ANTONI GAUDI

SAGRADA FAMILIA

RESHMA

18BAR0013

13
 ANTONI GAUDI
Antoni Gaudi, catalan architect, leader of mod-
ernism and one of the leading pioneers of the
avant-garde of the twentieth century. His figure is one
of the most amazing architectural history, both for its
innovations and they are seemingly intuitive.
Light in his mind were the images of the Nature, which
he always would consider his great teacher.
Gaudi was inspired by what he observed around
him and his distinctive architectural style was heavily
influenced by nature. He began to expose his distinc-
tive style, designing free-form, irregular buildings with
curved lines, featuring undulating roofs and balconies.
He changed the way stresses were distributed by
designing arches and columns at unconventional an-
gles. In 1883, Gaudi began to take over construction
of La Sagrada Familia (meaning Holy Family Church),
culminating all of his skills on the project.

“I am a geometrician, meaning I synthesise.”

-Antoni Gaudi

G
A Casa de los Botines
The Church of Colonia
Güell
U 1891-1892
1898-1914
D
I’
S

W Casa Batlló
1904
Episcopal Palace of
Astorga
O 1889-1913

R
K

Casa Milà Park Güell

1906-1912 1900-1914
 SAGRADA FAMILIA
The architectural and designing work of Gaudí is sur-
prising for its scope of structures, surfaces, and poly-
chromy and for the free, expressive manner by which
these components of his specialty appear to be
made. The intricate calculations of a Gaudí building
agree with its design structure that the entire building,
including its surface, gives the presence of being a
characteristic item in complete similarity with nature’s
laws. Such a feeling of complete solidarity likewise ed-
ucated the life regarding Gaudí. He was totally dedi-
cated to architecture, which for him was a totality of
many arts. THE CHURCH IN THE 1800’S

Gaudí conceived a sanctuary of tremen-

dous measurements that represented the
association among paradise and earth.
The basilica was intended to be the most
elevated development around there and
to carry the work nearer to God. Utiliz-
ing the extraordinary archaic houses of
prayer as motivation, Gaudí proposed for
Sagrada Familia, the reevaluation of the
Gothic style as a fundamental idea to
build up a connection among paradise SAGRADA FAMILIA IN 2020
and earth through stature
and light. NEO-GOTHIC GOTHIC INFLUENCES
INFLUENCES

-VIOLLET-LE-DUC-COME -VIOLLET-LE-DUC-COME
I ORIENTAL INFLUENCES TO MODERN TO MODERN
N -ARTISANS WORKS WITH IRON
ARCHITECTURE ARCHITECTURE

AND STONES
F -DRAGONS
-JUAN MARTORELL MON-
TELLS- GOTHIC VAULTS
-JUAN MARTORELL MON-
TELLS- GOTHIC VAULTS
L -ORNAMENTAL AND DEEP
SENSE OF POLYCRHROME
QUADRIPARTITE AND QUADRIPARTITE AND
TOWERS WITH BELFRY TOWERS WITH BELFRY
U ARCHITECTURE

E EXAMPLES
N BEYOND THE GOTHIC NATURALISM
C -PARABOLIC ARCHS -BONES
E -INCLINED COLUMNS
-REMOVE FLYING BUT-
-TREES
-PLANTS
S EL CAPRICHO CASA VICENS
TRESS -SPINAL COLUMNS
AND BUTTRESS
-DOUBLE ROOF OF STONE
-VERTICALISATION OF THE
WHOLE PROJECT CASA BATLLO
 HISTORY OF THE BASILICA
1882 Project designed by Francisco de Paula del Villar.

Antoni Gaudí takes over the project, while still 1883

working on other buildings.

T 1926 Gaudí dies and his disciple Domènec Sugranyes takes

I over the project.

M
The bell tower dedicated to the
apostle Barnabas was the only
one Gaudí would see finished.

E
L Francesc de Paula Quintana dies and Isidre Puig 1966
i Boada and Lluís Bonet i Garí take over.
I
N
E 1983 Francesc Cardoner i Blanch takes over the project.

O Jordi Bonet i Armengol is named head architect 1985

F and site manager.

E
V
E 2012 Jordi Faulí takes over from Jordi Bonet as head archi-
tect and site manager for the works on the Temple of
N the Sagrada Família, which carry on according to Antoni
Gaudí’s plans.
T
S The Junta Constructora de la Sagrada Família 2020
stops construction due to the Covid-19 health-
care emergency.

2021 All efforts focus on finishing the tower of the Virgin Mary,
the Basilica’s second tallest at 138 metres.
 COMPONENTS OF THE CHURCH
Chapel of the Assumption

Sacristy

Altar
Abside and Crypt
They have the same plan

P 30 m
Tower of Jesus Christ

L
Transcept
Tower of the Evangelists

A Columns

N Secondary Nave

Primary Nave
Cloisters
Cloisters

A Baptistery
Cloisters Chapel of Penance and
the Holy Sacrament
N Glory Facade
Main Entrance

Z La Sagrada Familia utilizes three-dimen-

sional forms comprised of ruled surfac-
O es, including hyperboloids, parabolas,
helicoids, and conoids. These complex
N shapes allow for a thinner, finer structure,
I and are intended to enhance the tem-
ple’s acoustics and quality of light. Gaudi
N used plaster models to develop the de-
sign, including a 1:10 scale model of
G the main nave measuring five meters in
height and width by two meters in depth.
He also devised a system of strings and
weights suspended from a plan of the
temple on the ceiling. From this inverted
model he derived the necessary angles of
the columns, vaults, and arches. This is evi-
dent in the slanted columns of the Passion
facade, which recall tensile structures but
act in compression.

Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creat-

ing a visual representation of Christian beliefs. He designed three iconic facades for
the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west,
respectively.
 DESCRIPTION OF THE COMPONENTS

A The exterior of the ábside, and the crypt, was one of the first built elements and
B also keeps the Gothic character that gave the architect Villar, and Gaudí respect-
ed. The outside and in particular the seven chapels surrounding the choir is cur-
S rently under construction. Each of these
hoods will be illuminated by three windows, the central one being higher than the
I other two, to allow placement under an image without the tape. The pillars of the
D edges of the chapels, are finished in mid-high pinnacles and gargoyles binoculars
with Dragons, lizards, snakes, salamanders, frogs, etc.. used for roof drainage.
E The headlights of the chapels are inclined step pyramids with clerestory pilasters
that crowns the apse. Invocations will be culminated by the antiphons of
Advent. At both ends, climbing stairs of the crypt and continuing to rise to high-
er levels, have four series of overlapping windows and a clerestory at the top, are
topped by spikes. Here also decorated with gargoyles and land snails are a very
naturalistic decorative element. At each end was built a sacristy.

C
H
A
P On the Ábside façade, the chapel of the Assumption will be built, dedicated to
E the Assumption of the Virgin. Gaudí’s project, inspired by an existing one in
Girona cathedral, includes the crown dedicated to the Virgin, the pillars that form
L the structure and the curtains hanging from it, as well as the angels that are repre-
sented on the Girona model. Gaudí’s proposal will present these elements in stone
and according to their personal language, in other words, with parabolic geomet-
rical forms and decidedly modern figurations.
C
H
A
P
E
L
The cloisters are at the same level as the floor of the temple and pass through
three gates, and articulate with the constructions with which they interact, and
the Chapel of the Assumption that interrupts to restart its course and symmetrical-
ly across the sacristy, Sacramento Baptistery and Chapel. The vaults of the cloister
are of edge and generate a pediment with rosette of three warheads.

T
R
A
N
S
E
Just before the altar stands the cruise with a transept of three ships, which leads to
P each end of the two facades of the Nativity and the Passion with the mission in an
T understandable illustrate the mysteries of birth , passion and resurrection - glory -of
Jesus Christ. The three ships of the transept have a total width of 45 meters and a
length of 60 meters. This area is still at a relatively late construction.

C
R
Y
P It has the same layout as the apse built over. It consists of seven chapels, an am-
bulatory and a central area, nearly circular (40x30 meters) above which, is the
T sanctuary of the church. Is supported by a set of ten pillars of that project to the
roof sets small columns ending in a key vault containing a representation of the
Annunciation. This dome rises two meters presbytery level. To ensure the lighting
and ventilation, there is a moat around the crypt. Access is via two staircases, one
on each side of the apse.
S
A
C
R
I
S
The twelve sides of the dome will be that hyperbolic paraboloids level cloister cov-
T ers, will be cut by eight vertical planes twelve gables originate uneven corners
I being larger than the walls. The bevel angle to give the street there will be a kind
of tower topped by three obelisks and a flashlight. At the opposite end, a stair-
E case inking the three floors of the basis of which, the main floor will have a height
of 14.5 meters and will be partially prepared as a tiered gallery. The light will enter
S through the twelve rosettes triangular pediments. The dome consists of four levels,
andall of it will be pierced by triangular windows in order to ensure good lighting.
This part of the church is yet to be constructed.

M
A
I
N The church has a basilical ground plan and five naves, the central one rising to
a height of 45 m and the side ones to 29 m. The central nave and side naves are
supported by a system of columns which is completely new in the history of ar-
N chitecture. In the eyes of the observer, the interior looks like a forest of trees with
beautiful alignments, of which we can see the trunk, the branches and a cluster
A of leaves. In this forest of columns, the light filtered through the windows will give a
bucolic appearance and give a feeling of undergrowth. The ceilings of the cen-
V tral nave, seen from the interior, will be crowned by aedicules that will provide
E support for lights with the initials of the Holy Family.
On the exterior, the water from the roofs runs down drainpipes which at half
height are fixed to the walls at half height with the following allegories and cap-
tions: a flask with the inscription “myrra (myrrh)- sacrifice”, an incense burner with
the inscription “thur (incense) – prayer” and a box with the inscription “aurum
(gold)- alms. Beside and on the windows are images of the saints who founded re-
ligious orders, such as St John Bosco, St Joachim Vedruna or St Joseph Oriol.
 FACADE’S OF THE STRUCTURE
G
L
O
R
Y

F
A Will, as the facades of the Nativity and the Passion, the main and most characteris-
tic elements of the facade. But here, the importance of reserve volumes Gaudí the
C porch, this tape will make the towers more than in the other facades. They will, like
A the others, fully accessible via spiral staircases that will leave an important central
void that is placed where the tubular bells. Each of the towers of this and the other
D two facades, even twelve, four for each, is dedicated to an apostle. The facade
of the Gloria, it will be at St. Andrew, St. Peter, St. Paul and James. Each of them is
E represented in a large statue, placed at a height of approximately one third of the
total length of the towers. The Pinnacles are similar to those of the other facades
but with different vertical arrangement.

N
A
V
I
T
Y They have a height of 107 meters both central and the outer 98 meters. They are
the main and most characteristic elements of the facade. It is fully accessible via
spiral staircases that leave an important central void and reaching almost to the
F top. The entire length of the bell is opened by means of a kind of stone shutters al-
low diffusion of the sound of tubular bells provided by Gaudí.
A The top silhouette resembles an episcopal crozier. Other symbols that can be seen,
are the symbol of the ring knot of the bishops and the completion a golden cross
C that incorporates initial apostle whom the tower is dedicated. Each of the towers
of this and the other two facades, even twelve, four for each, is dedicated to an
A apostle.
D
E
P
A
S
S
I
O
The Passion façade is of recent construction. It is located on the street Sardenya and
N is oriented to the west. It represents the passion and death of Jesus Christ. Consistent
with this function looks extremely bare and austere, geometric shaped edge. The
forms a six-column porch with three entrances, of which the center is divided in two
F by a mullion signs with Alpha and Omega, located between the four towers. As the
facade of the Nativity and the Gloria, the three portals of the Passion are dedicated
A to the three theological virtues. The sobriety of the facade is also manifested by the
C presence of bone-shaped columns and sober sculptures were made by Josep Maria
Subirachs deliberately adding drama to the already sad Gaudí design. The project
A complies with the initial set of Gaudí with respect to their general, but the details are
obviously adapted to modern aesthetics.
D
E

T GEOMETRY
W
I
S
T
E
D
Gaudí’s double twisted column is generated by engraving a helicoidal groove on
a cylindrical base by means of a star-shaped template. By making this movement
C twice, in the two opposite directions of the twist. Gaudí was searching for a new
O column, one that would excel the earlier ones but would fit into the history of the
column. And, in that history, he saw three great basic models:
L 1. The Greek Doric column has vertical grooves.
2. The Corinthian order column, which is cylindrical, is generated by the extrusion of
U the circle from the base following a slightly curved profile.
3) The barley sugar column, typical of the Baroque, with the torus shape, marks an
M ascending helicoidal movement following the helix that surrounds the cylinder of the
N nucleus.

S
H
Y
B
E
R
B
O
L These surfaces are formed by lines that rest between two equal and parallel ellipses,
and combines a focused set of corresponding points between the two ellipses.
O They have two generating lines, nails in one direction and the other in the hand, and
represent a special case among elliptical cones and elliptical cylinders. We can find
I hyperboloids on the windows, circular or elliptical hyperboloids, the latter easily iden-
D tifiable from the elliptical rose window. The light from the attics has to pass into the
nave through the vaults, and that is why the vaults are pierced with hyperboloids of
S revolution

P
A
R
A
B
O
L
O
The hyperbolic paraboloid surfaces of the most important and original used by
I Gaudí, a ruled surface is formed by straight lines that are supported by two lines that
D intersect in space in an orderly fashion, i.e, establishing a objective correspondence
between points related support. One of the first examples of the temple is found in
S the side windows. A second case form the basis of the great columns, creating a
smooth transition between the ground and the plane. Also at the base of the pinna-
cles of the Nativity façade. The culmination of the use of hyperbolic paraboloid is lo-
cated on the upper deck of the ships and the sacristy
H
E
L
O
I
D
A helicoid is a surface generated by moving a straight which moves parallel to a
A plane and rests on a straight line perpendicular to this and a helix associated with a
cylinder perpendicular to the plane and whose central axis the straight set.
N The helicoid is the ruled surface we can see on the skeleton of a spiral staircase
(before the steps or seen from below if left smooth). It is a ruled surface because
D there is always a set of horizontal straight lines which afterwards will serve to mark
the directions of the radial steps, which follow the route of a spiral of the exterior
cylinder of the space occupied by the stairs, and at the same time those radials
C rest on a central vertical straight line, the imaginary axis inside the nucleus of the
staircase.
O Conoid is determined by a line, a curve and a perpendicular plane in space, and
formed by all straight lines based on the given and the corresponding points of
N the curve set, and all these lines are parallel to the given plane. The surface of the
O conoid is also ruled. A sinusoidal guideline is traced on the ground and a straight
bar placed at a certain height as a second guideline. Resting on these two guide-
I lines, one a straight line and one a curve, are the straight lines that generate the
surface, which are the whole group of tensed strings linked to the upper bar that
D seek the line marked below to act as a guideline for raising the undulating wall.

TRENCADIS
The trencadís is an artistic ceramic mosaic
type whose peculiarity that the parts used
for manufacturing tiles come cleaved. The
key to a quality trencadís is in choosing
pieces with similar sizes, arranged so they
seem a puzzle that all fit leaving a small
space between pieces to grouting. The sur-
face coating with trencadís played a major
role in modernism, especially in the work
of Antoni Gaudí.
The most suitable materials are flat piec-
es of ceramic tiles, but also uses glass, mar-
ble or stone. It is desirable that the surface
of the rough parts is not as difficult subse-
quent cleaning mortar residues and may be
smeared surface tarnishing final result.
STRUCTURAL ASPECT

STONE
The lower columns have been built with the stones that Gaudí decided according
to its resistance: sandstones from the Mountain of Montjuïc in Barcelona, granite,
basalt and porphyry.

PREFABRICATED CONCRETE PIECES

In order to reduce the fitting time, prefabricated pieces are mounted at the foot
of the Temple, so that large elements may be positioned in their places. In the last
months the windows of the apse at 45 m high have been constructed with that
technique.We can see at the photograph the elevation of the reinforcement piec-
es and finally how the prefabricated concrete formwork is filled. Some of the 3 to
6-metre high prefabricated columns have been fabricated with incorporated steel
reinforcement.

FLAT BRICK VAULTS

This is a traditional Catalan construction technique for covering spaces and con-
structing stairs. Three layers of mortared tile or brick are superimposed to create a
very resistant layered combination.
MODELLED IMAGES

NOTE: Model was worked on Sketchup and was rendered on the same software as
well.
REFERENCES
https://www.slideshare.net/cravent1/sagrada-familia-55271019

https://www.dosde.com/en/sagrada-familia-universal-temple-visual.html

https://www.archdaily.com/519298/happy-birthday-antoni-gaudi

https://www.architecturaldigest.com/gallery/architect-antoni-gaudis-most-influen-
tial-modernist-designs

https://www.britannica.com/biography/Antoni-Gaudi

https://sagradafamilia.org/en/history-of-the-temple

http://www.bernardsmith.name/visiting_spain/barcelona/gaudi_and_structural_engineer-
ing/

http://www.gaudiclub. com/ingles/i_press/Prensaing/Notasprensa/09_03_13.asp

http://www.bernardsmith.name/visiting_spain/barcelona/gaudi_and_structural_engineer-
ing/