Gaudí may be said of many things. I've said in the very different sites, in books, articles, essays, and I also had a very good time watching their work, so contradictory at times.
Gaudí begins as a contradiction in itself, which does not mean that his work lacks coherence or unity, that's another matter. Indeed there are works of Gaudí in which these contradictions have generated a powerful expression unit.
Consider some of these contradictions. For example, Gaudí is a great constructive genius, arguably one of the greatest geniuses that ever lived builders. Architectural elements-arches, domes, columns, etc.-are designed to serve the mechanical function they exert. This theory has led to the parabolic arches and columns inclined peculiar features of his style. According to César Martinell, this represents the biggest advance of the stone architecture from the time pointed to us. But at the same time this master of construction and sternotomy, because it can go beyond the laws of mechanics, it often bloody mockery and ridicule them. In the Park Güell, Doric columns, which indicate almost classic heaviness and relaxation, support a roof that looks like a soft velarium, pouched by the weight of water or moved by the wind, a perfectly anticonstructiva, in contradiction to the rigidity of columns. This is one of the resources that the teacher has to obtain aesthetically disconcerting effects. The soft forms, in contrast to the geometric hardness are pure surrealism, and surrealism is one of the ingredients of Gaudí negligible. So Dalí considered as a precursor and, shortly after his death, gave a lecture on him in Paris that went almost unnoticed. So could speak of "edible Beauté et l'terrifiant Modern Style Architecture" in the newspaper Le Minotaur.
The big builder is, paradoxically, the architect who created the most brilliant sculptural forms and bold, as are the chimney pots of Palau Guell and La Pedrera, covers the entrance hall of the Park Güell, the terminals towers of the Sagrada Familia and types of windows of the latter, in my opinion, the best of his sculptures, in which we find a strange premonition Cubism to Lipchitz. The only thing that is loosely sculpturally Gaudí's work is very figurative sculpture that decorated the facade of the Nativity of Sagrada Familia. Defense found ways most fantasy animals, birds and shellfish, especially, but the human figures, with its trivial realism, are insipid.
Gaudí begins as a contradiction in itself, which does not mean that his work lacks coherence or unity, that's another matter. Indeed there are works of Gaudí in which these contradictions have generated a powerful expression unit.
Consider some of these contradictions. For example, Gaudí is a great constructive genius, arguably one of the greatest geniuses that ever lived builders. Architectural elements-arches, domes, columns, etc.-are designed to serve the mechanical function they exert. This theory has led to the parabolic arches and columns inclined peculiar features of his style. According to César Martinell, this represents the biggest advance of the stone architecture from the time pointed to us. But at the same time this master of construction and sternotomy, because it can go beyond the laws of mechanics, it often bloody mockery and ridicule them. In the Park Güell, Doric columns, which indicate almost classic heaviness and relaxation, support a roof that looks like a soft velarium, pouched by the weight of water or moved by the wind, a perfectly anticonstructiva, in contradiction to the rigidity of columns. This is one of the resources that the teacher has to obtain aesthetically disconcerting effects. The soft forms, in contrast to the geometric hardness are pure surrealism, and surrealism is one of the ingredients of Gaudí negligible. So Dalí considered as a precursor and, shortly after his death, gave a lecture on him in Paris that went almost unnoticed. So could speak of "edible Beauté et l'terrifiant Modern Style Architecture" in the newspaper Le Minotaur.
The big builder is, paradoxically, the architect who created the most brilliant sculptural forms and bold, as are the chimney pots of Palau Guell and La Pedrera, covers the entrance hall of the Park Güell, the terminals towers of the Sagrada Familia and types of windows of the latter, in my opinion, the best of his sculptures, in which we find a strange premonition Cubism to Lipchitz. The only thing that is loosely sculpturally Gaudí's work is very figurative sculpture that decorated the facade of the Nativity of Sagrada Familia. Defense found ways most fantasy animals, birds and shellfish, especially, but the human figures, with its trivial realism, are insipid.
Here's another of the contradictions of the architect of the Sagrada Familia. At a time like few other academic and scholarly, was a rabid individualist who did not hinder his fantasy and his never stopped embracing originality. The superficial observer ensure
that has never been an architect so wedded to the past, less traditional, in a word: it is an anti-historical architect. And yet, it's not that simple and soon appears to us another of its contradictions and listening to the most interesting of which can reveal more intimate areas of her sensitivity. In the background, turning the tables, we can say that Gaudí is one of the most delicately historicist architects who ever lived. But it has been in a subtle, indirect, implied. This is what distinguishes him from his contemporaries, a Puig, a Domènech, a Mélida, a Rodriguez Ayuso, a Repullés.
seems that living in the Catalan atmosphere end of the century would bring the medievalism that was so attached to the local environment. But along with the medieval Gothic character, we find a significant influence of Gaudí mudejarism.
Mudejar is one of the first explosion, exorbitant and youth, of his wit: Casa Vicens (1878 to 1880). The most suggestive Mudejarism bill is in the interior of the Palace Güell (1885-1888), one of the artist's masterpieces. The interiors, exquisite frankly, are treated with a sense of spatial fragmentation and fully Moorish which emits a magical effect, as enchanted palace. In tough mudejarism imbued the convent Hispanic of the Teresas in Bonanova (1889-1894), whose rigged plants remind us of the warm texture of the walls of Toledo. For me, this is one of the most important buildings of Gaudí's work, perhaps the favorite of all, because it combines the highest originality with a unique balance, based on linear rhythms. In its entirety grid, for the simplicity of its volume and its evocative skyline, it seems the work of a young teacher of today, like Paul Rudolph and Minoru Yamasaki.
I also discovered the work of Gaudí a Japanese architect named Tokutoshi Torii, entitled The enigmatic world of Gaudí. A two-volume work very interesting. Torii
had come to Spain with a scholarship from your country to study architecture was done in Spain. On leaving Barcelona in a subway station on Paseo de Gracia, was found with the Casa Batlló and he became as entranced, he forgot all his plans and only wanted to study to Gaudí. He came to Madrid and asked to enter my study, where I ordered a board and a place to work, to me all excited and gave me as I asked.
In the days and months, I saw his work was developing and as there was a strange rapport between the genius of Gaudi and the sensitivity of young Japanese architect. Then I understood that there is a strange symbiosis between the world of Gaudí and the Japanese world. The Japanese mentality spiritualized matter and embodies the spirit, and understand that nothing else does the work of Gaudí, to the point of maximum tension.
Every work of Gaudí and especially the Sagrada Familia or the Colonia Güell Chapel, is a matter spiritualized counterpart to realize the spiritual yearning.
musician with his symphonies, the poet with his rhymes and dreams, live in complete spiritual outpouring, but Gaudí needed to appeal the matter to infuse his own spirit, a spirit, which, not fit within the limits Earthlings, wants to raise the sky.
This will to understand the harmony between the world of Gaudí with all Eastern and summarized in the view that the architect spiritualized matter simultaneously embodies the spiritual yearning. The Sagrada Familia is an example of what we say.
The amazing genius of Gaudi, leads us to conclude that led the artist's own confidence in his powers, has moved beyond what we might call the rules of the game, and has started to explore new and dangerous territory where the rules no muse prudent compass and square.
Such is the case, for example, the Casa Mila on Passeig de Gracia in Barcelona, \u200b\u200bpopularly known as La Pedrera (1905-1907). This is one of the masterful creations of Gaudi's genius in full bloom and development. Rarely stone has been treated with a solemnity as cyclopean and strong as here. This facade is more than architectural geology. The vertical mismatch between their holes, and variety, gives an impression of total block that has not been reached following the beaten path of urban architecture to date. It was one of his brilliant insights. The locks of the house is one of the wonders of his creative muse. No precedent, however remote, can help us understand the true creation ex nihilo. Folded and twisted irons have a something dry and prickly vegetation that combines beautifully with the architecture and geological molar La Pedrera. The cover, with its undulating slopes and fanciful chimneys and gables, is one of the best examples of abstract sculpture teacher. Here again we have escaped the boundaries of architecture, seeking greater freedom.
One reason for the popularity of Gaudí lies in that to be always moving in adjacent areas, not enclosed in jail ever methodological architecture. Lay people and even the learned, are seldom drawn by the architectural aesthetic emotion, which must yield the field to the other arts-painting, music, sculpture much more expressive. To the extent that Gaudí escapes or fails to architecture, extending the range of emotional spectrum and art reaches most extensive and numerous. People have called it "rock poet" phrase, on the other hand, quite topical and can not say anything, because there is no reason that can not be maintained the same, even if it is different poetry of Juan de Herrera and El Escorial. But to call this "poet in stone" applies to us to understand how the public has always wanted to extol the values \u200b\u200bextraarquitectónicos teacher. The best proof of its popularity is that it is the only architect who has a Society of Friends whose purpose is to exalt su picture; it that, cierto, hare admirable. (By Fernando Chueca Goitia, in http://cvc.cervantes.es/actcult/gaudi/chueca.htm )
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