Wish You Were Here

Parents

Francesc Gaudí Serra (1813-1906), a coppersmith from Riudoms, married Antonia Cornet Bertran (?-1876), daughter of coppersmiths from Reus, on May 9, 1843, in the parish church of St. Peter the Apostle, in Reus, before the Vicar Joan Ixart.

Birth

Antoni Plàcid Guillem Gaudí Cornet was born on Wednesday, June 25, 1852 [ - 124 ], at nine-thirty AM in Baix Camp, in the province of Tarragona. Some historians say that he was born in "Mas de la Calderera," his family's country home almost exactly halfway between Reus and Riudoms. Others say he was born in Reus. The truth is that nobody has definitive evidence.

He was baptized on June 26, in the baptismal font of the parish church of St. Peter the Apostle in Reus, archbishopric of Tarragona, by Joan Casas (priest and Vicar of the church).

Siblings

Antoni, the couple's fifth child, was to live the longest. His siblings included sisters Rosa (May 5, 1844-1879), who married and had a daughter, Rosa Egea Gaudí, and Maria (June27, 1845-January 10 1850); and brothers Francesc (March 26, 1848-April 20, 1850) and Francesc (May 27, 1851-1876), who earned a Medical degree, but never practiced.

Childhood

From the time he was small, he had a rheumatic problem that prevented him from playing with other children his age, and required him to move about on a donkey or stay at home, because the pain kept him from walking. It also made him miss lots of class, which allowed him to spend many hours observing animals, plants and stones. This sickness was with him throughout his life, and doctors recommended a vegetarian diet and occasional strolls; this may be the reason that, when he was older and lived in Barcelona, he walked every evening to the church of Sant Felip Neri, where he stayed for awhile to pray.

School Years

His school years began in the preschool of teacher Francesc Berenguer, located on the roof of a house on Carrer dels Monterols, in Reus. An anecdote from this time tells how, after the teacher gave a lecture saying that birds had wings for flying, young Gaudí responded saying that the chickens they had at his house had wings but didn't fly; they used them to run faster. At his young age Antoni already showed an uncommonly keen vision.

At age eleven (1863-64 school year) he entered the Col.legi de les Escoles Píes (Pious School) in Reus, located in the ancient convent of Sant Francesc. From this moment on it seems that his intellectual growth was substantial, since he achieved very good grades in Geometry. His "religiousness" probably began there, because every Saturday evening, the Oficio del Parvo de la Virgen was recited. His academic transcript is still kept there. It makes it clear that he was not a genius in school, but with the years of study he made notable improvements, eventually earning some "excellent" grades.

On one occasion, during a visit from old students of the Sant Antoni School in Barcelona to the Sagrada Familia, Gaudí himself showed his satisfaction for having been a student of the Escola Pía. In addition, he added that in that school he realized the "value of the divine history of the salvation of man through Christ incarnate, given to the world by the Virgin Mary." He later tried to put these ideas into his greatest work, the Sagrada Familia.
At this time he made drawings to illustrate the handwritten weekly school newsletter and designed the scenes for the school theatre. He made significant physical changes that allowed him to take field trips, on which he greatly enjoyed observing new landscapes.

University

In 1868 Gaudí moved to Barcelona to study architecture. Before entering the University he took a preparatory course for access to the Provincial School of Architecture, where he had to pass three elective courses. He also had to pass two courses in the College of Science. Once he completed this course, he was able to enter the Escuela Técnica Superior de Arquitectura (Upper Technical School of Architecture), where the entire degree included an initial course, a preparatory course, and four more years of study.

At the Provincial School, he often missed class, but went to the library frequently. While studying Architecture he also attended Philosophy, History, Economics and Aesthetics classes, because he said that different architectural styles did not depend on aesthetic ideas but on the social and political atmosphere.

Antoni was not an outstanding student, but he was good enough to obtain a solid education of elementary architectural knowledge. His grades were anything but splendid, but there were two "excellent" grades: one in the Trial drawings and design of buildings or their parts (Projects) course. The project was intended to be the entry gate of a cemetery, but Gaudí began by drawing a hearse and some sad characters to create the adequate scene. When the examiner saw the drawing, he thought that he had before him either an insane man or a genius. These descriptors would accompany Gaudí throughout his life. When he submitted this drawing he failed for not having drawn the gate; but in September he received the highest score with a brilliant drawing. He earned the other "excellent" in another Projects course, with a project for the patio of the Barcelona Provincial Council. This earned him the opportunity to apply for an Extraordinary Award, but the Jury decided not to award it.

On February 11, 1878, the director of the Escuela Técnica Superior de Arquitectura sent the transcripts of four students, Gaudí among them, to the rector of the University, in order for them to be granted the title of Architect. When Gaudí heard, he told his colleague and friend, Llorenç Matamala, that he already considered himself an architect, with a certain air of superiority because he had considered himself an architect since long before.
He lived in two different places while studying, always accompanied by his father and niece, Rosa Egea; they were all his family, since he never married. His mother died shortly after Gaudí began studying for his degree in architecture, in 1876. When he requested the examination of the College of Sciences, he was living in Barcelona, at Plaça de Montcada, number 12, in a store (the House of Patrici Barnusell). The following year his address was at Carrer d'Espaseria, number 10. In 1872, he lived on Carrer Montjuïc de San Pedro, number 16, 4th floor. Later he moved to Carrer de la Cadena, number 22, 3rd floor.

Influences

Gaudí sought out stimulus for his creations in medieval books, in the gothic art that was then experiencing a renaissance, in illustrations of oriental structures and in the organic shapes of nature. The straight line, rigidity and order in forms was broken with the arrival of Arte Nouveau at the beginning of the Nineteenth Century.

Gaudí was not insensitive to this change, and developed a style of his own. The theoretical writings of Englishman John Ruskin, who in 1853 taught that ornament was the origin of architecture, greatly influenced him. He was also significantly influenced, at a younger age, by Viollet-le-Duc's book on medieval French architecture from the eleventh to the sixteenth centuries, and by books by other authors, such as William Morris.

Military Service

He fulfilled his military service requirement from 1874-77. His file reveals that he was a draftsman, but doesn't mention his place of birth. He enlisted at the age of 22 (July 7, 1874) and was assigned to the Army Infantry in Barcelona, where he continued in December, 1876, as assistant in Military Administration. He paid 37.25 pesetas for the uniform. He was declared Benemérito de la Patria ("Glorious Son of the Motherland") at the end of the carlist civil war, even though he was never in combat.

Personality and Appearance

Gaudí had a bad temper (there is a Catalan saying: "Gent de camp, gent de lamp," which means "People from the country are quick-tempered people"). He said that his bad temper was the one thing he was never able to control in his life. On the other hand, Gaudí took interest in the social problems of the workers, and felt attached to the people.

His blonde hair, deep blue eyes, fine features and rosy skin made him appear Nordic, but he always retorted to whomever told him so, showing his pride for being Mediterranean.

Youth

In order to pay for his education, his father had to sell a family property, and Gaudí himself had to work for some Barcelona builders. As a student, his first projects were drafting for Professor Francisco de Paula Villar, working on the apse and niche of the church of the Monastery of Montserrat; with builder Fontseré, on the Ciutadella; and precision-drafting the machines of the Padrós i Borrás company.

But as soon as he completed these projects, he tried to enjoy everything that he had gone without during his education. He had a reputation as a "dandy": he liked to dress well, in the latest fashion, and to be surrounded by high society. He bought his hats at the Casa Arnau, one of the best stores in the business. His business card was carefully designed, and Audorand, the barber, groomed his beard. Only his shoes were second-hand; he found new shoes uncomfortable, so he got his brother to wear them for awhile first.

At that time, there was a resurgence in Catalan nationalist sentiment, as the nationalists claimed their rights after years of suppression. Gaudí felt profoundly nationalistic and closely followed all the nationalist events of the time, as shown by his membership in the "Catalan Association of Scientific Excursions," which was dedicated to visiting Catalonia's historic monuments. On these excursions he increased his knowledge of the ancient architecture of his land. In many of his buildings, we can also see shields with four bars (the crest of Catalonia) or sculptures in honor of St. George, the patron saint of Catalonia.

Gaudí: a hard worker

Turn-of-the-century Barcelona flourished, thanks to the textile industry; the wealthy liked to be surrounded by artists, intellectuals and famous people, and the bourgeoisie enjoyed great prestige. This was a good atmosphere for the young architect, who saw how numerous doors were opened for him to carry out his projects. Anyway, Gaudí never renounced contact with the less-favored working classes from which he came. It is not surprising that his first large project was workers' housing in a factory, the Cooperativa Mataronense ("Mataró Cooperative"). The project was intended to improve the workers' quality of life, but Gaudí's project was ahead of its time (which was more conservative), and only one section of the factory and a kiosk were built. The architect was slightly disappointed, but the presentation of his project at the Paris World Fair in 1878 meant the beginning of his fame. There, he also presented a showcase for pret-a-portier gloves from the shop of Esteban Comella, thanks to which he met the man who would become one of his best friends and patrons, Eusebi Güell.

After the World Fair, he decorated the Gibert pharmacy in Barcelona, collaborated with the architect Martorell on various jobs, and designed a shooting box for Eusebio Güell, although it was never built. His relationship with Martorell allowed him to take over management of what would become his monumental work: the Sagrada Familia. This project was initially managed by Francisco de Paula del Villar, Gaudí's former professor, who volunteered to carry out the ideas of Josep Bocabella, founder of the "Association of Devotees of San José". Martorell was part of the Temple Council. He disagreed with del Villar about the materials that should be used to make the pillars and, when they couldn't reach an agreement, del Villar stepped down. Bocabella offered the position to Martorell, who, because of the situation, did not accept, but proposed his young assistant, Gaudí, who was immediately accepted.
In 1883, Gaudí officially took control of the project, and dedicated 43 years of his life to them.

That same year, he was asked by ceramic manufacturer Manuel Vicens to build a house on Carrer de San Gervasi (now Carrer de les Carolines), where the use of ceramics was unlimited, and details reminiscent of autochthonous plants could be seen. He was also asked to build the villa, "El Capricho," for the brother-in-law of the Marquee of Comillas. Gaudí didn't directly oversee this project, delegating his work to Cristofol Cascante, his colleague from the university, who followed the plans and models provided him by Gaudí.

His next major projects were the Palau Güell (Güell Palace) and the Palacio de Astorga (Astorga Palace). In the first, located on Carrer Nou de la Rambla, in Barcelona, Güell trusted completely in Gaudí's daring and innovative ideas, and was in awe of his friend's genius. The second was an assignment by his friend, the Bishop of Astorga, consisting of the construction of the Episcopal Palace that had burned down. Gaudí enthusiastically requested photographs and books to get acquainted with the site, and adapt his project to its characteristics.

Some of Eusebi Güell's clients took advantage of Gaudí's presence in Astorga to ask him to build a house on a central square in Leon. The edifice, which was often criticized during construction for appearing unstable, has a monumental and medieval appearance; it is called the "Casa de los Botines."

While managing construction of the palaces, he built the Transatlantic pavilion for the Barcelona World Fair in 1888, and received another of his many religious projects, the School of the Theresians.

In 1898, the cornerstone was laid for the church of the Colonia Güell (Güell Colony, a factory-town project), in Santa Coloma de Cervelló. Only the crypt was built. This edifice stands out for its original construction and the method used by Gaudí to design it: the catenary model, consisting of a series of cords and small sacks weighted in proportion to the arches and the weight they would have to Gaudí never felt recognized by official organizations; the City of Barcelona only assigned him to design the lampposts in the Plaça Reial and the Plaça de Palau, and only once did he receive the award to the Building of the Year, in 1900, for his least extravagant building, the Casa Calvet. That same year he started a project at the Figueras home, in Bellesguard, where Gaudí carried out another project for a businessman, making it a homage to the kings of the Middle Ages. He also began Park Güell (Güell Park), which was first intended to be a garden-city, with sixty homes for the upper middle-class, with various common services. Park Güell could be considered an environmentally sensitive development. Changes in the natural shape of the land were avoided when laying out the streets; remains of broken pieces from ceramic factories were used in the spectacular mosaics; and felling of trees was absolutely forbidden.

In 1905, he moved with his father and niece to the park's model home, built by Berenguer, his assistant. A few months later, his father died. Then he put his niece in a boarding school, where she died on January 11, 1912.
Between 1900 and 1914, Gaudí and his collaborators also worked on the reforms of the Cathedral in Palma de Mallorca. This project was focused on the Choir (to be moved to the presbytery), some stained-glass windows, some side altars and the new location of the high altar, among other things. Gaudí was removed from management of the project before finishing, because the people considered his work a betrayal of the church's original style.
But the most outstanding work initiated by Gaudí in 1904 was assigned to him by Josep Batlló, for a house he owned on the Passeig de Gràcia (an important avenue in Barcelona). It was to be an almost total reformation of the building, in which the architect surprised everybody with those balconies that seem to move, that large cross that crowns the undulating roof, a fantastic interior patio and original chimneys.

The one he surprised the most was Pere Milá, the member of the Cortes (Spanish Parliament) who had recommended the brilliant architect to Batlló. Along with his wife, from Reus, he decided to commend him the construction of a new building on the same Paseo, on the corner with Carrer de Provença, which would become "La Pedrera." The City tried to stop this project on various occasions because many of its constructed parts exceeded the legal limits; Gaudí ignored them and continued with his work, finishing the edifice in 1910.

Final Period

It appears that Gaudí achieved his greatest fame and renown in 1910, gaining the attention of some Americans who asked him to build a hotel in New York. An exhibition on Gaudí's work, promoted by Eusebi Güell, was held in the Grand Palais in Paris, from April to June of 1910, and some of the plans and photographs exhibited there were also taken a year later to the I Salón de Arquitectura (First Annual Architecture Show) in Madrid. In 1911, he had Maltese fever, and stayed for a time in Puigcerda, where his condition worsened and, believing his time had come, he made out his will. To the day of his death, he worked exclusively on the Sagrada Família, and in 1925 moved his residence to the studio he had on the premises.

Old Gaudí and His Death

In his old age, Gaudí was a man that was conformed with little and dressed without much care; so much so that the day of his accident nobody recognized him as he lay on the ground. On June 7, 1926, he was run over by a tram at the intersection of Carrer de Bailén and the Gran Vía, and the taxi drivers refused to take a poor vagabond to the hospital (the municipal police fined them later for not assisting an injured man). He did not seek out contact with journalists and he avoided cameras, so there are few photographs of the architect.

This change in attitude may have been caused by a series of events that took place beginning in 1912. That year, his niece, Rosa Egea, who lived with him in Barcelona, died. In 1914, his faithful collaborator, Francesc Berenguer Mestres, died, and for matters of professional fees, he was confronted with the Milà family in litigation. In 1915, the continuity of the construction of the Sagrada Familia was endangered by a serious economic crisis. In 1914, construction of the Colonia Güell was definitively interrupted. Two years later, his friend, Doctor Torras i Bages, Archbishop of Vic, died. In 1918, his best friend and patron, Eusebi Güell, passed away. They were sad events that affected him but did not limit his energy and desire to see his greatest work, the Sagrada Família, come into being.
Gaudí died at the age of 74 (June 12, 1926) [ - 74 ], but if it hadn't been for the tram he may have lived many more years, since his father had lived to the age of 93, with all his vigor. Half of Barcelona dressed in black to give final homage to a man that had become very popular, although few had ever met him personally. His body was buried in the crypt of the edifice where he had worked for the last 43 years of his life, the Sagrada Familia.

Gaudí in 1878 when he was 26 years old	Gaudí in 1888 when he was 36 years old	Gaudí smoking a cigar, his father, his niece and Doctor Santaló	Gaudí at the religious procession	Portrait of the old Gaudí	Portrait of the old Gaudí	First portrait of Gaudí published in Spain

The "Sagrada Família"

The "Templo Expiatorio de la Sagrada Familia" (Expiatory Temple of the Holy Family) was the idea of a bookseller, Josep María Bocabella, literate and devoted man who in 1866 founded the Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph), whose objective was to achieve, through the protection of St. Joseph, the triumph of the Catholic Church in a time in which the phenomenon of dechristianization was impulsed by the Industrial Revolution and the accompanying social changes.

In 1872, Bocabella went to Rome to make an offering to the Holy Father, and while returning from this trip he passed through Loreto, where he observed its beautiful church. It was there that he had the idea of making an expiatory temple in Barcelona, dedicated to the Holy Family, as a replica of the church he saw in that Italian municipality.

Beginning in 1876 Bocabella searched for a centrally located plot to build his temple, and he almost obtained it, since the Duchess of Almenara Alta was going to donate one which she owned, but she died before she made the donation. So then the Association had to find a plot further from the centre because its budget was scant. The plot which was acquired for 172.000,- pesetas occupied 12,800 square meters in the block delimited by Marina, Provenza, Mallorca and Cerdeña streets.

In 1877 the architect Francisco de Paula del Villar offered to draw the plans for free. Del Villar's project was totally neogothic: a church with three naves, with the crypt oriented according to the orthogonal axes of the block.
The first stone was placed on March 19, 1882, on the festival of St. Joseph. Gaudí officially took over construction on March 18, 1883 (although he had intervened one year before) because of some disagreements between Del Villar and the council, represented by Juan Martorell Montells.

Del Villar wanted to use ashlar columns, which was much more expensive than completing the interior with rubblework and then cover them with ashlar, and he argued with Martorell because the latter reproached him for spending much unnecessary money on the project. Then the architecture professor sent a letter to Bocabella telling him that if his instructions were not followed then he would resign his post. Bocabella had no other option than to accept his resignation because the project budget came from donations and he could not waste it. Later Del Villar claimed some fees which were never agreed to since, as we have stated, he had offered himself as a volunteer to create the plans for the temple with no compensation.

The council decided to pass management of the construction to Martorell, who, considering what had taken place, proposed the young Gaudí as successor to Del Villar's former post. Gaudí had collaborated with Martorell on some projects. The council approved and the young architect (only 31 years old!) took over management of the construction right away. In those moments the columns were being made and only a couple of them had reached the height of the capitals. He modified Del Villar's project making more naturalist capitals, and he opened a trench around the crypt to allow light and direct ventilation.

Gaudí officially signed his first plans as construction manager in December, 1884; they were the plans of the elevation and altar section of the Capilla de San José (Chapel of St. Joseph). Its construction was swift and on March 19, 1885, it was inaugurated, offering the first mass on the following day.

Once the crypt was finished Gaudí planned the apse, in which he was forced to base his plan on the gothic style which Villar had used in the first project. Gaudí always said that gothic architecture did not provide a definitive solution to the problem of the thrusts on the arches and vaults; it only made it appear that the walls held the weight, because in reality it fell upon the flying buttresses, which were like the crutches of a cripple. In addition, these flying buttresses were outside the building, that is, at the mercy of the elements, which quickened their deterioration. The Sagrada Familia would not have been such a great monument of new architecture if flying buttresses had been used. Gaudí concentrates the weight on the supporting elements-the columns, that is-and he uses one material or another depending on the weight they have to support.

Gaudí imagined a church in the form of a Latin cross over the initial crypt; above the crypt, the major altar, surrounded by seven chapels in the apse dedicated to the seven pains and the seven sins of St. Joseph, and in each of them there would be a representation of the Holy Family. Across from the altar there would be two great doors at the ends, of the Nativity and the Passion. This transept is composed of three naves. It follows perpendicularly the central body of the temple, composed of five naves and closed by the colossal monument that will be the Façade of the Glory or the main entrance to the temple, by Mallorca street.

The entire creation is surrounded by cloisters that are used for processions, and isolate the temple from the noise of the city. Next to the presbytery is the sacristy, and centered between them, exactly in the axis of the major altar, the Chapel of the Assumption. Inside the temple would include ample galleries for singers with capacity for several thousand voices.

Above each façade there will be four towers, 12 in total, which will be dedicated to the Apostles. The tower in the center, the tallest of all at 170 m., will be dedicated to Jesus Christ. Around these will be the towers of the four Evangelists, and the tower over the apse will be dedicated to the Virgin.

The towers have a parabolic profile and include helicoidal stairways which allow the middle part to be hollow, for the placement of tubular bells placed as carillon, whose sound should combine with the voices of the choirs. There will be three types: the ordinary, tuned to the notes of mi, sol, do; the tubular, which will sound as percussion, and others, also tubular, that will sound through injected air. Gaudi spent more than four years studying the sound of these bells so that they would sound as well as possible.

The Nativity Façade is the façade of Hope, and upon it Gaudí desired to place a great quantity of sculptures as a splendorous compliment to the architecture. A careful examination of the Nativity Façade allows one to find upon it almost 100 plant species and the same amount of animal species, sculpturally represented in its archivolts. This façade includes three doors dedicated to Faith, Hope and Charity. All the names of Christ's genealogy are engraved on the column above the center door (representing Charity); the serpent with the apple may be found at the base; and the culmination of the baby Jesus is engraved on the door, along with the ox and the mule. The groups of the Adoration of the Magi and the signs of the zodiac as they were on the day of the birth of Jesus also appear on this door. The rest of the façade will include different episodes of the childhood of Jesus, and mysteries such as the Holy Trinity and the Immaculate Conception.

In order to see all the details of the models that he needed in order to make the sculptures he used a system of two mirrors joined with a hinge, which allowed him to see various planes in one figure. Thus, upon finding the position which he considered most appropriate, an empty plaster mold was made, from which one solid piece was later sculpted in stone. He also studied the human body and its movements with the help of skeletons (he had two: one natural and another metallic skeleton at one-fifth the natural size); he used their joints in order to study the most adequate positions.

The towers of the Nativity Façade begin in the shape of a square and at a certain height become circular. The first was completed in 1918, and the set of four was finished in 1926 with the coronation which represents a cypress, symbol of endurance of time. The towers are finished off with a mosaic appliquÈ which represents the pastoral ring, the staff and the miter of the bishop. Gaudí chose this type of appliquÈ because, due to the difficulty of repairing parts at such great heights, it was preferable to choose a durable material, such as the venetian.

The Passion Façade is found in the opposite side from the Nativity, and has more marked and hard lines, which represent the pain and final sacrifice of the life of Jesus. The crucified Christ presides over the central door, and around him are those who were present at his agony: the holy women, Longinos, the Good Thief, at one side, and the soldiers which mock him and the Evil Thief, on the other. Three Latin words appear on this facade: Veritas, Vida and Via, because Jesus is the Way. The studies for this façade were completed between 1892 and 1917, but its construction did not begin until 1952, being completed in 1978.

On the main façade, still under construction, the life and end of man will be explained. Halfway up human life will be represented with the attributes of all manual vocations, presided by St. Joseph in his workshop, and below, the figures of Adam and Eve, who with their fall forced man to work as punishment. Purgatory, death and Hell, as well as the attributes of the Passion, seven angels as an allegory of the Last Judgment, and above all, the Eternal Father, accompanied by angels and the days of Creation, will also be represented. On the portico there will be seven doors, each dedicated to a sacrament and a petition of the "Our Father."

Gaudí considered some monumental stairways to the door, of such size that they would cross Mallorca street over a tunnel, but this will be impossible because the grounds across the street is not property of the Temple. In the square in front of the Gloria Façade there will be two great monuments: one dedicated to water, with helix-shaped fountains, on the side of the baptistery, and the other dedicated to fire, near the door of Penitence, because these two elements are those that purify man. The other two elements will be represented naturally, as they are, earth and air.

Gaudí left no written plan but he left, clearly specified on the model which was built, his thought about the form and symbolism of the building. He was always conscious that he would not be able to finish the work due to its great magnitude. He also left some drawings in which the polychrome nature that the building will have can be observed-because he said that color is life.

The Holy Family can be considered a Bible in stone, due to the great quantity of catholic symbols which Gaudí chose to mold into his façades. In them are found (or will be) from Adam and Eve to the Twelve Apostles, passing through all the episodes of the life of Jesus as well as the symbols of the Old Testament. It is a monument which declares the catholic creed.

But the importance of Gaudí's unfinished building is not only religious; it may be considered the "Book of Gaudí" because it is the clearest explanation of his method of construction. In this work Gaudí applied all the structural solutions that he had studied and tested more than once in the works which he created throughout his life. These solutions were, for him, simple corrections of the errors that previous styles committed. Gaudí had learned much by observing nature and its shapes, and by simply trying to imitate them. The structure of the temple is formed, based on leaning columns, with abundant ramifications in the upper sections, whose branches hold up small fragments of hyperboloid vaults, which produce the effect of a forest.

GAUDÍ REFERENCES

compiled by: yaman kayıhan