Grand master Antonio Gaudi Significant projects La Sagrada Familia 1882 (-present) La Sagrada Familia In his later years,Gaudi devoted his architectural energies to Barcelona,Spain the designs for the Templo Expiatorio de la Sagrada Familia 1883 Casa Vicens,Barcelona. (La Sagrada Familia),a Roman Catholic church in the heart Spain of Barcelona,Spain.A hugely ambitious project from the 1883 Villa E Capricho,Comillas, outset(and groundbreaking in terms of structural ambition), Spain construction began in 1882 and is still to be completed 1885 Palau Guell,Barcelona, Spain today.One of its remarkable factors is that the designs were 1887 Episcopal Palace of Astorga, considered'modern'in Gaudi's time,yet they somehow Astorga,Spain remain'new'in the context of today's architecture,displaying 1888 Casa Calvet,Barcelona, abstract expression and challenges in structure. Spain 1898 Crypt of the Church The scheme is intended to have 18 towers,12 to represent of Colonia Guell, each of the Apostles(so far eight have been constructed, Santa Coloma de Cervello, each with a statue of the Apostle beneath it),four more Spain to represent the Evangelists and a tower each for the Virgin 1900 Bellesguard tower. Barcelona,Spain Mary and Jesus Christ.La Sagrada Familia's towers are 1900 Parc Guell,Barcelona,Spain undoubtedly the most impressive feature on the Barcelona 1905 Casa Mila,Barcelona,Spain skyline and they can also be experienced from within.The 1905 Casa Battilo,Barcelona, towers have staircases that wind up inside them and bridges Spain that link from one to another,allowing incredible views over the city and beyond.The towers get thinner as one progresses,almost appearing to defy gravity.The pinnacles at the top of the towers are finished with forms inspired by plants and flowers,which are decorated in brightly coloured mosaic work. The building design has three facades:the Nativity facade to the East,the Glory facade to the South(yet to be completed) and the Passion facade to the West.The exterior is covered with carefully designed narrative carvings,describing scenes associated with Christianity,from the nativity to the passion. The internal plan of the building consists of five aisles with a central nave.The central vault reaches 60 metres and the apse is capped by a hyperboloid structure that reaches 75 metres.Gaudi's intention was for it to be possible for the visitor to see the vaults of the nave,crossing and apse from the main entrance,and for the vault to appear to increase in height as he or she approached the centre of the space
C+M chapter 1 (12-39)_.qxd 10/4/08 11:10 AM Page 28 Brick and stone La Sagrada Familia In his later years, Gaudí devoted his architectural energies to the designs for the Templo Expiatorio de la Sagrada Familia (La Sagrada Familia), a Roman Catholic church in the heart of Barcelona, Spain. A hugely ambitious project from the outset (and groundbreaking in terms of structural ambition), construction began in 1882 and is still to be completed today. One of its remarkable factors is that the designs were considered ‘modern’ in Gaudí’s time, yet they somehow remain ‘new’ in the context of today’s architecture, displaying abstract expression and challenges in structure. The scheme is intended to have 18 towers,12 to represent each of the Apostles (so far eight have been constructed, each with a statue of the Apostle beneath it), four more to represent the Evangelists and a tower each for the Virgin Mary and Jesus Christ. La Sagrada Familia’s towers are undoubtedly the most impressive feature on the Barcelona skyline and they can also be experienced from within. The towers have staircases that wind up inside them and bridges that link from one to another, allowing incredible views over the city and beyond. The towers get thinner as one progresses, almost appearing to defy gravity. The pinnacles at the top of the towers are finished with forms inspired by plants and flowers, which are decorated in brightly coloured mosaic work. The building design has three façades: the Nativity façade to the East, the Glory façade to the South (yet to be completed) and the Passion façade to the West. The exterior is covered with carefully designed narrative carvings, describing scenes associated with Christianity, from the nativity to the passion. The internal plan of the building consists of five aisles with a central nave. The central vault reaches 60 metres and the apse is capped by a hyperboloid structure that reaches 75 metres. Gaudí’s intention was for it to be possible for the visitor to see the vaults of the nave, crossing and apse from the main entrance, and for the vault to appear to increase in height as he or she approached the centre of the space. Antonio Gaudí Grand master Significant projects 1882 (–present) La Sagrada Familia, Barcelona, Spain 1883 Casa Vicens, Barcelona, Spain 1883 Villa El Capricho, Comillas, Spain 1885 Palau Güell, Barcelona, Spain 1887 Episcopal Palace of Astorga, Astorga, Spain 1888 Casa Calvet, Barcelona, Spain 1898 Crypt of the Church of Colònia Güell, Santa Coloma de Cervelló, Spain 1900 Bellesguard tower, Barcelona, Spain 1900 Parc Güell, Barcelona, Spain 1905 Casa Mila, Barcelona, Spain 1905 Casa Battllo, Barcelona, Spain TEXT BLACK (AVA): Basics Architecture C + M CD1008-172 / 3173 ~ 2nd Proof C+M chapter 1 (12-39)_.qxd 3/11/09 5:46 PM Page 28
28129 An interior view of the towers
28 | 29 C+M chapter 1 (12-39)_.qxd 10/31/08 4:22 PM Page 29 An interior view of the towers Application › Grand master: Antonio Gaudí › Brick Leaf House TEXT BLACK (AVA): Basics Architecture C + M CD1008-172 / 3173 ~ 2nd Proof C+M chapter 1 (12-39)_.qxd 3/11/09 5:46 PM Page 29
Grand master Antonio Gaudi
C+M chapter 1 (12-39)_.qxd 10/4/08 11:10 AM Page 30 Brick and stone Antonio Gaudí Grand master TEXT BLACK (AVA): Basics Architecture C + M CD1008-10 / 3173 ~ 1st Proof C+M chapter 1 (12-39)_.qxd 3/11/09 5:46 PM Page 30
30131 Exterior view of the entrance and towers The complex ground floor plan The cathedral's interior columns have a unique design.As well as serving their load-bearing purpose and supporting the towers above,they change shape from their base,which is octagonal,slowly becoming a 16-sided shape and finishing in a circle form. La Sagrada Familia has been likened to a piece of three- dimensional art or sculpture.It can be admired from a distance as an impressive piece of engineering and form making and it can be further explored from within.The building was designed to challenge ideas of structure and celebrate the most incredible craftsmanship;to carve and transform stone from a solid,static material to a dynamic expressive surface.This building exemplifies the potential that stone offers the architect and the real possibility its use presents to create symbolic,iconic and memorable structures
30 | 31 C+M chapter 1 (12-39)_.qxd 10/31/08 4:54 PM Page 31 Application › Grand master: Antonio Gaudí › Brick Leaf House The complex ground floor plan Exterior view of the entrance and towers The cathedral’s interior columns have a unique design. As well as serving their load-bearing purpose and supporting the towers above, they change shape from their base, which is octagonal, slowly becoming a 16-sided shape and finishing in a circle form. La Sagrada Familia has been likened to a piece of threedimensional art or sculpture. It can be admired from a distance as an impressive piece of engineering and form making and it can be further explored from within.The building was designed to challenge ideas of structure and celebrate the most incredible craftsmanship; to carve and transform stone from a solid, static material to a dynamic expressive surface. This building exemplifies the potential that stone offers the architect and the real possibility its use presents to create symbolic, iconic and memorable structures. TEXT BLACK (AVA): Basics Architecture C + M CD1008-172 / 3173 ~ 2nd Proof C+M chapter 1 (12-39)_.qxd 3/11/09 5:46 PM Page 31
Case study Woolf Architects I Brick Leaf House Jonathan Woolf studied architecture The design brief in Rome and in London where,for Munkenbeck Marshall,he was project The clients for Brick Leaf House,two architect for the house of art collector brothers,wanted a design that incorporated Charles Saatchi.He established his own a modern white building in the style of Luis practice in 1990 and has taught at schools Barragan,a South American architect whose throughout the UK and Europe since work is characterised by juxtaposing light 1995,including the University of Bath, rendered walls with brightly coloured wall the Architectural Association,London,and planes.The project planners suggested at Robert Gordon University in Scotland. something contemporary in concrete,but Woolf Architects argued the case for using Woolf Architects have completed over brick.This offered a possibility to work with 24 projects to date including residential a material that would age with the natural houses,artist and photographer's studios, elements of the site and would only require office spaces,apartments and hotels. limited maintenance. An exterior view of Brick Leaf House
C+M chapter 1 (12-39)_.qxd 10/4/08 11:10 AM Page 32 Brick and stone Case study Woolf Architects | Brick Leaf House Jonathan Woolf studied architecture in Rome and in London where, for Munkenbeck & Marshall, he was project architect for the house of art collector Charles Saatchi. He established his own practice in 1990 and has taught at schools throughout the UK and Europe since 1995, including the University of Bath, the Architectural Association, London,and at Robert Gordon University in Scotland. Woolf Architects have completed over 24 projects to date including residential houses, artist and photographer’s studios, office spaces, apartments and hotels. The design brief The clients for Brick Leaf House, two brothers, wanted a design that incorporated a modern white building in the style of Luis Barragan, a South American architect whose work is characterised by juxtaposing light rendered walls with brightly coloured wall planes. The project planners suggested something contemporary in concrete, but Woolf Architects argued the case for using brick. This offered a possibility to work with a material that would age with the natural elements of the site and would only require limited maintenance. An exterior view of Brick Leaf House TEXT BLACK (AVA): Basics Architecture C + M CD1008-172 / 3173 ~ 2nd Proof C+M chapter 1 (12-39)_.qxd 3/11/09 5:46 PM Page 32