Antoni Gaudí (Temporis Collection) by Jeremy Roe

By Jeremy Roe

The booklet undertakes a serious survey of the structure of Antoni Gaudí, drawing at the most up-to-date educational study and observed through documentary illustrations and a photographic essay of his paintings. the hole chapters supply an advent to Gaudí's biography and the social and cultural context of Barcelona amidst which he constructed his striking and unique structure. Following this his paintings is tested in 4 distinct chapters. the 1st chapters offer a survey of Gaudí's improvement as an architect via tracing the contribution he made to 2 parts of structure; first of all his secular, family structure, together with the extraordinary Casa Milá; and secondly his designs and accomplished constructions for the Church, corresponding to the Episcopal palace in Astorga. the ultimate chapters additionally offer a survey of that spans a lot of Gaudí's existence, yet focused on the only hand at the structures built for his shopper Eusebio Güell and at the different the huge and international popular church of the Sagrada Familia. serious research is on the market of every of his structures with the purpose to spot the advance of his unique architectural variety.

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Extra info for Antoni Gaudí (Temporis Collection)

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In 1908 two American visitors expressed considerable interest in Gaudí’s work and suggested that Gaudí design a large building in New York. It was a cluster of buildings designed with three aims: residential apartments, restaurants, and spaces for exhibitions and other cultural and recreational activities. The most finished drawing we have of the building is by Gaudí’s assistant Juan Matamala, whose short article on this episode of Gaudí’s life provides most of the information we have. Matamala’s design provides a fascinating insight into how Gaudí might have addressed that most modern of architectural forms, the skyscraper.

Such concerns underpin his reworking of the Gothic style, which was radical in many ways, but was also shaped by a concern to sustain the traditions - both architectural and metaphysical - of the medieval period. ” A theological truth is implied here. Without doubt this view of the past was ‘rose-tinted’. Gaudí was not alone in this vision of an ideal medieval society. In Britain Ruskin and William Morris looked to the medieval era for ideals of both artistic work and social organisation which would result in a moral and harmonious society.

This after being refused assistance from several taxi drivers due to the appearance of the victim. As a result of being knocked over by the tram Gaudí suffered fractured ribs, cerebral contusions and hemorrhaging in his ear. He was taken to hospital, yet he remained unidentified. The failure to identify Gaudí may be explained by the fact that his personal austerity had become such that he rarely changed his clothes, which were recognisable to his peers. Although his appearance and clothes had been the subject of caricatures in the press, when seen in the grave context of a hospital and not set against the backdrop of the Sagrada Familia, his image rendered him anonymous.

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