The Temple of the Holy Family - Sagrada Familia basilica by Antoni Gaudi

By:
“Those who look for the laws of Nature as a support for their new works collaborate with the
creator”.
Introduction
Antonio Gaudí and his oeuvre, in particular the Templo Expiatorio de la Sagrada Familia

(Expiatory Temple of the Holy Family, hereafter the temple or the “Sagrada Familia”) have

been, are being and in all likelihood will continue to be intensely studied, in light of the

singularity of the architect’s approach and the beauty of his works

Despite its unfinished state, the Temple of the Holy Family, or Sagrada Família, is Antoni

Gaudí’s most widely recognized work and one of the most important milestones in the

development of Catalan Modernism.

In his works, Gaudí attempted to transpose the forms he observed in nature, with a view to

optimizing the structural design of his creations without disregard to construction processes. The

fruit of his research was the repertoire of forms that constitute “Gaudian geometry” [5]. In the

Sagrada Familia, the culmination of that process, he systematically intersected and wedded ruled

surfaces (hyperboloids, paraboloids, ellipsoids...). The temple as a whole consists of the

repetition and multiplication of a series of simple proportions and a structural system based on

geometric shapes generated by straight lines.

One of the main characteristics of the temple (and Gaudí’s work in general) is the use of

geometric shapes in the design. For Gaudí, form and structure are univocally and naturally

interrelated
Known as the most representative work of the Catalan Art Nouveau (modernism) and the most

important of the Catalan architect Antoni Gaudí, the Expiatory Temple of the Sagrada Familia, a

large Catholic basilica, is located in Barcelona, Spain. In 1882 the Holy Family began to be built,

and it is still under construction.

Although initially the construction of the temple was within the neo-Gothic style, in 1833 Gaudí

assumed the project, completely changing its design.

Gaudí raised an innovation in the design, through its high circular conical towers that protrude

over the struts narrowing with the height. These towers were designed from a parabolic torsion,

catenary, helping the facade to reflect an impressive height and descent, where each window,

column and element refers to saints, institutions or mysteries of the Catholic faith.

La Sagrada Familia is a five-nave church with a three-seater transept, which forms a Latin cross.

The temple would contain the following elements: the Façade of the Nativity, the Facade of the

Passion, the Façade of Glory (the most important) with the Baptistery and the Chapel of the

Sacrament, the Crypt, the Apse, the Cimborios and Obelisks, the Cloisters, the Sacristies, the

Chapel of the Assumption, the Crossing and the Transept, the Ships and the Choirs, and the

Altar. The façade of La Gloria, still not built, will be the main entrance of the temple from Calle

Mallorca.

Few have understood and transferred the magic of nature to architecture like Antonio Gaudí. The

Catalan teacher was inspired by the shapes and colors of nature to create his works. The Sagrada

Familia is undoubtedly the work that best represents the play of lights and colors that only a

master like Gaudí could transfer from nature to architecture. The symphony of colors created by
the Catalan architect in the Sagrada Familia makes visiting the temple a completely different

experience depending on the time of day.

The Sagrada Familia is the most representative monument of Barcelona. Although initially the

project was commissioned to Josep Maria Bocabella and several architects expressed their style

in the temple, probably the Sagrada Familia would not enjoy the current recognition without the

genius of Antonio Gaudí. The Catalan architect assumed the reins of the project in 1883 and

although he respected the ideas of his predecessors, made important changes that have become

the best symphony of colors recreated in a building.

Gaudí wanted to convert the Holy Family into "the temple of harmonious light". Light plays a

fundamental role in the interior and exterior of the temple creating lights, shadows and colors

that evoke spirituality. On the three main facades the architect played with sunlight to cause

different sensations. The facade of the Nativity captures the joy and life of the birth of Jesus

thanks to the reflection of the first rays of the sun in the pinnacles. The opposite happens on the

façade of the Passion where the setting sun produces shadows and scarcity of light that invite

awe and emphasize the rough and hard character of the façade. The splendor returns to take the

protagonist in the facade of the Glory thanks to the midday sun that is reflected in the 16 lanterns

of the porch and invites to enter the interior of the temple.

In the interior of the Sagrada Familia, Gaudí granted all the protagonism to the games of lights

and to the great columns whose volume seems even greater thanks to the light that enters through

the skylights and the large windows. The columns are reminiscent of the trees of a forest,
creating a set of colors that invite prayer and prayer. This game of colors would not have been

possible without the hands of Joan Vila Grau who is in charge of the stained glass windows of

the Sagrada Familia and who has known how to create "the temple of harmonious light" that

Gaudí dreamed.

In the early hours of the day, thanks to the sun entering the east, cold colors dominate the interior

of the temple, giving way to green and blue tones; while in the afternoons the ochres and oranges

invade the Holy Family to create a warm climate. In the central part, the transparent crystals

allow the entrance of a clean white light that reflects the purity and illuminates the temple until it

is diluted little by little between the colors of nature to finally become a darker light in the lower

part and imitate The effect of the sun in a forest.

Description of the temple

The originality and everything that Gaudí's work meant in terms of innovation within the world

of construction is present in the work of the Holy Family.

But, in order to understand the work done, it is first necessary to make a brief description of the

Temple.

The Sagrada Familia has a classic Latin cross plan, with five longitudinal naves and a transept of

three, an apse and a crypt under the main altar, as can be seen in figure 1A. The Temple will

have three facades in the future. The main portico, located at the foot of the shaft, called of the

Glory, will symbolize the resurrection of Jesus Christ. The other two entrances, already built, are

located at the ends of the transept and are dedicated to the Birth and the Passion of Christ. Each

door will have four towers. The whole will be surrounded by a rectangular cloister.
In addition, six large towers will crown the structure on the decks of the transept and the apse

dedicated to the evangelists, to Christ and to the Virgin Mary, as shown in Figure 1B.

For Gaudí, form and structure are univocally related. A good example of this are the geometric

shapes of the Sagrada Familia to which he dedicated the investigation of the last years of his life.

Gaudí devoted an important part of his work to structural research. He analyzed the structural

disposition of the Temples built up to that moment and the elements of nature seeking to

rationalize the architectural forms so that they adapt better to the distribution of forces. For this,

Gaudí introduces in the Sagrada Familia numerous ruled surfaces (hyperboloids, paraboloids,

elliptic ellipsoids ...) that will form most of the elements of the Temple (from windows to roofs)

and that constitute one of its most important singularities being able to transmit better the loads

that the Gothic ribbed vaults to give an example. On the other hand, the design of these regulated

forms based on exact geometric figures, systematically repetitive, can be constructed at present

in spite of the absence of plans. A more exhaustive description can be found in the book The

Temple of the Holy Family, by one of Gaudí's assistants, Isidre Puig Boada (4).

This approach allows a certain level of industrialization and to a certain extent arises as an

answer, from the economic point of view, to make possible Gaudí's plastic by systematically

using regulated surfaces that can be prepared with lower formwork costs (5). Table 1 (next page)

shows the main periods of the works, which have been divided into three (the one constituted

from the beginning of the work to the death of Gaudí, the works of his direct disciples and the

period of architects directors who no longer knew Gaudí in life). In this table are also presented

the actions taken in these periods and the directors involved in each of them. In it it can be seen

that the main volume of work has been carried out in the last 25 years.
The basilica has a Latin cross plan, it is inspired by the Gothic, with five naves and a transept of

three with a longitudinal direction towards the presbytery and the altar, it also has an ambulatory

and seven radial chapels

Outside will be built 18 towers, 4 towers in each of the facades dedicated to the apostles, 4 in the

cruise to the evangelists, one in the dome to Jesus Christ and the presbytery to Mary.

The exterior with its 18 towers is a clear symbol of the pillars of the Church: Jesus, Mary, the

four evangelists and the 12 apostles and on the facades the key moments for redemption: birth,

passion and death, and the resurrection and glory.

The interior is inspired by nature with columns as in the shape of inclined trees, whose branches

hold parabolic-helical, oval vaults ... creating a set of open and closed forms by which the light

that filters through the windows with stained glass windows, roofs or space between branches.

Gaudí designed the Holy Family inspired by nature and religion. Gaudí wanted, and it will be

done, that whoever was inside the temple felt to be inside a forest. Therefore, all the pillars and

the structure of the vault were designed with reasons related to nature.

No structure or detail was designed without its artistic motive. The Sagrada Familia is, without

doubt, a great work studied to the millimeter.

The temple of the Sagrada Familia is a basilica in construction of Latin cross plan located in the

Eixample of Barcelona within the block that limits the streets Mallorca, Provença, Sardenya and

Marina. As can be seen in figure 2.1, it consists of five bays in the main nave and three in the

transept. The length of the nave and the apse is 95 m and that of the transept plus 60 m. The

central ship of 15 m wide and 45 m high; the lateral ones, smaller, are 7.5 m wide and 30 high.

The cruise has an amplitude of 30 m. and will have a height under the central dome of 60 m.
The apse is formed by seven chapels and two circular staircases to access the underground crypt.

Next to the transept and next to the apse, two large sacristies will be built, forming two

independent bodies. In addition, the entire perimeter of the Temple will be surrounded by a

cloister with the intention of isolating it from outside noise.

It is planned to build six large towers on the decks of the transept and the apse. In the center of

the transept will be the tallest tower, 170 m high, dedicated to Jesus Christ surrounded by four

smaller ones (130 m) that will symbolize the four evangelists. Its situation can be observed in the

plant of figure 2.1, correspond to the five circumferences of the transept that join each four

columns. The last tower, 140 m high, will go over the apse and be dedicated to the Virgin. We

can imagine the appearance of the whole observed from outside in the profile of figure 2.2

The temple will have in the future three main facades that will correspond to the three final

accesses to the building. The main portico located at the foot of the shaft (c / Mallorca), called de

la Gloria, will symbolize the resurrection of Jesus Christ. The other two entrances, already built,

are located at the ends of the transept. The one of the c / Marina, dedicated to the Birth of Christ,

is formed by 4 towers of 100 m of height and a central cypress. The one located at the opposite

end on Sardenya Street, also finished, symbolizes the Passion and death. It also has four towers,

this time about 110 m high, between which has been placed an enormous sculpture of Christ

crucified. This image, like most of the facade of the Passion, is the work of the sculptor Josep

Maria Subirachs.
Vision of the interior ceiling of the Sagrada Familia.

Its sight resembles a forest: the columns represent the trunks of trees, with their respective

branches starting from the capitals and leaves. Among them, the natural light inputs.

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History
In 1882 the first stone of the Sagrada Familia was placed, but it was not until 1923 that the

definitive solution of the naves and roofs was presented in plaster models at scale 1:10 and 1:25.

It was not until November 30, 1925 when the first bell tower on the façade of the Naixament

(San Bernabé), 100 meters high, half a year before (June 10, 1926) of the death by accident of

Gaudí Architect, was crowned after of more than 40 years of dedication to the Holy Family.

However, the work continued its course thanks to the fact that, unusual at the time, Gaudí left a

general plan and deep studies of the new structure and the geometric shapes inspired by nature

that make up the ships, the columns, the windows, the arches and the roofs, until in 1930 the four

bell towers of the facade of the Naixament were completed.

During the period of the Civil War (1936-1939) the built part suffered considerable destruction

and destroyed the study that once was Antoni Gaudí. In spite of everything, from 1940 the work

reprimanded its activity.

In 1954 the construction of the facade of La Passió began and until 1977 the four bell towers of

la Passió were not completed. At present, and since 1986, the lateral and frontal naves and the

columns that are going to support the Towers of the Evangelists, the Towers of Mary and the

central dome are being built.

With an idea of verticality, the Holy Family will build 12 bell towers of approximately 100

meters in height that represent the twelve apostles and the central dome 170 meters high, in

honor of Jesus Christ. Around it, the Towers of Mary and those of the four Evangelists (125

meters high) will rise.

First years
The Sagrada Familia project begins with the foundation of "the Spiritual Association of devotees

of San José" by Josep María Bocabella in 1866. In 1875, after a trip to France, he decided that

this association would promote the construction in Barcelona of a reproduction of the Basilica of

Loreto in honor of San José and start looking for a location.

Finally, on December 31, 1881, Bocabella acquired the land where the Temple is located today.

He had been looking for something closer to what was then the center of the city, but the prices

were very high and he ended up buying a plot in the municipality of St Martí de Provençals.

On March 19, 1882, Bishop Urquinaona laid the first stone and commissioned the project to the

diocesan architect Villar. This one accedes to direct the works without remuneration some and

between April and May of that same year it begins the excavation of the crypt located under the

apse in neo-Gothic style. Villar then makes the drawing of the first floor of the Temple. The

project of the Sagrada Familia is at the moment the one of a neo-Gothic basilica of modest

dimensions.

Villar resigned a year later for disagreements with the architect Joan Martorell, Bocabella

advisor. Villar intended to build the columns of the crypt with chairs and Martorell tells him to

design them in masonry (with interior filling) which is a cheaper solution. As a result of this

discussion, the Temple has no architect director. Martorell proposes a young man unknown at the

time: Antoni Gaudí.

The commission to Antoni Gaudí was made on November 3, 1883 and in 1884 the first

documents appear in his name. First, modify the crypt under construction: change the entrances,

decide to build a moat around it to give it light and increase the height of the pillars.
After the death of the architect, the works continue under the direction of Domènec Sugranyes

and the advice of Francesc Quintana, two of Gaudí's most direct assistants in recent years. These

architects faithfully follow the plans and notes that the teacher had left them and completely

finish the facade of the birth in 1935.

Phylosophy of gaudi

Even, the construction of the temple-church covers for him a consideration

particular since it should aim to reflect the splendor of beauty, and the sense

of transcendence: "The temple must inspire the feeling of divinity, with

his infinite qualities and attributes "19. With this premise Gaudí was raised how

reinsert, in its historical present, the temple in the city, now hidden among the

public and domestic buildings that grew in height and symbolized progress

human and technical.

In the second half of the nineteenth century, secularism and secularism spread

all aspects of culture. Progress, the essential core of positivist thought, was the visible material

expression of the society that it considered surpassed. In addition to this growing hostility

towards the Church and religion, Catalan society was also characterized by being a hotbed of

social conflicts and political instability and the development of Catalonia's national affirmation.
It is important to highlight that historical context for a work of such magnitude that Gaudí

reformulated and faced, not without criticism, by taking over, in 1883, the temple that had

already begun.

The Catalan architect then proposed to recover the sacred space and its visibility in the urban

area: "Civil buildings can reduce the

dimension of the temple, however, this should never be inferior to those "22.

The site of the Sagrada Familia, in the urban fabric, responded to highlight the temple. It is

conceived, from the beginning, with an "expiatory" character of sins based on donations.

Its basilical plan consists of five naves with three transept that form a Latin cross. The temple of

the Sagrada Familia was located in the area of the so-called extension of Barcelona, the new

modern urbanization devised by Ildefonso Cerdá, with its regular floor, wide streets and

landscaped avenues, in perspective, that contrasted with the irregular floor of the medieval city .

In the work it is possible to find not a few medieval diachronic elements such as, for example,

the bouhütten or the typical construction workshops, similar to the guilds, which consisted of

associations of architects,

sculptors, carpenters, glassmakers, plasterers craftsmen, blacksmiths and other specific crafts for

the construction of temples that were governed by their own statutes.

It also suggests the traditional use of materials for traditional use, such as stone, wrought iron,

wood and glass. The construction is conceived on the basis of the predominance of height over
its other dimensions; its composition is definitely vertical, as pointed by its needles, its towers

and bell towers. The magnitude of the central dome accentuates verticality.

In times of a civilization where the artificial advances on nature, Gaudí resumed and privileged

the representation of the natural world. The interior of the temple projects it with arborescent

columns because, in his opinion, it must be a forest. Reserve the entry of light through the large

windows of the side walls and, especially, the overhead light that is projected in a beam from the

large central dome. On the outside, the trencadis technique, by means of fragmented tiles, allows

you to enhance sunlight by reflection.

The two facades realized in stone, that fulfill the function of porticos

of access, lateral to the interior of the temple, correspond, externally, to the arms of the transept;

the oriental one is dedicated to represent the nativity and childhood of Jesus and the western one,

to his passion and death. This orientation is not random, but is associated with the east-west axis,

in the direction that the sun describes from its sunrise to its sunset, birth and death of Jesus

Christ. Not only wanted to represent but also generate in the receiver joy, pain and compassion.

The eastern side facade of the Nativity, which appears populated by innumerable ornaments of

nature, such as palm trees, zoomorphic representations such as turtles, mollusks, or mythological

dragons, signs of the zodiac, trees.

The rocks represent the geological formations of Montserrat that are part of the natural and

national landscape of Catalonia.

The representation of natural elements, both inorganic and organic,

follows an order to integrate the cosmos around the grotto of the Incarnation
of the Son of God with the Virgin Mary and Saint Joseph who nominate the facade.

The vegetation near the pavement surface of the temple as the

Palm trees, as they rise, serve as support for the angels and pinnacles of stars, attracting the

observer to raise their gaze to the top.

Finally, making a symmetrical axis in the composition of the portal, a tree projected towards the

top is shown in tune with the bell towers.

In the ancient cultures of the Middle East the tree of life joins three planes:

the subway, the surface and the sky. By including the tree in its ornamentation

not only recovered its natural place, but its valuable redefinition for Christianity, as highlighted

by an ancient hymn of the Byzantine liturgy: "The tree of life planted on Calvary, the tree on

which the King of the ages has worked our salvation, the tree that came out of the depths of the

earth has risen in the center of the earth and sanctified to the ends of the universe "30.

Conclusion

Although Gaudí built only part of the Holy Family, he devoted himself to studying the form and

structures of the rest of the Temple, leaving in his studies the way forward for his successors.

The personal involvement of the collaborators and the search for constructive innovation have

been maintained over the years.

In conclusion.

As we have stated in the introductory hypothesis, the explicit objective

of the architect and artist Antoni Gaudí was to recover the essential meaning of the church-

temple as an icon-sacred symbol and as a visible center from any angle of the city, reinserting it

in its very heart. At present, this church has practically become the symbol of Barcelona.

The artist did not propose it, from a sense, we could say nostalgic of the past time or imitations

of artistic styles, but from an original and spiritual renewal that his time and society required and

expected. This work reveals, among other things, a profound mystical experience.