Antoni Gaudi

Transcription

Antoni Gaudi

Anna Fernandez Torrelles
History of architecture: Antoni Gaudí
0. ABSTRACT
This dissertation is about Gaudi. So many things could be written about him but I find it
interesting to write about his influences and how he resolves the statics of his buildings. It is
also interesting to know how Gaudi projected his buildings, did he plan or did he improve his
buildings while they were under construction? These are subjects about Gaudi that I find more
interesting to write about.
Gaudi is famous around the world but just a few people
think about what is behind Gaudi and how he thought.
I was from the first group, I looked at his buildings and
liked them a lot and had a great time while walking
through “Parc Güell” but then I started to think about
Gaudi more in depth, what was behind those
buildings? Then the opportunity to research about him
and his way of doing came with this dissertation.
0. “Parc Güell” in Barcelona
First of all I researched about Gaudi’s roots, where he came from and which were his
influences from his childhood. Then I made a research about Gaudi’s philosophy, which were
his main ideas and how he applies them to architecture and his works. An interesting topic is
the research about Gaudi’s influences which was mainly nature, arts and other architecture
styles. Nowadays Gaudi is a source of inspiration for many artists and for many arts, not just
architecture. An interesting thing to know about Gaudi and which is less known is how he
worked and projected his buildings, how he thought while he was projecting a building. Just a
few things are known about it but we will never know how he really thought and felt. It is
known that Gaudi did not do his job just in his workplace; he liked to go to the building site and
improve his buildings while they were being built. Another fact about Gaudi that I found
remarkable is the way he thought about the statics of his buildings. He did not make
calculations like architects do nowadays; he did models to know how a building could stand.
The work of Gaudi embraces all the facets of architectural design. The present paper studies
the analysis and design of masonry arches and vaults. It is well known that Gaudi used hanging
models and graphic methods as design tools. What was completely original was the idea of
basing all the structural design in considerations of equilibrium. Gaudi also employed unusual
geometrical forms for some of his vaults, ruled surfaces, showing a deep structural insight. In
the present paper Gaudi’s equilibrium methods are studied with some detail, stressing their
validity within the frame of Limit Analysis
I used different resources to do this research, mainly from Spanish articles and internet. I also
read some book even in English and in Spanish or Catalan. The most difficult topic was to find
out how Gaudi worked in his workplace. It is known that he improved while the building was
under construction but there is no exact information about his way of doing or his way of
thinking.
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1. INTRODUCTION/PROBLEM STATEMENT
Antoni Gaudí i Cornet (Reus or Riudoms June 25, 1852 - Barcelona, June 10, 1926) was a
Spanish architect, internationally recognized as one of the most important geniuses of
architecture.
He moved to Barcelona to study architecture, where his first works were influenced by various
styles such as Gothic, Mudejar and Baroque. Until the explosion of Modernism, when he
managed to implement a style, using his studies on nature and regulated forms of geometry.
The use of all the applied arts to the decoration of its buildings and ornamentation for the
ancient mosaic Gaudi transformed into brittle, into a new technique.
His contribution to the architecture is unique. He is considered one of the leading exponents of
Modernism. Since his childhood, Gaudí was an attentive observer of shapes, colors and
geometry from the nature. He created several masterpieces, the most famous around the
world being, undoubtedly, the Temple of the “Sagrada Familia”, which is still under
construction.
But there are some interesting questions about Gaudi and his way of doing architecture:
-
Every artist has his philosophy and his rules to follow, so which were the main ideas of
Gaudí?
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Gaudí had a personal style, he introduced lots of new skills and designs but did he have
influences from other styles? Or other architects? Or arts? Or Nature?
-
Nowadays, architects normally plan all before anything is built, and then they may
change just a bit. What was Gaudí’s way of working? Did he plan all before building it
or did he build while the process was going on?
-
Gaudí’s architecture was very original and he made an irregular architecture, not
following the normal rules, so his statics could be very difficult. How did he handle
statics, did he calculate everything or did he have a different way to analyze the
statics?
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2. WHO IS GAUDI
Antoni Gaudí i Cornet ( Riudoms or Reus , June 25 of 1852 Barcelona , June 10 of 1926 ) was a Spanish architect, leader of
the Catalan Modernism . Picture 1.
1. Antoni Gaudí
Gaudi was an architect with an innate sense of geometry and
volume , as well as a great imaginative ability that allowed him to
mentally project the majority of his works before passing them on
to plans. In fact, rarely performed detailed drawings of his works,
preferring to recreate them on three-dimensional models. At
other times, he improvised on the way, giving instructions to his
staff about what they had to do. (1)
With a strong intuition and creative ability, Gaudí conceived his buildings on a global basis,
serving both solutions structural as functional and decorative . He studied the smallest detail
of his creations in architecture integrating a range of handicrafts that he mastered to
perfection: ceramics , glassworks , forged of iron , carpentry , etc. He also introduced new
techniques in the treatment of materials, such as his famous "trencadís "made with pieces of
ceramic waste.
After some early art influences from the Gothic, as well as oriental trends, Gaudi led to the
modernism in his most dynamic era (between the late nineteenth century and early
twentieth). However, he went beyond orthodox modernism, creating a personal style based on
observation of Nature, which came to the use of regulated geometric shapes, as the hyperbolic
paraboloid , the hyperboloid , the helix and the conoid .
Gaudi's architecture is marked by a strong personal stamp, characterized by the search for new
structural solutions, which came after a lifetime devoted to the analysis of the optimal
structure of the building, integrated into its surroundings and being a synthesis of all arts and
crafts. Through study and practice of new and original solutions, Gaudí's work will culminate in
an organic style, inspired by nature, but without losing the experience gained from previous
styles, creating an architectural work that is a perfect symbiosis of tradition and innovation.
Also, his work is marked by those who were his four great passions in life: architecture, Nature,
religion and love for Catalonia.
Gaudí's work has reached over time with a wide international exposure, and countless studies
devoted to his understanding of architecture. Today he is admired by professionals and the
public in general: “Sagrada Familia” is now one of the most visited monuments in Spain.
Between 1984 and 2005 seven of his works have been deemed World Heritage Site by Unesco.
"Beauty is the splendor of truth, and how that art is beauty, no art without truth". Antoni Gaudí
*(1) http://www.epdlp.com/arquitecto.php?id=48
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3. GAUDI’S PHILOSOPHY
3.1. MAIN IDEAS OF GAUDI’S ARCHITECTURE
Gaudi’s architecture is innovative, it is based in the classic geometrical shapes which
afterwards he disfigured to create what was on his mind. The decorative elements are as much
important
as
the
building that contains
them. Every element
has a meaning and it
often has a function.
Gaudi wonders why he
is the first one to use
these forms, because
he thinks that they are
logical. Gaudi has free
creation. Picture 2.
2. Gaudi’s shapes in the interior of “Sagrada Familia”.
Gaudi worked with artisans. A thousand years after, architects work together. It is very difficult
to compare the way Gaudi and the architects of his generation worked and the way architects
work now. Gaudi did not work with a team; he had collaborators, mainly artisans, sculptors
and decorators that completed his projects with the details. Nowadays, architects work in
permanent teams with different technologic tools and different problem analysis. So architects
had collaborators in Gaudi’s time and nowadays architects work with teams.
Following from his enormous experience and his
creating capacity, he was able to create a new
architecture based on the observation of Nature. He
worked with new forms, much tougher, generated
from straight lines of double curveting named
hyperboloids that form vaults. He gave life to
architecture with color and movement.
Despite his youth he received the first assignments
from the ecclesiastic world and the bourgeoisie, which
would always be his main clients. These include the
Association of Devotees of Saint Joseph, which
commissioned the temple the “Sagrada Familia”
3. “Sagrada Familia”.
(Cathedral of the modern Barcelona) and the
industrialist Eusebi Güell, the best customer key patron, who entrusted him with the
construction of a palace, the church for an industrial colony, some pavilions for his summer
residence and a garden city. Picture 3.
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3.2. WORKS
The main project and culmination of his work is the Temple of “Sagrada Familia”.
In 1909, Gaudi finds a solution for the roof of the “Sagrada Familia” schools by creating an
undulation which is the consolidation of easy geometry: giving movement to materials. It is
quite a simple building but it will be very much studied after Gaudi.
The “Sagrada Familia” towers come from spiral stairs.
One of the first’s works
of Gaudi was a
warehouse situated in
“Mataró” built in 1883.
It was made with
parabolic arcs made of
wood. It was projected
4. Gaudi’s multipurpose building.
five years after Gaudi’s
career start, it represents a qualitative jump in his architecture, and it represents a work where
the structure is fundamental. The parabolic arch let have 12 meters of light with very short
wood pieces, so it is very cheap. Picture 4.
In 1883 Gaudi starts his first big work, la “Casa
Vicens”. The big front door, made by iron
simulating palm leafs, and the cladding, made of
ceramic, are the most outstanding outside
elements. It was considered the first modernist
house in Europe but it also has an Islamic
influence which was a constant feature in his
first works that were looking for the exotic.
Picture 5.
“La finca Güell” also has an oriental style. In the
5. “Casa Vicens” Balconies made by
main door there is a big dragon made of wrought
“trencadis”.
iron. For the first time, Gaudi worked with the
“trencadís”, the artistic composition of working with broken ceramic pieces. Inside of the
building Gaudi works with the parabolic arches, the invention by Gaudi that avoids the
loadbearing walls. He will use it later in all of his works. After the owner of this house died, the
Güell Family gave the gardens of this house to the State.
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Gaudi continues to improve his knowledge and builds a
masterpiece, “el Palau Güell”. It is a big building, it still
has Islamic and Gothic influences. The building has a
square plan and has six levels, each one resolved
individually. The parabolic arches and vault support the
weight. The first floor was destined to social acts so he
made a big lounge of 81 m2 ended up with a dome.
Every room has its own personality and it is very
different to the buildings built in Barcelona in this time.
Picture 6.
In 1900 he made “el Parc Güell” in Barcelona. It is at the
same time one of the most famous and functional works
6. Interior “Palau Güell”.
of Gaudi. In the entrance there is the mythical dragon
fountain. The hypostyled lounge, which has 86 big columns that carry the square, was meant
to house a market. The columns are empty to collect the water from the square above them.
This square is known for its famous “trencadis” bench. Down the lounge, there is a deposit
that collects all the water from the rain that was used to water the gardens. “Parc Güell” has a
natural character.
Gaudi made the total renovation of “la Casa Batlló”. He added the gallery of the first floor, the
balconies with wrought iron handrail and he decorated the facade with color crystals that
make a lightening effect. In the entrance the stair is made of wood simulating a vertebral
column with windows that let the natural light in. All the building has a natural ambient. In the
main lounge, the light and the colors filter through the big glazed window. There are two big
courtyards that let the light go through the building also, which are made with white ceramic
in the bottom and more colorful as it goes to the top. Picture 7.
7. Windows and interior of “Casa Batlló”.
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“La Pedrera” is the building where Gaudi
assumes with total perfection his constant
aim of providing movement to the
buildings. The structure is made of columns,
he avoided the loadbearing walls so he
could make big spaces to let the light get in,
like a curtain wall. He also made two big
courtyards which drive you to a basement
where you could leave the carriage. This
idea was very innovative in that time. Gaudi
payed attention to the components which
the other architects of his time did not, like
8. “La Pedrera” roof with its sculptures
the chimneys or the interior courtyards.
Picture 8. He also changed the typical way of building of that time, replacing the loadbearing
walls for columns, so the plan could be modelled more freely and the façade was independent
from the rest of the building. Gaudi reached a cycle of the previous architecture with these
great intuitions. The roof of “la Pedrera” is typical Gaudi: the helicoidally forms of the stone
warriors, the undulant superficies covered with “trencadis” and the four crosses.
Gaudi developed all of his architectonic thinking in “el Temple de la “Sagrada Familia”, which
he was offered to continue in 1883. It was almost forty years of dedication in this unfinished
work that it is still under construction. Gaudi dedicated his last years to it. Picture 9. (1)
9. Nativity façade of “Sagrada Familia”
*(1) http://www.rtve.es/television/20091109/gaudiana/300028.shtml
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4. INFLUENCES
4.1. GAUDI GOT INSPIRED:
4.1.1. FROM OTHER STYLES
Antoni Gaudí was one of the symbols of the
“Renascence” in Catalonia which was looking for
historic references of the glorious middle ages of
Catalonia. The architect visited the Catalan Romanic
monasteries and extracted the traditional elements of
the late Gothic, the Baroque, the Mudejar and also
the geology of Montserrat Mountain. Picture 10.
Following the teachings of his professor Viollet-leDuc, Gaudi based his works in the traditional styles
and in Nature but taking advantage of the new
techniques of his time. (1)
10. Montserrat Mountain in Catalonia
GOTHIC
Gaudi was based first in the traditional laws of the Catalan gothic. The innovations of that
period were the stone vault of the naves, the basilicas with domes and the architectonic
sculpture made of stone. Moreover the autochthone Catalan tradition provides: half point
arch, the buttress against the wall, the flat roof and the unique nave.
Gaudi once said: “Gothic is sublime but incomplete; we must not imitate it, but to continue it”.
Gaudi merged the structure and the decoration, searching for the functionality as well as the
esthetic beauty and for this he surrounded his structures of decorative complements.
In Gothic architecture, a unique combination of existing technologies established the
emergence of a new building style. Those technologies were the ogival or pointed arch, the
ribbed vault, and the flying buttress.
The Gothic style, when applied to an ecclesiastical building, emphasizes verticality and light.
This appearance was achieved by the development of certain architectural features, which
together provided an engineering solution. The structural parts of the building ceased to be its
solid walls, and became a stone skeleton comprising clustered columns, pointed ribbed vaults
and flying buttresses. (2)
*(1) J.J.Lahuerta; Gaudí i el seu temps. Ed. Barcanova
*(2) http://en.wikipedia.org/wiki/Gothic_architecture
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Gaudi always was convinced that the gothic was a style far from maturity. He explained that
idea saying that: “Gothic art is imperfect, it is just half resolved; it is the style of the compass,
of the formula and of the industrial repetition”.(3)
When Gaudi worked in the “Sagrada Familia”, he made a deep gothic research visiting many
monuments around Catalonia, France and Spain, which made Gaudi sure about his critical
position against this style. Despite this, some of his buildings built in the 19th century are from
this style:
- Palacio episcopal of Astorga (1889-1895):
It looks like a castle with its impressive exterior built in stone of white granite. It is neogothic
and it presents some elements with an apparent military function. The windows are gothic
also. Here you can see the typical structure of the gothic emphasizing the heights. Picture 11.
11. Different views of “Palacio episcopal of Astorga”
- Casa Botines (1892, Leon):
It is a rectangular building on all sides designed in Gothic style, but it presents very modern
design features by the time it was built. Indeed, despite the medieval aspect of the building,
Gaudi applied a modern conception of architecture in both the constructive side, as in the
artistic and use. Picture 12.
12. Different views of “Casa Botines”
*(3) http://www.gaudiallgaudi.com/EA002%20G%20Estils%20caract.htm
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BAROQUE
The term Baroque, derived from the Portuguese "barrueco", “pearl of different from”, was
used at first in a derogatory manner to indicate the lack of regularity and order the new style.
The main feature of Baroque architecture was the use of compositions based on curved lines,
ellipses and spirals and complex composite figures polycentric reasons intersecting with each
other. Architecture used painting, sculpture and stucco to create lush, theatrical troupes that
served to exalt the monarch who had commissioned it.
Gaudi got inspired by the “San Celoni” and “Sant Felip Neri” churches. Gaudi is open to a
modernism that admits parallelism with Art Nouveau, reaffirming the encounter between
modernism and rococo, what drives to the baroque of two of his masterpieces (4):
-
“Casa Batlló” (1904-1914, Barcelona):
13. Outside and inside “Casa Batllo”
-
“Casa Milá” (1906-1910, Barcelona):
14. Façade and courtyard of “Casa Mila”.
*(4) “El siglo XX: persistencias y rupturas”, written by Javier Pérez Rojas,Manuel García Castellón
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MUDEJAR
Despite its origins from Catalan culture and family and religious influence from which he
draws, his early works have a brand that will leave its mark in his personal style; this oriental
stylistic influence is the source of the modernist movement that was born in the “Finca Güell”,
“Casa Vicens” and “El Capricho de Comillas”.
The formal study and characteristics of the first building Gaudi did speak clearly to the
exaltation which the eastern world should have on him in those student years and those of his
youth. The influence exerted by the vision of prints or photographs of North Africa, southern
Spain and further countries like China, India and Egypt was so big that in his early works is hard
not to find architectural features of these backgrounds. (5)
Construction characterized by polychrome geometric based on the contrast between the brick
and fulfill. This contrast is enriched with a large ceramic coating. The coronations are finished
with domes of Moorish or Arabic appearance. Gaudí also uses crushed stone, but this only at
the end of this period. Building as these are from Mudejar:
-
“Casa Vicens” (1883-1888, Barcelona):
15. Outside and balconies of “Casa Vicens”
*(5) “La influencia oriental y mudéjar en las primeras obras firmadas por Antonio Gaudí” written by benet meca
from Polytechnic School of Barcelona.
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-
“El Capricho de Comillas” (1883-1885, Cantabria):
16.
Outside view of Capricho de Comillas
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4.1.2. FROM ARTS
Antoni Gaudi was the son of a family of tinkers. From his childhood he was an attentive
observer of Nature. He watched the work of his father and grandfather, who worked copper
with a hammer. He drew the colors and geometry. He had a good knowledge of calculus and
was an imaginative boy, and skillful with his hands. (6)
The big expansion of the movement "Arts and Crafts" in the nineteenth century was a factor in
his influences. This development allowed the creation of a major infrastructure of specialists,
craftsmen, technicians and artists, making possible the realization of any type of art objects
sometimes with technically impossible shapes that never was made before. Decorative Arts
was an instrument in the development of Modernism in Catalonia and the collaboration
between artists and craftsmen did this evolution.(7)
Gaudi was into “Arts and Crafts” movement for sure. All of his works involved arts; sculpture
may be one of his favorite because many of his works have sculptures on it. “Sagrada Familia”
is a clear example of that. All the façades are full of sculptures that represents a sort of a
theater act. Picture 17. “La finca Güell” also has an oriental style. In the main door there is a
big dragon made of wrought iron. Picture 18.
17. Some sculptures of the “Sagrada Familia” Facades
18. Dragons from “la Finca Güell” and “Parc Güell”
*(6) http://e-global.es/viaje-turismo-online/2007/05/01/antoni-gaudi-y-el-art-nouveau-en-barcelona/
*(7) http://www.gaudiallgaudi.com/ED001.htm#ARTS DECORATIVES
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He was also inspired by craftworks. He invented like a new way of craftwork called “trencadis”.
“Trencadís” made of ceramic is a decorative system that consists in covering the surfaces with
small irregular ceramic pieces, and also glass from bottles, or stones. Another contribution was
iron work; Gaudi came from a boilermaker family and since he was young he observed how his
father built forms with copper. His love for the artisanal works came from this, and it allowed
him to make fantastic forms with the iron work and forging. Picture 19.
19. “Trencadis” from different sites of Parc Güell
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4.1.3. FROM NATURE
Gaudi’s main influence was Nature. In his childhood he
was seduced by the Mediterranean light and the forms
of Nature, which would be very important in his work.
Gaudi was inspired by the organic shapes of Nature,
putting into practice a whole series of new structural
solutions originating from his deep analysis of
geometry. He adds to this a great creative freedom and
an imaginative ornamental style. On the basis of a
Baroque touch his works acquired great structural
worth, with shapes and volumes devoid of rational
rigidity or any classic premise. Picture 20. (1)
20. Palm fronds in bronze fence
Gaudi was a man of simple ideas and common sense. His architecture fuses structure and
decoration. He clearly accepted Nature as his guide. All aspects of his work evince this. It does
not copy Nature but includes/understands its geometry and its principles: it has infinity of
forms that can be studied by means of regulated geometry; he studies the laws of statics and
dynamics such as the natural structures of fibrous composition, for example rushes, canes and
bones. His interest in Nature was in three dimensional forms, rather than in two dimensional,
and he was interested primarily in Nature’s inner forces, which expressed themselves on the
surface. This can be seen in the tilted columns and the warped walls supporting the roof of the
chapel in the “Colonia Güell”, or the doorway and columns of the “La Casa Mila”.
Nature always finds functional solutions, driven by the inexorable law of the gravity. Gaudi was
wise enough to study the structures of Nature which for millions of years have been perfect.
Knowing the essence these structures, Gaudi’s intention was to take them to the field of
construction.
All of his buildings copy things from Nature, like Helicoid, which is the form that takes the
trunk from the eucalyptus and Gaudi used in the columns of “Les Escoles Teresianes”. The
hyperboloid is the form of the femur and Gaudi used it in the columns of the “Sagrada Famila”.
The conoid is a frequent form in the leaves of the trees, and Gaudi used it in the covers of the
Provisional Schools of the “Sagrada Familia”. The hyperbolic parabolide is the form that the
sinews between the fingers adopt, and Gaudi applied it in the vaults of the crypt of the church
of the “Colonia Güell”. (2)
*(2) http://architecture.about.com/od/architectsaz/p/gaudi.htm
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NATURE & GAUDI’S BUILDINGS
21. Tree vs. columns of Sagrada Familia Cathedral
Tree vs. columns of “Sagrada Familia” Cathedral, structures subjected to compressive and
bending stress have branching systems with increasing slenderness as a result of the higher
stability due to bundling. These are of equal proportions on all branching levels. Branching
structures are used to transmit forces which attack in space in a distributed manner. The
three-dimensional growth of trees follows the same forming principles due to the biological
necessity to occupy free unshaded spaces. The branched structure results in a favourable
structural system, in addition to making optimum use of the available surface. The elements
verticalizing the resulting forces are interior in the “Sagrada Familia” cathedral, these columns
resemble trees and are divided into several branches at certain heights. This comparison of
columns to trees has often been made in reference to Gothic cathedrals, but the parallel is not
exact as trees support independent loads, while the columns of the gothic cathedrals do not.
On the other hand, it holds good for the “Sagrada Familia” where each branch of a column and
the column itself only support one particular section of the superstructure, roof and ceiling,
independently from the rest. Each branch of the tree-column is directed towards the centre of
gravity of the section of the vault that it is supposed to carry. Their shapes are hyperboloids
and hyperbolic paraboloids. Picture 21.
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22.
Trunk vs. columns of “Parc Güell”
Trunk of sweet chestnut tree vs. “Parc Güell“ columns. In “Parc Güell” columns and the
“Sagrada Familia” cathedral also, Gaudi made use of a warped surface, the helicoids. This
helicoid form was especially applicable to columns, since columns are probably in their origin
derived from tree forms and trees grow in a similar way, Gaudi planed all the columns for the
“Sagrada Familia” using this form and made many models and studies for these helicoid
generated columns. Their sections vary, some are polygonal, regular and irregular, others star
shaped. He chose warped surfaces because model makers and masons can construct them
easily, like the hyperboloids. Picture 22.
23. Human bones, tibia and fibula vs. Casa Batllo columns.
Human bones vs. “Casa Batlló”. In “Casa Batlló” windows Gaudi used columns to support the
big windows and balconies. Instead of using normal columns he is inspired by human bones
that support the legs of a person. He matched a tibia, that supports the human body, and a
column, that makes the same function but in a building. Picture 23.
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24. Flower vs. Towers of the “Sagrada Familia”.
Flower vs. towers of the “Sagrada Familia” Cathedral. In the course of time, as Gaudi’s work
developed, the influence of natural forms became more noticeable in his larger shapes. He no
longer applied them decoratively as he did in his early buildings. Natural shapes created to
resist wind and weather require sound structures. Shell shapes that have these qualities may
have inspired the towers of the “Sagrada Familia”. Their curves follow similar mathematical
formulas. Picture 24.
25. Perisphinctes spiral shell vs. Spiral Staircase into the towers of the Sagrada Familia
Spiral Staircase into the towers of the “Sagrada Familia” vs. Perisphinctes spiral shell. The
helical form is universal, existing in every form of matter. From the microcosmic, atomic
structure of crystal growth to the molecular structure of DNA to the macrocosmic spiral form
of galaxies. Picture 25.
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26. Ribs and spinal column vs. Inverted Catenary arches and handrail in Casa Mila building
Inverted Catenary arches and handrail in “Casa Mila” vs. ribs and spinal column. After the
careful study of the structure of skeletons of animals, plants or shells, he found fresh forms
which he adopted as guides, after mathematical computations had proved them to be right for
his purpose. Picture 26.
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4.2. GAUDI INSPIRED:
4.2.1. ARCHITECTS & BUILDINGS
It cannot be said that Gaudi created a school, because his style is so personal that it will be
difficult that someone continues his work. But Gaudi opens the door through a new
conception of architecture.
27.”Ciudad de las Artes y las Ciencias” in
Valencia
The late 20th century architecture is the heir of
Gaudi’s architecture. In some constructions there
are similar shapes from Gaudi, for example “la
Ciudad de las Artes y las Ciencias” of Valencia, from
Santiago Calatraba. Picture 27. Some of these
architects admit the influence from Gaudi, like
Norman Foster who says that Gaudi’s work is a
perfect synthesis of rationality and romanticism. In
some other works like Guggenheim of Bilbao by
Frank Gery, the resemblance is the search of the
freedom of space. Calatraba and Frank Gery are
cleary influenced by Gaudi; they follow Gaudi’s
principles. (1)
Some works of Norman Foster are clearly inspired by Gaudi like “Torre de Collserola” in
Barcelona and the renovation of the “Reichtag” in Berlin. Picture 28. Also the renovation of
“Camp Nou” stadium in Barcelona is clearly inspired by Gaudi; Foster plays with light and
colors like Gaudi used to do. Picture 29.
28. ”Torre de collserola” in Barcelona and stairs of “Reichtag” in Berlin built by Norman Foster
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29.
New design for the renovation of “Camp Nou” by Norman Foster
Arata Isozaki pays tribute to Gaudi making
“el Palau Sant Jordi”. He admired Gaudi for
his experimentation spirit and because he
could do an original architecture from a
traditional method of construction. It is
considered a masterpiece of modern
architecture and engineering. Its structure
and machined materials give great
flexibility to adapt the premises to
accommodate the most varied events.
Picture 30.
30. ”Palau Sant Jordi” made by Arata Isozaki
The Catalan Enric Miralles was considered one of the most brilliant architects of the 20th
century second half generation. His premature dead in 2000 finished with his career, his works
like “el Parque de los Colores” in Mollet del Valles are the reflection of a particular conception
of architecture. He also made the famous roof of “Santa Caterina” market in Barcelona, which
is full of colors and has a wave-like shape; it also has similarity to the “trencadis”. He also
designs “Torre Marenostrum” in Barcelona’s beach, which has a strange shape that can remind
us to some of Gaudi’s designs. Picture 31.
31. ”Torre de collserola” in Barcelona and stairs of “Reichtag” in Berlin built by Norman Foster
22
4.2.2. OTHER
Gaudi inspired not only architects and buildings. Gaudi is an
inspiration for many artists in many arts. Paintings,
sculptures, jewels, furniture, clothes and many more things
have its base in some of Gaudi’s ideas. Picture 32. It is normal
that Gaudi is an inspiration for many things, because Gaudi’s
works capture your attention and it is pleasant to look at
them. So business look for capturing the client’s attention
and imitating Gaudi’s style will almost sure capture the
client’s attention. Also Gaudi’s style is copied because its
functionality and its static.
One good example is “Gaudi Chair” of Studio Geenen, built as
a cathedral. Dutch designer Bam Geenen from Studio Geenen
32. Puzzle of Gaudi’s works
has designed the Gaudi’s Chair using the same technique
used by the modernist architect in the design of his buildings. Gaudi’s Chair is built with a
reinforced nylon structure that has been coated with carbon fiber. Thanks to its constructive
approach based on the arches of Antoni Gaudí, Geenen has achieved extremely lightweight
chair that uses very few materials. According to the designer "the form has been defined in
the same way the architect Antoni Gaudí devised the structure of their churches: building a
model hanging upside-down chains, and letting gravity determine how balancing forces. "
Picture 33. (1)
33.”Gaudi’s Chair” inspired by Gaudi’s way of built
*(1) http://www.studiogeenen.com/projects/
23
34. Gaudi’s Chair” inspired by Gaudi’s way of built
“Trencadis” style is also very used nowadays
to design many things like these jewels.
Picture 34.(1)
Gaudi was very modern for his time.
Nowadays Gaudi is still modern and
continues inspiring in modern things like this
bathroom that copies the shape of a winkle
fossil. Picture 35.(1)
35. Gaudi’s Chair” inspired by Gaudi’s way
of built
*(1) http://www.esteemjewellery.co.uk/browseall.php?idc=designer-jewellery&tag=rings&p_sex=1&id=gaudiinspiration-ring&arrange=&Page=1
*(1) http://www.embelezzia.com/decoracion/lavabo-estilo-gaudi
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5. PLANNED OR IMPROVED
“The architect is the person that can see the things before they are done” A. Gaudi
It is known that Gaudi did not plan all the projects before the first stone was put. He had a
different methodology of building. First, the main idea comes to his mind, and he starts to do
models and try to make the better structure for the building; he does the main “sculpture” of
the building is done. Then an important part of the building starts to be defined: the
decorations and completions. It is not sure how Gaudi did exactly design his buildings but it is
sure that he did not decide all at his workplace, he liked to go to the site and look how the
works were going. In the working site, he looked at his building growing up and he changed
some parts as it was going on. We can imagine that he projected his ideas looking at the
building in natural, so the building changed and improved as the works proceeded.
Gaudi was a genius; a genius is a person that can plan what will happen next.
Gaudi studied at Architecture school in Barcelona which wanted to be a reference in
technology; it was the heir of the French geometry and technology. This knowledge is mixed
with the craftworks that Gaudi learned from his father and the rural atmosphere where he
grew. (1)
The new technologies guarantee the empirical and artisanal methods of Gaudi. Architecture
cannot be understood without informatics. The pioneering Gaudi did not need it to get to the
same place. He worked very differently from how
we do it nowadays. He planned just the base and
the details where improved as the building was
going on. Nowadays almost all is planned before
anything, and all is perfectly calculated with
technologic ways to be sure that all is correct.
Not much detail can be said about the way Gaudi
worked because there are not so many documents
about his way of doing because his workplace was
destroyed in the Spanish Civil War in 1936. So it
can be guessed how Gaudi worked but we will
never know how he exactly projected his buildings
and how he thought about them. That is why
Gaudi is so mystic because there will always be
questions about him, what makes him even more
special.
36. Gaudi’s workplace during “Sagrada
Familia” works
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6. STATICS
Gaudi was the master of construction. His works cover all of the aspects of architecture:
distribution, ornament and stability. It also covers other arts: sculpture (especially), painting
and photography. Any study about Gaudi’s works has to take into account this global
conception of the project. In this part of the dissertation it is considered one aspect of Gaudi’s
activity: the project and calculation of structures. For Gaudi, the calculation of structures was a
part of the process of the project from the very beginning. It was not just about checking the
stability, like they did in those days.
In this part of the dissertation, Statics, investigations have been made about the detail of the
process of the project and the calculations of Gaudi trying to fit it in a historical context.
6.1. CATENARY ARCHES
38.Corridor of “Teresines school”
37. Entrance door of “Palau Güell” 1929
Since his first works, Gaudi showed his originality and independence. In particular, he started
to use systematically one type of arches that wasn’t the habitual in the occidental architecture.
Instead of using arches from circle forms he used arches from non-circle forms: parabolic o
“catenary”. These arches are present in the first Gaudi’s works.
The use of these forms has a mechanic origin and it dates
back to the end of XVII. In 1670 Robert Hooke set out the
next problem in one of the Royal Society meetings
(Newton, Wren, and Boyle also were part of this society):
Which is the ideal form of the arch and how much it
pushes to the abutment. Hooke (1676) gives the solution
to an anagram included in a book about watches: “In the
same way that one flexible cable is hanging, if we invert
this, it will hold up the rigid arch”. Picture 39.
39. Hook’s idea about the analogy
between arch and catenary
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The idea is to extend how arches work by analogy
with the hanging cables; the equilibrium problem
is the same. It is one of the greatest ideas of the
history of the calculation of structures. Later
Grogory wrote in an article about the shape of the
catenary (the shape of a hanging chain): he didn’t
work the problem out (Bernulli made it in 1704),
but he clarified Hooke’s affirmation: the ideal
shape of an arch is an inverted catenary and “if an
arch of another shape can stand it is because
there is a catenary inside”. It has to be said that a
simple catenary is not a parabola. It is an early
affirmation of the Security Theorem. Hooke’s idea
40. Bridge calculation using hanging model
allowed the use of simple hanging models to
project and calculate, for example, the arches of a bridge. Some English engineers from the
18th century made it out and Young wrote and explain it in “Lectures on natural philosophy and
the mechanical arts”. Picture 40.
This idea was not so spread in continental Europe, but it was mentioned in some French
treatise of the 18th century. In Germany, in the 19th century, Hübsch investigated about this
idea and used hanging models to calculate the abutment of a church. Wilhelm Tappe published
in the same period a book where he proposed a catenary form architecture that never was
executed.
41. Thrust line in a symmetric arch
In 1840 the pushed line theory is formulated, it
validated the intuitive-experimental focus of the
English engineers and unified the theory. Now
pushed lines can be drawn and calculate without
needing to use models, just using mathematics
calculation and graphic models. One of the first
graphic analyses can be seen on Picture 41
where the forces are discomposed. At the right it
has been added the corresponded forces
polygon. The use of forces polygons a part of
funiculars is much more comfortable and it
became more used in the last quart of S.XIX.
The attempt to calculate structures with mainly graphic methods was proposed by Culmann in
his book Graphische Statik in 1866. The graphic esthetic treatises begin to spread from 1870.
This is the formation that Gaudi might receive in his years of student: some mentions about
the analogy of the cables (and possibly the models use) and for sure classes about graphic
calculation of the arches and maybe vaults.
Gaudi uses the idea of catenary arches to integrate the calculation of structures in the project
process. It is not about the verification of the stability in one design; it is about to project, from
27
the beginning, with all the stable forms. As far as it is known, it is the first time that this was
tried and brought to the last consequences.
The practice problem is not of the uniform catenary (the arch that stands on its own); the
problem is to find the shape of an arch that resist a weight defined by two lines (surfaces)
intrados and extrados. The extrados is a beginning point and the loads are defined by the
vertical distance between the extrados and the intrados curve that has to adopt a balancing
shape. In practice it is the bridge example. The exact mathematic solution for this problem had
been studied: for bridges by Yvon Villarceau and completely, for any load, by Rankie.
42. Transformed catenary arches.
Mathematic equation and main
project parameters.
The common problem consist of finding the arch shape
that support a load proportional to the vertical distance
between his directrix and one horizontal line. It is not a
direct problem and its mathematic resolution is
complicated. The arch shape depends on the relation
light/arrow and its key width. In picture 42 it can be seen
the equation of this curve for the case of a horizontal
extrados arch. For width 0 it gives an unusual shape; for a
little width the shape looks like the door of “Palau Güell”.
For width of the same as the light the arch became
parabolic. In other words, when the arch supports a
uniform load bigger than its own weight, the shape of the
catenary is approximately a parabola.
Consequently, the way that the arches are used in the
“Teresines school” is based in the previous affirmation,
mechanically confirmed. Nevertheless it is evident that the arches of other shapes, with its
extrados full of a consistent wall may contain the parabolas or catenaries corresponded and
Gaudi knew it, as it is when he used a catenary arch to carry an asymmetric load.
Gaudi found out that the catenary and parabolic curves were esthetically satisfactory and so
he used them when he could also use others as well.
The parabolas, also the catenary ones, can be drawn directly. The transformed catenaries can
be drawn after difficult mathematic calculations, or using repeated graphic methods or
hanging models. Gaudi needed a project tool that allowed him to make fast calculations and
could change the project voluntary. The mathematic calculations, very tedious those days,
where not what Gaudi was searching for. Then, Gaudi used the other two methods; the
evidence is in the affirmations collected in his conversations with his disciples, Bergos and
Martinell, as also in some calculation sketches and photographs. For example, in picture 43
hanging cables models that Gaudi used for the arches of the Casa Mila attic are shown. Picture
44.
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43. Hanging models used of Casa Mila diaphragm arches
44. Casa Mila attic with diaphragm arches picture
In Casa Mila the size of the arches allows its redefinition in the wall. The process is not direct:
first a simple cable is hanged and calculations are made to know how much load it has to
support, measuring the vertical distances and adding the slab load. Adding these loads to the
cable it changes its shape. Then vertical measures are taken again and the load is modified.
The cable submitted to this loads change its shape to a way very approximate to the exact
mathematics. This recurrent process can be realized also using the graphic esthetic and some
sketches where published by Pablo Boada and Tomlow. Picture 45.
46. Graphic calculation for the
Sagrada Familia west façade.
45. Calculation sketch of a catenary arch
with asymmetric loads. Colonia Güell
When not all the loads are vertical, the graphic methods can be more convenient. In fact,
Gaudi uses it in the “Parc Güell” porticos and loadbearing walls. In the picture, published by
Rubio Bellver, it can be appreciated the use of a similar method to picture 41 where the
decomposition of the forces is made in the picture, instead of drawing it separately, what was
normal in those days. Gaudi may have used it frequently because it is shown in other drawings,
for example, in the calculation of the west façade of the “Sagrada Familia”. Picture 46. The
method was used by Rubio Bellver in his mechanical analysis of Palma de Mallorca cathedral.
29
Possibly its origin is in the Planat manuals that had big diffusion in Spain. The drawing is more
complicated but the advantage is that it has all the elements seen in the same diagram.
Gaudi didn’t have preferences for one method. He had the desire of investigate and consider
the problem from different points of view. The combined use of methods and models let Gaudi
have a deep comprehension of the problem of stability and shape of the fabric arches. Its use
seems to be systematic; Gaudi told Martinell that he could calculate everything like this.
6.2. VAULTS AND BUILDINGS. HANGING MODELS
The project and calculation of the arches is a problem that is resolved in a two dimension plan.
A vault is a special problem of three dimensions. After his investigations about arches Gaudi
considered the problem of projecting vaults and finally completed buildings with equilibrated
shapes.
The graphic esthetic let him deal with vault analysis of shapes already projected. Since 1870
vaults are analyzed through their division in simple arches. Then, to study the performance of
a vault imagine every part as divided or cut in a series of elemental arches. These arches rest
above the crossed arches that transmit the loads to the base. This way it obtains a possible
equilibrated solution, of many that can exist in a hyper static structure.
This idea of imagining specials vaults as the addition of a series of arches obtained cutting the
structure in a series of plans, could be done for the first time in S.XVII by Robert Hooke during
his collaboration with Wren for the dome of San Pedro. As in the case of the catenary arch, he
didn not come up with the correct mathematic expression, but some previous designs about
the dome show the use of catenary forms. Hooke affirmed that the ideal profile for a dome is a
cubic parabola that approaches to the correct solution as you can see in the picture 47.
Heyman teacher finds out the evidence of the application of the cubic parabola of Hooke in
one of Wren designs. The catenary paintings of Wren’s designs just were published in the 20th
century, and didn’t exert any posterior
influence.
The cut method was suggested for the first
time in a publication by Frezier, in the first
chapter of vaults an analysis of San Pedro’s
dome was made to know its stability by
Poleni. Poleni imagined the dome cut in fifty
segments: every two opposite segments
made an arch; if it was possible to find a
catenary in its interior every arch would stand
in the same way as the dome. Poleni
obtained the curve using a hanging model.
Picture 48. At the end of the 18th century,
Souflot and Rondelet seemed to manage with
catenary forms in the Pantheon of Paris.
Tomlow tried the use of this technique in the
47. Ideal dome profile. Comparison between
correct solution and semisferic shapre and Hooke
cubic parabola.
30
project of the dome in 1837. Not much more is in
the literature; the genious analysis of Poleni went
unnoticed.
The mathematic analysis about the equilibrant
dome forms started in the 18th century: Bouguer
found out the equation that Hooke searched for
and he exposed, for the first time, the membrane
theory. At the end of the 18th century and
beginning of the 19th century some engineers
developed a mathematic dome theory that did not
have any practical application.
Gaudi may have heard about Poleni’s analysis. In
other kind of vaults, he may know some of the first
48. Poleni hanging model to demonstrate
graphic analysis of vaults in 1870 that were spread
the San Pedro’s dome stability.
all over Europe: for the first time a calculation
method about structural stability verification was
reasonable and reliable. In 1900 the Mohrmann’s work about gothic structure and Koerner
about vaults in general gave a vault forms analysis more usual.
But Gaudi didn’t want to apply the traditional method: He projected the vault first, giving some
shape and dimensions, and then he tested its stability by graphic methods. Gaudi wanted, like
also in the arches, to apply a project method that drove him directly to equilibrant forms. The
graphic static allowed comfortably for work in two dimensions (the paper plan). For fixing a
position of a line in space it is necessary three projections and this makes more difficult the
resolution of space problems.
Gaudi realized so fast that in general the only way to resolve special problems was using space
hanging models. Probably the idea was original from Gaudi. Unlike the hanging models for
arches, there is just one mention about the use of hanging models to study the structural vault
performance in the literature of the 19th century. Mohrmann suggested using hanging space
models to study how gothic vaults work.
A hanging space model is an implicit
application of the cut process. Then
the hanging model of a vault is like
this picture 49 where every simple
arch supports a part of the
plementery.
The model of the picture 49 is
doubling symmetric. Gaudi wonders
49. Hanging model of a crossing model.
about the problem of complete
asymmetric vaults above irregular supports also. Immediately afterwards he jumps from the
vault problem to a whole building project. His investigation was while the project works and
31
construction of the church of “la Colonia Güell” that last for eight years. Just a few times in
history someone dedicated so much time, effort and ingenuity to invest for an idea.
As in the case of the transformed catenary, the problem does not have a direct solution and it
is necessary to make repetitive tests. First the main skeleton is set up, picture 48, where the
main cables represent the main trajectory trusts. This first model gets form. Following this
configuration, surfaces and load of the elements
calculations are made and the loads are added in the
model through little sand bags that change its shape.
Calculations of the loads are made again and the loads
are readjusted in the model with the new values. The
model gets the figure so approximate to equilibrium
now. The form is observed and can be modified
changing its geometry and/or the loads. Gaudi
rehearsed many methods to give volume to the model.
One of them consisted of taking a picture and then
draw with gouache on it. Picture 50. Other times he
50. Gaudi’s preliminar model of Casa
put papers or cloth in the model before taking the
Mila.
photography to make it the same way before. Picture
51.
51. Hanging model after adding the sand bags loads and Gauache painting on the previous
picture to see the interior space.
32
52. Complete model picture covered by canvas and painting on the same picture.
The hanging model worked as a projector machine. When the satisfactory shape is obtained,
Gaudi tried to represent the space trough the methods quoted. Finally, he measured the
model to draw plans. As it is easy to imagine this process is extraordinary laborious.
The original model was destroyed. In 1980 it was reconstructed by Rainer Graefe and Jos
Tomlow. The later wrote a thesis about the model and finally he published a book where he
explains with detail all the investigations and works of the model reconstruction, which you
can see it nowadays in “Sagrada Familia” museum.
6.3. VAULTS IN HYPERBOLIC PARABOLOIDE
Gaudi did not just apply the hanging
models with an extension and
generality never seen before. He also
experimented with new geometric
forms for the vaults: in particular he
used regulated surfaces: hyperbolic
paraboloide
and
revolution
hyperboloids. The portico vaults that
surround the crypt have hyperbolic
paraboloide shape. Picture 53.
53. Surfaces in parabolic hyperbolic.
It is again an original contribution from Gaudi. Gaudi use shapes that appears in the descript
geometry manuals from the 19th century for applied construction. In his conversations with his
disciples he manifests over and over again his fascination for these forms, for its geometric
simplicity, and for its generation because they are regular surfaces.
33
His use in the crypt means a perfect comprehension of the structural design. At first sight, this
convex shape, picture 54, seems to contradict the essence of the fabric construction. The fabric
has to work in compression and this is impossible if the vault presents a down convexity.
Actually, the hyperbolic paraboloide is a surface that present a Gaussian curve in all of its
points; this means that always in one point the
main directions of the curve have different signs:
if there is an apparent curve above, there is no
doubt that there has to be another with a curve
going up as it is shown in the picture 54. The last
one could let it work as an arch that would
transmit the load of the vault to the edge. It is
evident that Gaudi knew this property and also is
evident that he plays with the observer to whom
he tries to transmit a sensation of instability. It is
the same game as the hanging capitals of the
gothic masters or the fall keys of the mannerists
54. Colonia Güell arches.
arches. It is a game just reserved for the masters.
6.4. SAGRADA FAMILIA. THE BLOCK MODEL.
The last of Gaudi’s projects, in which he worked till his death, is the “Sagrada Familia”
cathedral. The church project of la Colonia Güell let Gaudi study in depth the project and its
mechanic of arches and vaults in any shape. Surprisingly, in “Sagrada Familia” he left the focus
from the funicular models which he brought to his last consequences in the Colonia Güell
church. The aim is different. The Colonia Güell project does not have references to the historic
architecture styles. All about it shows an experimental character of investigation. “Sagrada
Familia” has its origin in a past
neogothic project. Maybe for this
reason, Gaudi set out in his project a
gothic perfectionism. He tried to put
vertically the loads and came back to
the primitive basilica model.
In
particular, it has to eliminate the gothic
rests: the flying buttress and exterior
buttress. But it is not possible to
transmit the loads transversally
without horizontal thrusts in the fabric
that finally have to be resisted by some
counteract system.
55. Fronton and big window in the lateral wall of the
Sagrada Familia main nave.
In the first project in 1898 he tried to
reduce the thrust to the minimum
searching for a pyramidal shape, picture 55. The horizontal thrust is reduced but it persists. To
resist it without any need of thrust Gaudi tilted the columns searching for the same direction
34
as the loads. This idea seems to be the main idea of the project and Gaudi rehearsed it and
invested it exhaustively in the portico construction of the crypt of Colonia Güell church.
Like before, there are just a few documents to try to reconstruct the project process and
calculations of Gaudi. There are just a few pictures of the model that he built in his workshop
and some drawings and plans because Gaudi’s workshop was destroyed during the 1936 war.
Fortunately, in structure calculations his collaborator Sugrañes published an article in “Anuario
de la Asociacion de Arquitectos de Cataluña” in 1923 explaining the master lines of the project
process and exposing the stability calculation details of the main section of “Sagrada Familia”.
Gaudi left funicular models and returned to the graphic static. But it is not the funicular
polygons static. It is a different concept: it is about calculating and equilibrating the loads as a
balance. Sugrañes’ article tells about the final phase of the tilted columns system that supports
the central nave, wall and some part of the lateral nave, for a type tram. In the calculation
phase the roof, vault, walls and large windows shapes are already described and the key point
is to find the skeleton of columns to support them.
Sugrañes did not say anything about the process to get to the forms of roofs and vaults. But,
the geometric and constructive complexity of the vaults, walls, etc., prove that a long project
process existed before the final analysis of the equilibrium presented by Sugrañes. Pictures 56
and 57.
56. Fronton and big window in the
lateral wall of the Sagrada Familia main
nave.
57. Sagrada Familia picture showing the vaults
of the lateral naves.
The method to project the columns is easy but very original. The main idea is the equilibrium
between the blocks that form the structure, like a balance. The structure is analyzed in three
main phases (main nave, wall and lateral nave) which its load and position of the gravidity
center is found. Each part is formed by elements. The process is this: first the load and
gravidity center of each element is calculated, and with this information the load and gravidity
center of each part is calculated too.
The main problem is how to drive the loads to the base of the prefixed columns; then a
columns skeleton has to be projected, like a tree, that collects all the parts loads in its gravidity
35
center and bring it to the floor. In this equilibrium calculation every part transmits its load
verticality to the corresponding branch of the tree.
Then, the equilibrium conception is very different from the funicular system used for the
“Colonia Güell” church project. It is about an equilibrium conception that could be called
global or black system, every part, made of an elements series, forms a block. These blocks do
not interact between themselves; they search for their load in their gravidity center in the tree
branches. There is no arch effect and no lateral thrust because they will be constructed by a
precise material like a metallic framework. Almost every element part, vaults in particular, are
defined by regaled surfaces so the use of straight sticks would not be a problem and in the
case of vaults, some sticks could use as the top during the construction.
The gravidity center loads and positions of the main parts are fixed. The base of the column is
also fixed because the crypt was already built. Gaudi employed a graphic method to project
the “tree” that has all the loads and transmits it to those base points. The graphic static
methods are very complex for the study of space equilibrium because it has to be projected in
three different plans to define a segment in the space. In the naves of “la Sagrada Familia”
there are just two symmetric plans, so this simplifies the problem and allows to use the
graphic static with advantage. Then Gaudi studied just a half of the nave tram, which also has a
vertical symmetric plan perpendicular to the nave axis. With these two conditions and
projecting in two plans, picture 56, it is simple to find many equilibrium solutions.
For sure, it is needed to have horizontal thrust to tilt the loads: it is not possible to move
horizontal loads without an arch running. Because of the verticality of the project, these arches
are very small, but they have to exist. Sugrañes supposes that horizontal forces are produced
in the symmetric plan of the central and lateral vaults, which gives tilts to the main columns.
Then, column loads are calculated and finally after some sizing up, the equilibrium skeleton is
drawn.
Maybe the most debatable aspect of the process is supposing that the vaults and roofs do not
have thrusts. The thin vaults but reinforced, need some conditions to get equilibrium state
mainly of the membrane, which correspond to a shell or well projected vault. These efforts, in
main thrusts shapes, may be compensated in the horizontal slabs framework. In the nave
vaults, its loads are small so then also it is its thrusts. But there are thrusts and have to be
resisted.
Sugrañes’ affirmation about the thrust absence
because of the framework use is not correct. Like it
always is, in Gaudi¡s case, we cannot be sure that
Sugrañes did fully understand the master work.
Gaudi, because of his enormous experience in the
thin vaults project and construction, is likely to have
known the existence of a thrust, but he would have
ignored it because of its secondary importance in
the general equilibrium scheme.
In fact, the geometric form of the project proves
36
58. Sagrada Familia roof model
that Gaudi considered the existence the thrust and the need to transmit them as vertically as
possible to maintain their general scheme. Gaudi used a typical gothic resource: erase the
buttress and raise so much the vertical load. This system was used to the extreme in the
“Palma de Mallorca” cathedral, where the nave slender columns support the thrust of the
lateral nave thanks to the enormous load added in the arches and main nave keys.
In “Sagrada Familia”, is the enormous fronton and big windows load which have these thrusts
and make them vertical. Moreover, Gaudi put flying buttress: in the roof model it can be
clearly seen a small flying buttresses which will transmit part of the thrust to the vaults and
roof to the lateral nave columns. These flying buttresses can be appreciated also in Bergós’
section. But the elements thrust are secondary in the general equilibrium trajectory and
Gaudi’s project is fully correct from the structural point of view. Picture 58.
6.5. GAUDI AND THE EQUILIBRIUM FOCUS
All analysis and project methods used by Gaudi are based on finding the equilibrium system. In
a technic way: Gaudi just manages the static equilibrium equations. Sometimes he uses
models, and other times he applies graphic static, but he just manages these two equations.
The other two structural equations that make affirmations about the material or about the
geometry of the deformation are completely absent.
Gaudi applies the main idea of the antique vaults theory, that was developed and applied in
the 18th and 19th centuries, and it was based in the search for the equilibrium configuration
where the fabric worked in compression. The security was obtained covering the forces
skeleton, the thrust lines, with enough fabric as to obtain security against little movement or
little variations of the loads.
At the end of the 19th century this equilibrium focus was considered approximate, but it was
incorrect. In fact, the rethickest of the skeleton allowed for the existence of infinite forces
skeletons: the equilibrium equations do not let to determinate the intern efforts and there are
infinite resistant skeletons inside the fabric, all of them in equilibrium with the loads. In
“Colonia Güell” church the actual equilibrium state, without the superior church load, is very
different from the calculated before in the model; although it is possible because of the fabric
rethickest all around the funicular skeleton.
The engineers at the end of the 19th century felt that this indetermination was a very serious
flaw: they wanted to find the real state of the structure, the real way of how truly the
structure transmits the loads to the floor.
The solution was to apply elastic calculation, it means, add the material (lineal-elastic) and
compatibility (element continuity) equations to the equilibrium equations. Then, to calculate
an arch of a bridge it is considered like a continued thread, homogenic, isotropic and made of
an elastic material which was perfectly built in. So that it would gave a unique solution, just
one elastic thrust line that represented the real state of the arch. Nevertheless, in the case of
the fabric arches, crackers appeared frequently after the trussed, which could mean the
impossibility of the calculated real state. There was no answer to this problem, and the
37
contradiction was evident, the fact that the calculated state did not represent the real physic
structure was ignored. The real fact is that the elastic calculated bridges still stood, as also did
the bridges calculated by the old theory.
The contradiction was only resolved with the development of the Plastic theory (or limit
analysis). The difference between calculations and deformations in real structures was
observed in the systematic essays of porticos made by Steel structures investigation
committee in England in 1920. The plastic theory was born because of the insufficiency of the
elastic theory. The development of the plastic theory culminated with the proof of the
Fundamental theorems.
The security theorem resolves the dilemma of the impossibility to find the real state of the
structure: if it is possible to find a distribution of internal forces in balance with the exterior
loads that do not break the limit condition, the structure is safe, it will not collapse. The
equilibrium situation does not have to be real, it just has to be possible. The structure is as
intelligent as the calculation and before breaking down it will search for an equilibrium
situation.
In fact, the security theorem drives to what Heyman calls “equilibrium focus”: to project or
analyze the building with a plastic material we can work exclusively with the equilibrium
equations, checking that in any section the plastic moment value is not reached.
The plastic theory was developed for materials which, like steel, present a sufficient give way
moment to allow for concentric turns in determinate points. Immediately it was seen that this
could be applied in the reinforced concrete. Heyman showed that the security theorem is
applied in any structure with a material that manifest some plasticity, that allows for
deformation, although it is partial, and for sure, in local or global instability phenomena
absence. It is about non-fragile, tenacious materials, and also it can be wood and fabric.
In the case of fabric, the limit material condition is that it has to be working in compression
and the efforts have to be always inside the structure. The security theorem can be announced
like this: if it is possible to draw a group of thrust lines in balance with the loads inside of the
fabric, the structure is safe. The stability condition is geometric and the security of a fabric
structure depends on its shape.
Gaudi’s project and analysis focus is an equilibrium focus and it is fully justified by the Security
theorem. In fact, Gaudi was the first one to extract all the consequences of the equilibrium
focus: he did not only in verify the previous projected structures; he made an effort to project
equilibrated structures directly. There are infinite solutions and Gaudi considered the
mechanic aspect as one more in all of the conditions needed in an architecture project.
He challenges the rules of physics in order to find out how far he can get.
38
7. CONCLUSION
Gaudi is a special artist with an innovatiVE point of view for his time. Gaudi’s main philosophy
is that the decorative elements are as important as the building; he worked with new shapes
and created a new conception of architecture. He worked alone and with artisans, instead of
working with more architects like nowadays. This is mainly the case of that decorative idea
Gaudi had in his buildings, artisans were the responsible of decorating the building. An
important point of Gaudi’s architecture is that he was so inspired by Nature; you can see
Nature in all of his buildings. His main clients were Eusebi Güell, a bourgeois from Barcelona,
and people from the ecclesiastic world, which let him create more freely because his clients
had money to invest in him. But it has to be said that these clients only came some years after
Gaudi started to build.
Gaudi’s inspiration came from many styles and arts but what mainly inspired him was Nature.
From his childhood he was surrounded by Nature and he liked to observe it; Gaudi also found
many answers to all of his design questions in Nature, which is perfect in all aspects and
smartest than humans. During his life Gaudi also was inspired by other styles like Gothic,
Baroque and Mudejar. First he was inspired by Mudejar (Moorish style) he liked to make
colorful and ceramic endings. Then he also was inspired by Gothic, he played with heights and
lights. And it can be said that Gaudi was also inspired by Baroque, he distorted the buildings
and liked to do strange shapes. At the end he mixed all the styles and made his own and
uncopiable style. And last but not least Gaudi also got inspiration from all kind of arts. He liked
to decorate his buildings and he worked with artisans like he was one of them. He invented a
craftwork called “trencadis” which was made by little irregular colorful pieces of ceramic.
It is not known how Gaudi exactly worked but we know that he did not work like architects do
nowadays. He did not plan it all before it was build. He had the idea on his mind and then he
improved it while it was under construction. There is not so much documentation about
Gaudi’s way of doing because his workplace was destroyed in the Spanish Civil War in 1936.
Gaudi had an original way to calculate the statics of his buildings. He made handing models
which had strings with weights making a figure at the end. He turned around the model and he
could see the statics of the building which he was thinking of. He started to use a caterany arch
which is the ideal form of an arch. Gaudi based structural design in equilibrium. He searched
for the perfect way for the entire building skeleton with all its parts to be in equilibrium.
Gaudi continues to be a big incognita. We know his buildings and work but we do not know
almost anything about his life, his feelings; that is what makes Gaudi fantastic. He has this
occult face that all geniuses, all big creators have.
I found this dissertation very interesting to do because now I can enjoy even more Gaudi’s
architecture. And I can also apply some of his static methods to real life, it makes it easier now
when I think about statics.
39
8. BIBLIOGRAPHY
Books & Articles:
-
Puig i Boada, Isidre (2004). El pensament de Gaudí. Ed. Dux, Barcelona. ISBN 84-6091587-5.
Puig i Tàrrech, Armand (2010). La Sagrada Família segons Gaudí. Comprendre un
símbol. Ed. Pòrtic, Barcelona. ISBN 978-84-9809-158-8.
J.J.Lahuerta; Gaudí i el seu temps. Ed. Barcanova
“La influencia oriental y mudéjar en las primeras obras firmadas por Antonio Gaudí”
written by benet meca from Polytechnic School of Barcelona.
Article: Antoni Gaudi (1852-1926).
Article “Calculo de estructuras en la obra de Gaudi” by Santiago Huerta. Ingenieria Civil
129/2003.
Links:
-
-
http://www.antonigaudi.org/
http://cvc.cervantes.es/actcult/gaudi/default.htm
http://www.gaudiallgaudi.com/EA002%20G%20Influencies.htm
http://www.lanacion.com.ar/nota.asp?nota_id=922238
http://graficas.explora.cl/otros/VIIIsemana/formas/gaudi.html
http://etsamtallerjmsanzjuliominguito.blogspot.com/2010/03/extracto-depresentacion-para.html
http://sapiens.ya.com/estherweb02/susinfluencias.html
http://www.romancelanguages.pomona.edu/coffey/newspain/2004Projects/Rachel2/
http://www.worldlingo.com/ma/enwiki/es/Antoni_Gaud%C3%AD#Social_and_politica
l_influences
http://en.wikipedia.org/wiki/Gothic_architecture
http://e-global.es/viaje-turismo-online/2007/05/01/antoni-gaudi-y-el-art-nouveau-enbarcelona/
http://www.rtve.es/television/20091109/gaudiana/300028.shtml
40
9. PICTURE REFERENCES
Mainly all pictures are taken from websites but a few are taken by books or articles:
0. http://hoysecumplen.com/wpcontent/uploads/2009/10/barcelona_parc_guell_sunset.jpg
1. http://grupo8intro.files.wordpress.com/2010/09/antonio-gaudi.jpg
2. http://ngm.nationalgeographic.com/2010/12/big-idea/gaudi-photography
4. http://29.media.tumblr.com/tumblr_lcuu1iMayj1qbcxigo1_500.png
5. http://commondatastorage.googleapis.com/static.panoramio.com/photos/original/11
961642.jpg
6. http://2.bp.blogspot.com/_P7YlEmMznzg/TNbsBWlLYFI/AAAAAAAACwM/gxL1vwtZgaE
/s1600/Palau+Guell+-+vault+in+the+hall2.JPG
8. –
9. http://www.guiaxbarcelona.com/wp-contentuploads/200907/sagradafamilia.jpg
10. http://ignacioondargain.tripod.com/sitebuildercontent/sitebuilderpictures/montserrat
.1.jpg
11. a. http://wa4.www.artehistoria.jcyl.es/artesp/jpg/REP12671.jpg
b. http://static.urbarama.com/photos/medium/53.jpg
12. a. http://farm4.static.flickr.com/3121/2674797600_c70319c0e2.jpg
b. http://wa2.www.artehistoria.jcyl.es/artesp/jpg/GAC26037.jpg
13. a.http://3.bp.blogspot.com/_jNJv_s_tVUc/TIWbV6OsW_I/AAAAAAAABEA/58_bnMQB
v_U/s1600/battlo.jpg
b. http://www.gaudidesigner.com/data/file/177.jpg
14. a.http://api.ning.com/files/P77fcSItzBwfTq5Z4u7uuIAorHGm0EgBwITb*iZvgPrFMw2B
mJmthWdiGFsnsE-KKNOEFt7EbGQfqYKSk0GK2f9Nw0i6OC4*/BarCasa_Mila.jpg
b. http://travel.nationalgeographic.com/travel/world-heritage/antoni-gaudi
15. a. http://farm2.static.flickr.com/1209/1352462156_1c38c2e5e7.jpg
b. http://wa3.www.artehistoria.jcyl.es/ciudades/jpg/GAC23687.jpg
16. a. http://wa3.www.artehistoria.jcyl.es/histesp/jpg/GAE23675.jpg
b. http://farm4.static.flickr.com/3423/3799687213_b478fd40bb_o.jpg
17. a.http://www.madphotoworld.com/sagrada-familia/gaudi-antoni/sagrada-familiasculpture.jpg
b.http://us.123rf.com/400wm/400/400/tiberiu80/tiberiu801008/tiberiu80100800010/
7646430-soldado-a-caballo-escultura-detalles-sobre-la-sagrada-familia-barcelonaespa-a.jpg
18. a. http://www.ihes.com/bcn/spanish/images/blog/dracguell.jpg
b. http://farm4.static.flickr.com/3101/2571639609_6e6cd40215.jpg
19. a. http://colorineverydaylife.files.wordpress.com/2010/12/trencadisgaudi.jpg
b. http://blogs.hola.com/bonvoyage/ParcGuell_bonvoyage.jpg
c. http://llorco.com/tienda/images/gaudi/Gaudi_002.jpg
41
20. http://www.soenyun.com/Blog/wp-content/uploads/2008/09/park-guell-fencedetail.jpg
21. Article: Antoni Gaudi (1852-1926).
22. http://1.bp.blogspot.com/_xgLyPrB8F8/SsHOp9eqIMI/AAAAAAAAAVk/_SslKYmtCQA/s400/ParcGuell3.jpg
23. http://pokerpt.com/upload/Image/gaudi-casa-batllo.jpg
24. Article: Antoni Gaudi (1852-1926).
25. http://farm2.static.flickr.com/1141/658984385_81d33e30dd.jpg
26. http://arteydisegno.files.wordpress.com/2010/03/13-gaudi-casa-batllo-escalera.jpg
27. http://www.mixfotos.com/fotos/_galerias/ciudades/1c/0106645.JPG
28. a. http://www.entremontanas.com/blog/wp-content/uploads/2009/12/collserola.jpg
b.http://www.checkonsite.com/wp-content/gallery/city-hall-london/london_city_halldavid-iliff.jpg
29. a.http://3.bp.blogspot.com/_COnuo3gVTY/TMFzw3isWII/AAAAAAAAC64/E6P5sJqhegc/s400/CampNou3.jpg
b. http://vivesceramica.files.wordpress.com/2008/12/camp-nou3.jpg?w=510&h=255
30. http://www.sentimientos.it/images/20090525132617_palau.jpg
31. a.http://es.barcelona.com/var/plain/storage/images/barcelona_directory/monuments
/mercat_santa_caterina/mercat_santa_caterina/2774650-1-engGB/mercat_santa_caterina_imagelarge.jpg
b. http://farm3.static.flickr.com/2381/2486637143_ee2550af75.jpg
32. http://www.todojuguetes.com/img/Educa/Puzzles_Educa/1000_Miniature/11874.jpg
33. http://www.studiogeenen.com/projects/
34. a.http://www.esteemjewellery.co.uk/browseall.php?p_sex=1&idc=Designer
Jewellery&tag=bangles&id=gaudi inspiration bangle&arrange=
b. http://www.flickr.com/photos/moussycrafts/5325017552
35. http://img.embelezzia.com/2008/06/lavabo_gaudi.jpg
36. http://html.rincondelvago.com/000090542.jpg
37. –
38. http://0.tqn.com/d/architecture/1/0/z/o/ColegioTeresianasFlickr.jpg
39. Article “Calculo de estructuras en la obra de Gaudi” by Santiago Huerta. Ingenieria Civil
129/2003.
129/2003.
129/2003.
129/2003.
129/2003.
44. http://www.coloredhome.com/gaudi/casa_mila_la_pedrera/casa_mila_51.JPG
129/2003.
129/2003.
42
129/2003.
129/2003.
129/2003.
50. –
129/2003.
129/2003.
129/2003.
54. –
55. http://www.samsonimages.com/newgalleries/album/architecture/slides/Sagrada%20
Familia%20Interior.jpg
129/2003.
57. http://www.taltopia.com/media/0/514/La-Sagrada-Familia-church-interior-inBarcelona-Spain.jpg
129/2003.
43

Antoni Gaudi

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