Assignment 8 Vol 7 by mela corral

Assignment 8

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Secondary research

GAUDĂ?: spanish art nouveau

modernisme 1

index •

3 Modernisme in Catalunya

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6 Antoni Gaudí

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7 Casa Batlló

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25 Gaudi´s work influence

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29 References

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The term Modernisme is used in Catalonia to refer to the great artistic movement that developed at the end of the 19th century and the beginning of the 20th century. Modernisme coincided with the brilliant European Belle Époque that preceded the First World War, a time of optimism in science and technology, relative economic prosperity, creativity in art and culture -symbolism in literature, Wagnerian tendencies in music, the influence of Nietzsche on philosophy-, and social consciousness. It evolved in a period marked by socio-economic development, the consolidation of industrial capitalism and political stability, which provided the Catalan bourgeoisie with ideal conditions for investment and growth. Factories were built (especially textile factories or "vapours"), railways were opened and agricultural cooperatives were created, especially in the vineyards. Cities experienced spectacular growth, the main example being most of Barcelona's Eixample ("extension") district. Modernisme also sought to create an updated culture in harmony with Europe, as reflected in the numerous references to northern architecture and technological innovations involving the use of new materials, such as iron plate, industrial glass and concrete, as well as the improvement of traditional brick construction techniques. In architecture and design, the place of honour is occupied by Antoni Gaudí, a very original genius who transcends the frontiers of modernism. Domènech i Montaner, the prototype of the modernist architect, contributed to spreading the most characteristic decorative style of the movement, based on a rigorous structural approach. Together with his collaborators Vilaseca and Gallissà, he belongs to a more rational movement that also includes Falqués. Puig i Cadafalch is the third great name of Modernisme, together with Gaudí and Domènech. He developed a cult archaeological style, of high quality and originality, inspired by local and foreign traditions. Modernisme was also very fertile in the plastic arts. (Casa Batlló, 2019) Maria del Carmen Corral Lodeiro 72546664

Barcelona is the capital of Modernist architecture with over half the 2,000 listed buildings. ways. Fine works are to be found in regional capitals and industrial towns around Barcelona –where a generation of municipal architects, followers of the great masters, were responsible for spreading the style–, in summer holiday resorts and spa towns, in the agricultural regions to the south –with their magnificent wine cellars– and in workers’ housing estates along the major rivers. Also a rich heritage of apartment blocks and houses, beautifully decorated shops, sculptural monuments, small fountains and street lamps have been preserved.

illustration 2019 mela corral

mela corral (2019)park Güell benches [

mela corral, 2019 floor tile design, “flor de panot” antoni Gaudi,passeig de gracia, BCN

The Modernist Route of Barcelona is one of the most interesting visits that can be made in the Catalan capital. The Modernism Route is made up of a large group of buildings scattered throughout Barcelona, the work of the best modernist architects. Some of them are part of the World Heritage, as an example of the importance that this style acquired in Barcelona.

mela corral (2019), casa sayrach staircase and detail b/w

Without detracting from the modernist heritage of cities such as Paris or Vienna, perhaps the Route of Modernism in Barcelona is one of the most interesting in the world, with examples as notable as La Sagrada Familia, the Hospital de Sant Pau or Park Güell, all recognized among the most beautiful modernist works ever made. 4

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Although Modernisme was part of a general trend that arose in Europe in the early 20th century, Catalonia's movement acquired its own unique personality. Modernisme's name comes from its particular connection, mainly with Catalonia and Barcelona, which progressively intensified their local peculiarities for socio-ideological purposes after the renaissance of Catalan culture and within the framework of a spectacular city and industrial expansion. This is equivalent to other end of century artistic movements that are called Art Nouveau in France and Belgium, Jugendstil in Germany, Vienna Secession in Austria-Hungary, Liberty style in Italy and Modern or Glasgow Style in Scotland. Modernisme was present from approximately 1888 (First World Fair of Barcelona) until 1911 (the death of Joan Maragall, the most important modernista poet). The Modernist movement focused on the city of Barcelona, though it went far beyond, and is better known for its architectonic expression,

Modernisme was intimately related to the English Arts and Crafts movement and the Gothic renaissance. Besides combining a rich variety of historical elements, it is also characterised by the predominance of curves over straight lines, rich furnishings and details, the frequent use of vegetal and other organic motifs, a taste for asymmetry, refined aesthetics and dynamic forms. (Modernismo Catalán, Wikipedia contributors, 2019) Maria del Carmen Corral Lodeiro 72546664

Trencadís (Catalan pronunciation:[tɾəŋkəˈðis]), also known as pique assiette, mosaics of broken tiles, bits and pieces, pieces of memory and shardware, is a type of mosaic made up of fragments of tiles joined with cement and broken porcelain. Enamelled porcelain tends to be the preferred, and is sometimes also mixed with glass, as are other small materials such as buttons and shells. Artists working in this way can create random designs, pictorial scenes, geometric patterns or a hybrid of any of them. Although as popular art the method itself may be centuries old, the two most commonly used terms are of modern origin. Trencadís, a Catalan term meaning 'picado', is the name of this method, as it was revived at the beginning of the 20th century in Catalan modernism, while pique assiette is a more general name for the technique that comes from the French language. In French, pique assiette ("plaque thief") is a term for a journal or parasite, and therefore, as a name for this mosaic technique, refers to the recycled or "carved" nature of the materials.

trencadís, 2019 mela corral

Gaudí's work is known all over the world. His design of the buildings was a milestone in Barcelona's urban image. His unfinished work, La Sagrada Família, is a landmark of the modern art movement on an international level. He worked in this project for nearly the half of his entire career and shows us neo-Gothic elements with an abundant vegetal decor that immerses us in a colonnaded forest, all these features have made this work an icon of Catalan modernism. Despite the fact that it is currently still framed in Modernism, many art academics regard Gaudí's work as unparalleled and challenging to frame in any style at all. This refusal to accept stylistic labels was shared by Frank Lloyd Wright. Gaudí was just “Gaudinian".

antoni gaudí sagrada familia, collage. 2019 Mela Corral

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casa batllรณ

icardinal points illustrations: 2019 mela corral

casa batllรณ 7

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1904-1906

Since 1860, when an ambitious urban plan (known as the Cerdà Plan) was approved in Barcelona, (Plan, Cerdá, Wikipedia Contributors, 2019) Paseo de Gracia has become the backbone of the city and its most important families began to settle there. Thus, in the 19th century, the street became a promenade for pedestrians and horse-drawn carriages, and from the 20th century onwards it became a main avenue for carriages. Originally, the building was built in 1877 by Emilio Sala Cortés (one of Gaudí's professors of architecture), when there was still no electricity in Barcelona. In 1903 it was acquired by Mr. Josep Batlló y Casanovas, a textile industrialist who owned several factories in Barcelona and an outstanding businessman.

Fig. 2

Pinterest/La Barcelona de Antes, (1870), Passeig de Gracia [Photograph].

Fig. 3

Wikiarquitectura, (1904), Fachada casa Batlló [Photograph].

Fig. 4

Fig. 5

Antoni Gaudí, (1904), Casa Batlló, plan [Photograph].

Casa Batlló, (2014), Casa Batlló, section [Photograph].

Mr. Josep Batlló granted Antoni Gaudí full creative freedom and entrusted him with a project that initially consisted of demolishing the building. However, thanks to Gaudí's bravery, the demolition of the house was ruled out, which was completely reformed between 1904 and 1906. The architect completely changed the façade, redistributing the interior partition, enlarging the courtyard of lights and turning the interior into a true work of art. In addition to its artistic value, the building is also extremely functional, much more characteristic of modern times than of the past. Some even see elements that herald the architectural trends of the late 20th century. (Casa Batlló, 2019) 8

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wood

culture ceramics

design ceramics myth myth

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biology geometry nature

biology

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CYMK dragon rooftop Maria del Carmen Corral Lodeiro 72546664

light glass

metal

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metal nature

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geometry geometry

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biology nature

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BATLLĂ&#x201C;

ceramics bones

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the legend: SAINT GEORGE AND THE DRAGON The Casa Batllรณ is the result of the renovation of a building acquired by the Batllรณ family in one of the main streets of Barcelona, Paseo de Gracia. The family wanted a house that would reflect their social position and reflect the urban and cosmopolitan spirit that took over the streets of a Barcelona that, in short, left behind the old urban scheme that dated from the late Middle Ages and took its first steps in the twentieth century. The proximity of the border with France, trade and a flourishing economy favoured the entry of the artistic influences that triumphed in Europe. While in the rest of Spain the nobility continued to embrace tradition and historicism, in Barcelona fresh air was breathed. (Casa Batllรณ, 2019)

casa batllรณ from passeig de grรกcia at night

illustrations: 2019 mela corral 10

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roof detail , casa batlló

courtyard façade , casa batlló

balcony etail , casa batlló

The work consists of five floors, two façades, an access staircase to the main floor and a general staircase of the entire building, an attic, a garage, an interior courtyard and the chimney, which is the living image of the fusion between design and functionality. The refurbishment was carried out mainly in the apartment destined to the Batlló family and in the two facades of the building. façade casa batlló photos 2019 mela corral Maria del Carmen Corral Lodeiro 72546664

GaudĂ enlarged the inner courtyard (there was one and it included another one) so that the natural light arrived to all the rooms of the house. He also decorated it with tiles of different shades of blue (with more intense colours in the upper part and lighter tiles in the lower part) to help the light to be evenly seen. With the same reason, the upper windows are smaller and larger as we descend (allowing more light to enter). The lower windows have wooden slots that can be opened or closed to control ventilation. GaudĂ installed the elevator in the centre of the inner courtyard.

lobby

, vaulted walls with curved shapes and a spectacular wooden staircase

inner court

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inner court photo and illustrations: 2019 mela corral

door

inner courtyard

tiles detail

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living room bay windows

Each room had a color, and each color its own gradient. This was discovered by taking samples in 2012, and last summer (2018) began its r e c o v e r y. T h e m o s t spectacular: Mr. Batlló's office. Stucco cracks were coated with 22 carat gold leaf and a purity grade between 98 and 99%. (Casa Batlló 2019)

entrance hall and stairs

trencadís

living room bay windows photos and illustrations: 2019 mela corral 14

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It should be noted that a few months ago, during the restoration work, the original lamp appeared in the living room, inside a suitcase and boxes. Today it can be seen again in its place (I´m lucky). The person in charge of the conservation of the house says that there is no documentary evidence to attribute this piece to Gaudí, but he is sure that he used it to fit and reinforce the twisting effect of the ceiling.

stucco “trencadis” and original lamp photo and illustrations: 2019 mela corral

Unfortunately there is not much documentation about this house. During the Spanish Civil War the house took in refugees who had lost their homes, after the war the family lived there until 1954. Today, after having been owned by several companies, it belongs to the Bernat family, which has completely restored it, leaving the marvellous stucco of the noble floor, which imitates the skin of the dragon and is made following the technique of trencadís. (Trencadis, Wikipedia contributors, 2019) Each room had a colour, and each colour had its own gradient. This was discovered by taking samples in 2012, and last summer (2018) began its recovery. (Casa Batlló 2019) 15

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The living room was "the pearl in the crown" in the high society houses of the time. We even see that in the wall opposite the window there is a small chapel hidden behind wooden doors (photo below), an added symbol of opulence that distinguished the houses of high society, whose members, despite embracing modernity in form, in the background were still very traditional. (Casa Batlló, 2019)

Fig. 9

Antonio Gaudí/Josep Llimona/Fundacion Amatller, (1910), Chapel [Photograph].

Also known are the disagreements between Mrs. Batlló and Gaudí, motivated mainly by their irreconcilable positions regarding the interior style. Gaudí did not leave anything to chance, and that is why he was interested in knowing how many women and men there were in the family, to design the furniture based on ergonomic principles and biological differences between genders. Mrs. Batlló ruled out this possibility. It should also be noted that, after Gaudí's death, all the furniture in the house was replaced by new pieces (see photo below) according to Mrs. Batlló's preferences.(It´s a personal statement based on pictures below and dates. Gaudí died in 1926) Currently, most of the rooms that can be visited are empty, but there are old photographs that show some of the furniture designed by Gaudí, as well as other pieces. (Europa Press, 2013)

Fig. 8

Institut Amatller, (1929), Dining room of Casa Batlló, Mrs Batlló choice. [Photograph].

Fig. 6

Fig. 7

Institut Amatller, (2019), Original furnishings, 1910, Casa Batlló [Photograph].

Institut Amatller, (1927), Dining room of Casa Batlló, furniture designed by Gaudí. [Photograph]. 16

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Dining room

ceiling rose, detail

photo: 2019 mela corral

Dining room 1927 Fig. 10 Antoni GaudĂ/Wikimedia Commons, (1927), Casa BatllĂł, dining room [Photograph].

photo: 2019 mela corral 17

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Stained glass window

Stained glass window detail

color

del cristal *”And it is that in the traitorous world there is no lie or truth; everything is according to the color of the glass yo look through.” photos and illustrations: 2019 mela corral Maria del Carmen Corral Lodeiro 72546664

con que se mira.”* 18

Ramón de Campoamor, “Las linternas” 1846

skylight window

“Y es que en el mundo traidor nada hay verdad ni mentira: todo es según el

Fig. 12

Casa Batllรณ, (2018), Salon modernista, escritorio [Photograph].

the the modernist modernist room, room, sala sala jujol jujol Fig. 11

Casa Batllรณ, (2018), Salon modernista, [Photograph].

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modernist room, sala jujol

Bedroom, temporary display 2015 Iñigo Navarro ,Casa Batlló

lamp Fig. 13

Casa Batlló, (2015), Bedroom BMWC ́15 Contest [Photograph].

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2015 casa batlló

On the occasion of the celebration of MWC´15 in Barcelona Airbnb, in collaboration with Casa Batlló, launched a contest to develop technological solutions applicable to the House. The prize was a two-night stay at Casa Batlló, which had been set up for the event by art director Iñigo Navarro, using modernist furniture and art deco pieces. Today you can still see that styling in the Sala Jujol (gold ticket only)

fireplace

Bench, sala jujol

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The curve of the catenary is the shape that a rope or chain takes when it hangs from two points and only supports its own weight. In fact, if we study the stability of a rope that hangs by its own weight, this physical property allows us to deduce the mathematical equation of the catenary.

“The catenary gives elegance and spirituality to the arch, elegance and spirituality for the entire construction. The selfstable function of the catenary avoids buttresses, the building weighs less, gets an ethereal grace and endures without rare, orthopedic accessories ” D. Giralt-Miracle (editor), Gaudí 2002. Miscelanea, Planeta, 2002.

(Cultura científica, 2016)

The loft is one of the most unique spaces, and is a delicious combination of aesthetics and functionality. Formerly it was a service area for the tenants of the building and housed laundries, warehouses, etc.. It is characterised by the simplicity of its forms, its Mediterranean influence through the use of white colour and its omnipresent light. It has a series of 60 catenary arches, creating a space that evokes the rib cage of an animal. (Casa Batlló, 2019) 2019 mela corral Maria del Carmen Corral Lodeiro 72546664

There is no doubt that GaudĂ is a master of architecture with a global vision of the work, which takes care of all the details and integrates, from the first moments of the conception of the project, aspects as different as the structure, distribution or ornamentation. If we focus on the aspect of the calculation of structures, the most relevant characteristic and the one that differentiates it from the rest of the architects of its time, is that, from the beginning, there is a concern for the design of a stable structure and not for a mere post stability verification. This concern for the stability of the structures, backed up by good technical training, is what leads him to seek original solutions from his first works, making use of the stability and structural solidity of catenary and parabolic arches, (See photo on the left) which until now were unusual in western architecture.

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When we go out to the roof we see the back of the dragon, which characterizes the faĂ§ade and which has been represented by GaudĂ with ceramic tiles of different colours. However, the most remarkable element are the 4 twisted and polychrome chimneys, designed to achieve an efficient smoke outlet and prevent air currents from descending through them. (Casa BatllĂł, 2019)

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“The furniture is what makes Gaudí known. In 1878, having just finished his studies, he made his own work desk, two models of gas lamps for the city of Barcelona and a shop window for a fashion store. This showcase, awarded at the Universal Exhibition in Paris, attracts the attention of his future patron Eusebi Güell. Some time later he makes benches and armchairs for the Sobrellano Chapel in Comillas (Cantabria). All these works continue to have a strong neo-Gothic and historicist influence that can also be seen in his first architectural projects.

For Casa Calvet (1898-1902) makes chairs, benches, stools and a mirror. Calvet furniture begins to introduce Gaudí's own design style. The decorative aspect is still important, but it is an organic decoration, inspired by the forms of nature. It seeks lightness and adaptation to the body, Gaudí already takes into account ergonomics. But where his personal style is clearest, "gaudinian", is in Casa Batlló (1904-1906). His chair and his Batlló bench take his anatomical adaptation concepts to the maximum. “The bench's design saves one of the front and two rear legs. It is a piece of furniture with organic shapes, sober and combining wood and metal.” (Confidente de la Casa Batlló, Wikipedia contributors, 2019) The same principles were followed in the design of the furniture of Casa Milà-La Pedrera (1906-1910), in the benches of the Sacred Heart Parish of Colonia Güell (1914) and in the furniture of the Sagrada Familia”. (Tiovivo creativo, 2016)

Fig. 14

BD Barcelona Design, (2019), Designed by Antonio Gaudí [Photograph]. 24

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Stars not only produce light, they also reflect it

GAUDIÂ´S WORK INFLUENCE

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Lagranja Design, (2014), Christmas lightning, BCN [lightning].

Osaka artist Akio Hamatani has a whole series of textile works based on the catenary. (Cultura científica 2016)

The led lights designed by Lagranja as Christmas lighting in Passeig de Grácia are a free interpretation of the models that Gaudi made with ropes, sandbags and chains.

Fig. 17

fig. 16 Akio Hamatani, (2010), W-Orbit [installation].

Fig. 18 Maria del Carmen Corral Lodeiro 72546664

Ryuji Nakamura, (2008), Catenarhythm [installation].

Pinterest/Antonio Gaudí, (2008), Catenary model for Sagrada Familia [Photograph].

Fig. 22

Fig. 19

Jesus Granada, (2016), Cliff house[Photograph].

Fig. 21

Jesus Granada, (2016), Cliff house, terrace [Photograph].

Jesus Granada, (2016),cliff house interior [Photograph].

interior Fig. 20

Jesus Granada, (2016), Cliff house, rooftop [Photograph].

The Gil BartolomĂŠ Architectural Design Workshop, based in Madrid, is the author of this Gaudinian house of sinuous forms, located opposite the Mediterranean Sea, in SalobreĂąa (Granada). The order comes from a young couple, who chose a difficult terrain located on a hill with a slope of 42 degrees, but endowed with breathtaking views. The task of the architects has been to integrate the house into the magnificent landscape that surrounds it and direct the living spaces to the sea. 27

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Gaudí left important contributions to the foundations of modern architecture. The use of the catenary arch, which we can see in the work of Saarinen and Calatrava, the curve and the organic form, so present in the works of Norman Foster, Frank Gehry and Zaha Hadid. He was one of the first designers who gave importance to ergonomics in design. Its buildings are the first to plan the garage for horse carriages (in a few years the motor vehicles would come) and the space needed for the elevator. As is often the case with geniuses, his work was misunderstood by many and belittled. Salvador Dalí claimed years later the value of Gaudí's work, whose plastic language greatly influenced his work. (EFE, 2004) His legacy is more alive than ever, with his masterpiece still under construction that has just received, after 137 years, the building license. (Grego Casanova in “El Pais”, 2019) His teachers at the architecture school were totally disoriented with the work of that student "We don't know if we have granted a degree to a genius or a madman." (Casa Batlló 2019) Without fear of being wrong, its clear there is no genius exempt from a certain degree of madness. Fig. 23

Fig. 26

Pinterest, (2019), Gateway Arch in St. Louis designed by Eero Saarinen [Photograph].

Fig. 24

Frank Gehry, (1996), Dancing House, Prague [Photograph].

Foster and Partners, (1995), Bilbao Metro [Photograph].

Fig. 25 Maria del Carmen Corral Lodeiro 72546664

Zaha Hadid, (2018), Morpheus Hotel, façade [Photograph]. 28

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