Tag Archives: modernismo

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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¡¡¡ 89 Años sin Antoni Gaudí !!! Leer Texto by FranciscoRodriguezPueyo

Hoy 26 de Junio se conmemoran 89 años de la muerte de un Genio – Antoni Gaudí

Un 26 de Junio de 1926, un fatirico accidente, un tranvia, se llevo por delante a nuestro ilustre arquitecto mas Universal.

La foto que os propongo hoy, no ha sido facil a la hora de subirla, pues la Basilica queda un poco lejos, pero desde donde esta tomada, tiene un significado; trantandose del dia de hoy, esta foto esta realizada desde la Avenida Gaudï, con lo cual, hago doble reconocimiento a él y su nombre.

Si os fijais bien en la fotografia, os dareis cuenta que os propongo la parte del Nacimiento y trasera de la Basilica; en la parte del Nacimiento que es la obra que él empezo, consiguiendo terminar la torre de San Bartolome.
Actualmente, en su interior, se estan levantando seis grandes torres a la vez, que son: las cuatro de los Arcangeles, la que vemos al final de la Basilica, dedicada a la Virgen, que sera la segunda mas alta y por ultimo en el centro, como si se tratara de la columna vertebral de la Basilica y la mas alta de todas, dedicada a Jesus, culminando todo ello con una gran cruz, que sera visible en toda Barcelona.
Mientras se estan subiendo las torres, en el lado Oeste, en la fachada de la Pasion, se esta ultimando toda la escenografia y a su lado se esta terminando ya la primera de las cuatro sacristias.
En la parte Sur, que no se ve y que otro dia os pondre, va dedicada a la fachada de la Gloria, esta fachada es la mas compleja de todas, y a mi modo de ver, creo que esperan hacia el final para su construcion, pues es de una complejidad sin precedentes.
En la fachada de la Gloria, solo existen los puntales de las torres de los cuatro Apostoles que faltan, la fachada se tiene que adelantar hacia adelante muchisimo, con lo que hoy en dia aun circulan coches por la calle, quiero decir con esto, que una vez el templo avance hacia adelante, toda la manzana que tiene en su frente ( actualmente casas, negocios y demas ) seran derribados, para su cabida y la gran plaza que existira. Cuando la fachada de la Gloria este terminada, una esplanada con escaleras se unira con la plaza, los coches pasaran por un tunel subterraneo sin afectar para nada a la circulacion, es por este motivo y a mi modo de ver, que esperan hacia el final
La fachada de la Gloria, que sera la entrada principal de la Basilica, tendra una escenografia de la mas extraordinaria, amen de todos los detalles, lo que llamara mucho la atencion sera que su entrada imite a la montaña de Montserrat.
Gaudí lo tenia muy estudiado todo y muy calculado, a la hora de proyectar el templo, si nos fijamos bien, comenzo por la fachada del Nacimiento, que es cuando comienza el dia, mas tarde, a la hora central, sobre las doce, es el Angelus, donde admiraremos la fachada de la Gloria, y por ultimo, la fachada de la Pasion que es donde muere el dia y son los ultimos rayos del sol.
Once años quedan y se tiene previsto para que se termine la Basilica, once años quedan para que se cumpla el centenario de su muerte, con lo que se vera culminada su Gran Obra, donde formara parte de unas de las Maravillas del Mundo, y si no…al tiempo.
Amigas y Amigos mios, os deseo un feliz fin de semana a Todos, cuidado con el sol que no os torreis y beber mucha agua, un abrazo fuerte!!!

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