Gaudi’s Remarkable Sagrada Familia

Barcelona is a beautiful microcosm of Spanish civic culture on the larger scale. Spain is a nation that has seen aggressive modernization in reliable aspects of its metropolitan orientation, which are deeply accommodating to the influx of international businesses, the aline of luxury living demands and the heavy flow of tourism that reaches many of its to a greater extent popular destinations. As just such a destination, Barcelona is effectively informatory of the type of growth that marks parts of Spain with massive high-rise builds and democracy of the are technological provisions.Simultaneously though, Barcelona is a window into Europes remarkable and artful history, with castle walls, sprawling plazas and roughshod cobblest whizz offering a clear resume of the citys medieval grounding. The seamless integration of the preserved and the modern is a characteristic which identifies the city and its near celebrated architect, the mercurial and ambitious Antoni Gaudi.His works appealed to the grand and gothic ambitions of those architectural value systems which preceded him, but his vision also held fast to a sacred experimentalism which ornamented his designs elaborate, complex and often shockingly liberal uses of image and color. This is an air which today do- nonhing be seen virtually everywhere in the city of Barcelona, and close to notably, in the wondrous and markedly incomplete masterpiece that is Sagrada Familia. A papist Catholic Church of the most dramatically unique vision, the building which was begun in 1882 under Gaudis direct supervision is still under plait even today.Remarkably, a building that has been in a state of act development from its conception to present day, obstructed in the intervening geezerhood by the long bloody civil war which gripped Spain from the second gentleman War through to the end of the Cold War, is one of the most charismatic tourist attractions in Spain. This is because there are few structures in the beingness which are as ambitions in their simultaneous detail and enormity. Sagrada Familia is essentially the on-going manifestation of an architectural vision so complex and slender as to warrant a process of realization which far outlives its originator.Indeed, when Gaudi passed away in 1926, with the building understandably still quite far from finished, Domenech Suganyes would take everywhere the post. (Wikipedia, 1) To date, Sagrada Familia has been the obsession of no less than six head architects. (Burry, 1) A view of the structure explains rather quickly why this is so. A piece which incorporates nearly aspects of baroque architectural intent, particularly in the heavy focus on religious symbolism through catholic eyes, the cathedral must be seen as something of a post-modern work.Its uniquely elaborate use of color and its rude mainstays are unlike anything in the Catholic tradition prior, seeming not just to indulge in the type of gilded excess seen in the Vatican of the preceding centuries, but also to aggressively pursue counter-traditional and disarming appearance and effect. The primary argument for this observation may be in the engineering which helped to steer Gaudi. When commission for the cathedral, he was aware that the works were complex and onerous and tried to take advantage of all the modern techniques available.And so, among other resources, he had railway tracks laid with small wagons to transport the materials, brought in cranes to lift the weights and had the workshops fit(p) on the site to make the work easier. (Sagrada Familia, 1) This is the precedent, in fact, for the raging rock presently engaged between a city which intends to run an underground metro route beneath the invaluable structure and a arc of neighbors, architects and historians who fear the impact of such as decision.In a manner, Sagrada Familia does step and feel precarious, and not because of its continuing construction but because of that which ha s already been accomplished. Namely, the xii towers of varying heights which have already been completed taper shrewdly as they reach the heights of the city. Their collective facade is laden with precise sculptures depicting all manner of Catholic ephemera. According to our research, Gaudi originally utilize live models to capture the detailed visages, divinities and animals represented in dense array on the outside of the building.Perhaps most famously, the northeast, or Nativity Facade, is the Sagrade Familias artisitic pinnacle, and was mostly done under Guadis personal supervision. You can move up high up inside some of the four towers by a combination of lifts and narrow spiral staircasesa vertiginous experience. (Simonis, 294) This draws tourists from all everywhere the world, with the photographed image of the coil shooting down the center of each tower a common vantage in travel guides on the country. though construction crews, machinery and scaffolding are constant, the front portal of the building is an incredible sight to be hold.By day, the 20 foot entranceway, gauzed by Gaudis odd, spiderwebbing incongruity, gives view to a brilliantly colored stained glasss. By night, the building is lit from tower to foundation, giving off a stunning roaring display. A single tower reaches up the center of the structure, providing it with its height. Flanked symmetrically by the other towers, it is said to symbolize Jesus, the evangelicals and the apostles. (Robinson, 24) Any speculation to the contrary efficacy quickly be answered by the incredible variety of ways in which the architecture depicts the Christ, through birth, life, death and rebirth.Indeed, the story of Catholicism may salubrious be told thoroughly by the collection of images literally blanketing the whole structure. We can see that ultimately, the design has emphasized detail. The structures hugeness and ambitiousness not to be dismissed, the longevity of the project is more directly related to the incredible, most insane attention to detail which distinguishes the structure. To understand the extent to which Sagrada Familia defies the likelihood of mere or modern architecture in its ornately unfinished state, one must see it.