THE SAGRADA

FAMILIA by Antoni Gaudi

Bacherlor of Architectural

Cristina Miret Romn

Technology and Construction

Cosultant: Erik Toft

Management

22th of November 2012

7th Semester Dissertation

TITLE PAGE
Dissertation title: The Sagrada Familia by Antoni Gaudi
Consultant: Erik Toft
Author: Cristina Miret Romn

Date/Signature: 22th Novembre 2012

Student Identity Number: 163844
Number of copies: 2
Number of pages: 62
Font: Century Gothic 12

All rights reserved no part of this publication may be reproduced without the prior
permission of the author.
NOTE: This dissertation was completed as part of a Bachelor of Architectural Technology and
Construction Management degree course no responsibility is taken for any advice,
instruction or conclusion given within!

INDEX
SECTION

PAGE

PREFACE

PROBLEM STATEMENT

ANTONI GAUDI AND INFLUENCES

Antoni Gaudi

Oriental Influence

Neo-Gothic Influence

11

Gothic Influence

12

Naturalism

13

THE SAGRADA FAMILIA

Sagrada Familia

17

Parts of the Church

19

Abside

20

Chapels

22

Cloister

23

Crossing and Transept

25

Crypt

26

Glory Faade

27

Navity Faade

30

Passion Faade

34

Main Nave

35

Sacristies

37

Geometry

39

Double Twist Column

40

Ruled Surface

41

Hyperboloids

42

Hyperbolic Paraboloid

43

Helicoids ans Conoids

44

The auxiliary Resources

46

SAGRADA FAMILIA by ANTONI GAUDI

INDEX
SECTION

PAGE

Trencadis

48

Beyond the Gothic

50

Future

51

Conclusion

54

Bibliography

56

Picture References

57

SAGRADA FAMILIA by ANTONI GAUDI

PREFACE
This dissertation talk about the basiilc
os Sagrada Familia by Gaudi in Barcelona,
Spain.
The Sagrada Familia is one of the
most important construction in Barcelona,
Spain and in the world.
Its different to other cathedrals, its
original and unique. This is the main reason
for I chose this topic.
The author of this construction is
Antoni Gaudi, an Catalan architect.
One of his characteristics is his
influence in the nature and the rules
surface. Its impossible know the Sagrada
Familia without know Antoni Gaudi, so in
the

dissertation

I will

talk

about

the

cathedral, his geometry, his originality, his

influence, the influences in Gaudi, his
ideas, etc.
Its divided in 3 main sections:
1. Antonti Gaudi
2. The Sagrada Familia
3. Geometry

SAGRADA FAMILIA by ANTONI GAUDI

PROBLEM STATEMENT
The Sagrada Familia and Antoni

Gaudi have become one of the main

icons of Catalonia and Spain too. This is the
main reason why I have chosen this topic.
Gaudis works reflect his highly

culmination of the structural studies

of his other buildings.
I think its interesting study this

individual and distinctive style . Gaudi

cathedral because it is unique. It has

studied every detail of his creations and he

different elements that other cathedrals,

introduced new techniques in the

new geometric, new technologies, etc.

treatment of materials. After a few years

under the influence of neo-Gothic art and
Oriental techniques, he became part of

The aims and objectives in doing this

research study are:

the Catalan Modernista movement.

After undertaking the Sagrada

Influences in Gaudi, his inspiration

and how to do

Geometric. Gaudi introduced

Familias project, Gaudi devoted himself

new geometrical forms, so we are

exclusively to building it. The Sagrada

going to studied his functions and

Familia is his best important construction. In

where are situated in the

this cathedral he did so combining

Sagrada Familia

geometrical forms, chosen for their formal,

Beyond the gotic. Gaudi inspired

structural, luminous, acoustic and

in old constructions like oriental

constructive qualities: hyperboloids,

and gothic construcctions, but he

paraboloids, helicoids, conoids and

went far away, his architecture

ellipsoids.

started the beyond the ghotic.

The Sagrada Familia is a church with

The future, what artist are

five naves and a crossing with three,

influenced by Gaudi and

forming a Latin cross. About the structure,

representing the Sagrada Familia.

Gaudi planned a balanced structure of

columns that branch out likes trees, as the

To carry out this project will use

computer resources, books, articles
and internet.

SAGRADA FAMILIA by ANTONI GAUDI

GAUD, BEFORE AND AFTER OS SAGRADA FAMILIA

ORIENTAL INFLUENCES

-ARTISANS WORKS WITH IRON

AND STONES

NEO-GOTHIC INFLUENCES
VIOLLET-LE-DUC

JUAN MARTORELL
MONTELLS

-DRAGONS
-ORNAMENTAL AND DEEP SENSE
OF POLYCRHROME ARCHITECTURE

COME TO MODERN
ARCHITECTURE

EXAMPLES

EL CAPRICHO

Cristina Miret

GOTHIC INFLUENCES
-PERFORMANCE OUTSIDE
ACADEMIC LESSONS
-THE ARCHITECTURE IS
PRACTICALITY

GOTHIC VAULTS
QUADRIPARTITE
AND TOWERS
WITH BELFRY

-TRASCENDENT MEANING OF
ARCHITECTURE

CASA VICENS

SAGRADA FAMILIA

NATURALISM

-BONES
-TREES
BEYOND THE GOTHIC
-PARABOLIC ARCHS

-PLANTS
-SPINAL COLUMNS

-INCLINED COLUMNS
-REMOVE FLYING BUTTRESS
AND BUTTRESS
-DOUBLE ROOF OF STONE
-VERTICALISATION OF THE
WHOLE PROJECT

CASA BATLLO

http://www.galiciacad.com/fotos/sagrada_familia_3d.jpg
http://upload.wikimedia.org/wikipedia/commons/0/01/Gaudi's
_Casa_Batllo,_Barcelona,_Spain_(IMG_5380a).jpg
http://www.gaudiallgaudi.com/images/Gb_Casa_Vicens_Torre_
FVA.JPG

ANTONI GAUDI
6

Figure 1. Antoni Gaudi

Antoni Gaudi i Cornet (Reus, June

and forcing him to pass long seasons in

25th 1852 Barcelona, June 10th 1926)

Riudoms's family farmhouse, where he

Catalan architect, leader of modernism

caught the Mediterranean light and the

and one of the leading pioneers of the

images of the Nature, which he always

avant-garde of the twentieth century. His

would consider his great teacher.

figure

is

one

architectural
both

of

the

history,

for

its

innovations,
seemingly

intuitive,

most

amazing

Gaud

"In the books rarely find what you are

looking for and, when found, is often
wrong, so that in the end things always
end up thinking themselves directly." by
Antoni Gaud

was

conscious

from

very

young man of his role of

genius of the art, of which his
ideas were not a repetition
or a mere continuity of what

and its current practice of international

had made the architects till then. He had

isolation

mere

studied and discovered the geometric and

craftsmanship.. He was first and foremost

constructive laws with which its made the

an architect, but he also designed furniture

Nature the masterpiece of the Creator

and objects, and worked in town planning

and he was trying to realize his art with the

and landscaping.

same models

He

and

was

often

sick

imbued

child,

which

it

Antoni started from a local artistic

prevented him from representing to class

milieu combined with the characteristics of

SAGRADA FAMILIA by ANTONI GAUDI

modernism

and

"Art

Nouveau",

which marked his time, but took their art to

conceptual goals, technical and aesthetic
with which it passed. He had a critical
consciousness that led to an attempt to
overcome the tendencies of his time and
expressed a genuine language.
Gaudi

is

the

Catalan

modernist

expressionist side, looking at their works

follow the logic of the creative process to
achieve new and solid forms.
Gaudi synthesized all that he knew
what geometric and constructive schools
of

France

information

and
I

Germany

had

on

and

the

the

aesthetic

evolution that occurred in England and

Austria,

thus

independent,

got
unique

an
and

architecture
innovative,

technically and artistically different from

which was done in Europe in the same
years.
Antoni opened the door to further
experimentation with his ruled surfaces an
spatial funiculars and catenary archs, with
difficult

numerical

calculation,

using

models and graphic calculations, allowing

him to reach and implement practical
solutions economic architecture.
.

SAGRADA FAMILIA by ANTONI GAUDI

ORIENTAL INFLUENCE
In the last quarter of the nineteenth

century began to take shape in Europe

architectural trend in which mingled neogothic and exoticism. In the end, this
mixture led to Modernism.
Gaudi, who had read Walter Pater

away was an imaginary journey

and John Ruskin, sought exoticism through

through the photographs of the nineteenth

English

century adventurous travelers.

architecture,

in

the

Far

East,

especially in the architecture of India,

Persia and Japan.

But where it is easier to appreciate

this stylistic influence is in the use of
ceramics and especially in creating the

Gaud,

whose

openness

allowed

mosaic trencads technique very similar to

exalt art forms of India, Persia, Egypt and

the Zellig or Zillij North Africa, widely used in

other structures in the Arab world, was

Morocco for coating mosques, minarets

inspired mainly in photographs and art

and other public and private buildings

prints that could look in the library of the

where the ceramic coating adds shine

School of Architecture while studied. At the

and cut texture geometry walls.

time that Gaud studied at the School of

Architecture

of

Barcelona,

the

There are four works of Gaudi's youth

architectural movement was quite poor

where his interest is evidenced East. El

stylistically as builders were only foremen.

Capricho (1883 - 1885), in the town of

Comillas, is a glazed ceramic clad building

This motivates Gaud seek inspiration

outside the borders.

with a tall, slender tower that resembles a

cylindrical minaret Isphanan. It still presents

Since it was so difficult for him to

travel, given the economic difficulties and

technical innovations, but a step forward in

his personal style.

health of Young Gaud, his journey as far

SAGRADA FAMILIA by ANTONI GAUDI

Figure 2/ Figure 3. El Capricho

La Casa Vicens (1883-1888), in the

Gracia district of Barcelona, is within these
Eastern ways, especially by the use of
glazed ceramics. In this building, Gaudi
introduces the use of the bow professor in
the garden waterfall and naturalism in the
fence with palm leaves cast iron. Also in

At Finca Gell (1883-1887), on the

outskirts of Barcelona, Gaud built, among
other things, the goal, the stables and the
arena entrance to the large park around
the house of Eusebio Gell. Externally the
buildings have a glittering appearance

this house studied furniture design and

interior decorating papier mach with
brightly painted.

Figure 5. Finca Gell

thanks to the eastern wall tiles, but

Figure 4. Casa Vicens

inwardly present new structural forms.

Arches

and

vaults

and

hiperboloidales catenary profile.

SAGRADA FAMILIA by ANTONI GAUDI

domes

El Palau Gell (1886-1888), in the old

quarter of Barcelona, is largest project,
with a large number of new solutions in the
structure and distribution of spaces and
volumes also conjugated with oriental look.
The decor was due in part to Gaud, but
also intervened painters.

Figure 6. Palau Gell

SAGRADA FAMILIA by ANTONI GAUDI

10

NEO-GOTHIC INFLUENCEE
The Neo-gothic wanted to bring out
medieval

mysticism.

While

11

Gaudi's

contemporaries Neo-gothic took this as a

romantic dream, Gaudi developed a set
of guidelines that led to what was later
called beyond the Gothic.

The Neo-Gothic style influenced by

the vogue at the time, but combined with
his previous stage. It shows an approach
and penchant for curves and dynamic
forms. Rationality is achieved through the
proper use of the effect of light, mass,
color

and

battlements,

incorporate
arches,

Figure 7. Palacio Gell

pinnacles,

fireplaces

and

columns. Start using traditional decoration

techniques (glass, wrought iron, wood,
fragments of brightly colored ceramic,
masonry, brick and marble).
Some examples of the Neo-Gothic
influence are:
1.Palacio Gell

3
Figure 8. Casa Botines

2.Casa Botines
3.Casa Bellesguard

Figure 9. Casa Bellesguard

SAGRADA FAMILIA by ANTONI GAUDI

GOTHIC INFLUENCE
Gaudi's
number

of

architecture

shares

characteristics

with

12

the

philosophy that followed the Gothics

architects:

Performance outside academic

lessons:

will be used to achieve the union

The ground for developing is

of all the will and commitment of

searching in the experience. By

all necessary means.

not relying on prior theoretical

abstractions, the result of lessons
learned is built on fundamental
working tool.

The architecture is practicality

The solutions correspond to a
spontaneous

intuitive

those builders, even though they

based

on

gothics concepts, it was existing before but

was then found its peak. These are:

The use of the pointed arch.

The use of columns and walls to

get casts light incorporation in

nature.

Many of the solutions adopted by

were

On the other hand, it existed new

temples.

Transcendent

meaning

of

of

flying

this way to cancel the horizontal

principles then unknown, they

fruit of intuition.

arrangement

buttresses and buttresses acting in

scientific

approached empirically, fabulous

The

forces of arches and vaults.

The use of ribs and dome-like key

joint elements

architecture
The gothic buildings look the
sublimation of spirit and this is
undeniable at the sight of the
impressive results achieved. They
are building house of God, and
SAGRADA FAMILIA by ANTONI GAUDI

NATURALISM
13

It is for the most creative period of

Gaudi to freely develop their ideas of
architecture inspired by nature.

Gaud Nature provides the model

Realizing that in nature there is no

from which designs original structures and

straight line or plane, and yes, a huge

forms that characterize his work. The

variety of curved forms, changed the

hyperbolas, parables, spirals, ellipses, or

normal procedure to project above a

catenaries that are in the shapes of the

plane and rushed straight to the third

branches and leaves of trees, shells and

dimension by all kinds of models and

limbs of animals are observed by the

models.

architect and evoked in their bows in its

He

admired

the

beauty

of

it,

columns, in their facades.

discovering that nature has no intentions

Thus, traditional inverted domes to

aesthetics but functional. Concluded that

create hanging domes of the Church of

searching functionality leads to beauty.

the Colonia Gell, made with wire, chains

Gaudi imposed finding new shapes

and pouches, which transposes suspended

to be used in the construction of buildings.

models using mirrors or photographs to

Forms were extracted broad that nature

determine

offered selflessly and which served to be

paraboloids

adapting

everyday

manufactures columns double twist from

solutions to the needs found in the practice

the intersection of opposite orientation

of architecture.

spiral columns in The Sagrada Familia.

Gaud

and

improving

geometry

is

intended

to

All

the

construction
of

these

Colegio

natural

of

arches

Teresiano;

forms

were

colored

and

facilitate the construction processes, to

polychromatic,

take full advantage of the traditional

varied. At Casa Batll and La Pedrera

formulas and ensure the stability of the

there isnt straight line, as in nature. In La

buildings, and born of personal discoveries

Pedrera, one of its buildings more organic,

made after a search continued.

wanted to convince residents to fill the

SAGRADA FAMILIA by ANTONI GAUDI

brightly

NATURALISM
14

balconies of climbing plants, which

give the feeling of a living building,
composed of independent parts and

The hyperboloid is the shape of the femur.

throbbing a body.

It can be found in the columns of the first

Finally, based on the theory of ruled

geometry

(his

architectural)

great

defined

contribution

three

floor windows of the Casa Batllo, where

one can see clearly that shaped bone.

different

surfaces from nature and taken to the

architecture: the helix, and the hyperbolic
paraboloid hyperboloid.
Inspiration comes from the helix
eucalyptus trunk. Gaud him into columns
busts of the College of the Sisters, later also
using it in the Park Gell.
Figure11. Bone - Figure12. Casa Batll

Figure10. Parc Gell

SAGRADA FAMILIA by ANTONI GAUDI

NATURALISM
15
into small pieces and then used to
coat their buildings. He introduced a new
system so decorative, "trencads" which
has

become

flag

and

symbol

of

Modernism.

Figure 13. Tendons - Figure 14 .Colonia Gell

Also, Antoni Gaudi gave much

The form taken tendons between the

importance to colors. He tried to imitate in

fingers of one hand inspired him to define

this field to nature. For this reason, all his

the hyperbolic paraboloid, which was

works are polychromatic, brightly colored

introduced for the first time in the history of

and varied.

architecture in the vaults of the crypt of

the Colonia Gell.

For him, the ornamentation in both

architecture and design was instrumental
in the creative process. He claimed that

Antoni tried not only to the influence

the color was a sign of life and that is why

of nature were present in

all his work is

their works through the

colorful

use

of

architectural

living. In his

structures of forms were

works

reflex natural, but it went

reveals

further.

bold plastic

Gaud
thinking
recycle
reused

led

ecologist

imagination,

him

a rich and

materials,
tiles,

its

to
and

Figure 15. Trencads

broken

complex
decorative

pottery, china, glass, ... These were broken

SAGRADA FAMILIA by ANTONI GAUDI

NATURALISM
16

decorative universe, full of symbols in

its smallest details.
He

explored

the

most

of

the

traditional techniques: the use of brick,

ceramic

coatings

(the

orthogonal

natural

"trencads"),

elements

has

five

advantages in the constructions:

1. Maxim practical experience: The
performance guarantee of these
forms is based on experience
involving testing by nature from
the origin of the world.
2. Suitability

of

the

mechanical

behavior: Natural shapes have

greater

strength,

stability

to

the

rigidity
flat

and

surfaces

commonly used in architectural

composition.
3. Continuity: there arent corners or
edges.
4. Playability
5. Formal plasticity: These figures
provide a formal plasticity and a
new

generating

of

places we live and inhabit.

woodwork, etc.
The

schemes

expressive

variations versus boxing sensations

produced by repeated
SAGRADA FAMILIA by ANTONI GAUDI

the

SAGRADA FAMILIA
17

The Sagrada Familia has a classic

Latin cross plant, with five longitudinal ships
and a cruise of three, an apse and a crypt
under the main altar. The Temple will have

unnecessary buttresses and flying

buttresses.

in the future three facades. The main gate,

located at the foot of the shaft, called the

The second version, in 1917, marked

a radical change in the formal proposals,

Gloria, symbolize the resurrection of Jesus

following

the

experience

of

the

Christ. The other two entries, already built,

church of Colonia Guell. Gothic language

are located at the ends of the transept

is definitely going to Gaudi. The factory

and are dedicated to the Nativity and the

remained the monorresistente stone, and

Passion of Christ. Each door will have four

the

towers. The set will be surrounded by a

remained in the overall design. The new

rectangular cloister. In addition, six large

procedure, which culminated tree system

towers crowned the structure on the decks

was no longer based on the arches

of the cruise and the apse dedicated to

balanced, but the inclination of the central

the evangelists, Christ and the Virgin Mary.

pillars,

The Holy Family has gone through

idea

of

perfecting

experienced

in

the

the

Gothic

church

of

Colonia Guell.

several phases to be defined by Gaudi.

At first, Gaudi largely influenced by

The third version of the work did not

the initial project architect Villar, had

involve any substantial change, unless

opted for a neo-Gothic, but also with a

extraordinary

great personal contribution. According to

based on geometric shapes regulated

his disciples, the first proposal for the

relatively easy to build. The plant-based

temple

composition

represented

refinement

of

enrichment

of

monorresistente

language

remained.

Gothic, because, thanks to the use of

Verticalization

parabolic arches very stilted, were

through a larger volume of the cover.

SAGRADA FAMILIA by ANTONI GAUDI

was

increased

loads

SAGRADA FAMILIA
However, Gaud could not take any
of these ideas, except in the apse and four
towers, three of which are not finished and
all shapes based monorresistente stone
factory.
Below is a table of the various
architects who have participated in the
construction of the basilica
However, Gaud could not take any
of these ideas, except in the apse and four
towers, three of which are not finished and
all shapes based monorresistente stone
factory.
Below is a table of the various
architects who have participated in the
construction of the basilica
PERIOD

YEAR

ARCHITECT

1882-1883

Francesc de Paula Villar

1883-1926

Antoni Gaud I Cornet

1926-1936

Domnec Sugranyes I
Gras

1939-1966

Francesc Quintana Vidal

1966-1974

Isidre Puig Boada

1971-1983

Llus Bonet Gar

1983-1985

Francesc de P.Cardoner
I Blanch

1985-

Jordi Bonet I Armengol

SAGRADA FAMILIA by ANTONI GAUDI

18

PARTS OF THE CHURCH

19

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
20

BSIDE

Figure 16. Sagrada Familia - Figure 17. Abside location

The exterior of the bside, and the

The pillars of the edges of the

crypt, was one of the first built elements

chapels, are finished in mid-high pinnacles

and also keeps the Gothic character that

and gargoyles binoculars with Dragons,

gave the architect Villar, and Gaud

lizards, snakes, salamanders, frogs, etc..

respected.

used for roof drainage.

The outside and in particular the

seven chapels surrounding the choir is
currently under construction. Each of these
hoods will be illuminated by three windows,
the central one being higher than the
other two, to allow placement under an
image without the tape.
Figure 18. Gargoyles

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
The headlights of the chapels are
inclined

step

pyramids

with

clerestory

pilasters that crowns the apse. Invocations

will be culminated by the antiphons of
Advent.
At both ends, climbing stairs of the
crypt and continuing to rise to higher
levels, have four series of overlapping
windows and a clerestory at the top, are
topped by spikes. Here also decorated
with gargoyles and land snails are a very
naturalistic decorative element. At each
end was built a sacristy.

Figure 11. Gargoyles

Figure 19. Naturalistic decorative

SAGRADA FAMILIA by ANTONI GAUDI

21

DESCRIPTION OF THE
PARTS OF THE CHURCH
22

CHAPEL

Figure 20. Chapel location

On the bside faade, the

are

represented

chapel of the Assumption will be

on the Girona model.

built, dedicated to the Assumption

Gaud's

of

project,

present these elements

inspired by an existing one in

in stone and according

Girona

to

the

Virgin.

Gaud's

cathedral,

includes

the

proposal

their

will

personal

crown dedicated to the Virgin, the

language,

pillars that form the structure and

words,

the curtains hanging from it, as well

geometrical forms and

as the angels that

decidedly

with

figurations.
Figure 21. Model of Chapel

SAGRADA FAMILIA by ANTONI GAUDI

in

other

parabolic
modern

DESCRIPTION OF THE
PARTS OF THE CHURCH
23

CLOISTER

Figure 22. Sagrada Familia: Cloister. - Figure 23. Cloister Location

The cloisters of the Sagrada Familia

The cloisters are at the same level as

have a completely original provision that

the floor of the temple and pass through

has nothing to do with any other known

three

construction of this type. Indeed, the

constructions with which they interact, and

cloister of the Holy Family, is arranged

the

laterally with respect to the body of the

interrupts

church, but that is arranged around the

symmetrically

temple, so that it serves as a place for

Sacramento Baptistery and Chapel.

gates,
Chapel

and
of

to

articulate

the

restart
across

with

the

Assumption

that

its

and

course
the

sacristy,

walking, meditation and relaxation and

The vaults of the cloister are of edge

also serves to insulate the temple the noise

and generate a pediment with rosette of

of the city that surrounds it. According

three warheads.

Gaud, will go to pray the Rosary in

procession.

Each intersection of the cloister with

the fronts crossing has a gate dedicated to

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
24
different invocations of the Virgin of
the Nativity of the Virgin of Montserrat and
the Rosary, the Passion of Our Lady of
Mercy and Dolores.
The cloisters are finely decorated
with

various

abundant

motifs

sculptural

surrounded

by

representation

of

flowers, palms, olive branches, etc.

Being a construction that surrounds
the

temple,

is

in

various

stages

of

construction and therefore it is impossible

to have an overview, but the parts built,
mainly left side of the facade of Gloria and
both sides of the facade Nativity, give an
idea of their final appearance.

Figure 24. Cloister

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
CROSSING AND TRANSEPTS

25

Figure 25. Sagrada Familia: Crossing. - Figure 26. Crossing and Transept Location

Just before the altar stands the cruise

with a transept of three ships, which leads
to each end of the two facades of the
Nativity and the Passion with the mission in
an understandable illustrate the mysteries
of birth , passion and resurrection - glory of Jesus Christ. The three ships of the
transept have a total width of 45 meters
and a length of 60 meters. This area is still
at a relatively late construction.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
26

CRYPT

Figure 27. Sagrada Familia: Crypt. - Figure 28. Crypt Location

It is one of the parts of the temple

sets small columns ending in a key

designed by Francesc de Paula Villar in the

vault containing a representation of the

Gothic style, Gaudi took it as the basis of

Annunciation. This dome rises two meters

the presbytery of your project, but was one

presbytery level. To ensure the lighting and

of the elements that prevented him from

ventilation, there is a moat around the

putting the axis of the ship crossed the

crypt. Access is via two staircases, one on

block of the Eixample which it is based.

each side of the apse. These staircases

It has the same layout as the apse

have to be extended upward as the

built over. It consists of seven chapels, an

temple

ambulatory and a central area, nearly

communication between different levels of

circular (40x30 meters) above which, is the

galleries

sanctuary of the church. Is supported by a

rooftops. Currently has installed an elevator

set of ten pillars of that project to the roof

for easy access.

go
and

SAGRADA FAMILIA by ANTONI GAUDI

growing
choirs

and

to
reach

allow
the

DESCRIPTION OF THE
PARTS OF THE CHURCH
27

GLORY FACADE

Figure 29. Glory Facade

The faade is located on Mallorca

designed a staircase that fly over the

Street, is at this moment just begun, there is

streets of Mallorca, so that all traffic must

only the bare bones of the columns that

pass under the stairs would get to the

reach a height of 10 meters and other

apple in front (between Mallorca and

items as called Jube.

Valencia

and

between

Sardinia

and

This facade is oriented at noon and

Marina (but this poses a major problem,

will be dedicated to the glory of Jesus

since this block of houses is fully built and to

Christ. This facade, Gaud left only a

finish the project and give it the dignity it

structural study and a visual and symbolic.

deserves, it would demolish part or all of

Reaches the Mallorca street where

the slope of the floor with respect to the

the buildings in this block and we can

imagine the problems this could cause).

street is the most important. In order to give

an appropriate entry to the temple, Gaud
SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
28

The towers or steeples:

Will, as the facades of the Nativity

The Porch:

and the Passion, the main and most

characteristic elements of the facade. But
here, the importance of reserve volumes
Gaud the porch, this tape will make the
towers more than in the other facades.
They

will,

like

the

others,

fully

accessible via spiral staircases that will

leave an important central void that is
placed where the tubular bells.
Each of the towers of this and the
other two facades, even twelve, four for
each, is dedicated to an apostle. The
facade of the Gloria, it will be at St.
Andrew, St. Peter, St. Paul and James.
Each of them is represented in a large
statue,

placed

at

height

of

approximately one third of the total length

of the towers.
The Pinnacles are similar to those of
the

other

facades

vertical arrangement.

but

with

different

Be

covered

by

the

four

lower

hyperboloid vaults steeples and a mixed

set of fifteen lanterns, with a total of twenty
domes. Columns rest about blackjack.
The doors will be five, one for each
aisle and a central nave triple for that, like
the other gantries will be devoted to the
theological virtues, faith, hope and charity.
The most spectacular of all, are
constructions shaped clouds that rise by
following

the

four

towers

that

carry

flashlights and characters written on the

Creed enormity "Credo in unum Deum
Patrem Omnipotentem, creatorem coeli et
terrae". These clouds will surround an
image of God.
Gaud wanted the whole saw this
facade from the sea.
The low-level portico present a frieze
with images of Purgatory and at different
heights life images of men and their trades.
The supernatural life is expressed by way of
saints

surrounding

SAGRADA FAMILIA by ANTONI GAUDI

the

figure

of

the

DESCRIPTION OF THE
PARTS OF THE CHURCH
29
Redeemer. In the headspace would
representation of Judgment.
Salient porches will be the sign of the
cross and the glorious Sagrada Familia with
Jesus in the middle and on top of it, the
Holy Spirit and God the Father.
Each of the doors, will be dedicated
to a Sacrament and also one of the
petitions of the Our Father.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
30

THE NAVITY FACADE

Figure 30. Sagrada Familia: Navity Faade - Figure 31. Navity Faade Location

The Nativity Facade is the only part

The towers or steeples:

of the temple built by Gaud directly. It is

They have a height of 107 meters

formed as the other facades of four

both central and the outer 98 meters. They

steeples

are the main and most characteristic

square

at

its

base,

which

becomes cylindrical when they reach the

elements

fourth of his height. Above, are adopting a

accessible via spiral staircases that leave

parabolic profile into a pinnacle which

an important central void and reaching

crowns each of the towers.

almost to the top.

The

three

spaces

between

of

the

facade.

It

is

fully

the

The entire length of the bell is

ridges, are occupied by three portals

opened by means of a kind of stone

which together constitute the porch.

shutters allow diffusion of the sound of

tubular bells provided by Gaud.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
31
The top silhouette resembles an
episcopal crozier. Other symbols that can
be seen, are the symbol of the ring knot of
the bishops and the completion a golden
cross that incorporates initial apostle whom
the tower is dedicated.
Each of the towers of this and the
other two facades, even twelve, four for
each, is dedicated to an apostle.
Figure 32. Nativity Facade

The Porch:
Gaud designed for this porch an
impressive iconography in which besides

The archivolt each portal continues

the religious figures have been carved

upward to form a flashlight just in a

huge quantities of plant elements that

pinnacle.

serve

as

religious

binding
grounds

different

- The portal of Charity, which is the

imaginative

central one is divided into two

between
in

an

different entries for a column that

explosion of life.
The porch is composed of three

supported statues of Jesus, Mary,

portals: the Fe (right), Hope (left) and

Joseph and angels, completed on

Charity

sculptural

both sides by groups of sculptures

motifs in a wide and fanciful depiction of

depicting the Adoration of the Magi

the life of Jesus.

and the shepherds. Front window

(center)

presenting

eardrum

composed

of

two

warheads and a rosette see the star

of Bethlehem and pedestals image
of

Archangel

SAGRADA FAMILIA by ANTONI GAUDI

doing

the

DESCRIPTION OF THE
PARTS OF THE CHURCH
32

Annunciation to the Virgin. Above,

are

figures

of

angels

musicians,

all

surrounded by a world of plants with

The portal of Hope, to the left, is

flowers of various species and animals and

much smaller than the central

birds, covering the entire surface of the

and stands just under the facade

frame giving it a stunning look to drive such

has a single door, also contains a

a large surface. On top of this set, is a

lush aquatic in this case, since in

representation of the Zodiac signs as they

this

were the night of Jesus' birth. Above and in

scenes the escape from Egypt

a cave surrounded by birds, find pictures of

and the slaughter of the holy

the coronation of

innocents. At the bottom of the

the

pedestals, we find aquatic fauna

Virgin.

other

Still

images

website

are

represented

geese.

above culminate
in

kind

of

pinnacle
consisting
cypress
white

of

with
doves

symbol of purity
and
Figure 33. Portal of Charity

include
decorative

symbols

rises

between the two central towers and well

above the base of the ear drum.

SAGRADA FAMILIA by ANTONI GAUDI

Figure 34. Portal of Hope

DESCRIPTION OF THE
PARTS OF THE CHURCH
33
-The portal of the Faith, to the right of
center, is similar to the previous dimensions.
With a single door, find pedestals with
poultry and vegetables with a frieze of
arabesque. Above and to the right, a
picture of Jesus working on a workbench
and Joseph and Mary seeking Jesus in the
temple. On the left, the Visitation of Mary
to

her

cousin

Elizabeth

and

above

Zechariah, father of John the Baptist.

Above in a niche, an image of the saint.
Above the doorway and chairing the
portal, an image of Jesus seated at the
age of twelve. The eardrum has a
window of warhead and a rosette. The
archivolt

is

decorated

with

lush

vegetation with branches of apple,

angels left trumpeters among other
decorations

Figure 35. Portal of the Faith

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
34

THE PASSION FACADE

Figure 36. Sagrada Familia: Passion Faade - Figure 37. Passion Faade Location

The Passion faade is of recent

towers. As the facade of the Nativity

construction. It is located on the street

and the Gloria, the three portals of the

Sardenya and is oriented to the west. It

Passion

represents the passion and death of Jesus

theological virtues. The sobriety of the

Christ. Consistent with this function looks

facade is also manifested by the presence

extremely bare and austere, geometric

of

shaped edge. The forms a six-column

sculptures were made by Josep Maria

porch with three entrances, of which the

Subirachs deliberately adding drama to

center is divided in two by a mullion signs

the already sad Gaud design.

with Alpha and Omega, located between

the four

are

dedicated

bone-shaped

to

columns

the

and

three

sober

The project complies with the initial

set of Gaud with respect to their general,
but the details are obviously adapted to
modern aesthetics.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
35

THE MAIN NAVE

Figure 38. Main Nave Location

The church has a basilical ground

plan and five naves, the central one rising

bucolic appearance and give a

feeling of undergrowth.

to a height of 45 m and the side ones to 29

The ceilings of the central nave, seen

m. The central nave and side naves are

from the interior, will be crowned by

supported by a system of columns which is

aedicules that will provide support for lights

completely

of

with the initials of the Holy Family. Five thick

architecture. In the eyes of the observer,

parabolic shields, placed on either side, will

the interior looks like a forest of trees with

have "Amen" and the words of praise "Al",

beautiful alignments, of which we can see

"le", "lu", "ia", broken up into syllables,

the trunk, the branches and a cluster of

written on them. The large columns that

leaves. In this forest of columns, the light

support the vaults and the roofs also

filtered through the windows will give a

represent the apostles and the churches of

new

in

the

history

the whole world. The columns dedicated

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
36
to the apostles St Peter and St Paul
are

outstanding;

they

are

situated

between the crossing and the apse, joining

the triumphal arch with the Calvary.
On the exterior, the water from the
roofs runs down drainpipes which at half
height are fixed to the walls at half height
with the following allegories and captions:
a flask with the inscription "myrra (myrrh)sacrifice", an incense burner with the
inscription "thur (incense) prayer" and a
box with the inscription "aurum (gold)alms. Beside and on the windows are
images of the saints who founded religious
orders, such as St John Bosco, St Joachim
Vedruna or St Joseph Oriol.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
37

SACRISTIES

Figure 39. Sacristies Location

Still have not started building, shall

three obelisks and a flashlight. At the

be sized on the basis of 18x18 meters and a

opposite end, a staircase linking the three

height of 46 meters. The cover will be

floors of the basis of which, the main floor

domed twelve-sided and be positioned at

will have a height of 14.5 meters and will

the corners of the cloister behind the

be partially prepared as a tiered gallery.

cruiser.

The light will enter through the twelve

The twelve sides of the dome will be

rosettes triangular pediments.

that hyperbolic paraboloids level cloister

The dome consists of four levels, and

covers, will be cut by eight vertical planes

all of it will be pierced by triangular

twelve gables originate uneven corners

windows in order to ensure good lighting.

being larger than the walls.

The whole system of vaults that cover

The bevel angle to give the street

there will be a kind of tower topped by

different levels will be based on hyperbolic

paraboloids and hyperboloids.

SAGRADA FAMILIA by ANTONI GAUDI

DESCRIPTION OF THE
PARTS OF THE CHURCH
38
The domes of the two vestries are
put together harmoniously with the series
of gables, pinnacles and lanterns that are
part of the apse who will be next.

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
39

Figure 40. Double Twist Column

During the last fifteen years of his life,

Gaud planned many parts of the church
so that they could be built in the future. He
did

so

combining

geometrical

forms,

"I geometer, i.e. synthetic, I calculate

everything, the geometry in the
execution of complicated surfaces, but
also simplifies the construction by
Antoni Gaudi

chosen for their formal, structural, luminous,

acoustic

and

hyperboloids,

constructive
paraboloids,

qualities:
helicoids,

columns of the Passion faade. He

generated the knots or capitals of the

conoids and ellipsoids.

Many of these surfaces are ruled,
which makes the construction easier. He
assigned one of these forms to each type

main columns with ellipsoids. And earlier he

had planned the building of the parish
schools with conoids.

of the elements that make up the naves.

With helicoids he invented a new column
in the history of architecture: the double
twisted column. He used hyperboloids for
the openings of the windows and the
vaults. With paraboloids he created linking
surfaces on the vaults, the roofs and the
SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
40

DOBLE TWIST COLUMN

In plaster, Gauds double twisted
column is generated by engraving a
helicoidal groove on a cylindrical base by
means of a star-shaped template. By
making this movement twice, in the two

2. The

which is cylindrical, is generated by the

extrusion of the circle from the base
following a slightly curved profile.
3) The barley sugar column, typical

opposite directions of the twist, the result is

the common solid of the two barley sugar
columns, the two that would have the
helicoidal engraving of the grooves, one
twisting to the right and the other to the

Corinthian order column,

of the Baroque, with the torus shape, marks

an

ascending

helicoidal

following the helix that surrounds the

cylinder of the nucleus.

left. In that way the number of arrises

created by the initial star-shaped polygon
multiplies as the column becomes higher,
until practically reaching the circle.
Gaud was searching for a new
column, one that would excel the
earlier ones but would fit into the history
of the column. And, in that history, he
saw three great basic models:
1.

movement

The Greek Doric column

has vertical grooves.

Figure 34. Doble Twist Column

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
41

RULED SURFACE
One of the great contributions to
modern architecture Gaudi has been the
use constructive ruled surfaces
Ruled

surfaces,

as

their

name

suggests, are surfaces that contain straight

lines, or rather that can be generated by
the movement of one straight line that
follows a particular route.
Ruled

surfaces

allowed

him

to

With the use of those twisted ruled

surfaces

forms

solutions

and

get

hitherto

paraboloids,

helicoids and conoids), as well as creating

a rich architecture and a characteristic
and expressive visual quality, thanks to their
double curve they achieve a structural
efficiency which is by no

expand the repertoire

of

(hyperboloids,

"The use of ruled surfaces is logical for their

superior ease plastic and constructive." by
Antoni Gaud

means
since
often

unpublished, both on
the walls and the vaults or covers.
There are two ways that led to Gaudi
to work with regulated space geometry:

to
the

be

despised,

double

reversed,

curve,

provides

great rigidity and a great capacity for

transmission of the mechanical actions to
the edges or the support points.

one is the analysis since childhood had

made of natural forms (tree trunks, bones,
crustaceans, etc.), and the other his
domain the geometry of space and the
need I had to experiment with the three
dimensions.

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
42

HYPERBOLOIDS
These surfaces are formed by
lines that rest between two equal
and parallel ellipses, and combines
a focused set of corresponding
points between the two ellipses.
They have two generating lines,
nails in one direction and the other

Figure 42. Shape of Hyperboloid

in the hand, and represent a

special case among elliptical cones
and elliptical cylinders.
We find hyperboloids of one sheet in
some temple vaults and windows.
And so we can find hyperboloids on
the

windows,

circular

or

elliptical

hyperboloids, the latter easily identifiable

from the elliptical rose window.
The light from the attics has to pass
into the nave through the vaults, and that
is

why

the

vaults

are

pierced

with

Figure 7. Palacio G

hyperboloids of revolution
Figure 43. Example of hyperboloid in Sagrada Familia

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
HYPERBOLIC PARABOLOID

43

The hyperbolic paraboloid surfaces

of the most important and original used by
Gaud, a ruled surface is formed by straight
lines that are supported by two lines that
intersect in space in an orderly fashion, i.e,
establishing a objective correspondence
between points related support
One of the first examples of the

Figure 44. Shape of

Hyperbolic and Paraboloid

temple is found in the side windows. A

second case form the basis of the great
columns, creating a smooth transition
between the ground and the plane.
Also at the base of the pinnacles of
the Nativity faade. The culmination of the
use of hyperbolic paraboloid is located on
the
deck

upper
of

the

ships and the

sacristy
Figure 46. Vault: Example of Hyperbolic and
Paraboloide in Sagrada Familia

Figure 45. Base: Example of

Hyperbolic and
Paraboloide in Sagrada
Famila

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
HELICOIDS AND CONOIDS

44

A helicoid is a surface generated by

moving a straight which moves parallel to
a plane and rests on a straight line
perpendicular

to

this

and

helix

associated with a cylinder perpendicular

to the plane and whose central axis the
straight set. Thus originates to cause helical

Figure 47. Shape of

Helicoids

movement (rotation, around the shaft

composite translational direction parallel
to it).
The helicoid is the ruled surface we
can see on the skeleton of a spiral
staircase (before

the steps or seen from

below if left smooth). It is a ruled surface

because there is always a set of horizontal
straight lines which afterwards will serve to
mark the directions of the radial steps,
which follow the route of a spiral of the
exterior cylinder of the space occupied by
the stairs, and at the same time those
radials rest on a central vertical straight
line, the imaginary axis inside the nucleus
of the staircase.

Figure 48. Staricase:

example of Helicoid in
Sagrada Familia

SAGRADA FAMILIA by ANTONI GAUDI

GEOMETRY
HELICOIDS AND CONOIDS
The conoid is determined by a line, a
curve and a perpendicular plane in space,
and formed by all straight lines based on
the given and the corresponding points of
the curve set, and all these lines are
parallel to the given plane.
The surface of the conoid is also
ruled. A sinusoidal guideline is traced on
the ground and a straight bar placed at a
certain height as a second guideline.
Resting on these two guidelines, one a
straight line and one a curve, are the
straight lines that generate the surface,
which are the whole group of tensed
strings linked to the upper bar that seek the
line marked below to act as a guideline for
raising the undulating wall.

SAGRADA FAMILIA by ANTONI GAUDI

45

THE AUXILIARY
RESOURCES TODAY
46

The Sagrada Familia has built for

over a century (since 1882). Although it has
evolved

and

finished

sculptures

level,

follows the principles underlying the original

structural

design

construction

Gaud.

have

During

been

using

its
the

construction methods of the times, all

influenced

by

material,

type

of

construction, aids, etc..

The materials used in these early
years were mostly stone and traditional
building techniques were basically. So far
the great buildings were made of stone as
in

antiquity

and

more

normal

brick

buildings.
After

the

discovery

of

Portland

cement, began rehearsing with reinforced

concrete. The first results applicable to
beams and other structural elements were
exploited from patents. Gradually the
concrete was gaining importance, to the
point where he got to be the main
material used in the construction of the
Sagrada Familia.

The use of concrete has conditioned

building methods and consequently aids
to accomplish:
-Cranes: Over the construction have
been needing a larger number of cranes,
up to the number 6. Its use means faster
construction and great coverage of all the
areas of the basilica.
-Concrete making pant: Concrete is
the

most

important

material

in

the

construction of the basilica. Five different

types of concrete are used, so that the
concrete making plant gives speed to
construction.
-Template machine: This makes it
possible to produce templates of all kinds
with different materials. It receives its order
directly from a sketch done by computer.
The diversity is necessary to produce
pieces of stone in the workshop, plaster
models, new designs on site

It can also

make three-dimensional models up to

certain sizes.
-Good lift: It supplements the crane.
It was invented for the building of the

SAGRADA FAMILIA by ANTONI GAUDI

THE AUXILIARY
RESOURCES TODAY
cathedral and is used when an item
is difficult placement.
-Special scaffolding system for the
columns of the church: This consists of a
metal structure, made up of two

47
joined and connected platforms,
which enable work on two levels of the
column simultaneously.
-Elevator scaffolding and different
machinery for the different workshops.

Figure 49. Distribution of cranes in the Sagrada Familia

SAGRADA FAMILIA by ANTONI GAUDI

TRENCADS
48

The trencads is an artistic ceramic

mosaic type whose peculiarity that the
parts used for manufacturing tiles come
cleaved. The key to a quality trencads is in
choosing pieces with similar sizes, arranged
so they seem a puzzle that all fit leaving a
small space between pieces to grouting.
The

surface

coating

residues

and

skill of the operator to perform the pieces

break is essential when getting a good
trencads ceramic. It is important to obtain
a good ability pieces
with

the
be

of sizes larger than 8 or

10

The

cm

smaller

manufacturing

and

thus

amount

a
of

wasted material. At the

process of traditional

time of breaking the

be

parts

divided into several

Selection

when

performed with pieces

of Antoni Gaud.

phases:

sizes,

trencads

especially in the work

can

uniform

especially

in

modernism,

trencads

smeared

Rupture of the ceramic pieces:The

with
role

be

surface tarnishing final result.

trencads played a
major

may

must

use

protective gear for the

Figure 50. Pinaculos of the towers with Trencads

of

materials: The most suitable materials are

flat pieces of ceramic tiles, but also uses
glass, marble or stone. It is desirable that
the surface of the rough parts is not as
difficult subsequent cleaning mortar

eyes

and

hands.

Sometimes placed a newspaper or cloth

over the pieces to break not jump when
small sharp splinters of enamel.
Size of pieces: The size of the pieces
is to be suited to the characteristics of the

SAGRADA FAMILIA by ANTONI GAUDI

TRENCADS
the drawings may have. This way you can
get an optimal outcome.
Fitting the pieces: The pieces are
placed on the wet mortar with a small
vibration, making sure to leave enough
space between the boards so that once
the mortar is dry and well set pieces can
be grouted. The grout has to do with a
rubber or similar. Before the material is dry
grout used to have to clean the remains of
mortar from the surface of the tiles with a
damp sponge.
Trencads found work in the elements
that decorate the facade of the Nativity,
among them are the pinnacles of the
towers.

SAGRADA FAMILIA by ANTONI GAUDI

49

BEYOND THE GOTHIC

50

Antoni Gaudi took structurally gothic

ideas, but he went further, based on
principles of the Gothic, natural forms and
his own inspiration, came to what is called
"the beyond the Gothic", introducing new

under strong wind efforts supported

by the leg of an animal in motion.

elements, such as being:

Parabolic arch: this arch is the formal
expression of the pressure line that defines
the natural decline in cargo space and
solution of continuity with the lancet, which
proposes

model

for

columns:

it

the

new

direct

architecture.
Inclined

is

Remove flying buttress and buttress:

Working with completely vertical pillars
necessary to use an auxiliary structure as
were the buttresses and flying buttresses.
With the introduction of inclined elements,
these accessories obsolete.

consequence of the use of absorption

systems efforts seeking identification of
load-bearing geometric lines with pressures
caused by the lowering of loads. The
vertical line is the simplest expression of the
gravitational action. But in most cases does
not

happen

naturally,

and

that

the

composition of the forces that originate in

a resulting construction is not a vertical line.
It is similar to nature, we find completely
unsupported vertical structures, like a tree

SAGRADA FAMILIA by ANTONI GAUDI

FUTURE
Antoni Gaudi suffered an untimely
death,

this

did

not

prevent

left

51

an

important legacy to new generations. His

wit, skill and a different way of looking at

fusion of stone, steel and concrete

architecture, has inspired several new

with the hardness of the natural earth

architects of the 21st century.

transforms the essence of nature, like

Among them are, another Catalan

Antoni.

architect Enric Miralles. With a premature

dead like Gaudi, it was said that had it not
been so, had come to project works like
those of Gaudi.
Some of his most important works,
rehabilitation of Santa Caterina Market,
the cemetery of the city of Igualada and
the Scottish Parliament.
Using a similarity with one of them,
we can speak of the cemetery, with the

Another
influenced

architect

by

Gaudi,

who

has

been

was
the

Valencian Santiago Calatrava, famous for

works such as The City of Arts and Ciencas,
the Turning Torso or Jerusalem Chords
Bridge.
Most works of Santiago Calatrava
noted for its curved forms (parables,
helical, conoid) and the use of Trencadis,
having a difference in the color
of Trencadis as Gaudi used
colors and Calatrava uses only
white.
The following pictures are
a

example

Gaudis

between

architecture

Calatravas architecture:
Figure 51. Cementery in Igualada city - Figure 52.
Parc Gell
SAGRADA FAMILIA by ANTONI GAUDI

the
and

FUTURE
The left picture belongs Casa Mil
in

Barcelona

52

by

Antoni Gaudi, It can

be see an Inverted
Catenary like a spinal
column. And the right
picture belongs Sala
Municipal
Subterranea
Alcoy(Alicante)
Santiago

in
by

Figure 53. Casa Mil - Figure 54. Sala Municipal Subterrnea

Calatrava,

its an obvious similarity between the two

constructions.
This other two picture
are other example
between the similarity. The
up picture is Escuela
Sagrada Familia by Gaudi
and the down picture is
Bodegas Ysios in Rioja
Alavesa by Santiago
Calatrava

Figure 55. Escuela Sagrada Familia - Figure 56. Bodegas Ysios

SAGRADA FAMILIA by ANTONI GAUDI

FUTURE
Antoni Gaudi has also influenced
architects such as Norman Foster who said
"Gaud has been one of my heroes. It
came at a time that produced heroic
figures like Gustav Eiffel, Louis Sullivan and
Frank Lloyd Wright. In the eyes of some
critics, the creativity of Gaudi suffered from
over-expression

but

Gaud

was

an

extraordinary poetic power architecture

with a group of artisans dumps in his works "
.
Finally,

other

artists

have

been

influenced by Gaudi: Frank O.Ghery, Zaha

Hadid, Herzog & de Meuron, Jean Nouvel,
Benedetta Tagliabue, Richard Rogers o
Toyo Ito.

SAGRADA FAMILIA by ANTONI GAUDI

53

CONCLUSION
54

Hard to believe that a basilica

begun to build in 1882 and still under
construction even more so without his
principal architect without a legacy of
plans to follow the construction.

brought up over the new years

covered needs with available resources.

But such is the ingenuity, diversity

As seen, the Concrete has solved some of

and originality that shows the basilica,

these problems, but it is possible that future

which would be foolish not to end the

requirements arising introducing materials

project.

not yet used. For example, the construction

La Sagrada Familia, is more than a

of the tower over the crossing of Jesus

building, it is a work of art. It can be found

Christ must necessarily make with a lighter

from columns entirely new to an unseen

material otherwise it would strengthen the

ornamentation.

current foundation under the crypt built by

The basilica has under construction

Gaud.

130 years, what has made you have gone

Gaud was essentially an architect,

through the techniques, influences and

an architect who was well aware of the

problems of each period.

trade resources, able to use all forms of

The

knowledge

and

techniques

planar and spatial geometries, passionate

have evolved in a way that is logical as

about

unthinkable that are reflected in the

impossible into constructible.

materials and construction solutions used.

building.

As

result,

of

the

True, Gaud was inspired by organic

The studies for the construction of the

forms in natural patterns and, above all, in

remaining parts are facing labor following

the spirit of synthesis, but so is that behind

the innovative spirit that has always had

the most symbolic of his work there is a

the Temple and not rule out the possibility

structural support, functional approach,

of using new materials. The progress of the

the economy is based on experience and

works of the Sagrada Familia has been

observation of facts.

SAGRADA FAMILIA by ANTONI GAUDI

CONCLUSION
His originality is not based on new
materials and new ways strange, but new
solutions

with

extraordinary

resolved

constructively

ingenuity

analyze

arising

problems forever, but at the root, from the

origin.
This end point was the consecration
of the Sagrada Familia, which has become
a symbol for and a symbol for Barcelona. It
has become an inspiration for many artists,
has

become

an

icon,

something

to

admire.
The most important and emblematic
Gaudi not only display their elaborate
conception of architecture, but also will
reflect different times along which have
built.
the construction of the Sagrada
Famlia (Bonet, 2000) is a challenge for the
technology

and

architecture

of

XXI

century.
The Sagrada Familia and Antoni
Gaudi have marked a before and after.

SAGRADA FAMILIA by ANTONI GAUDI

55

BIBLIOGRAPHY

56

1. www.sagradafamilia.cat
2. http://en.wikipedia.org/wiki/Sagrada_Fam%C3%ADlia
3. http://www.guardian.co.uk/artanddesign/2011/apr/24/gaudisagradafamiliarowan
moorehttp://etsamtallerjmsanzjuliominguito.blogspot.dk/2010/03/extractodepresentacionpara.html
4. http://arquitecturamashistoria.blogspot.dk/2008/09/sc76gaudycalatravaenlas.html
5. http://es.wikipedia.org/wiki/Antoni_Gaud%C3%AD
6. http://www.antonigaudi.org/
7. http://www.rtve.es/television/20091109/gaudiana/300028.shtml
8. http://www.lanacion.com.ar/922238lainfluenciadegaudibrillaendosedificiosportenos
9. http://cvc.cervantes.es/actcult/gaudi/
10. http://www.monografias.com/trabajos21/antonigaudi/antonigaudi.shtml
11. http://www.guardian.co.uk/artanddesign/2006/jan/16/architecture.spain
12. http://es.wikipedia.org/wiki/Santiago_Calatrava
13. http://es.wikipedia.org/wiki/Enric_Miralles
14. http://blogs.elpais.com/deltiradoralaciudad/2010/07/dieza%C3%B1ossinenricmiralles.html
15. http://elfenomenogaudi.blogspot.dk/2010/02/laedaddeorodelosdiscipulos.html
16. Book:AntoniGaudibyRainerZerbst
17. Book:GaudibyIgnasideSolMorales
18. Book:SimbologiadelTemplodelaSagradaFamiliaby
19. Article:Gaudi,lobra
20. Article:Gaudiylaarquitecturaorgnica
21. NewspaperLaVanguardia
22. Dissertation:Gaudi,Philosophy,InfluencesandStaticsfromthegenius

PICTURES REFERENCES
57
Figure 1. Antoni
Gaudi

http://upload.wikimedia.org/wikipedia/commons/thu
mb/4/49/Gaud%C3%AD_(1878).jpg/220pxGaud%C3%AD_(1878).jpg

Figure 2. El capricho

http://www.inmojet.com/blog/wpcontent/uploads/2012/03/elcapricho.jpg

Figure 3. El capricho

http://www.aciprensa.com/arte/gaudi/images/capri
cho.jpg

Figure 4. Casa
Vicens
Figure 5. Finca Gell

http://farm2.static.flickr.com/1209/1352462156_1c38c
2e5e7.jpg
http://farm3.staticflickr.com/2432/4341864970_0d9104
36b5_z.jpg

Figure 6. Palau Gell

http://usuarios.multimania.es/krie/foto/gaudi/Palaug
uell.jpg

10

Figure 7. Palacio
Gell

http://viajeabarcelona.es/wpcontent/uploads/Palacio-G%C3%BCell.jpg

11

Figure 8. Casa
Botines

http://1.bp.blogspot.com/_-YzFbZV21Bo/SoXPD9aUzI/AAAAAAAALOI/aXIUHUna2dg/s400/b3.jpg

11

Figure 9. Casa
Bellesguard

http://gaudimon.an3.es/photos/Torre%20Bellesguard.
jpg

11

Figure 10. Parc Gell

http://2.bp.blogspot.com/lpXSFuawAS8/TsWjC_aKnVI/AAAAAAAAKRI/uQorHn1T5Q/s1600/parque+guell+gaudi.bmp

13

PICTURES REFERENCES
58

Figure 11. Bone

http://www.google.es/imgres?q=femur&start=102&nu
m=10&hl=es&biw=1366&bih=624&addh=36&tbm=isch
&tbnid=uWkVkAUjychhEM:&imgrefurl=http://www.sci
encephoto.com/media/98690/view&docid=NsyJPRC
ZEaC_yM&imgurl=http://www.sciencephoto.com/im
age/98690/350wm/C0034464-Human_FemurSPL.jpg&w=234&h=350&ei=iN5yUMGaO4jntQa49YHw
Ag&zoom=1&iact=hc&vpx=498&vpy=89&dur=869&h
ovh=275&hovw=183&tx=79&ty=163&sig=10430590640
7509407249&page=4&tbnh=138&tbnw=90&ndsp=35&
ved=1t:429,r:11,s:102,i:156

Figure 12. Casa

Batll

http://www.casabatllo.es/content/imgsxml/es/galeri
as/texto/154/img-5006.jpg

13

Figure 13. Tendons

http://4.bp.blogspot.com/_wQKn3C3xRQY/TFXalvJ26
gI/AAAAAAAAAEc/2zuZVlLB8Aw/s320/8.jpg

13

Figure 14. Colonia

Gell

http://m1.11870.com/multimedia/imagenes/criptala-coloniaguell_pxl_7f761a6d248770372b9e1ae37d13dfc3.jpeg

15

Figure 15. Trencads

http://static.flickr.com/121/302325904_0c7321d4ec_o.
jpg

15

Figure 15. Trencads

http://2.bp.blogspot.com/_BWXh5GBWTA/TFwpEt5hm7I/AAAAAAAACbY/Eqayequ6nhI
/s1600/Salamandra_Gaud%C3%AD.jpg

15

Figure 16. Sagrada

Familia

http://farm4.static.flickr.com/3032/2953501825_fb3e3
dd711.jpg

20

Figure 17. Abside

location
Figure 18. Gargoyles

www.sagradafamilia.cat

20

http://lh4.ggpht.com/_aGZfY4CLuc/SpQafzcIalI/AAAAAAAAEVg/nE6_WjHsSs4/Mallorca

20

13

PICTURES REFERENCES
59

Figure 18. Gargoyles

http://www.sagradafamiliagaudi.com/Vista%20Gene
ral/Fachada%20Abside/Abside/Gargolas/Lagartija%2
0-%20Index.jpg

20

Figure 19. Naturalistic

decorative

http://farm5.staticflickr.com/4104/5007925954_308fda
f52c_z.jpg

21

Figure 20. Chapel

Location
Figure 21. Model of
chapel

www.sagradafamilia.cat

22

http://www.sagradafamilia.cat/sfcast/docs_instit/simbologia_a7.php?lang=0

22

Figure 22. Sagrada

Familia: Cloister

http://www.sagradafamiliagaudi.com/Vista%20Gene
ral/Fachada%20de%20la%20Pasion/Escuelas,%20Clau
stro%20y%20Nave%20Lateral/Claustro%20Merce%20%20Index.jpg

23

Figure 23. Cloister

Location
Figure 24. Cloister

www.sagradafamilia.cat

23

http://www.gaudiallgaudi.com/images/200503%20(mar1)%20077%20gaudi%20claustre%20naix.JP
G

24

Figure 25. Sagrada

Familia: Crossing

http://albumfotos.com/uploads/fotos/thumbs/boved
a-de-crucero-sagrada-familia__MG_2845_slide.jpg

25

Figure 26. Crossing

and Transept
Location
Figure 27. Sagrada
Familia: Crypt

www.sagradafamilia.cat

25

http://www.xn--espaaesculturatnb.es/export/sites/cultura/multimedia/galerias/monu
mentos/cripta_sagrada_familia_barcelona_c_000.jpg
_1306973099.jpg

26

www.sagradafamilia.cat

26

www.sagradafamilia.cat

28

Figure 28. Crypt

Location
Figure 29. Glory
Faade

PICTURES REFERENCES
60
Figure 30. Sagrada
Familia : Navity
Faade

http://www.viajesconmitia.com/wpcontent/uploads/2010/03/Fachada-delnacimiento.jpg

30

Figure 31. Navity

Faade Location
Figure 32. Sagrada
Familia: Navity
Facade
Figure 33. Portal of
Charity

www.sagradafamilia.cat

30

http://www.temesdavui.org/img/cabeceras/docum
entos/aceprensagaudi2.jpg

31

http://sagradafamiliagaudi.com/Vista%20General/Fa
chada%20de%20la%20Natividad/Portico/Portal%20d
e%20la%20Caridad.jpg

32

Figure 34. Portal of

Hope

http://www.sagradafamiliagaudi.com/Vista%20Gene
ral/Fachada%20de%20la%20Natividad/Portico/Portal
%20de%20la%20Esperanza%20-%20Stereo%20%20Index.jpg

32

Figure 35. Portal of

the Faith

http://www.sagradafamiliagaudi.com/Vista%20Gene
ral/Fachada%20de%20la%20Natividad/Portico/Portal
%20de%20la%20Fe%20-%20Stereo%20-%20Index.jpg

33

Figure 36. Sagrada

Familia: Passion
Faade

http://3.bp.blogspot.com/_2192qFow1g0/SIi_hD6kl6I/
AAAAAAAAABg/zqsXbiHSyeU/s400/fachada+de+la+
pasion+3.jpg

34

Figure 37. Passion

Faade Location
Figure 38. Main Nave
Location
Figure 39. Sacristies
Location
Figure 40. Double
Twist Columns
Figure 41. Double
Twist Column

www.sagradafamilia.cat

34

www.sagradafamilia.cat

35

www.sagradafamilia.cat

37

www.sagradafamilia.cat

39

http://www.sagradafamilia.cat/imgs/imgs_inst/arq2/
geo_0101.jpg

40

PICTURES REFERENCES
Figure 43. Example of http://topologia.wordpress.com/2011/06/03/edicion2-5-del-carnaval-de-matematicas/
hyperboloid in
Sagrada Familia
Figure 44. Shape of http://enciclopedia.us.es/images/thumb/f/f8/Parabol
Hyperbolic and
oide_hiperb%C3%B3lico.png/250pxParaboloid
Paraboloide_hiperb%C3%B3lico.png

60

42

43

http://www.sagradafamilia.cat/sfcast/docs_instit/geometria4.php

43

http://static.panoramio.com/photos/original/4474667
8.jpg

43

http://www.cabalaytarot.com/03/Helicoide.png

44

http://www.sagradafamilia.cat/imgs/imgs_inst/arq2/
geo_0502.jpg

44

Newpaper La Vanguardia

47

http://2.bp.blogspot.com/cy4W3yBZCsI/TtvUC3NJjAI/AAAAAAAAAK4/nAyjLhkZH
0Q/s1600/basi_arte3_p153_f5.jpg

48

http://etsamtallerjmsanzjuliominguito.blogspot.dk/201
0/03/extracto-de-presentacion-para.html

51

http://etsamtallerjmsanzjuliominguito.blogspot.dk/201
0/03/extracto-de-presentacion-para.html

51

Figure 53. Casa Mil

http://arquitecturamashistoria.blogspot.dk/2008/09/s
c-76-gaud-y-calatrava-en-las.html

52

Figure 54. Sala

Municipal
Subterranea

http://arquitecturamashistoria.blogspot.dk/2008/09/s
c-76-gaud-y-calatrava-en-las.html

52

Figura 45. Base:

Example of
Hyperbolic and
Paraboloide in
Sagrada Familia
Figure 46. Example of
Hyperbolic and
Paraboloide in
Sagrada Familia
Figure 47. Shape of
Helicoids
Figure 48. Staircase:
example of Helicoid
in Sagrada Familia
Figure 49. Distribution
of crane in the
Sagrada Familia
Figure 50.
Pinaculos of the
towers with
Trencads
Figure 51.
Cementery in
Igualada City
Figure 52. Parc Gell

PICTURES REFERENCES
62
Figure 55. Escuela
Sagrada Familia

http://tresiyo.com/blog/2012/03/30/gaudi-vscalatrava/escuelas-sagrada-familia_gaudi/

52

Figure 56. Bodegas

Ysios

http://tresiyo.com/blog/2012/03/30/gaudi-vscalatrava/

52