Antoni gaudí was a spanish catalan architect who worked during the modernism The WritePass Journal

Antoni gaudà ­ was a spanish catalan architect who worked during the modernism Introduction Antoni gaudà ­ was a spanish catalan architect who worked during the modernism IntroductionBibliographyRelated Introduction Antoni Gaudà ­ (25 June 1852 – 10 June 1926) was a Spanish Catalan architect, who worked during the Modernism (Art Nouveau) and became famous for his unique and highly individualistic designs regarded as beyond the scope of Modernism. As in the rest of Spain, each town and region of Catalonia prides itself on its distinctly individual characters or flavour. While there is some conflict as to his birthplace official documents state that he was born in the town of  Reus, whereas others claim he was born in  Riudoms, a small village  Reus  it is certain that he was baptized in Reus a day, after his birth. He attends school in Reus where the secondary institute is now named for him. His penchant for drawing and architectural studies was already illustrated in schoolboy’s projects. I believe that Gaudi’s was modernist and in my opinion, this appears during his youngth; Gaudà ­ was suffering many times from the rheumatic fevers, that were common at the time. This illness caused him to spend much time in isolation and he preferred to stay nature alone. Because of his  rheumatism, the artist observed a strict vegetarian diet, used  homeopathic  drug therapy, underwent  water therapy, and hiked regularly. Long walks, besides suppressing his rheumatism, further allowed him to experience nature. It was this exposure to nature at an early age which is thought to have inspired him to incorporate natural shapes and themes into his later work. Gaudà ­s first works were designed in the style of  gothic architecture and traditional Catalan architectural modes but he developed his own distinct sculptural style soon. As Gaudi says, â€Å"he was so inspired by nature† because: Those who look for the laws of Nature as a support for their new works collaborate with the Creator. Eugene Viollet-le-Duc, a French architect   who promoted an evolved form of gothic architecture, proved a major influence on Gaudi. The student went on to contrive highly original designs – irregularly and fantastically intricate. Some of his greatest jobs, the most notably  is â€Å"La Sagrada Famà ­lia†, that has an almost hallucinatory force. I would like to say about the parabolic arches, the mushroom columns an helical shapes all of these are the best for him†¦ the most important who demonstrates that modernity means a lot in his life as architect as and   his works.   Gaudi, throughout his life, studied natures angles and curves and he incorporated them into his designs and mosaics. Instead of relying on geometric shapes, he mimicked the way men stand upright. The  hyperboloids and  paraboloids that he borrowed from nature, were easily been reinforced by steel rods and allowed his designs to look like elements from the environment. As you  say, and then  many of  the projects  had  elements of modernism  that  seemed  to change  his style  from  the  influences  and  the various  events  in life everyday†¦ everytime. The Spanish art-nouveau developed within the Catalan Renaixenca over the turn of the century. It was stimulated by the art nouveau of Paris where many Catalan intellectuals resided and by the similar Jugendstil movement of Germany. Gaudi had already employed some of the most characteristics Art Nouveau elements such as long curvilinear forms and free-stylized plants in his buildings as early as the mid 1880 well in advance of Art Nouveau where else. We have noticed this in the Palacio Guell and it is particularly vivid in his furniture of this epoch. The Casa Calvet (1898-1904) is the building by Gaudi that best typifies the nascent Modernismo. The faà §ade is a rather conventional Barcelona one, enlivened here and there by the fluid rococo and Art Nouveau details that appeared together at this moment. The latter are most advanced in the iron derricks at the top in the plant motifs of the owner’s oriel window and in tiny fronds amongst the iron balconies. Gaudà ­ scholars agree that this building is the most conventional of his works, partly because it had to be squeezed in between older structures and partly; it was sited in one of the most elegant sections of Barcelona. Its symmetry, balance and orderly rhythm are unusual for Gaudi’s works. However, the curves and double gable at the top, the projecting oriel at the entrance almost baroque in its drama, and isolated witty details are modernista elements. Columns flanking the entrance are in the form of stacked bobbins an allusion to the family business of textil e manufacture. Lluà ­s Permanyer claims that the gallery at ground level is the facades the most outstanding feature, a daring combination of wrought iron and a stone in which decorative historical elements such as a cypress, an olive tree, horns of plenty, and the Catalan coat of arms can be discerned. The Casa Batllo and the Casa Mila demonstrate that Gaudi was pursuing something more universal in Nature than the flowery ornament and whiplash lines of his Modernista compatriots. The Sagrada Familia church and the Colonia Guell chapel, in favor of which in 1910 he withdrew from almost all his other work. His reason still needs to be explored psychologically for the latter action. Taste in Catalonia was veering away from him in a typical classicistic reaction against Modernismo. The  Sagrada Famà ­lia, is a large  Roman Catholic  church in  Barcelona,  Catalonia,  Spain, designed by Catalan architect  Antoni Gaudà ­Ã‚  (1852–1926). Although in complete, the church is a UNESCO  World Heritage Site and in November 2010 it was consecrated and proclaimed a  minor basilica by  Pope Benedict  XVI. Though construction of Sagrada Famà ­lia had begun in  1882; Gaudà ­ became involved in 1883, taking over the project and transforming the project with his architectural and engineering style combining Gothic and curvilinear,  Art Nouveau formswith ambitious structural columns and arches. Gaudà ­ devoted his last years to the project and at the time of his death in 1926, less than a quarter of the project was complete.  Sagrada Famà ­lias construction progressed slowly as it relied on private donations and was interrupted by the  Spanish Civil War only to resume intermittent progress in the 1950s. Construction passed the mid-poi nt in 2010 with some of the projects greatest challenges remainingand an anticipated completion date of 2026 the centennial of Gaudà ­s death. In November 2010 consecrated Sagrada Familia and the interior of the church is open and accessible giving a spectacular view of the expansive forest like interior. The use of external light through the stain glass windows and the Glory of God window in the roof is ever changing and dynamic. The elevators that take you up to the various viewing points in the spires give access to a multitude of viewpoints that provide unique vistas of the Cathedral a Gaudà ­s first jobs that were designed in the style of gothic architecture and traditional Catalan architectural modes, but he soon developed his own distinct sculptural style. In my opinion,  another interested project is the  church  of Colà ²nia  Guell  which  is obvious  that it has passed  the  age  of  modernity.  This is illustrated by  the  details  of the building  like the shapes  that  have given  in every part of it. The Church of Colà ²nia Gà ¼ell, an unfinished work   by Antoni Gaudà ­. The technique that Gaudà ­ used to design the church was to hang little bags of birdshot from chains. Gravity would pull these bags downwards, giving even weight distribution and stretching the chains to form a model structure, thus showing him the shapes and angles his pillars would need to be. By using a mirror placed under the model, then Gaudà ­ could see the model as it should be looked. A replica of his model for the crypt is in the Museum under the Sagrada Famà ­lia in Barcelona. The model looks dated; however this would allow Gaudà ­ to perform designs, it could be done only by the computers, at this time. It put him a good 75 years ahead of the designs of the time. The art of Antonio Gaudi is not easily reduced to the scope of a book or a photograph even in color. Bibliography Frederike Mà ¼ller, Lars Wendt:  The Architect Antoni Gaudà ­. Myth and Reality, wendtfilm Cinà © Canard, Germany 2006. Rainer Zerbst   Antoni Gaudà ­,  Taschen, 2002.. Antonio Gaudi by George R.Collins (masters of world archeticture). Antoni Gaudi (James Johnson Sweeney and Josep Lluis Sert)