor Horta (who first took up the style), Hector Guimar (designed the subway entrance pavilions), Charles Rennie Mackintosh and Antoni Gaudi. 2 Gaudi following his own rules and ideas creates far more free-floating designs and is among the most famous and respected Catalan architect of his time. One of the most significant projects of his is the Casa Batlló. A house built in Modernismo style, owned by the textile manufacturer Jose Batlló i Casanovas. This essay has the aim to explore the interior of Gaudi’s Casa Batlló and the peculiarities of the creation of an organic form as a structure and function. To do this I will briefly look at Gaudi’s biography and will examine different parts of Casa Batlló’s interior – The light well, the main stairwell, reception room ceiling and furniture. The reason why I chose this interior is because Trachtenberg, Marvin and Isabelle Hyman. Architecture, from Prehistory to Post-Modernism. New York: Harry N. Abrams, 1986., p. 509 2 Trachtenberg, Marvin and Isabelle Hyman. Architecture, from Prehistory to Post-Modernism. New York: Harry N. Abrams, 1986., p. 509 1
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ever since I visited the house I was impressed with the use of natural forms, as inspiration, which could also be seen in my own work. Section 1: Antoni Gaudi – The Architect and designer Antoni Gaudi (1852-1926) was an architect possessed by the desire to make new discoveries and with the inventive genius to make them.3 He was born in the family of a metal work craftsman and thus his future progress was marked with the use of the conventions of the craft and sculptural structure of objects. Another significant mark on his childhood is his life in the village. Gaudi was surrounded by nature and was fascinated by its perfection and uniqueness. That is how he developed his interest in naturalism and turned it into architectural impressionism. Gaudi has transformed the city of Barcelona significantly and his works are remarkable memory for the history of architecture. Some of the most famous Gaudi buildings are: Casa Mila (1905-1910) which rises like sea of stones, Casa Calvet, Park Guell, Casa Batllo or as it is known among the neighborhood “The House of Bones” and finally his biggest Sagrada
and
most
Familia.
ambitious Looking
project
back
the
progress of his works, Gaudi starts from a more
neo-gothic
style
buildings
and
develops some surrealistic structures. The main materials he uses are stone, Fig. 1 -‐ Facade of Casa Mila 1905-‐1910
wood, ceramic and wrought iron. Bernard Champignelle says in his book “Gaudi was part of the age of concrete, but he remained faithful to stone and especially to brick4”. Using such natural material helped the architect to Champignelle, Bernard, Art Nouveau, Barron’s Educational Series, NY 1972 p.264, It is true that Gaudi was not only Architect but creator and inventor. 4 Champignelle, Bernard, Art Nouveau, Barron’s Educational Series, NY 1972 p.265 3
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express his imagination easily like a sculptor on his work. Michel Ragon wrote “He studied shells, drawing ideas and inspiration from their combination of solidity and lightness, which he applied to his roofs and vaults.5”. Section 2: Casa Batlló – The organic as a symbol The surrealistic building situated on Passeig de Gracia, Barcelona, was originally built in 1875-1877, and in 1900 it becomes a property of J. Batlló, a wealthy textile industrial. Casa Batlló has been generally transformed and turned into one of the masterpieces of Antoni Gaudi. Many believe the external structure of Casa Batlló tells the story about the Battle of St. George against the dragon; the roof symbolizes its back and the chimneys symbolize the spears trespassing the Dragon6. It is hard to look from the author’s perspective though, and try to imagine what he wanted to express with his creation. Though there are hundreds of papers written on the theme, I think no one but the creator can tell us the real story behind the fabulous structure of “ The House of Bones”. A peculiar characteristic for the building is that it has no straight lines. Thus, its organic shape reminds the viewer of an organism – the house and the way it was organised, - symbolise the inners of the Dragon, given by the leather used on doors and walls, along with “trencadis”, tiles broken in tiny pieces7, which can be found also in La Pedrera (Casa Mila) and in Parque Guell. The ‘rhythm’ of the facade is really interesting. If looking from the bottom to the top, one can see it change to a more geometrical form. Interior In the interior, Gaudi’s major effort went into renovating the main floor.8 Michel Ragon cited in Champignelle, Bernard, Art Nouveau, Barron’s Educational Series, NY 1972 p. 6 Hesbergen, Gijs van, Gaudi , HarperCollins, 2001, p.157, according to Hesbergen “The thrustling tower on the roof, crowned with a cross, represents St George’s lance while the fish-scale roof tiles and curved roofline below suggest a dead dragon”. 7 Interior Imagination, Antoni Gaudi: Casa Battlo, http://interiorimagination.wordpress.com/2011/06/ 8 Sterner, Gabriele, Antoni Gaudi: architecture in Barcelona, Barron's, 1985, p.110 5
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The inside in a way reflects the outside. With the same organic technique Gaudi successfully brings the viewer into a fairy tale world, very typical for the Modernismo style. Great sense of light and air can be felt around the interior. Large exaggerated windows where made looking towards Passeig de Gracia. In the stairway area asymmetrical circle glass windows let the daylight inside. Light Well With the first steps into the house, a main staircase leading to the top reveals a marine-like decoration. Decorated with blue ceramic tiles, it is used as a light well. 9
Fig. 2 Light Well – Five different tones of blue ceramic tiles, are used to simulate the nuance of the sea.
Fig. 3 Ceramic tiled stairwell
Covering the higher levels in cobalt blue gradually descending to lavender and pearl grays. The structure is made, so the natural light can be balanced. It’s here that Schmutzler describes the vivid interior of the ground floor in detail: “… the walls are decorated with dado faced with smooth surfaced triangular tiles arranged in sets of four to form square dimonds. These alternate with tiles having raosed borders and centered with rosettes in relief. The colours of the tiles are subtle and unusual : the smooth tiles 9
Sterner, Gabriele, Antoni Gaudi: architecture in Barcelona, Barron's, 1985, p.110
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are cream-colored, and those in releif are pale gray with touch of lavender. “10
Fig. 4 Ceramic tile - design inspired by sea creature
Private wooden stairway From a private lobby a curved stairway reveals its beauty in a spine-like design made entirely of oak, bringing the feeling of being inside of a living creature. The walls around are smooth and organic, on first sight they look with cream-colored mosaic, but as Zerbst notices “… it is painted in reality”11. The fact that no straight line and edges can be seen around is a perfect example of the Art Nouveau movement. Just as the windows look like outgrowths of plants, not one of them is identical with another, so too the ground plan is determined by irregular forms. It resembles above all the “construction plan” of organic cells.12 Main Floor The fabulous state of art interior in the main floor reveals another unique ambience. In the main reception room the underwater theme explores, a serious study of a whirlpool, seen on the ceiling, made of plaster putts the accent on the lamp. The ceiling melts within the wall and the wooden gate, as it is one. Gabriele Sterns comments,” a three dimensional pattern and
Schmutzler, Robert Art Nouveau, Thames & Hudson, 1964, p.226 Zerbst, Rainer, Antoni Gaudi, Taschen, 1991, 12 Zerbst, Rainer, Antoni Gaudi, Taschen, 1991, p.172 10 11
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harmonizes with the similarly constructed ceiling, which is decorated with a spiral pattern of grooves and bands.”13 The doorframes in the house are made of stained glass and oak, each is unique and with an exceptional design; “ the craftsmen of Casas & Bardes carved them using gouges”14.
Fig. 5 Whirlpool swirl of walls to ceiling, reception room
Fig. 6 Plaster swirl ceiling with lamp
Furniture Gaudi exclusively created the original furniture for Casa Battlo. Unique wooden chairs and tables were decorating the main rooms of the house. The wooden furniture is noteworthy not only because of its beauty but also for its comfort, since the pieces are perfectly ergonomic.15With its floral forms they remind of the Art Nouveau style, but in a more simple, clear of too much detail way. Adriana Sassone describes in her book the memorable furniture created by Gaudi: “They can be justifiably described as sculptures born out of a continuous conception and space and volumes. The objects emerge from space the same way as Gaudi’s furniture “frees” itself from the Sterner, Gabriele, Antoni Gaudí: architecture in Barcelona, Barron's, 1985 , p.110 Crippa, Maria Antoinetta (ed.), Living Gaudi (Rizzoli, 2002). 15 Crippa, Maria Antoinetta (ed.), Living Gaudi (Rizzoli, 2002). 13 14
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wood. The seats bear witness to an intense process of modeling that is both symbolic and structural at the same time.”16 The use of oak as a material gives, Gaudi’s designs, the freedom for more alive and free structure. The bulge of the material into these fine forms follows the ergonomic of the person’s body. The bends and distensions in the wood are also genuinely functional, like the seats resting tray-like on their support structure. 17 The back of the armchair is made in a concave shape so it can “envelope” the back. Thus the body stays in straight position and sitting is more comfortable.
Fig. 7 Josef Batllo’s office chair. Created by Gaudi
Conclusion Casa Batlló is a truly unique masterpiece and a great example of the Art Nouveau movement. Gaudi uses the inspiration from nature converting it into a structure. The walling, doors and decorating motifs are all made in the flowing rhythm of an underwater theme. Thus, the morphological style of the house is typical for its epoch. The imagination and inspiration of Gaudi lurks in every “corner” of his creation. I agree with Gijs van Hesbergen, who said: „It was the Casa Batlló that Gaudi first became truly himself“.18 From a boring rectangular construction 19 , the architect achieves a great new ambience which brings the building to life. All materials like wood, stained glass or even wrough iron, transform the interior into even more natural and organic style, typical for the Art Nouveau movement. Eventhough the quick fading of Art Nouveau it gave the start of Modernism, searching and experimenting with even more peculiar structural forms. 16
Sassone, Adriana B., et al., Furniture: from Rococo to Art deco (Taschen GmbH, 2000)
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Sassone, Adriana B., et al., Furniture: from Rococo to Art deco (Taschen GmbH, 2000)
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Hesbergen, Gijs van, Gaudí , HarperCollins, 2001, p.157 Zerbst, Rainer, Antoni Gaudi, Taschen, 1991, p.172
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The innovative quirky desing of Gaudi has just opend another perespective infront of the world of arcitecture. Even today, architects and designers from everywhere are getting their inspiration from the works like Casa Batlló. The architect has left an inevitable mark with his creation in the history of Art Nouveau and the Catalunian Modernismo.
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BIBLIOGRAPHY & REFERENCES Primary sources Visit of Casa Battló, Barcelona, 2009 Secondary sources Barnat, J. (ed.), Gaudi and the Route of Modernism in Barcelona (Ediciones Nauta, S.A., 1998), p.47-48. Champignelle, Bernard, Art Nouveau, Barron’s Educational Series, NY 1972, p. 263-267 Crippa, Maria Antoinetta (ed.), Living Gaudi (Rizzoli, 2002). Dalisi, Riccardo, Gaudi Furniture, Academy Editions Ltd (a division of John Wiley & Sons Ltd., 1980). Everson, M.D., ‘The psychology of design’, in Readings in Design (ed.), John Cohen (London: Routledge, 2002), p. 17-37. Guell, Xavier, Gaudi Guide, 1991 Hesbergen, Gijs van, Gaudi , HarperCollins, 2001, p.154-158 Madsen, Stefan Tschudi, Sources of Art Nouveau, Munich, 1975 Sassone, Adriana B., et al., Furniture: from Rococo to Art deco (Taschen GmbH, 2000) Schmutzler, Robert, Art Nouveau, Thames & Hudson, 1964 Sterner, Gabriele, Antoni Gaudi: Architecture in Barcelona, Barron's, 1985, p.94-111. Trachtenberg, Marvin and Isabelle Hyman, Architecture, from Prehistory to Post-Modernism. New York: Harry N. Abrams, 1986., p510-512 Zerbst, Rainer, Antoni Gaudi, Taschen, 1991
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Web sources Uhart, Pedro, ‘Hypertext History of Gaudi’s Architecture, Casa Batlló’ http://www.gaudidesigner.com/uk/casa-battló.html (Accessed 5/11/11). Grossman, Rachel, ‘Inside Casa Batlló’, Architecture Week No. 123, 2002 http://www.architectureweek.com/2002/1113/culture_1-1.html (Accessed 10/11/11). Gaudi and Art Nouveau in Cataluña - http://www.gaudiallgaudi.com/ , (Accessed 15/12/11). Sveiven , Megan . "AD Classics: Casa Batlló / Antoni Gaudí" 22 Nov 2010. Arch Daily. http://www.archdaily.com/90689 , Accessed 18 Dec 2011. Official Casa Battlo Site, http://www.casabatllo.es/en Interior Imagination, Antoni Gaudi: Casa Battlo, http://interiorimagination.wordpress.com/2011/06/ (Accessed 8/1/12)
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