RMANYER ELBA LEVICK cae ee ey ea Oe ae roe ! Us ia =BARCELONA ART NOUVEAU Londen is fimous for ig Ben; Paris for the Hel ‘Tower; Rome forthe Colesseum, Bareelens, on the fother hand, is not identified by one oF te Famoxs ‘buildings 25 these other European cies, bu ther by an entre movement of tur thecentury aehtecture Jenown sip 25 Medernine. False American 38 artpoveat, st most famous praciciener was the att and arcitet Antoni Gaud But the city fled with superb cemples of 2e¢ nouweat by many other suchitects, which ae all stead in viv color in redone Art Neuen “This bok ofers a tur of 46 hours, ple buikings, and monuments in the artnouveau se, inchading Irand.new photographs of the werk of Cau. Visit the famous Mera cafe Els Quatre Gas, wich was ence patronized by Pablo Picasso, who also designed the ‘men Loe Yours inthe whimsical carves of Caca Jesep Hal, a wonderful example of he combination of srtean tadien snd richness that exemplifies art “Thee structires fll restored to pristine condo for {he 1992 Olympic, have been recacovered by both fercigeers and Barcelonans alike, and are caprred lnside and out in thie facinating record of the adventures, undulating designs ef an exting er. Dest corer itstatons: Front: Facede of Hospital de la Santa Creu i de Saat Pau Back: Prom Casa Abert Leé i Morera, head fice ofthe Fae ld Medersime 234 fuel stations Complete with map macking the loestion of theBarcelona firt NouveauFirst published in the United States of America in 1999 by RIZZOLI INTERNATIONAL PUBLICATIONS, ING 300 Park Avenue South, New York, NY t0010 © 1999 Fdiciones Poligrafa, 8. A. © Original Spanish tet: Lis Permanyer © Photographs: Metba Levick ‘cept p. 22 at bottom: Jordi Pareto (Turisme de Barcelons) and p 99 at bottom: Pere Vivas and pp-158 and 159: Marti Gasull All rights reserved. [No pattoF this publication may be reproduced in any manner “whatsoever without permission in writing from the publisher. ISBN o-8478-2220-6 LCo9-70591 Designed! by Estudi Carme Vives ‘Translated by Richard Rees Colo separations by Alfcrom, Barcelona Printed in Spair by Filabo. S.A. Sant Joan Desp (Barelona) Dep. Leg: B. 63221999Barcelona “irt Nouveau REZ scan: The Stainless Stee! Cat
é cDARACO ba & me = z ® Sseeema * ea Oa 3 pra Dirutacad . ee : o )RAN VIA DE Les CoRTs CATs FS % Sovemsncamemime rel 3 wn a 3 an : é a S é % i Cons Ausochvars 4, 2 cope PEs i Ws So Bae ee cecsur rn Cbua “enon ot SEBS . ae vicinaForeword, p.7 Jloax Ctos, Mayor of Boron arcelona fs Modernism. p. 9 Lauls Penseanven Palau Gill py ‘The Gaui Lampposts, p17 Hotel Espata, p18 Farmicia del Doctor Genové, p.2t Antiga Casa Figueras, p22 CCatalana de Gas i Electriitat 23 (Casa Francesc Marti Puig (Els Quatre Gals), p24 Palau de la Mitsica Cataana, p. 26 Casa Pons / Pascual, p34 asa Calvet, p36 ‘Forns Sarset and de ka Concepci p. 44 Casas Antoni Recamora, p45 (Casa Manuel Malagrida,p. 46 Casa Albert Hed i Movers, p48) (Casa Antoni Amat, ps4 asa josep Balls, p. 60 aitorial Nontaner i Simon, p68 (Casa Dolors Cal, p72 (Casa Doctor Miquel A. Fargas, p73 Farmicia Bolés p74 (Casa Evatt jure. p75 @ Con Josep Remon Querat, p76 @ Coss Ene atl, p78 ‘Thitty-two Bench-Lampposts, p. 80 (casa Jaume For. p51 casa Vids de Marf p84 Municipal Conseratry,p 86 (casa Manuel opis, p88 (Casa Josep Thomas. p. 90 Plat Ramon Montanet,p. 94 (Casa Pere SerraiPors, p. 106 Casa Lins Pérez Samanillo,p. 108 Casa Miquel Sayrach, p10 (Casa Bonaventura Feree,p. 122 (Casa Maria Faster i Fuster, pty (Casa Comat, png Palau Bard de Quadras, p18 ‘Casa Bartoreu Terrades i ruta, p- 120 ‘Casa Roma Macaya i Gibert,p. 122 (Casa Evel! Planells, p. 124 “Temple Expiator de l Sagrada Familia, p26 Hopital de a Santa Crew i de Sant Pau, p34 Park Goel p 142 (Casa Manuel Vieens i Montane, p.152 Alternative Buildings Route, p. 158Foreword In contrast to other cites of the worl, Barcelona isnot character- ied by any one edifice in particular, but rather bythe ample, nninetecrth-centuy city expansion that is replete with the bold, sinuous buildings of Moderniome. tt is here that Antoni Gaudi, Tosep Puig i Cadafaleh, and Lluis Domnech i Montaner, song ‘other architects, left the stamp of their creativity and seta siyle that has made the Barcelonans a people who truly appreciate architecture. “This book presents 2 lage part of eur art nouveau (oc mode rita, a8 st was called here) beritage and draws us deeply into a ‘movement that went beyond the rere cultural sphere to become fe way of life. Ie immerses us in dynamic tum-ofthe-century Barcelona, the creative city that chose to open itself to Furope rather than to lament the loss of Spin’s Ist colonies, and dis- played its ex:berance in the works of such artist 2s Isaac Albéniz ‘Ramon Casas, Pablo Picasso, Dario de Regoyos, Santiago Rus and Miquel Util. Barcelona bas preserved this heritage and strives to make it better known, Intatives such ag the Art Nouveau Route reflect this determination. In shor, this book is an indispensable tool for anyone who, in addition © appreciating the architectural gems fof Barcelona's art nouveau period, wishes to understand ‘2 movement that embedied as no other the innovating spirit of four iy. Joan Clos Mayor of BardenBARCELONA Is MODERNISME Mederniome was Barcelona's Renaissance in both senses of the teren: as a formal syle and as a societal rebirh, There ate two ‘moments in the history of the twenty centuries of Barcelona that clearly and spectacularly mark the city we admire today: the Gothic and its counterpart atthe other end of imperial Spain's rapid vise and long decline, Modernisme. It need not surprise us that Modernisme reached such heights of specce, since it was as the manifestation of a positive, creative, andl dynamic socal expo- sion. The recent centennial ofthe disastwous Spanish-American War of i898 sharply highlighted the different atitudes that reigned in Spain on the one hand, and in Barcelona on the other, itmtoeditely allowing the less of Spain's lst colores a hundred years ago. Indeed, the despa, crisis, and depression of Spain at farge contrasted with the euphoria and ring prosperity of Barcelona. While the rest of Spain becarne disconcerted znd for- lornly inwardocking, Barcelona turned its gaze toward Europe, ‘where it found inspiration. ‘twas in Europe that Barodona discovered Modernism, a style that in each country blossomed under a different name: “art now ‘eau in Great Britain: “modern style" in France (in English. 10 refiect the stye's English roots); “Jugendstil” in Germany, “Seve sions" i: Austra; “art 1900" in Belgium; “stile Libery”in aly {after the London store prometed the syle). And in Barcelona ‘as called Medersisne, 1 term that reflected its embrace of the re century and its refction ofthe past. But wherever the move ment teok hol, it brought with it innovations and implied a way of seeing and reflecting onthe past and the present that devisted from orthodenes of ll types, and pariclznly. the Catholic cou ‘ries, ftom the line dicated by the Vatican. Indeed, the pope sav nev ideas a s radical that he went sofa as to conderon them as dangerous. But in Barcelona the movement could not be limited toanew style in the decorative ars. Modernity was its essence: the adoption of the narse Mederisne lft ro doubt as othe nature of the Catalan ambitions. It'was nothing new that Barcelona should admire Europe. since far from adopting a stance of introversion and isolation, throughout ex history the city had invariably looked beyond her frontiers. Her geographical position—on the Mediterranean and near the border with the rest of Europe—and leek of natural resources led to the need for commerce and the readiness. to make deals and be a cosmopolitan. Thus itis understandable that ‘Modernism should have been ctitivated only in Barcelona ard in those areas where Barcelona exercised influence: Catalonia, Valencia andthe Balearic Islarls. And even in Melilla it was in thi North Aftican city thatthe architect Nieto, highly influenced by Antoni Gault dd his military service, subsequently remain- ing there and introducing medertisa architect, cultivated also by other professionals and today considered a proud sign of local identity. Modersisme represented the crystallization of mary uends in Catalan society atthe end of the nineteenth century. The decs- dence that had fienly set in over many centuries was finally dying and political national'sm was beginning to beat fruit, The Catalan ‘economy was enjoying a period of exceptional prosperity, and large arsounts of capitl froe abread and from the rural areas sought refuge in. Barcelona. As the biggest and best planned ‘ucban expansion i Europe (the Fixample) was being developed, the city was beginning to recover a sprit of confidence in her immediate future. The elite were convinced that they would seon be the protagonists ofa historic moment. All these elements cor- verged atthe ene time and in the same dvection, and the major, ‘original, and creative architectural style that came to predor wat a firther reflection of this erucial moment. It would have ‘been unthinkable a the tizne to continue with something as neu- twa, insipid, and banal 2s the architectural eclecticism that had ‘been the style for rach of the nineteenth century, frat ofits period of recession, wth nothing better to do than turn its gaze toward the past in order to recover its funilar symbols: elurars, pediments, moldings, and so on, ‘The signs of the movement went far beyond characteristic styles—of architecture, sculpture, painting, poetry, theater, and the decorative arts—to be evident in the artists themselves. How ‘ever, the moverrent went far beyond! this, was much deeper and wider in scope: The moderns creator was immediately ecogniz- able as such, since he let is hai and beard grow Tong. dressed in ‘ack, and irwarishly wore a wide brimmed lat. He would sinoke tobacco and other mere potent drugs that would trarsporthian to artificial paradise. He was an impassioned bohemian, enamored ‘of everything new. There was therefore a modernisa way of under- standing and experiencing lie At the close of the 1888 Barcelora Universal Exposition, 2 rpumber of key madernisias met at the exposition’s Café-Restau- rant designed by Huis Doménech i Montaner, to reflect on the ‘main principles that were to inform the style that was emerging ‘with such suggestive force. Such was the spirit ofthat coterie that they engaged in long discussions not only on architecture and ‘afismanship but also on polities and rationalism. “What forms for sources of inspization are we to cultivate? these commited men eagerly asked themselves. They were aware that destiny had provided thern with the opportunity to if not construct, atleast to reconstruct the city and their homeland and provide them with an image to shew the worl. They were convinced that they were the ‘protagonists and creators ofa historical moment. Such poiticiza ‘hon induced them to turn theie gaze tothe pst beyond the cen: es of decline to the ea when Barcelona and Catalonia were @ power or even the imperial Mediterranean power, which at that time meant the world, since the course of Western history unfolded around that sea of civilization. Hence the Romanesqueand themes that pervade Gothic Moderne ‘The rediscovery of| the Romanesque period in act, was due in part the work ofthe architect, histori, and politician Josep Puig i Cadafaleh, who was the driving foree (logether with the critic Josep Pijoan) ‘behind the salvation ofa key Romanesque arifat, the Pyeenean murals In realizing the ambitions of Medernisme, Barcelona had two unique resources. First was the city’s stil-intact community of| crafismen, Modernion’s incahaustible varity stems in part from the movement's dose links to this community: all the movement's architects turned to the imagination of magnificent artisans who skillfully enriched their works by interpreting the ideas ‘eqpressed in sheiches, both finished and unfinished. In Barcelons ‘he artisan tradition dated from medieval times and had been pre- served ever faitfal tothe highest levels of quality.Some scholars have proposed thatthe host of professional craft workshops in ‘existence in Barcelona around the turn of the century was poss: ‘le thanks to the spectacle and richness of Medemiome, and not icewerss, But such 2 tradition would have been impossible to improvise. What was possible. on the other hand, was to send rummber of ztisars abroad to perfect their crafi or extend their knowledge. One such crafisman was the mosaicis Huis Bru, who, following the advice of Dorsénech i Montaner, went to Italy in order to learn the techniques of Rornan mosaics. Without cafismen capable of delicate hardwork, it is questionable whether Modeisme's characteristic aesthetic of restless mnove- ‘ment could have been realized. Unlike the more contuoled raove- ment of the baroque, Medernisme's movernent is highlighted everywhere with the fueada (coup de fouet or whiplash, that inter iminable stemand-fewer motif that meanders through and! fills ‘moderns spaces: it also appear in less lescriptive form, such = in the teiuroph art curves of La Pedra, the sinuous stone that dominates the whole facade. Barcelona's other great asset was its spectacular new building site the Ebxample, the plans for which had been drawn up and exe> ‘uied just under to decades before by the engineer Tkiefons Cexda, The Fixarsple not only provided sufficient room to accom: rmodate evenone’s tastes, its identical streets afforded architects with an wnprecedented opportunity to show off their facades. ‘Accustomed as the people of Barcelona were to the narrowness and congestion ofa city stratjacketed by her wall, as soon asthe Fisample began to be developed all doubis were dispelled about ‘whether this meant a definite improvement. As evidence of this ‘one need only contemplate the virtuosity of Casa Batllé and the Palas Gill: it was clear that Cerdi'sgridizon layout provided an incomparable added value. Ithas often been seid that architec tual excesses of medemista facades rust be interpreted asthe will to offset with eccentricity the uriformity imposed by the Cerdi plan. I do not subscribe to this view. Modemiia architects woul hhave designed thee buildings in exactly the same way, regardless ofthe ste where they would eventually stad proof ofthis i the fect that elsewhere in Barcelona they executed projects with the same dazalingly ifferertialferve ‘Bareelonans with sufficient capital at their disposal to erect a new building, beewed frm the very outset in the tiling adven- ture ofthe Example They didnot hesitate to abandon the ural {anny seats they bad inherited and choose an architect of renown 10 desig thei new residence, whether single or malay. In the later case they would occupy the fist or, stich ths came to be known as the planta principe (mai floor. Thus healthy socal competition began to ascertain which were the best of the newly erected buildings inthe seting ofthe Example Everyone ‘usbed to parcipate and architects contributed the best most ndacious designs of which they were capable. There is ro other ‘evi inthe bole ofthe history ofthe ct to compare with this fe. The freedom and scope for eccentricity that Modernism ro- ‘led was decisive here, It was not very long before Barcelona Ircamne 2 city citinguise by slperpetuating variety. nike ‘other capitals and cities dominated by uniformity offset here ard thereby the ecasional place. Indced, since the iy laced royal family and nas nt a naioral capital palaces inthe sit sense of the word, don't really exist in Barcelona, though some femey suimptacus though eltivey smal, houses were built by the baugecie ae the arsoxsay. Such devlingdsocder was not understood at the ie, abore all by foreigners. Georges Clemenceau for one. In 1910, having dest the presidency ofthe French governinent, Clemenceau was nearing the end of along lecture tour im Latin America, He returned! te Furope by sca snd docked in Barcelona. The tastes ofthe Barcelona Athenaeum went to visit him atthe Hotel Colon, fn Plaga de Catalunya, and ited him to give a lecture the fol lowing day. Clemersceat gladly accepted, Later that day he took carriage up Passeig de Gracia, whose architectural fanasies 50 displeased him that when be reached La Pedvera he was #0 out ‘age that he ordered the coachman to return mediately othe Ite. He cefused to give his ectrein a city of such hare brated diversity and retared to Pars, whereupon reporters bombarded him with questions He hastened to make it clear that he had fed not from his tour of Latin America but from a Barcelona £0 sbourd tat they were even building houses for dragons. In 1920 the novelist Evelyn Waugh, fr his part. dedared on cortemplt ing Casa Ballo that it ust be the Twkish consuls, since no fone could imagine any other purpose behind such a bizare facade, Harder to understand than atacks by foreigners is why, in 1gao, «campaign of discredit was launched within Barcelona itselfto undermine the prestige that Moderisme had won for the ‘ty. What began 28 an intelectual movernentrclly a reactiongaint everything associated with modernism—called Nowcen- tine, became, by the 19305, call to action, with some examples ‘of moderne architecture flling victim to the irreparable action of the pickox. Intellectuals, historians, and att critics ruthlessly attacked modest yrs tntil such a negative atmosphere had ‘een crested that the mutations and demolitions were looked ‘upon with enthusiaetic approval. The writer Josep Pla, among, ‘others, proposed in the 1940¢ that all tbe omamentation of the Palau de la Mésica Catalna be removed. The Palau Gtell was on ‘the point of being cold o be disrsantied and rebuilt stone by stone ‘on the other side ofthe Adantic. Casa Fuster, at the upper end of | Passeig de Gracia, was on the point of being demolished by none ‘other than its owner, the Ewin electrical company. The facade land above all the plane principal of Casa Lleb Morera suffered from irreparable amputations. The lister of a great number of modernist buildings was dimmed by the addition ofa numberof ‘tories of alarming, shameful mediocrity. The Bstcelona city council did nothing to protect that heritage, disconcerted as they ‘were by criticeras that discredited and disparaged Modernione ‘Why wae this campaign launched? Pethaps the novelist Gustave Flaubert had the answer when he wrote “le mauwvais gout est le out dels pénération antéricure”, For the fet is that the noucen. tines bated everything the previous generation had left thet so mich that all they detired was to destroy thers. ‘The fist r0 come to the rescue of Mederisme were Salvador ‘Dali und the surrelists in the mid-ag3os. The great painter eulo- ‘ized, to bizarre extremes, the works of what he termed “edible architecture” What realy saved them from destruction, however, was the discovery in the United States of the oeuvre of Antoni Gaudi, thanks to the major New York exhibition organized by George R. Collins in 1952. ‘Once Mederniane'r former glory ad been restored in people's minds, the next step was to make the buildings themselves daz- cling again. Thanks to the memorable restoration campaign Inunched in connection with the 1992 Barcelona Olympics under the slogan “Barcelona posa't guaps” (Barcelona, make yourself beautifull, the world discovered that the city was not gray but ‘merely dirty. Indeed the results of the campaign were so un- ‘expected, spectacular, and enthralling that polychrome facades ‘were reborn tha even the Barcddorans themselves never imagined ‘were there. The challenge of hosting the Olympic Games had led to the rediscovery of all the quality. grandeur, and color of Modernisme, so that today Barcelona is again synonymous ‘with Aedertione, the best ModernismFab il) 3 1) Patav GUetL 1886-1890 Carrer Nou dela Rambla 5-5 Awstont Gavot 1 Conrr, ar The relationship between Antoni Gaul and industrialist Eusebi GUell began slot as love at First sight. In Paris, Gell was so impressed bya certain display case for gloves that he saw tat he did not rest until he had met the designer. When the occasioe took place, Goel! real ined at once tha this was the man for whom he was loking —an architect who would stinguish him from the rest of the Barcelona bour- geoisie, Goell commissioned Gaudi to design the pavilions for his vast cetate, on the ite of what would later be the Avinguda Diagonal. ‘Their working relationship was perfect, and for this reason Giell entrusted the architect with a fér more important commission, one for which Gaudi would be granted total liberty to follow the dictates of his brilbant imagination. The work in question was Giiell's own residence "The choice of ste was an unusual one ata time when the aristocracy and the haute bourgeoisie bad decided from the very outset 0 embark on the adventine ofthe Fixamiple, Gell had inherited the ste, which stood nest to the family residence occupying, murbers 35 land 37.0n the nearby Rarobla, He asked the architect build a palsce that would complement ard enrich the house and be linked to it by ‘means of a gallery, which would cross the inner court yard. This part of the palace was conceived as a public dea for parties, meetings, receptions. and even concerts. ‘Another section of the palace would provide accommada fiom for guests. Knowing that he had been granted absolutely free rein, Gabi put together a tears of highly reputed artisans and srtists all determined to give their best the painter ‘Alex Clapés; the sculptor Joan Flotats: the decorator ‘Antoni Oliva: the architect Camil Oliveras (who in this ‘ase acted as decorator; the blacksmiths Joan Of, Sa: vador Gabarrés, and the Badia brothers; the carpenter Julia Soley; the joiner Eudald Punt; and the Ventura brothers, monumental masons "The main facade, by vistue ofthe quality of the mate- ial used and its air of solemnity, already seveals that this is no ordinary house. A passerby tealized this on the first day the facade was revealed, and made 2 highly disparag. ing comment, unaware that Gaudi and Gell, who were contemplating the recently completed work, were listen ing. “In that case, | like it even more!” exclaimed Goel. He was delighted by this negative reaction, since it was cxaclly what he was hoping for: to distinguish himself for the common herd ofthe haute bourgeoisie thanks to the genius ofthe architect Possibly the most important clement on this stightly symmetrical facade is the wrought iron coat of arms. On the other hand, the rea facade is far more audacious and innovative, especially in the daring form of the gallery The interior holds three main spaces, cch of which harbors a wealth of astonishing deta ‘There cre three main spaces. First, the hall and the descent to the coach house by means of a heliceidal ramp. The visitor would never ‘pect that sich a secondary clement could be so beaut: ful and original. The thickness of the columns and the quality Gaud! managed to extract from the humblest of materials create a farcinating and highly unusual whole6 Petra ic) Second, the mai salon on the first floor. A visitor here must take the time to examine both the whole and the details, for Gaudis gerne can be appreciated even in the apparently most insignificant elements What is most worthy of attention here is the vertiality of the ascending void which endows the space with a geandeur difficult to describe. Third, the Bat roof ot terra, bighly typ «al of Mediterranean cities. Gaudi trans formed the chimneys and ventilators into 2 forest of sculpture presided over by the needlelike dome over the main salon. The richnese of forms imaginatively cad in the ceramic fragments known as tencedis heralds what the architect would later accomplish on @ larger, more spectacular scale in La Pedrcr Some of these structures, which were rot completed in Gaud’s day, were embelished in 1994 by several artists and architects Shoriy after the Spanish Civil War this gem vas about to be lost because an American mullionice was negotiating not only its pur chase but, worse stl its stone by-stone transfer tothe other side ofthe Atlantic. Fortunately, the building was acquired by the Barcelona city council, who not only salvaged it but carsied cut an exemplary restoration operation, directed by the architect Antonio Gonvdlez Moreno-Navario,The Gat Lape @ Tue Gavpl Lamprosts 1879 Plaga Rei Awront Gaui r Conn, architect C20 Barcelona's Plaga Reta, designed in 1848 by Francese Molina i Casamajé, features to lampposts that Gata created in his youth, He had worked for the master builder Josep Fontsere, who had executed sajor projects forthe City Hall, and itis fortis reason that in 879 he was entrusted with the project for street lighting which at that time consisted of gas ampe, ‘Gaudi's project, though considerably idiosyncratic, does mot yet fully reveal his genius. Although the work is not stuicly medernista, given the architec’s subsequent ‘arcer it cannot be overlooked. This model coesists of six branches; another pair of Thee branched lampposts was placed in 1889 before the side entrance tothe civ cerror's headquarters, overlooking the Pla del Palsu. An elegant combination of wre iron and bronze, subtly ornamented, the lamppost stands on a solid stone base, The ‘crowning element is Gaud's personal version of Mercury's helmet, which he had cor: ‘ceived when together with Fontseré he designed the rllings that surround the Parc de Ta Gita, "The recent restoration is correct except forthe colors of the Barcelona coat of arms, ‘hich do not correspond to those of the orginal projec* ete peta 3) Horer Espata 1904 Carrer de Sant Paw 9-11 Luvs Dosinecat 1 Mowranten, architect The Fonda Eepata, create by Joan and Pau Riba, opened its doors in the 18508. The business soon prospered, which le the brothers 10 extend and modernize it. The converted establishment was renamed the Grand Hotel ¢'Espagne, a commemorated by an acid-tched ‘sss pane. Domenech | Montaner was entrusted with the project. When the project was completed in 1904, the city awarced i the diploma that can now be seen framed in the main salon The elegant foyer features columns, brass lamps, and sprafi The bar was subsequently mutilated, although the impressive fireplace, carved in alabaster by Alfons Juyol, has been preserved. The sculptral group, by Eusebi Aman, evokes the passing of time in the human body, from birth wo old age, ad the whole ensemble is presided over by the coat of arms of Spain The inner patio festures feminine figures in the style of Alphonse Mucha, who wish guests good morning and good night: the stat casei decorated with sgraffity and mosaics The most important elements, however, te the two dining rooms, The one at the far end is characterized by 2 huge mural, maritime in theme and featuring mermaids, which some have atributed to the painter Rarmon Casas, although there is no objective evidence 19 support this view. Whoever the artist was, he was certainly 2 great professional as we fee from the vay he drew the faces ard, above al the waves, hich serve as orsamental borders, The banister are masterworks of joinery enriched with glazed ceramic, decorated with the coats of ams of different cities and kingdoms of Spain. lis Uuminated by the outstanding brass laps Although the other dining room may seem less spectacular at frst sight, on the whole i is richer and beter finished, its joinery work almost sculpeural in quality. The stained. glass windows, the mosaics, and the brass lamps areal ine ecules of crafisinanship.! @) FaRMACIA DEL DocToR GENovE rot Rambla, 77 wate Swen | VILIAVECCHIA, architect Despite the fact that the site owed by DDector Genové was fat from inspiring, slzce it was very narrow, in this project the architect Eric Sagnier i Villavec- chia revealed an indisputable profes: sicnalism. The only strvving facade from the original project has a some what neo-Gothic air. On the ground floor, where the pharmacists shop was, he built an impressive poin arch, the Fey of which is enriched by a relief evoking Asclepius, the god of medicine. The floors bone were orig nally occupied by a labaratory. Arches and eaves elegantly crown the bul ing. A major element is the refined ‘work by the renowned mosaic artist LU Bru (who also did the mosaics for the Palas de ka Misica Catalana and Casa He6 Morera), in blue and gilt, heightened by calligraphy denoting the function of the building. This elligra phy has unfortunately disappeared due to the frequent changes of ownershi (the building bas been a shoeshop. a Tnazar, and now houses the head office of Promocié de Ciutat Vell). Also lost are the wroughtiran banner and the stained-glass winderes advertising the sstabishanent Inside, period advertinements evoke a certain nostalgic air “Dr. Ge- roves salicylic i. bal sam, disinfect nt odor” for “The best s (calcglig) cream in cream, Genové’s( 3) Awnica Casa Ficurnas 1902 Rambla By ‘Axons Ros 1 GOrtt, painter an deccneter ‘Ang Ga Fg The noodle maker Jaume Figueras first set up his business in Carrer de Sant Ramon, later moving to the Rambla onthe corner of Carrer Petxna. As his business ‘was thriving, in 1903 it occurred to hit to carryout alterations ta his establishment in accordance with the madernista style then in vogve. Directed by Antoni Res, landscape painter, stage designer, and decorator, he put topether a team of renowned professionals: Lamber Escaler was resporsible forthe symbolistsculp ure on the Facade; Rigalt& Granll for the symbolist stained glase windows; M. VIE | Doménech for the me'aluer: J. IM. Bernaders for the interior omamentsl sculp ture; Mario Maragiano (author of the fiseze on the stage of the Palau dela Misics) for the mosaics; Boix fer the paintings Corrs for the marble; Medemant forthe ‘earpentry; F. Lacambra for the copperwork; and the Badia brothers for the locksmithing ‘Modernism represented the triumph ofthe curve, and this establishment is priv ‘leged in that it stands on a sensully curving street corner. The facade i enr-chod by the presence ofa fine peacock When the establishment was eventually closed everything seemed to suggest that ‘itwould be demolished. However, in 1986, thanks tothe party chef Anton Escrib, itwas saved. Net only did Escriba buy the building, he also refurbished it eo that his son Christian could continue the Family paety and bakery businessoo eee 5) Catatawa De Gas 1 Eueernicrtar 1895 | ‘Avirguda del Portal de "Angel 20-22 Jose Dossbxcx s Estar architect Josep Domenech i Estapl, known ax “Doménech the Bad” as opposed tothe author of the Pala de la Misica Cat lana (Lluis Doméneeh i Montanet), alvays remained somewhat aloof from Maderisise and even published theo retical writings against the movement. Eyen so. be could not entirely escape its influence. This work is possibly the most medemista of the whole of his output The monumental quality of the facade reveals, even to someone totally Lunversed in the subject that this is nie ther a private building nor a single- amily residence. Symmetsy, balance, and heaviness are the main character istics, not to mention ornamental as tity. The top partis the most succes ful, although the whole, given the high quality of the materials used, exudes the air of distinction required by the client, at that time every bit a commer ial leader ofthe city. Its the foyer. rather than the entzance, that display the sumptuousness typical of these cetablishments, Tae side facade, at no 5, Canter de Monts, is ofa simplicity appropriate to am entrance strely for employees.ee, os Cosa Faces Mar Pag le Qiate Cat) 2) Casa Francesc Maxrf 1 Pure (Ets Quatre Gars) 96 Carter de Montsis 3 bis Joser Pute t CaparAvca, architect The frst project by Puig i Cadafalch Casa Francesc Marti 1 Puig. is an apartment building, in whieh the ‘over lived om the first floor. At fret Sight, what tikes the observer isthe color of one of the materials used brick. This is the reacon why the art ian Alexandre Cirii 1 Pellicer es Puig i Cadafalch’s medernsta phase as his red period, as opposed to his subsequent white and pink per: cds. The other materials stone, teed mostly in the door and window ‘except for the arches and . and inthe ornamental clements, which were sculpted by Eusebi Arman. the architect's faith collaborator from tht moment onwards Puig’ i Cadafaleh’s particular brand of Medernisme was the result, ac in the cae of other colleagues of his, of a backward glance at the Gothic, the period that evoked Canlonia’s glorious pat, to which he added differentiating touches form of Dutch or German cences, visible in thie case in the form of the ground-Neor pointed arches and the heraldic mot ‘decorative element that appears ‘on the comer and which would be present in all of Puig i Cadafach's rmodersisa buildings isthe evocation ‘of Sant Josep (Saint Joseph). which in his case isa manifestation of politcal CCotclonise, « further aspect of the architect's commitment. The vaulted niche is empty, since the image of Sant Jordi disappeared during rots The entrance t0 the building was highlighted by a complex: interpreta tion of the Mara Puig fara coat of arms, the whole ensemble sculpted by Arma Also worly of note is the fine wroughtiron work, executed by Mariel Ballin and featured on the balconies and the railings that close Passe del Patriaea, aee ———————————————ee——— ———— ie a (os Fern Mat Pog Ee uate Cat 5 ker Manuel Girona, it w ‘who exhibited ‘Although the es!! @) PaLAU DE LA Mésica CATALANA 1908 (Carrer de Sant Pere Ms Alt 1 / Carrer de Amadeus Vives Livis Doubyser t Monae, archlect The Orfeo Catala was founded in 189%. So quickly dit acquire prestige that in 1904 it was ecided to build a verte for the choir in kceping with its renown. Today we might wonder why fch a cramped ste was chesen, although the main reason for the choice wat one of eorne rience it eame a dose as possible to where most ofthe choir members and associates lived The architect demonstzated his skill by taking as much advantage a possible of such a poten ‘unrewarding ste, The inauguration ceremony took place in February 1908 The facade sof be red brick Featuring mosaies by Lius Bru (this fact was recorded in an {inscription at the bottom of one of the openings in the entrance columns, that served as ticket offices), sculpted heads and two domes, one of which was damaged and will perhaps be recon structed one day. However, the whole epic ferce of the ensemble is concentrated in the sculp- ture by the prestigious moderate artist Miquel Blay the inspiration for which was the therne of the uaditional song, This facade ina way disguises anather facade, entirely of glass, which sas akind of pioneer curtain wall eerves to bathe the concert hall in enriching natural light. Con sequently the bert imeto visit the Palau is when the interior is enhanced by the light provided by nature, and it isnot surprising thatthe ornamentation that completely covers the interior i aking of recreation ofa greenhouse, a motif much cultivated by pictorial Modernism. Outstanding aspects of the concert hall are the great stained-glass dome by Rigalt & Granell; the sculpted stage mouth prosenium, designed by Domérech and executed by Didac Marana and Pax! Gargallo, whieh anticipated cubism by using assemblage (he spears and rein held by the Valkyries): the hack ofthe stage with sculprres by Eusebi Arnauand mosaics by Marlo Maraglano: and a whole series of mosaics by Bru seatered throughout the hall ll representations ofthe four stripes ofthe Catalan flag were concealed by gowrrment order dung the Franco rege. Itwas decided to use ccurains, an optimal soktion since Franco insisted on their destruction. “The effect produced by this ll onthe occasion of concerts is fiseinating, and Ihave it on authority thatthe great musicians who have performed here have all confessed their thrill on deing £0 In the eighties it became dear tht the institution had to be brought int line with the demands of the present day. To tis end, Oscar “Tusquets, Diaz & Associates were engage. The spectacular result was obtained thanks to the team's deep understanding of and respect {for Domenech i Montaner's at. The moet important intervention was not the transformation of the whole prosaic, funcional sector hidder Dbehind the concer: hall but the alterations to the side facade, increasing the penetration of ratura light blocked by the neighboring parish church of Sant Francesc de Paola, part of which was reduced in sive. (An agreement will soon be sighed with the archbishopric which will alow the removal ofthe church and the extension ofthe Pal facade) The whole ofthe ground foor was occupied by the offices of the ‘Orfet Now the wooden partitions have been removed to give way to an impressive foyer, a fiting welcome to music lovers. More complex and delicate was the intervention in the concert hall The remenal of two boxes widened the stage, and the stalls were replaced by sealing designed by Tusquets. The architect's master stroke, however, was the introduction of ai conditioning witout the need for intrusive stallatons. The feat consisted of opening small cicular holes in each dark lea covering the ceiling, the installation thus remaining Aiscretly hidden The two staireates that permit access to the gallery above constitute an ornamental transition between the differential styles that mark bot spaces. The architec David Mackay has writen that reaching the top of the staircase and disccnering the hall ix one of the greatest thls modern aachitecture has given hirn Late in gf unssco declared the Palau de ls Mtsica Catalana, a World Heritage ste, and rightly so, I believe. Iti the most modernist, building in the worldeal5 (Gs Pn Pcl @) Casa Pons / PascuaL 1891 Pasceig de Gracia a and 4 Ewnrc Santen 1 Visuaveceni,architet The brothers Alexandre Maria and Isidra Pons i Serra reached an agreement with Sebastd Pascual to jointly cary out a that would undoubtedly give distineticm to the large estate framed by a number of different sticets, which woul make create facades, unusual in. an Eizample characterized by buildings between pasty walls. Sagnier, a competent professional, find the of a restrained | Moderniome reo-Gothic style, He coordi Emil Farés and Josep Lagerige the stained glass window maker Antoni Rigalt, the carpenter Magi Vilardell and the joiner Josep Recasens. The external profile, restored in 1984 nal appearance; cm pothing remains, From street itis possible to contemplate the Teaded stained-glass windows featuring medieval personalities. In 1905 there wos a dairy on the ground flcor designed by the painter Alexa rede Riguerya (* Gm Gee (60) Casa Cauver 1900 Carer de Casp 48 ‘Axrons Gaul 1 Conser, aaciter 1m 898 the widew of the textile indus- tuialist Pere Marte 4 Carbonell com ‘missioned Gaudi to build a house between party walls in the most exclu- sive part of the Example. The architect designed an apartment building 1m accordance with the style of Moder- nisme in vogue at the time, to the extent that te facade might be consid- ‘ered somesthat conventional. Indeod, tunsuspecting observers might not ‘even notice that the building is by Gaudi, Only the stone galley, though ‘nested with a certain degree of moder atlon, reveals something of the archi. tect’: orginal personality. The facade consists entirely of roughhewn ashlars and is the only symmetrical composition inthe whole (of Gaudi’s oeuvre. The rhythm estab- lished by the interplay of solid wall and opening is highly balanced, even academic. The ground-floor columns ‘evoke bobbins. Te gallery is worthy of ‘especial attention, not only because it centers into space but also by vine of ite ubiquitous omamentation both in welleculpted stone and in subtle wrought iron. The mushroom pay tribute to the owner's favorite hebby. Sone ofthe balconies are overdimersicned in resporse tothe architects will to erate imposing volume rather than to functional demands The uppermost part of the facade, in the typical madernita styl, is the mest striking, and not simply by viru of the tiuph ofthe ‘curve. The pulleys. in combination with a protective parapet, ans a magnificent example of weoughtisen work beralding the style th ‘would later characterize the facade of Casa Batlé. At the same level, the architec placed the sculpted heads of three perscnalities closely inked tothe personality of the owner, Andseu Calvet that of Sant Pere Marti, in reference to the name of the owners father, and those ‘of Sant Ginés Notari and Sant Ginés Comic, the patton saints of Visssar, Calet’s native town When we stand before the front door we already sealize that this is no ordinary building, We are tld this by the highly personalized plaque surrounding the doorbells ard above all bythe exceptional knccker. We can tell not only by its size but alse by the quality ofthe ‘wroughtiron work that this is no ordinary piece, bu to understand its true significance we must lift the cros-shaped Kacker (eptesent ing good), which strikes an enormous bed-bug (ei), Having crossed the threshold we enter the foyer, a highly articulated, unspectacular space featuring turned coluras, Valencia tiles of characteristic Mediterranean kimsinosty, decorated ceilings, a bench and mirror designed by the architect, the fretwork casing ofa transparent elevator and the forceful yet aerial banister, that seems to invite us to dianb the stairs Every detail even the mest insignificant, was designed by GaudS. Furthermore, the doors to the partinents feature thre details find tly enchanting: the spybole, ike the tiny cells of 2 beehive; the highly functional mailbox; and the door handle that, despite its innovative design, adapts better tothe hand than its more conventional counterpartsq Sa rar. zivsh Peel PeRelatively recently Casa Calvet acquired greater importance in that what had hitherto been a private part (of the building bas become public. The Restaurant Cale om the ground floor occupies what were ance the ofices of the textile industry belonging to the owner. Here Gaudi made everything to measure. from: the partitions that separate the different areas to individual chairs and communal benches vin He weighty fretwork beam that seems to support everything. It is wonderful to observe re mexlerity of the beam in relation to the gentle acher tones covering the walls, in which the presence of brick is no more than a sublle hint. The joinery is of outstand: ing quality a isthe metalwork and stained glass atthe entrance. The Gatdi scholar Joan Bassegeda i Nenell states that the furniture by the prestigious firm of Casas & Bardés is entirely dovetailed, that is, fied together without the ise of nails. While the large stained glass pane separating the restaurant from the toilets is recent. the ambience created by Ga Period photographs allude to the aroma of that time. Framed and hanging on the wall. a reproduction of the poster Antoni Utrillo painted on the occasion of Calvet’s Solidatitat candidacy during the 1906 elec tions: @ modernise lady addresses the citizens of Calvet i Pints. The result vas an almost unanimous ili has been preserved. nia as “my children” and asks them to vote for 9Le i aM | tae Ait yf:(* ors Suet and ea Coreopsis ! G) Foun Sareer Carter de Girona 73 Foun pe 1a Concercié Carrer de Girora 74 Evidence that modernione vas perhaps the lst “ruc! style is the fact that it impregrated many walks of life. The work of the great creators influenced that of more modect decorators and érove ‘even the lowliest shopleepers to update their establishments We do not Imow who designed these two bakeries, which reveal, the intensity of an urban landscape that unfortunstely has not survived intact, While orn Sarzet i stil fall of life, the Future of the Forn de ls Concepcién, which closed some years ago, i still very uncertain.(Gams Antal Recaro 6 {) Casas Asront ROcamona 1917 Pasoeig de Grdcia 6, 8-10 and 12-14 Jonqunt an Bo) WA BASSEGODA 1 AuGé, architects(6 (Cons Mae Mags ! is) Casa MANUEL MALAGRIDA 1908 Passeig de Gracia 27 Joaquim Covina t Marat, archilect Manuel Malagsida, having made his fortune in the Americas, returned to Barcelona and commissioned this house, which resembles 2 ‘aly palace in Fecnchifed style, particularly the atc story. The building is faced with stone, The shop entrances are characterized ty halfhidden wrought-iron railings and rmoderrista lamps. The heads in the relief are of Christopher Colurnbus and General Bartolomé Mitre. The most personal element is possibly the cupola, crowned by wrought-iron, the most spectacular in the whole ofthe Fixample. This was the artist Antoni Clave’ fist “painting”: asa worker atthe Telos industrial painting firm Clave be was required t0 apply cot of red lead! sohigh up that be almost fainted. He asserts thatthe original color ofthe domne, which was lost afer the wa, was godCons Manel Magis parm ae ut(e (ns Abe es Mee ! @ Cosa Auer Lir6 t MORERA 1905 Patseig de Gracia 35 Luis Dowtinsent 1 Moonie, architect “The architect restricted himself to altering the structure ofan already exiting building, although he endowed it with such a wealth of cma- rmentation that it became one of the most emblematic examples of ‘Modernisme, The people of Barcelona saw such stylistic dissonance with ‘nearby Casa Amatiler (Passeig de Grica 41) and Casa Bath (no. 43) that they called the block the Mengana de la Discbrdia (apple of discord: mangana is the Catalan word for both “apple” and “bleck"), The feeling ‘was that the block had been designed by the best architects in the world, ‘each one according to his own style “The proud floor was highly original before its 1943 mutilation, the central attractions being two huge, magnificent sculptures by Arn Deautiful modernists ladies holding fonts which are almost entitely ‘enveloped Ly the waves oftheir dthes, The bottom part of the central ‘alley originally featured sculpted heads by Alfons Juyol. At fist-loor level there are four highly avant-garde feminine reliefs representing the technical advances ofthe time: the phonograph, electricity, phowography, and the telephone, Resides other minor decorative elements, the facade ‘was crowned by 2 small pavilion ld inside with mosaics by Bru "The interior wat even more sumptucuily decorated than the exterior. Indeed, the foyer, the staircase eoding up tothe apartments, andl the ele- vrtor all reveal that Modernisme was a triumph forthe decorative ats. “The first floor, on which the owner lived, is truly spectacular. The ‘most outstanding piece here is Armau's sculptural interpretation of the lullaby “La dida de Tinfant del Rei” (The King’s Baby's Nanny), which crowns the door arches, although not to be outdone was the furniture, designed by the great joiner Gaspar Homar, whieh now enriches the Museu "Art Modern collection. Fortunately, itis stil possible to cor teroplate in thie apartment the rural als designed by this great artist, in collaboration with the psinter Josep Pey, the sculptor Joan Carrer, the ceramist Antoni Sera, and the mosaicst Mario Magliano. Eqully ‘exceptional isthe stained glass panel that closes the circular gallery, 2 masterpiece decigned by Pey and executed by Rigalt & Graner. And also, ‘worthy of specisl attention ate the delicate joinery and marquetry work by Joan Sagarra that in the rooms overlooking the avenue, the Fireplace carved by Carreras, and the flooring in the entire dwelling. the work of the Escofet fim, “The house positive overflows with beat. It i up tothe visitor to minutely examine the infinity of tals that reveal the high degree of perfection in the work of artisans who ranked among the best in Europe. Furthermore, this dwelling, an exemplary sample of those ‘catered throughout the Drea de 'Bixanple, gives us an accurate idea ofthe quality lavished by the haute bourgeoisie on their hones. “The generation who immediately succeeded the mederaisas, the noucentises, hated the preceding style so much that they set out to destroy i Thus in 1043 the architect Francesc Ferrer j Bartolomé produced a project fr the Loewe boutique, which involved mutilating the facade and interior ofthe ground and mezzanine floors. Since Ferrer was no affiliated tothe architectural association, the plans were signed by the outstarding architec Francesc Duran i Reynals, a militant noueenista, However, even mote atrocities were perpetmated: the roof pavilion was demolished, after having been severely damaged! when in 1937 it was used by the FAl anarchists 2s a machine-gun nest from which to spray the communist PSUC headquarters opposite. The two sculptures by Amat were neither kept nor sold: they were smached by hammer blows, explained at historian Josep Gudiol, whose horrified eyes witnessed the atrocity, ‘The concierge, however, ‘managed to salzge the heads. Dalf old me that when be learnt ofthis, 2s one ofthe charnpions of Morernisne he bought the pices for three thousand pesetas each and encrusted them in the wall of the cental patio of his museum in Figueres.50 (Css ber cb Maser ! Several decades having passed, Loewe, aware ofthe errs they come mitted, agreed to eliminate the furereal decoration that framed thei dis play wirdows and entrusted Oscar Tusquets with the difficult task of recompesing the ground flor of the building. Tusquets managed to pro- duce something reminiscent of the original, so tat those who ren beer Doménech i Montaner's work might bein a better pest diate the efforts made,(corsa eb oeGi Aba Moro@ Casa Awtos Amariter 1900 Pasneig de Gricia 4r Joser Pure 1 Caparatcn, architect Puig i Cadafale’s work on Casa Amatler consisted of alterations to an existing buikl- ng, much like the ces of Doménech i Mentaner with Casa Lleé Morera and Gaudi with Casa Batlld. The architect transformed the facade, the foyer, the inner patio, the staircase leading to the owners’ residence, and the residence itself into a madernista gem. ‘Antoni Amutller was the proprietor of a prosperous and famed chocolate business. (On his death, his daughter, Teress, continued to live in the apartment, where she cre- ated the Institut @'Art Hispanic. Living as she was on such a prominent, prestigious avenue, she gave the architec fee rein to endow the building with the maximum air of distinction Puig i Cadsfalch drew up a spectacular though madetate project, which according to Alexandre Ciric belongs to his red peried, the color he assigns to the architect's ‘madernisa work. The facade conceals none of Puig i Cadafalch’s deliberate wish to sevea his several sources of inspiration, all of which are readily detectable For exar- ple, the Catalan neo-Gothic of the windows and the neo-Flemish of the gallery: for ‘example, a stretch of wall that seems to have been taken from an eighteenth-century ‘Aresterdam house. What really surprises the obscrver is the fat that such a variety of | ‘origins should exist side by side in harmony, each style enriching the others. This is ‘something that only an architect of the caliber of Puig i Cadaalch could achieve. ‘Tae best craftsmen, under the firm hand of their wocks director, contributed the best of their knowledge and talents, The Facade combines subte, polychrome sgraffit, \wrought.iron work, which heightens the balconies and the door. tiles with reliefs and metallic sheens; fine, delicate stone omamentation: and the carpentry of doors and windows, originally painted green, as has recently been discovered ‘An outstanding element of the facade is the asyrnmetry ofthe two adjacent and very Afferent doors, featuring the work of sculptar Euscbi Arnau, who created a daringly innovative Saint George who links the dooes in an ‘original way. ‘The foyer was conceived as 2 coach entrance. Puig i Cadafalch placed a special kind of paving there, although he used the material, format, and style ofthe tes that cover the city’s pavements as part of the evident desire to establish a continu. ‘At the far end of this space, which though dark and prosaic is nonetheless ercellished by much omamentation, such as lamps and stained glass, stands the inner patio. This open space features the access solution typical ofthis kind of mansion: an elegant, solemn Staircase leading up tothe planta principal anda simple counterpart providing access tothe apartments on the floors above. A large stained. lass siylght covers the patio. ‘Witat was once the residence of the Amatller family has retained al fits osiginal flavor, despite the fact that it was renamed Institut Amailler d'Art Hispanic, the doors of which are open to researchers into the work of art. The offices, 2 the far end, hawe scrupulously reserved not oy the decor but even the furniture, while the front part contains the collections that Aratler amassed. ‘The decorative arts are also very generously featured here inthe contributions of Array, sculpture; jul, carved stone; the Frarzi broth- crs, marble; Joan Paradis, sgrafit; Esteve Andorra and Manuel Ballzin, wrought iron: Masriera i Campins, bronze; Torres Maur i Pu and Baucis, ceramics; Casa & Bardés, carpenty; Joan Coll, gypsum wodk: Escefet. flacrnig: Mario Maragliano, mosaics; Gaspar Homar, ture and joinery, Miret i Ascens and Antoni Tépie, lights ‘The restoration work carried cur on the occasion of the Olympic Games retumed to the facade the original restrained, seignorial cegance it boasted atthe turn of the century.222% 92%: Ye 2 ed & & & &60 (asa Josep Bal 48) Casa Josep BarLi6 1907 Passeig de Gracia 43, ‘Anton Gaul 1 Conner, architect ‘Gaudi, commissioned by the tertile industristit Josep Batll{ Casanovas, restricted himself to carying our an ‘operation similar to that of the adjacent Casa Lleé Morera and Casa Amatler, all of which would son be istered the Mancansa de Ia Discodia. Gaudi wasp fectly avate that he had a unique opportunity o create a striking work in keeping with Barcelona's mest spe: thcular setting of the time: Passeig de Gric The influence of the architect Josep Maria Jujol, who here began his close collaboration with Gaui, is very evident in the asymmetrical, abstract, fee design, of the facade, 28 the architect Carlos Flores has shown in his exhaustive sx of the mutvally enriching rel tionship between both. Also contributing was the us team of skilled artisans, which included the Badia brothers (wrought iror), Casa & Bardés gover), Pujl & Baus (tiling), Ribs (ceramics), and Josep Pelegrt (stained glass). The cladding for the cross and the facade disks came from Manaccr. ‘Much speculation has been made about the syen- bolisn ofthe facade. Some interpret it as a represents tion of Carnival (the masks) and confetti (the poly chrome ceramics), while others sre the evocation ofthe transparent waters of a cove on the Costa Brava. How. cever,areligieus mystic such 2s Gaudi would never have Thad recourse to such a pagan theme as Carnival. More ety, this is 2 highly personal recreation ofthe legend ‘of Saint George and the dragon: there isthe lance (in the form of the circular tower crowned by the three= dimensional cross and highlighted by the inital of the Holy Family); the spine of the dragen’s body (the roof crest) with its wound (the hole oxi in re): the ani rmal’s skin (the abstract, polychrome treatment of the central part of the facade): skull fragments (he balcony railings) and bores (forms composing the gresind and first floor) ofthe victims devoured bythe dragon, piled up in its cave (evities and openings suggested on these two floors). It is no coincidence that the astonished people of Barcelona christened the building “Ia Casa dels Ossos" (he House of Bones). They were not far off the mark, for it must be remembered, moreover, that the balcony railings and the grille over the front door were painted pale ocher,instesd of the usual black: After the war they were repainted in blac; the propie Nad forgotten the color chosen by Gaul, othe extent that when the building was correctly restored in 198, some voices were raised in protest against what they considered lack of ili The almost gestural originality observable in this work marks a radical break from Gaud's previous Barcelona style. Furthermore, the tachiste abstraction Jujal applied tothe facade is astonishingly avant-garde. When the canly-morning sun rakes onto the wal, the glzed ceramics ard the fragments of glass used in ths compasition acquire a highly gratifying luminesity Jujol used the ceramic disks left over forthe gigantic serpentine bench i the Park Giiell “The mest striking element ofthe foyer is its himinous surfaces, which. in the patio. became lighter further down the wal, in order to reflect the natural ight that fers in from above, The elevator i a rematkable piece of workCor Joep as From the vestibule the wooden starease leads up to the frst floor. For the staircase, the architect cre- ated a joinery covering reminiscent of the spinal column ofthe dragon ‘The subile reliefs of the doors and the eavefne= placecbench are passibly the most stiking elements nan ensemble every detail of which is essential. It is a share that almost nothing remains of the former the oratory having been removed as wel as piture, which was on occasions deprived of adequate light, such as that from the dining r00m ceiling. Although we can mo longer appreciate the design of the chairs, there isa story behind them ‘wort telling. Gand asked Ball's wife Low many -men and wornen there were in the family, but before replying she wanted to know why. When she learnt ‘hae the idea was to create 2 different model foreach 2 she flew into rage. Gaual had no option but to create a unisex model. (Different models for men and women, however, would have been in keeping the fashions ofthe time) “The atic i westh a visit, by virtue of the spatial form created by the thy of parabolic arches. The visitor should also savor the fla woof er teat, where fe possible to touch the dragon's sensual ceramic spinal colsmn and the chizuneys covered in trencas Neither should the tear facade be overleoked. in which its possible to detect the typical structure of fhe block of apartments, although: Gaudi famed it with the same cladding of fiagments of ceramic Some details should be noted, such as the simple though telling railings and the remains of the ora mentation of the wall separating the building from the one next deer. @a Jonep a‘oe ‘tera enter Se 47; EDITORIAL MONTANER I SIMON 1880. Gan VAragh 355 avis Dossdnecn 1 Monranne, achlect ‘The new offices for the publisher torial Momtaner { Simon that were completed in 1888 heralded the Medernisme that was approaching, apd itis no coinci- dence that it was designed by an architect who would be the movernent’s cornerstone. (Gaudf, by virtue of his genius, must be considered a case apatt) Despite bis youth, Doménech was given this commission thanks to family ties, since one ofthe publishers was his brother. "The building, which today houses the Fundacié Antoni Tapies, is restrained and austere, in keeping with its original commercial function. The observer notices that the surface devoted to openings is far greater than that given over to structure: the architect wanted the offices tobe illuminated as fir as possible by natural light Of the thee basic materials used for the enterior—iron, plas, and ved brich—the latter assumes the leading role, further evklence of the neo-Mudejar influence that guided the architec’s and in the form of certain openings and the brillant use of fla brick, The tests and the ares inscribed om he cet the ony decorate concen Tevnage othe word ef tate, Pa icpect eerme oh facade is etc in the rst cop de ft to appear in rcs the foo ange ia re the ser Dawe od $c the ick wich proudly doled rather thn iden bela se

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