BRIEF PRESENTATION ON-

ANTONI GAUDI I CORNET

(1852-1926)
INTRODUCTION:
■ NAME : ANTONI GAUDI I CORNET
■ He was born in 25 June 1852 in Riudoms. He was the son of the
Coppersmith Francesc Gaudi I Serra and Antonia Cornet I Bertran.
■ He was the youngest of five children.
■ ARCHITECTURAL STYLE : Catalan Modernism.
■ His work was influenced by Nature and Religion.
■ He also introduced new techniques in the treatment of materials, such
as trencadis which used waste ceramic pieces.
■ HE GRADUATED AS ARCHITECT IN 1878 From Barcelona
Architecture School.
■ Gaudi's works have a highly individualized, and distinctive style. Most
are located in Barcelona, including his main work, the church of the
Sagrada Familia.
■ He was also significant in sculpture, painting, theatre and poetry.
■ DIED : 10 June 1926 in Barcelona, Spain.
EDUCATION:
■ ANTONI GAUDI attended a nursery school run by Francesc Berenguer,
whose son, Francesc, was later one of Gaudi’s main assistants.
■ He enrolled in the Piarists school in Reus where he displayed his artistic
talents via drawings for a seminar called ‘The Harlequin’.
■ During this time he worked as an apprentice in the "Vapor Nou" Textile
mill in Reus.
■ In 1868 he moved to Barcelona to study teaching in the Convent del
Carme.
■ In his adolescent years Gaudí became interested in socialism and,
together with his fellow students Eduard Toda I Guell and Josep Ribera i
Sans, planned a restoration of the Poblet Monastery that would have
transfo rmed it into a Utopian Phalanstere.
■ Between 1875 and 1878, Gaudí completed his compulsory military
service in the infantry regiment in Barcelona as a Military Administrator.
Most of his service was spent on sick leave, enabling him to continue his
studies.
■ Gaudi studied architecture at the Llotja School and the Barcelona Higher
School of Architecture, graduating in 1878.
■ To finance his studies, Gaudi worked as a draughtsman for various
architects and constructors such as Leandre Serrallach,Joan Martorell,
Emili Sala Cortes, and Joseph Fontsere. In addition to his architecture
classes, he studied French, history, economics, philosophy and aesthetic.
His grades were average and he occasionally failed courses.
PROFESSIONAL TIMELINE:
Antoni Gaudi’s studies were a process of reflection and
analysis of the various architectural styles as he prepared
himself for a new language of architecture that was partway
between tradition and modernity, a remarkable formal
language of his own.
Gaudi’s professional career went from strength to strength
during the last quarter of the 19 century, when his work in
Barcelona and in other cities established him as an
architect.
 1. Public lighting lampposts,
Barcelona (1879) :
■ First official commission from Barcelona
City Council.
■ He designs three and six-armed public
lampposts crowned by a winged helmet, a
symbol of the commercial power that
Barcelona had attained and still had at that
time. The lamps were gas-powered and stand
in Plaça Reial and in Pla del Palau to this
day.
PUBLIC LIGHTING
LAMPPOSTS, BARCELONA
 2. The Cooperativa Obrera Mataronense (Mataro Workers’
Cooperative) :
■ This was Gaudi’s first project, on which he worked
from 1878-1882, for Salvador Pages I Anglada.
■ This office comprised of a factory, a worker’s
housing estate, a social center and a service
building, though only the factory and the service
building were completed.
■ He used Catenary Arch in the factory roof for the
first time and used ceramic tiles decoration in the
service building.
■ Gaudi laid out the site taking account of Solar
Orientation, another signature of his works and
THE COOPERATIVA OBRERA
included landscaped areas. MATARONENSE
INTERIOR OF THE COOPERATIVA
OBRERA MATARONENSE

DURING
CONSTRUCTION
STYLE AND HIS
PHILOSOPHY:
■ Gaudi was usually considered as the great master
of Catalan Modernism.
■ Gaudi generally used organic style which was
inspired by nature.
■ His professional life was distintive in that he
never ceased to investigate mechanical building
structure.
■ He was inspired by oriental arts through the
study of the historicist architectural theoreticians.
CATALAN MODERNISM
■ Some of his greatest inspiration came from visit to the mountain of
Montserrat, the caves of Mallorca, etc.
■ He also used geometrical form such as the hyperbolic, the paraboloid,
the helicoid and the cone which reflect the forms that he found in nature.
■ He used to say that there is no better structure than the trunk of a tree or a
human skeleton which also made his work more functional and aesthetic.
■ His work was normally classed as modernista, and it belongs to this
movement because his eagerness to renovate without breaking it’s
traditional techniques.
PROJECTS OF ANTONI GAUDI:

SAGRADA FAMILIA: crypt, apse, Nativity EL CAPRICHO

facade Location: Comillas(Cantabria)
Location: Barcelona Year of construction: 1883-
Year of construction: 1883-1926 1885
CASA VICENS EPISCOPAL PALACE OF ASTORGAGUELL PAVILIONS
Location: Barcelona Location: Astorga(Leon) Location: Barcelona
Year of construction: 1883-1888 Year of construction: 1883-1893 Year of construction: 1884-1887
PALAU GUELL TERESIAN COLLEGE CASA BOTINES
Location: Barcelona Location: Barcelona Location: Leon
Year of construction: 1886-1888 Year of construction: 1888-1889 Year of construction: 1891-1892
CASA CALVET BODEGAS GUELL BELLESGUARD
Location: Barcelona Location: Sitges(Barcelona) Location: Barcelona
Year of construction: 1898-1900 Year of construction: 1895-1897 Year of construction: 1900-1909
PARK GUELL CASA BATLLO ARTIGAS GARDENS
Location: Barcelona Location: Barcelona Location: La Pobla De Lillet
Yearof construction: 1900-1914 Year of construction: 1904-1906 (Barcelona)
Year of construction: 1905-1906
CASA MILA CHURCH OF COLONIA GUELL SAGRADA FAMILIA SCHOOLS
Location: Barcelona Location: Santa Coloma De Cervello Location: Barcelona
Year of construction: 1906-1910 (Barcelona) Year of construction: 1909
Year of construction: 1908-1914
CASA BATLLO
Construction(1904-1906)
■ CASA BATLLO is a building in the center of Barcelona and it
was designed by Antoni Gaudi, and is considered one of his
masterpieces. A remodel of a previously built house, it was
redesigned in 1904 by Gaudi and has been refurbished several
times after that. Gaudi’s assistants Domenec Sugranes I Gras,
Josep Canaleta and Joan Rubio also contributed to the renovation
project.
■ The local name for the building is Casa dels ossos (House of
Bones), as it has a visceral, skeleton organic quality. The building
looks very remarkable as like everything Gaudi designed, only
identifiable as Modernism or Art Nouveau in the broadest sense.
■ The ground floor, in particular, is rather astonishing with tracery,
irregular oval windows and flowing sculpted stone work.
PLAN SECTION
DESIGN DETAILS:
■ Much of the facade is decorated with
a mosaic made of broken ceramic tiles that
starts in shades of golden orange moving
into greenish blues. The roof is arched and
was likened to the back of
a dragon or dinosaur. A common theory
about the building is that the rounded
feature to the left of centre, terminating at
the top in a turret and cross, represents the
lance of Saint George, which has been
plunged into the back of the dragon.
■ MATERIALS: Stones, Metal, Wood,
Ceramic and Colours. FACADE
THE LOFT — Originally a
service area, has sixty Catenary
arches.
• It is known for its simplicity
of shapes and its
Mediterranean influence
through the use of white on
the walls.
INTERIOR OF THE NOBLE
FLOOR AND MUSEUM — It is a
house of the Museum which is open
for the public.
• It is larger than 700 square meters.
• There is a spacious landing with
direct views to the blue tiling of the
building well.
ROOF — Four chimney stacks on
the roof, with the dragon’s spine roof
arch behind.
• It was designed to prevent
backdraughts.
• It is one of the most popular
features of the entire house due to
its famous dragon back design.
■ BALCONY — Finally, above the central part of the façade
is a smaller balcony, also iron, with a different exterior
aesthetic, closer to a local type of lily. Two iron arms were
installed here to support a pulley to raise and lower
furniture.
■ CENTRAL SECTION — It is a great undulating surface
covered with plaster fragments of colored glass discs
combined with 330 rounds of polychrome pottery.

BALCONY The central part of the façade

evokes the surface of a lake with
water lilies.
■ MAIN FLOOR — The facade of the main
floor, made entirely in sandstone, and is
supported by two columns. The design is
complemented by joinery windows set with
multicolored stained glass. In front of the large
windows, as if they were pillars that support the
complex stone structure, there are six fine
columns that seem to simulate the bones of a
limb, with an apparent central articulation; in
fact, this is a floral decoration.
■ ROOF TILES — The tiles were given a
metallic sheen to simulate the varying scales of
the monster, with the color grading from green Roof architecture and ceramic
on the right side, where the head begins, to tiles, with tower and bulb in the
deep blue and violet in the center, to red and background
pink on the left side of the building.
 Chimneys of Casa Batllo
Ceiling close-up Noblefloor of Casa Batllo
INTERIORS OF CASA
BATLLO Stained-glass
window close-up
Stained glass
Noblefloor

Inner lightwell

Unique design of the

staircase and ceiling Blue lightwell
PALAU GUELL
Construction(1886-1888)
■ The Palau Guell is a mansion designed by architect Antoni
Gaudi for the industrial tycoon Eusebi Guell and built
between 1886-1888 . It is situated on the Career Nou De La
Rambla, in the El Raval neighborhood of the city of
Barcelona in Catalani, Spain.
■ It is part of the UNESCO World Heritage Site.
■ The most interesting piece is the surprising central
living room crowned by a parabolic dome surpassing
the roof in conic form. The ceiling of that lounge is
perforated by circles that, under the daylight, give it,
from the interior, a planetarium appearance.
■ We also find in this room a small chapel embedded
in the wall and a numberless of ornamental
elements.
PLAN
SECTION
DESIGN DETAILS:
■ The home is centered around the main
room for entertaining high society
guests.
■ Guests entered the home in horse-
drawn carriages through the front iron
gates, which featured a parabolic
arch and intricate patterns of forged
ironwork resembling seaweed and in
some parts a horsewhip.
Parabolic arch with iron gate
■ The ornate walls and ceilings of the
receiving room disguised small viewing
windows high on the walls where the
owners of the home could view their
guests from the upper floor.

Interior of Palau Guell

The main party room has a high ceiling
with small holes near the top where
lanterns were hung at night from the
outside to give the appearance of a
starlit sky.

Roof of Palau Guell

 Main floor Colourful Chimneys on the
• On the main floor of the urban roof of Palau Guell
palace that Gaudi designed for
Guell, the architect was
inspired by this idea and
substituted the artium for a
room that was 3 floors high, Basement which is made up of
used for social functions, Bricks
concerts and religious
ceremonies.
THANK YO