Tag Archives: Art Nouveau

Cripta Gaudí – Colonia Güell by neobit

The Crypt of the Church of Colonia Güell (1898-1914) Colonia Güell was a small workers’ village, which was built in 1882, next to Mr. Güell’s textile factory located near the town of Santa Coloma de Cervelló, in the Baix Llobregat region, about 20 km. from Barcelona. The Colonia occupied about 30 of the 160 hectares on the “Can Soler de la Torre” estate, which Güell’s father had acquired in 1860. The workers’ homes were spread around the factory in a regular pattern, with small two-story houses, built by Gaudí’s assistants, Francesc Berenguer i Mestres and Joan Rubió i Bellver.
Güell, the future Count, planned for all kinds of services to be available to his factory employees, including a church. Gaudí was put in charge of building it, and he enjoyed the opportunity to work on a project from the beginning, not being limited to a predefined floor plan as had been the case with the Sagrada Familia and the Col.legi Teresia.
Gaudí spent ten years working on studies for the design, and developing a new method of structural calculation based on a stereostatic model built with cords and small sacks of pellets. The outline of the church was traced on a wooden board (1:10 scale), which was then placed on the ceiling of a small house next to the work site. Cords were hung from the points where columns were to be placed. Small sacks filled with pellets, weighing one ten-thousandth part of the weight the arches would have to support, were hung from each catenaric arch formed by the cords. Photographs were taken of the resulting model from various angles, and the exact shape of the church’s structure was obtained by turning them upside-down. Gaudí took photographs from various angles so he could see vertical sections or elevations of the building.
Gaudí’s design was to be a crypt with a portico, taking advantage of the unevenness of the land, and a four-floor high chapel which would be reached via a stairway above the portico. The church, located on a small hill, would have blended with the pines because of the color scheme that Gaudí had designed: the crypt walls are built with arch bricks and black basalt, representing the earth and the tree trunks. Further up the walls, the material was intended to gradually change to green hues, like the tops of the trees, then blue, like the sky, finishing white and golden at the highest part of the bell towers, representing the clouds in the sky and the sun. At the same time, this chromatic process is a symbol of the path to Christian living, from the shadows of hell to the light of the Glory of God.
Work did not begin until late 1908, and just when the crypt was being finished and construction of the chapel walls was beginning, work was stopped because of the death of Count Güell, in 1914.

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Cripta Gaudí – Colonia Güell by neobit

The Crypt of the Church of Colonia Güell (1898-1914) Colonia Güell was a small workers’ village, which was built in 1882, next to Mr. Güell’s textile factory located near the town of Santa Coloma de Cervelló, in the Baix Llobregat region, about 20 km. from Barcelona. The Colonia occupied about 30 of the 160 hectares on the “Can Soler de la Torre” estate, which Güell’s father had acquired in 1860. The workers’ homes were spread around the factory in a regular pattern, with small two-story houses, built by Gaudí’s assistants, Francesc Berenguer i Mestres and Joan Rubió i Bellver.
Güell, the future Count, planned for all kinds of services to be available to his factory employees, including a church. Gaudí was put in charge of building it, and he enjoyed the opportunity to work on a project from the beginning, not being limited to a predefined floor plan as had been the case with the Sagrada Familia and the Col.legi Teresia.
Gaudí spent ten years working on studies for the design, and developing a new method of structural calculation based on a stereostatic model built with cords and small sacks of pellets. The outline of the church was traced on a wooden board (1:10 scale), which was then placed on the ceiling of a small house next to the work site. Cords were hung from the points where columns were to be placed. Small sacks filled with pellets, weighing one ten-thousandth part of the weight the arches would have to support, were hung from each catenaric arch formed by the cords. Photographs were taken of the resulting model from various angles, and the exact shape of the church’s structure was obtained by turning them upside-down. Gaudí took photographs from various angles so he could see vertical sections or elevations of the building.
Gaudí’s design was to be a crypt with a portico, taking advantage of the unevenness of the land, and a four-floor high chapel which would be reached via a stairway above the portico. The church, located on a small hill, would have blended with the pines because of the color scheme that Gaudí had designed: the crypt walls are built with arch bricks and black basalt, representing the earth and the tree trunks. Further up the walls, the material was intended to gradually change to green hues, like the tops of the trees, then blue, like the sky, finishing white and golden at the highest part of the bell towers, representing the clouds in the sky and the sun. At the same time, this chromatic process is a symbol of the path to Christian living, from the shadows of hell to the light of the Glory of God.
Work did not begin until late 1908, and just when the crypt was being finished and construction of the chapel walls was beginning, work was stopped because of the death of Count Güell, in 1914.

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Cripta Gaudí – Colonia Güell by neobit

The Crypt of the Church of Colonia Güell (1898-1914) Colonia Güell was a small workers’ village, which was built in 1882, next to Mr. Güell’s textile factory located near the town of Santa Coloma de Cervelló, in the Baix Llobregat region, about 20 km. from Barcelona. The Colonia occupied about 30 of the 160 hectares on the “Can Soler de la Torre” estate, which Güell’s father had acquired in 1860. The workers’ homes were spread around the factory in a regular pattern, with small two-story houses, built by Gaudí’s assistants, Francesc Berenguer i Mestres and Joan Rubió i Bellver.
Güell, the future Count, planned for all kinds of services to be available to his factory employees, including a church. Gaudí was put in charge of building it, and he enjoyed the opportunity to work on a project from the beginning, not being limited to a predefined floor plan as had been the case with the Sagrada Familia and the Col.legi Teresia.
Gaudí spent ten years working on studies for the design, and developing a new method of structural calculation based on a stereostatic model built with cords and small sacks of pellets. The outline of the church was traced on a wooden board (1:10 scale), which was then placed on the ceiling of a small house next to the work site. Cords were hung from the points where columns were to be placed. Small sacks filled with pellets, weighing one ten-thousandth part of the weight the arches would have to support, were hung from each catenaric arch formed by the cords. Photographs were taken of the resulting model from various angles, and the exact shape of the church’s structure was obtained by turning them upside-down. Gaudí took photographs from various angles so he could see vertical sections or elevations of the building.
Gaudí’s design was to be a crypt with a portico, taking advantage of the unevenness of the land, and a four-floor high chapel which would be reached via a stairway above the portico. The church, located on a small hill, would have blended with the pines because of the color scheme that Gaudí had designed: the crypt walls are built with arch bricks and black basalt, representing the earth and the tree trunks. Further up the walls, the material was intended to gradually change to green hues, like the tops of the trees, then blue, like the sky, finishing white and golden at the highest part of the bell towers, representing the clouds in the sky and the sun. At the same time, this chromatic process is a symbol of the path to Christian living, from the shadows of hell to the light of the Glory of God.
Work did not begin until late 1908, and just when the crypt was being finished and construction of the chapel walls was beginning, work was stopped because of the death of Count Güell, in 1914.

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Cripta Gaudí – Colonia Güell by neobit

In 1898 Eusebi Güell asked Antoni Gaudí to build a church for the textile model village he had founded on the outskirts of Barcelona in 1890. The architect proposed an ambitious project, and devoted ten years to preliminary studies during which he developed an innovative “stereostatic” model of the church. The first stone was laid in October 1908 but six years later, in October 1914, Gaudí abandoned the works, after the project became economically unviable for the Güells. The church was to have one upper and one lower nave with 40-metre high towers, but only the first part was ever built, and the project has become popularly known as “the crypt” in its honour.
Although never finished, the Güell village church is considered one of Gaudí’s masterpieces because it anticipates many of the structural solutions that the architect applied to the Sagrada Familia. The entrance porch consists of inclined columns and parabolic and hyperbolic vaults, used here for the first time in the history of architecture. This unique geometric form is repeated in the walls of the church, with a star-shaped profile pierced by large windows whose stained glass combines crosses with plant forms. Both walls and porch incorporate ornamental details in trencadis, using natural and religious motifs. In the interior, Gaudí achieved an open-plan space thanks to the use of inclined stone and brick pillars. Set over these columns, the catenary arches and ribs that support the ceiling constitute one of the most spectacular panaromas in the Gaudí universe.

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Cripta Gaudí – Colonia Güell by neobit

In 1898 Eusebi Güell asked Antoni Gaudí to build a church for the textile model village he had founded on the outskirts of Barcelona in 1890. The architect proposed an ambitious project, and devoted ten years to preliminary studies during which he developed an innovative “stereostatic” model of the church. The first stone was laid in October 1908 but six years later, in October 1914, Gaudí abandoned the works, after the project became economically unviable for the Güells. The church was to have one upper and one lower nave with 40-metre high towers, but only the first part was ever built, and the project has become popularly known as “the crypt” in its honour.
Although never finished, the Güell village church is considered one of Gaudí’s masterpieces because it anticipates many of the structural solutions that the architect applied to the Sagrada Familia. The entrance porch consists of inclined columns and parabolic and hyperbolic vaults, used here for the first time in the history of architecture. This unique geometric form is repeated in the walls of the church, with a star-shaped profile pierced by large windows whose stained glass combines crosses with plant forms. Both walls and porch incorporate ornamental details in trencadis, using natural and religious motifs. In the interior, Gaudí achieved an open-plan space thanks to the use of inclined stone and brick pillars. Set over these columns, the catenary arches and ribs that support the ceiling constitute one of the most spectacular panaromas in the Gaudí universe.

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Casa Botines by neobit

The Casa Botines (built 1892-1893) is a Modernist building in León, Spain designed by Antoni Gaudí. It was adapted to serve as the headquarters of Caja España, a local savings bank.
While Gaudí was finishing the construction of the Episcopal Palace of Astorga, his friend and patron, Eusebi Güell recommended that he build a house in the center of León. Simón Fernández and Mariano Andrés, the owners of a company that bought fabrics from Güell, commissioned Gaudí to build a residential building with a warehouse. The house’s nickname comes from the last name of the company’s former owner, Joan Homs i Botinàs.
In 1929, the savings bank of León, Caja España, bought the building and adapted it to its needs, without altering Gaudí’s original project.
With the Casa de los Botines, Gaudí wanted to pay tribute to León’s emblematic buildings. Therefore, he designed a building with a medieval air and numerous neo-Gothic characteristics. The building consists of four floors, a basement and an attic. Gaudí chose an inclined roof and placed towers in the corners to reinforce the project’s neo-Gothic feel. To ventilate and illuminate the basement, he created a moat around two of the façades, a strategy that he would repeat at the Sagrada Família in Barcelona.
Gaudí placed the owners’ dwellings on the first floor. These are accessed, respectively, by independent doors in the lateral and back façades. The upper floors house rental property and the lower floor contains the company offices. The building’s principal entrance is crowned by a wrought iron inscription with the name of the company and by a stone sculpture of Saint George show as he is slaying a dragon. During the restoration of the building in 1950, workers discovered a tube of lead under the sculpture containing the original plans signed by Gaudí and press clippings from the era.

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