Antonio Gaudi and His Historical and Critical Background - Article Example

Running Head: HISTORICAL AND CRITICAL Historical and critical [The [The of the Historical and critical Background One of Spain’s most internationally familiar architects, Antonio Gaudi has gone his coat all through Barcelona and Catalonia. His whimsical hallucination and creative designs have brought a bit of delightful to this momentous state. Gaudi´s peak of conventional rudiments with imaginary embellishment and luminous methodological solutions cemented the way for prospect architects to pace exterior the box. Born in Reus, Catalonia in 1852, Gaudi was the first in above four generations to abscond the family custom of metal working. As a child, Antonio never excelled in school. He suffered from arthritis, which reserved his presence low, and favored to expend his time observing plants and animals, as well as studying forms in nature, which would ultimately be so well-known in his designs (Biro, Adam, 2002). It was also during his early years studying with the Escolapius Fathers that Gaudi predictable the “value of the celestial history of the deliverance of man through Christ embodied, prearranged to the world by the Virgin Mary.” He later integrated such attitude into his greatest labor, The Sagrada Familia (Ungar, S., 2003, pp. 90-126). Around 1870 Gaudi stimulated to Barcelona to learn architecture at the Provincial School of Architecture. His grades were again less than greater. However, the young student did be paid special gratitude in the areas of Trial Drawings and Projects, which permitted him to place his bizarre thoughts to exploit (Abadie, Daniel. 2001, pp. 72-81). His professor proclaimed that what had been shaped in these two courses was either the work of an insane man or a mastermind. In 1878 Antoni Gaudi was one of merely four students to be approved the title of Architect by the school´s director (Ades, Dawn, 2002 pp. 185-206). Early education At a young age, Gaudí entered a playgroup school (parvulari) beneath the training of Francesc Berenguer, and his inventive persona began to apparent themselves: When Berenguer lectured the child on how wings let birds fly, Gaudí pragmatic that chickens do not take off. He accomplished that their wings must assist them sprint quicker. When the time came for his ceremonial education, Gaudí enrolled in the Collegi de les Escoles Píes de Reus, where he soon became prompt friends with Eduard Toda and Josep Ribera (Adorno, Theodor, 2002). It was perhaps their voracious inquisitiveness that throng them to be trained all they could about the particulars of nature. During his time at Les Escoles, Gaudí did not prepare the finest of grades. He did, however, observe extraordinary enhancement in the area of geometry, a subject that intrigued him (Agrest, Diana I, 2001). His attraction with the subject would stay with him awaiting his death. Its first major consequence on his life was his preference of profession. Higher education Gaudí, as an architecture student at the Escuela Tècnica Superior dArquitectura in Barcelona from 1873 to 1877, achieved only ordinary grades but did well in his "Trial drawings and projects" course. After five years of labor, he was awarded the designate of architect in 1878. As he signed Gaudís title, Elies Rogent declared, "I have either found a lunatic or a genius. The lately named architect instantaneously began to preparation and design and would linger associated with the school his intact life (Ahearn, Edward J). Interests Gaudí, right through his life, was enthralled by nature. He deliberate natures angles and curves and integrated them into his designs. Instead of relying on geometric shapes, he mimicked the mode plants and humans cultivate and stand straight (Berkeley, 2003). The hyperboloids and paraboloids he rented from environment were easily shatterproof by steel rods and tolerable his designs to be similar to rudiments from the surroundings (Albistur, M. 2005). Because of his rheumatism, the artist pragmatic a severe vegetarian diet, used homeopathic drug therapy, undergo water therapy, and hiked frequently. Long walks, in addition suppressing his rheumatism, further allowable him to familiarity nature. Antonio Gaudis origin Soon, however, Gaudí would shift beyond the overriding styles of the nineteenth-century eclecticism to devise his own aesthetic, one that would craft his approach instantly recognizable and thorny to pigeonhole (Alfu, LEncyclopédie de Fantômas, 2004). For an whilst, he was paying attention in rejuvenating Gothic and Neo-Medievalist styles; later he integrated this move toward with innate and macrobiotic forms as indispensable structural basics. Gaudís first major expenses was to absolute the Church of the Sagrada Familia in Barcelona, which had already been premeditated in a neo-Gothic style by Francisco de Villar. Gaudí, who worked on the church from 1883 until his demise in 1926, malformed the imaginative propose into a fantastical, elevated exertion that incorporates Gothic, Moorish, African, and with the sole purpose inventive influences into its construction. Other works deliberate by Gaudí include the ornately perverse Casa Mila, and the luminously mosaiced Guell Park, with its sculptured walls, and grottos. At a time of artistic and political rebirth in Europe, Gaudi looked to many sources of stimulation for his work. Medieval books, Gothic art, Oriental structures, the Art Nouveau association, and, of itinerary, the magnificence of environment, strappingly prejudiced his designs (Albert Ellis ,2004 pp. 802-11). His bottomless worship of melody, as well as his curiosity in writers such as John Ruskin, who supposed that “ornament is the origin of architecture,” also played a roll in the growth of Gaudi´s instantly recognizable approach. Training After graduating, Gaudi found comfort in the prosperous city life of turn-of-the century Barcelona. Numerous doors were opened for him among the bourgeoisie, artists, and intellectuals of the point in time. The youthful architect had repute for bandage in the newest style, and adjacent himself by towering society. However, Gaudi never forgot his working-class ancestry. His first major project as a specialized architect was employees´ housing in a factory, the Coopertiva Mataronese, which was proposed to get better the employees´ superiority of life. Gaudi obtainable his blueprint at the Paris World Fair in 1878. It was there that he met Eusebi Guell, the man who would become one of the artist’s adjoining associates and the majority honest clientele. In the subsequent years, with swiftly rising concern in his labor, Gaudi took on many significant projects (Althusser, 2004). Among them was the house built for the affluent pottery producer, Manuel Vicens, as well as “El Capricho,” a villa for the brother-in-law of the Marquee of Comillas. Soon after, Gaudi began scheming a stronghold for his good companion Guell (Palau Guell), and then later the two collaborated on Park Guell, which was projected to be a garden city (Apollinaire, 2005). Appealing Information Although a large cat lover, he was fewer of a fan of smaller creatures, such as the wasp. This was publicized when Gaudi second-hand a huge bond and plenty of safeguarding to pursue the wasps from Catalonia to Spain. They are yet to come back. Gaudi was also a very munificent man and did alot of labor for contributions, most outstandingly sacrificing his leg (right) to hoard the life of a miniature child, unfortunatly the leg was too giant. Artistic style Gaudís first works were deliberate in the approach of gothic and conventional Catalan architectural modes, but he soon residential his own distinct sculptural approach. French architect Eugene Viollet-le-Duc, who promoted an evolved form of gothic architecture, proved a foremost persuade on Gaudí. But the student surpassed the master architect and contrived highly original designs – irregular and fantastically intricate. Some of his supreme works, most notably La Sagrada Família, have an almost hallucinatory supremacy. He incorporated the parabolic arch, natures organic shapes, and the changeableness of water into his structural design. While scheming buildings, he pragmatic the forces of seriousness and associated catenary main beliefs. (Gaudí designed many of his arches positive aspect down by hanging various weights on consistent strings, using enormity to calculate catenaries for a natural curved arch.) Using the Catalan trencadís technique, Gaudí often festooned surfaces with busted tiles. The architects labor has been categorized as Art Nouveau architecture, a forerunner to contemporary architecture. But his acceptance of biomorphic shapes rather than orthogonal lines put him in a group unto himself (in Latin, sui generis). Though hailed as a mastermind, some conjecture that Gaudí was color unsighted and that it was only in teamwork with Josep Maria Jujol – an architect twenty seven years his junior whom he accredited as brilliance in his own right – that he shaped his utmost works. Popularity Gaudís innovation was at first ridiculed by his peers. Indeed, he was first only supported by the rich entrepreneur Eusebi Güell. His fellow populace referred to the Casa Milà as La Pedrera ("the quarry"), and George Orwell, who stayed at Barcelona throughout the Spanish Civil War, admittedly detested his work. As time conceded, though, his work became more famed, up to the point that he is now painstaking one of Catalonias best and brightest. Social and political influences The opportunities afforded by Catalonias socioeconomic and political environments were eternal. Catalonians such as Antonio Gaudí often showcased the regions assorted art techniques in their works. By mimicking nature, such artists emblematically pressed back the provinces escalating manufacturing culture. Gaudí, among others, promoted the Catalan autonomist association by incorporating rudiments of Catalan culture in his designs. Achievements Gaudi, however, is most predictable for his work on “La Sagrada Familia,” a twentieth century cathedral in Barcelona. Gaudi took over the project in 1884 after a incongruity between a member of the Temple Council and the original project manager, Fracisco de Paula del Villar (Gaudi’s former professor), over materials. Antonio Gaudi was a mere 31 years of age when he officially gained control over the building. The architect dedicated the next forty-two years of his life to its edifice, until his unexpected demise at age 74 in 1926. Gaudí alleged that the instantly line belonged to man and the curved line to God. His work has been called “passionate, savage, and poetical to the point of frenzy.” The most impressive shape in Catalan architecture, his stature is due to the uniqueness and daring of his methodological solutions, his aptitude to amalgamate practice, and his use of luminous, sole, and imaginative enhancement. Gaudi’s works in Barcelona: La Sagrada Familia The Templo Expiatorio de la Sagrada Familia (Expiatory Temple of the Sacred Family), positioned in the Eixample neighborhood, is a must distinguish while visiting Barcelona. This massive church, with it’s multihued broken down tile mosaics, and exclusive sculptural blueprint, is by far Gaudi’s most acknowledged labor. However, the architect is not to be accredited for the cathedral’s genesis nor its commencement stages of edifice. The Sagrada Familia was a consequence of Josep Maria Bocabella’s, the initiator of the Spiritual Association of Devotees of St. Joseph, wish to endorse the Catholic Church in a time of great shakiness both communally and dutifully in Spain. He would do this by edifice a stunning temple in Barcelona, devoted to the Holy Family. In 1876, after Bocabella was unproductive in acquiring the centrally positioned plot on which he had hoped to erect his temple, he settled on a less luxurious piece of land outside the hub of the city. The subsequent year, architect, Francisco de Paula del Villar began work on portrayal the tactics for la Sagrada free of charge, and edifice began in 1882. However, in 1883, Villar submissive from the project after disagreements with the temple committee’s spokesman, Juan Martorell Montells, over structure materials. The project was then handed over to Montells, who declined because of the situation, but obtainable his young novice, Antonio Gaudi. Gaudi formally took over erection of la Sagrada Familia in March of 1883, at the age of 31. The architect right away began to amend Bocabella’s original preparation for the temple, which had been of conventional neo-gothic approach. He was required to base his design around the unique diplomacy for the church, including what had already been constructed. However, with unbounded minds eye and pioneering solutions, this proved to be a minor impediment for the architect. Gaudi envisioned a twentieth century cathedral, which would provide as a visual conduct to the Catholic reliance. The vault of the temple would form a Latin cross that was delimited by seven chapels devoted to the seven care and the seven sins of St. Joseph. In each chapel would be a depiction of the Holy Family. He intended facades on behalf of the birth, death, and the revivification, above which would rise 18 towers representing the 12 apostles, four evangelists, the Virgin Mary, and the largest representing Jesus himself. Gaudi worked on this massive conception for nearly 42 years, up until he was struck by a trolley and killed in 1926. The architect left no written map on which to carry on the project. However, he had constructed a model of his hallucination for the cathedral, complete with notes on its imagery, as well as a few drawings. Work continued on la Sagrada until, in 1936, a fire in Gaudi’s study smashed what was missing of his comments and designs. The project was began again 1952 through the exercise of drawings, but drew much argue. Slowly but certainly, building is still happening today, with the aid of volunteer builders. The constructed areas are release to visitors and tour groups at an reasonably priced. Reference Biro, Adam, and René Passeron, eds. Dictionnaire générale du surréalisme et de ses environs. Fribourg: Office du livre, 2002. Ungar, S., and R. Kuenzli, comps. "Bibliography on Surrealism, 1973-1982". Dada/Surrealism 12 (2003), pp. 90-126. Abadie, Daniel. "LExposition internationale du surréalisme, Paris 1938". In Paris-Paris: Créations en France 1937-1957. Paris:Centre Georges Pompidou, 28 May-2 November 2001, pp. 72-81. Ades, Dawn. "Afterword". In Investigating Sex:Surrealist Research 1928-1932. Ed. J. Pierre. Trans. M. Imrie. London:Verso, 2002, pp. 185-206. Adorno, Theodor. Noten zur Literatur. Vol. 1. Frankfurt am Main: Suhrkamp, 2002. Agrest, Diana I. Architecture from Without. Cambridge:MIT, 2001. Ahearn, Edward J. Arthur Rimbaud:Visions and Habitations. Berkeley:University of California Press, 2003. Albistur, M. and D. Armogathe, eds. Le Grief des femmes. 2 vols. Poitiers:Hier et dernain, 2005. Alfu, LEncyclopédie de Fantômas. Paris:Alfu, 2004. Albert Ellis and Albert Abarbanel. New York:Hawthorn Books, 2004, pp. 802-11. Althusser, Louis. Essays on Ideology. London:Verso, 2004. Apollinaire, Guillaume. Oeuvres complètes. 4 vols. Ed. M. Décaudin. Paris:André Bellard and Jacques Lecat, 2005. Read More