Art Nouveau (1900-1920) Art Nouveau was an innovative international style ofmodern art, architecture and design.

The French word Art Nouveau literally means the New Art.

Art Nouveau's twenty-year peak was most strongly felt throughout

Features of the Art Nouveau style

Art Nouveau is characterized by highly stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs. There was broad use of exposed iron and large irregularly shaped pieces of glass. The style is dynamic, undulating and flowing, with curved whiplash lines of syncopated rhythm. Another feature is the use of hyperbolas and parabolas in the windows, arches and doors.

Concept of the Art Nouveau Style Art Nouveau philosophy was in favour of applying artistic designs to everyday objects, from architecture to furniture, in order to make beautiful things available to everyone. Art Nouveau saw no separation in principle between fine art (painting and sculpture) and applied or decorative arts (ceramics, furniture, and other practical objects).

Art Nouveau remains a term which embraces a variety of stylistic interpretations: some artists used new low-cost materials and mass production methods while

Art Nouveau used machines to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture.

VICTOR HORTA
BORN-6 January 1861 DIED-9 September 1947) was aBelgianarchitectand designer. He was the initiator and leading exponent of Art nouveau in Belgium. Victor Horta began studying architecture at the Acadmie des Beaux-Arts in Ghent. In 1878 Victor Horta went to Paris, where he worked until 1880 in the studio of the interior decorator Jules Debuyson. There he was inspired by the possibilities of working inironandglass. John Julius Norwichdescribed him as "undoubtedly the key European Art Nouveauarchitect.as he was the first to introduce the style toarchitecture from thedecorative arts. In rejecting historical styles and embracing new materials, Horta laid the foundations formodern architecture.

HORTAs WORKS

In 1881 Victor Horta moved to Brussels. During this period, Horta socialised widely and This ensured a stream of clients for which from1892 Victor Horta designed several houses and public buildings in Brussels, for which he used cast iron for structural and decorative reasons. he worked as an assistant of architect

Alphonse Balat. wher he together they designed the royalGreenhouses of Laeken, Horta's first work to utilise glass and iron.

He focused on thecurvatureof his designs,

believing that the forms he produced were highly practical and not artistic affectations.

Htel Tassel, designed and built for Prof. mile Tassel in 1892 1893. Htel Solvay, designed and built 1895 - 1900. Htel van Eetvelde, designed and built 1895 - 1898. Maison and Atelier Horta, designed in 1898, now the Horta Museum, dedicated to his work. 1885:3 houses, Twaalfkameren 49, 51, 53 inGhent(design) 1889:Temple of Human Passions,Cinquantenaire Parkin Brussels(protected monument since 1976) 1890:Maison Matyn, rue de Bordeauxstraat 50, 1060 Saint-Gilles 1890:Renovations and interior decoration to the Brussels residence of Henri van Cutsem, Kunstlaan / Avenue des Arts 16, Saint-Josse-ten-Noode(TodayCharlier museum). 1892-1893:Htel Tassel, rue Paul-Emile Jansonstraat 6 in Brussels 1893:Maison Autrique, Haachtsesteenweg/Chausse de Haecht 266 inSchaerbeek 1894:Htel Winssinger, Munthofstraat / rue de l'Htel de la Monnaie 66 inSaint-Gilles 1894:Htel Frison, rue Lebeaustraat 37 inBrussels 1894:Atelier forGodefroid Devreese, Vleugelstraat / rue de l'aile 71 inSchaerbeek(modified) 1894:Htel Solvay,Avenue Louise224 inBrussels. 1895:Interior decoration of the house ofAnna Boch, Boulevard de la Toison d'Or / Guldenvlieslaan 78 inSaint-Gilles (demolished)

1895-1898:Htel van Eetvelde, Avenue Palmerstonlaan 2/6 in Brussels 1896-1898:Maison du Peuple/ Volkshuis, place Vanderveldeplein inBrussels(demolished in 1965) 1897-1899:Kindergarten, rue Sainte-Ghislaine / Sint-Gisleinstraat 40 inBrussels 1898-1900:House and Studio of Victor Horta, rue Amricaine / Amerikaansestraat 23-25 inSaint-Gilles(today theHorta Museum ). 1899:Maison Frison "Les pinglettes", avenue Circulaire / Ringlaan 70 inUccle 1899:Htel Aubecq,Avenue Louise520 inBrussels(demolished in 1950) 1899-1903:Villa Carpentier(Les Platanes), Doorniksesteenweg 911 inRonse 1900:Extension of the Maison Furnmont, rue Gatti de Gamondstraat 149 inUccle 1900:Department store: A l'Innovation,rue Neuve111 inBrussels (destroyed by fire in 1967) 1901:House and Studio for the sculptorFernant Dubois, Avenue Brugmannlaan 80 inForest, Belgium 1901:House and Studio for the sculptorPieter-Jan Braecke, rue de l'Abdication / Troonafstandstraat 51 inBrussels

1903:Grand Bazar Anspach, Bisschopsstraat / rue de l'Evque 66 in Brussels(demolished) 1903:Maison Emile Vinck, rue de Washingtonstraat 85,Ixelles (converted in 1927 by architect A.Blomme). 1903:Department store: A l'Innovation, Chause d'Ixelles / Elsenesteenweg 63-65 inIxelles(converted) 1904:Gym for the boarding school "Les Peupliers"inVilvoorde. 1905:Villa Fernand Dubois, rue Maredretstraat,Sosoye. 1906:Brugmann Hospital, Place A. Van Gehuchtenplein inJette; (First design; opened in 1923) 1907:Magasins Hicklet, Nieuwstraat / rue Neuve 20 inBrussels (converted) 1909:Wolfers Jewellers Shop, rue d'Arenberg / Arenbergstraat 11-13 inBrussels. 1910:House for dr. Terwagne, Van Rijkswijcklaan 62,Antwerp. 1911:Magasins Absalon, rue Saint-Christophe / Sint-Kristoffelstraat 41 inBrussels 1911:Maison Wiener, Sterrekundelaan / avenue de l'Astronomie in Saint-Josse-ten-Noode(demolished) 1912:Brussels-Central railway station(first designs; completed by Maxime Brunfautand inaugurated in 1952). 1920:Centre for Fine Arts, rue Ravensteinstraat inBrussels(first design; opened in 1928). 1925:Belgian pavilionat the Exposition Internationale des Arts Dcoratifs et Industriels Modernes inParisin 1925. 1928:Muse des Beaux-Arts TournaiinTournai.

In 1892-93 Htel Tassel was built, with an interior featuring exposed cast-iron construction and glass elements. featuring exposed cast-iron construction and glass elements.

1896 -1899 ----Maison du Peuple, the headquarters of the Belgian Socialist party. faade entirely constructed of cast-iron and glass - the first of its kind in Brussels

TOWARDS ART DECO AND MODERNISM The post-war austerity meant that

Art Nouveau was no longer affordable or fashionable. He had gradually been simplifying his styles, no longer used organic forms, and instead based his designs on the geometrical and to apply the latest developments in building Between 1916 and 1919 Victor Horta technology and buildingLondon and the United States lived in services engineering. of America. In subsequent years, Victor Horta distanced himself from Art nouveau. ThePalais des Beaux-Artsin Brussels, built between 1922 and 1928. a multi-purpose cultural centre designed in a formal style. Character -- foreshadowsArt Decoas well as havingcubistfeatures.

Horta designed an unusual eggshaped concert hall which is regarded as one of the Worlds' greatest concert hall design.

Belgian Pavilion, Exposition des Arts Decoratifs, at Paris, France, 1925.

Halle Centrale, Main Railway Station, at Brussels, Belgium, 1914 to 1952.

Brugmann Hospital, at Jette, Brussels, Belgium,

Waucquez Department Store, at Brussels, Belgium, 1903 to 1905.

After Art Nouveau lost favor, many of Horta's buildings were destroyed. However, several of Hortas buildings are still standing in Brussels to today and available to tour. TheMajor Town Houses of the ArchitectVictor Hortain Brussels are aUNESCOWorld Heritage Site. They comprise:

Htel van Eetvelde

Htel Solvay

Horta House, now the Horta Museum

Htel Tassel

TASSEL HOTEL
Architect- Victor Horta Location- Brussels,Belgium Date- 1892 to 1893 Building Type- large hotel ConstructionSystem- iron, wood, stone for facade. Climate- temperate Context- urban Style- Art Nouveau Notes- Also "Hotel Tassel". Elegant urban house with facade defined around centered, stacked oriel bay windows and balcony.

This hotel (Horta) broke the traditional scheme. He built a house consisting of three different parts. Two buildings in brick and natural stone one on the side of the street and one on the side of the garden were linked by a steel structure covered with glass. It functions as the connective part in the spatial composition of the house and contains staircases and landings that connect the different rooms and floors. Through the glass roof it functions as a light shaft that brings natural light into the centre of the building. that could also be used for receiving guests. Horta made the maximum of his skills as an interior designer. He designed every single detail; doorhandles, woodwork, panels and windows in stained glass, mosaic flooring and the furnishing. Horta succeeded in integrating the lavish decoration without masking the general architectural structures.

The innovations made in the Hotel Tassel would mark the style and approach for most of Horta's later town houses, including the Htel van Eetvelde, the Htel Solvay and the architects own house and 'atelier'. For this reason the pure architectural innovations were not largely followed by other architects. Most other Art Nouveau dwellings in Belgium and other European countries were inspired by Horta's 'whiplash' decorative style which is mostly applied to a more traditional building. The Htel Tassel had a decisive influence on the French Art Nouveau architect HectAor Guimard who later developed a personal interpretation of Horta's example. Htel Tassel is currently a private office occupied by a law firm and the interior is not accessible to the public.

GROUND FLOOR

SECOND FLOOR MEZANNINEFIRST FLOOR FLOOR

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FRONT ELAVATION

STAIRCASE

MAISON AUTRIQUE
Architectural style Art Nouveau. Location Brussels, Belgium. Client- Eugne Autrique. Completed -1893 Architect -Victor Horta Awards and prizes MedalEuropa Nostra

It was the first town house built by Victor Horta in the Art Nouveau style. This house built in 1893 represents an essential step in the evolution of the greatest Belgian architect The house is located 266, (Chausse de Haecht / Haachtsesteenweg) in the municipality of Schaerbeek in Brussels. It was built for the engineer Eugene Autrique and his family who was one the friend of victor horta. Due to budget restrictions the family wanted a simple but comfortable home. For this reason many custom made details, which Horta designed himself in most of the other town houses he built, were abolished. The Autrique House was kept in a relatively good condition during the 20th century. In the 1990s it was bought by the municipality of Schaerbeek. It was thoroughly renovated and is now opened to the public.

The floor plan and spatial composition of the Maison Autrique remained rather traditional. On the deep and narrow building plot the rooms were organised according to a traditional scheme used in most Belgian town houses at that time. It consisted of a suite of rooms on the left side of the building plot flanked by a rather narrow entrance hall with stairs and a corridor that led to a small garden at the back. From the three room suite only the first and the last had windows so that the middle room (mostly used as a dining room) was rather gloomy.

HOTEL SOLVAY

BY AR. VICTOR

ARCHITECTURAL STYLE :- ART NOUVEAU LOCATION :- BRUSSELS, BELGIUM

TCOORDINATES ::- ARMAND SOLVAY 504934.75N42155E ENT TENANTS :- LOUIS WITTAMER

TED :- 1898

LETED :- 1900

TECT :- VICTOR HORTA

DS AND PRIZES :-

THEHTEL SOLVAYIS A LARGE ART NOUVEAUTOWN HOUSE DESIGNED BY VICTOR HORTAON THEAVENUE LOUISEIN BRUSSELS.

THEUNESCOCOMMISSION HAS RECOGNIZED THE HTEL SOLVAY AS UNESCO WORLD HERITAGEIN 2000.

THE HOUSE WAS COMMISSIONED BY ARMAND SOLVAY, THE SON OF THE WEALTHY BELGIAN CHEMIST AND INDUSTRIALISTERNEST SOLVAY.

HORTA DESIGNED EVERY SINGLE DETAIL; FURNITURE, CARPETS, LIGHT FITTINGS, TABLEWARE AND EVEN THE DOOR BELL.

THE INTERIORS OF MOST OF HORTA'S DOMESTIC STRUCTURES ARE NOT ACCESSIBLE TO THE PUBLIC.

TWO SYMMETRICAL BOW WINDOWS RAISED OVER TWO STORIES TERMINATING IN BALCONIES.

INTERIOR OF HOTEL

WINDOWS

THE FACADES ONLY GIVE A HINT OF THEIR GLORIES: THE SPACIOUS OPEN PLAN, THE DIFFUSION OF LIGHT THROUGH WIDE WINDOWS OR SKYLIGHTS, THE BUILT-IN DETAILED CABINETRY, AND THE BEAUTIFUL STAIRWAYS WITH SWIRLING WROUGHT IRON BANISTERS. HIS HOUSES ARE NO MERE SHELL BUT AN INTEGRATED, AESTHETIC WORLD.

THIS FACADE IS EVEN MORE PLASTIC THAN THE EARLIERHTEL TASSEL.

THE BUILDING HAS MUCH ELABORATE IRONWORK THAN HTEL TASSEL FOR THE BALCONIES.

FACADE

THE DOUBLE DOOR HAS A METAL LINTEL AND ELABORATE STONE CARVING ENCASING IT. CURVING TENDRILS ARE ECHOED IN THE STAINED GLASS OF THE WINDOWS OF THE DOOR AND THIS FACADE TRANSOM. ILLUSTRATES THE INTERPLAY OF STONE (IN TWO COLORS) AND METAL, AND THE IMPORTANCE OF ORGANIC CURVES AGAINST RECTILINEAR SYMMETRY.

Hector GUIMARD (1867-1942)

French architect, furniture designer and crafts artist Hector Guimard was born in Lyon, France, but he studied decorative arts and architecture in Paris, where he later established his own practice. Inspired by some of the new architectural theories circulating in late 1800s, he produced some exceptional avant-garde works. In particular, the radical ideas of French architect Violletle-Duc and the sinuous(curving) architecture of Belgian Victor Horta greatly influenced his designs.

In 1895, after visiting the first Art Nouveau building, Victor Horta's "Hotel Tassel" in Brussels, Guimard proceeded to a complete re-evaluation of his artistic approach; furniture and interior decoration of a house which had to become parts of a total work of art. From 1898 to 1905 he designed and created the station entrances of Paris subway " Le Mtropolitain"; they were a fabulous expression of Art Nouveau, the new art, which was discovered during the 1900 World Exposition in Paris. The architectural and decorative works of Hector Guimard are characterized by fluid, unusual lines, vibrant curves inspired by nature, essential shapes, light and contrast of the different materials used, such as wood, iron and stone. They are the most
Metropolitainentrances,Paris (1899-1905)

Metropolitain entrances, Paris (1899-1905) Castel Branger, Paris, France (1894-1898) Hotel Guimard, Paris (1912)

Major works: -

Metropolitain entrances, Paris (1899q

Castel

Hotel Guimard, Paris (19

Metropolitain entrances, Paris

Architect -Hector Guimard Location -Paris, France Date- 1899 to 1905 Building Type- light rail rapid transit stations ConstructionSystem -iron and glass Style -Art Nouveau Notes- Graceful organic forms.

Paris Metro Entrances (1899-1905)

The Mtro's original art nouveau entrances are iconic symbols of Paris. Constructed like the Crystal Palace out of interchangeable, prefabricated cast iron and glass parts.

Guimard created his mtro system in opposition to the ruling taste of French classical culture. Guimard's system flourished, emerging overnight like the manifestation of some organic force, its sinuous(curving) green cast-iron tentacles erupting from the subterranean labyrinth to support a variety of barriers, pergolas, maps, hooded light fittings and glazed canopies. there are two main variants: * glass canopies and * a cast-iron balustrade decorated in plantlike motifs, accompanied by a "Mtropolitain" sign supported by two orange globes atop ornate cast-iron supports in the form of plant stems.

Click to edit Master text styles Second level Third level Fourth level Fifth level

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surrealistic Click to edit Master text styles Click to edit Master text styles 'dragonfly'swings Second level

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ElevationDrawing PlanDrawing

en cast-iron tentacles

Drawing

Click to edit Master text styles Second levelglasslamps Third level Fourth level a cast-iron Fifth level balustrade decorated in plant-like motifs

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PHOTOS OF Castel Branger, Paris, France (1894-1898)

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Castel Branger, Paris, France (1894-1898)

This house was designed by Hector Guimard one of the most prominent architects from the French Art Nouveau movement. "Never entirely resolved as a total composition, the Castel Branger is nonetheless an important transitional work in Guimard's career. The stem and branch-like character of both the interior furnishing and the exterior ironwork stand in a curious and brittle contrast to the articulate, architectonic but saperate elements that make up the cumbersome mass of the building's exterior. With 36 apartments, each different from the next, the Castel Branger is a curious compound of rational planning and nonrational intent and expression.

Castel Branger, Paris, France (1894-1898)

Guimard was to exploit its competition as an occasion for promoting le style Guimard. To this end he staged an exhibition of the building and its contents in the Salon du Figaro in 1899, while simultaneously publishing a book of the work under the title, L'Art dans l'habitation moderne. More acerbic than his flamboyant country houses of the turn of the century and located in the fashionable, fast-growing suburb of Auteuil, the Castel Branger gave Guimard a prime opportunity with which to demonstrate the synthetic subtleties of his style, in which urban and rustic references could be judiciously mixed together."

Location :-

Hotel Guimard Paris, France

Date :- 1912 Building Type :- private residence hotel Architectural Style :Art Nouveau

Hotel Guimard

The Hotel Guimard was built by the architect as a wedding present to his rich American wife, the painter Adeline

122 avenue Mozart, Par

VIEW FROM THE STREET

The building suggests some of the influences of other Art Nouveau architects, including Victor Horta and Charles Rennie Mackintosh. In particular, the elegant, buffcoloured, brick facade displays a fluid and sinuous use of masonry, featuring melting Flemish windows with decorative floral and organic motifs. The building has an irregular arrangement of balconies and windows of different sizes, reflecting the internal structure of the building. Guimard detailed the exterior and interior decoration himself, working with craftsmen in the fabrication of furniture, stained glass, iron gates and

Hotel Guimard

Hotel Guimard

CURVING S AT THE DOORWA Y

DOORWAY OF HOTEL GUIMARD

Hotel Guimard

Hotel Guimard (1909-12) by Hector Guimard, 122 avenue Mozart, Paris

ANTONIO GAUDI
THE CATALIAN ARCHITECT BORN: REUS, DEATH: RIUDOMS o 25 June 1852 BARCELONA, 10 June 1926

A BRIEF HISTORY ABOUT HIS LIFE

Antoni Gaud was born in 1852, to the industrial boilermaker Francesc Gaud i Serra (1813-1906) and Antnia Cornet i Bertran (1819-1876).

Gauds exact birthplace is unknown because no documents stating it were kept, leading to a controversy about whether it is Reus or Riudoms (two neighbouring municipalities of the Baix Camp district).

In most of Gauds identification documents from both his student and professional years, Reus is stated as his birthplace.

Gaudi felt a deep appreciation for his native land, and his great sense of pride of being from the Mediterranean is a proof of this. It had a notable influence on his architecture.

He liked the contact with nature and because of this he later on became a member of the Excursions Centre of Catalonia (1879), an organisation with which he made numerous trips around Catalonia and southern France.

At age eleven (1863-64 school year) he entered the Col.legi de les Escoles Pes (Pious School) in Reus, located in the ancient convent of Sant Francesc.

In 1868 Gaud moved to Barcelona to study architecture. Before entering the University he took a preparatory course for access to the Provincial School of Architecture, where he had to pass three elective courses.


Once he completed this course, he was able to enter the Escuela Tcnica Superior de Arquitectura (Upper Technical School of Architecture), where the entire degree included an initial course, a preparatory course, and four more years of study.

Apart from his architecture classes, he attended French lectures and took several History, Economy, Philosophy and Aesthetics subjects.

He believed that different architectural styles did not depend on aesthetic ideas but on the social and political atmosphere.

Gaud cared more about his own interests than those of the official courses.

When handing him his degree, Elies Rogent, director of Barcelona Architecture School, said: We have given this academic title either to a fool or a genius. Time will show.

To finance his studies, Gaud worked as a draughtsman for various architects and constructors .

He was graduated in 1878.

HIS INFLUENCES
Gaud sought out stimulus for his creations in medieval books, in the gothic art that was then experiencing a renaissance, in illustrations of oriental structures and in the organic shapes of nature.

The straight line, rigidity and order in forms was broken with the arrival of Arte Nouveau at the beginning of the Nineteenth Century.

Gaud was not insensitive to this change, and developed a style of his own.

The theoretical writings of Englishman John Ruskin, who in 1853 taught that ornament was the origin of architecture, greatly influenced him.

He was also significantly influenced, at a younger age, by Viollet-le-Duc's book on medieval French architecture from the eleventh to the sixteenth centuries, and by books by other authors, such as William Morris.

MILITARY SERVICE
He fulfilled his military service requirement from 1874-77.

He enlisted at the age of 22 (July 7, 1874) and was assigned to the Army Infantry in Barcelona, where he continued in December, 1876, as assistant in Military Administration.

He was declared Benemrito de la Patria ("Glorious Son of the Motherland") at the end of the carlist civil war, even though he was never in combat.

PERSONALITY AND APPEARANCE

Gaud had a bad temper (there is a Catalan saying: "Gent de camp, gent de lamp," which means "People from the country are quicktempered people").

He said that his bad temper was the one thing he was never able to control in his life. On the other hand, Gaud took interest in the social problems of the workers, and felt attached to the people.

 Main Works The "Templo Expiatorio de la Sagrada Familia

ANTONIO GAUDIS PROJECTS LIST..

La Pedrera Building (Casa Mil, Barcelona)

The "Casa Vicens" (Barcelona) The "Casa Batll" (Barcelona) The "Finca Gell" (Barcelona) The "Palacio Gell" (Barcelona) "La obrera Mataronense" (Matar, Barcelona)

"El Capricho de Comillas" (Santander, north S

The "Palacio Episcopal de Astorga" (Len, NW Schools of the "Sagrada Famlia"

MINOR WORKS
The" Casa Graner" The "Talleres Badia" The "Sala Merc" Project of bridge over the "Torrente de Pomeret" Pulpit for the church of Blanes Project of chasuble for Girona Tower of Damin Mateu, in "Llinars del Valls" Standard for the locksmiths guild Street Lamps of Vic Restoration of the Cathedral of Manresa Bust portrait and project of monument to Doctor "Torras y Bages" Dedicatory to "Orfe Catal" (Catalan Choral Society) Showcase glass Plandiura Pulpit for Valencia I Mistery of "Gloria de Montserrat" Caf Torino

SAGRADA FAMILIA

LOCATION:- Barcelona, Catalonia, Spain ARCHITECT:- Antonio Gaudi STYLE:- Modernism LENGTH:- 90 metres WIDTH:- 60 metres WIDTH (NAVE):- 45 metres SPIRES:- 18 SPIRE HEIGHT:- 170 metres TYPE:- Cultural

HISTORY
The Basilica of the Sagrada FamliaClick to edit Master was the inspiration of a Catalan Second level bookseller, Josep Mara. Third level The crypt of the church, funded by Fourth level donations, was begun 19 March, Fifth level 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar His plan was for aGothic revival church of a standard form. Antoni Gaudi began work on the project in 1883. On 18 March, 1883 Villar retired from the project, and Gaudi assumed responsibility for its design, which he changed radically.

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CONSTRUCTION

Gaud died in 1926, the basilica was from 15-25 per cent complete. After Gaud's death, work continued under the direction ofDomnec Sugraes i Grasuntil interrupted by theSpanish Civil Warin 1936. Parts of the unfinished basilica and Gaud's models and workshop were destroyed during the war byCatalan anarchists. The present design is based on reconstructed versions of the lost plans as well as on modern adaptations. Since 1940 the architectsFrancesc Quintana, Isidre Puig Boada,Llus Bonet i Gariand Francesc Cardonerhave carried on the work. The illumination was designed byCarles Buigas.

CONSTRUCTION

ick to edit Master text styles ROOF Second level Third level Fourth level Fifth level

UNDER CONSTRUCTION (2009

OVER A TOWER OF THE GLORY FAADE THE GLORY FAADE IN SCAFFOLDING

DESIGN Click to edit Master text style The style of la Sagrada Familia is variously likened Second level Third level toSpanish Late Gothic, Fourth level SpanishBaroqueand to Fifth level Art Nouveau. The Sagrada Famlia falls within the Art Nouveau period, known as " PLAN:The Sagrada Famlia was Modernisme" in Spainplanned from the outset to be a

cathedral-sized building. Its ground-plan has obvious links to earlier Spanish cathedrals such asBurgos Cathedral,Leon Cathedraland Seville Cathedral. In common with Spanish Gothic cathedrals, The Sagrada Familia is short in comparison to its width, and has a great complexity of parts, which include double aisles, an ambulatory with a chevet of seven apsidal chapels, a multitude of towers and three portals, each widely different in structure as well as ornament., The plan of this church has an unusual feature: a covered passage orcloisterwhich forms a rectangle enclosing the church and passing through thenarthexof each of its three

FACADES

The Church will have three grandfaades: the Nativityfaade to the East, thePassionfaade to the West, and the Glory faade to the South (yet to be completed). The Nativity Faade was built before work was interrupted in 1935 and bears the most direct Gaud influence. The Passion faade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on theCross. The Glory faade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as the Seven Deadly Sinsand theSeven Heavenly Virtues.

PASSION FACADE

PASSION FACADE

(Turtle at the base of column)

Click to edit Master text styles Second level Third level Fourth level Fifth lev NATIVITY FACADE

GLORY FACADE (Interior view with columns and spiral staircase)

INTERIORS

The columns of the interior are a unique Gaud design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a threedimensional intersection of helicoidal columns (for example a square crosssection column twisting clockwise and a similar one twisting counter-clockwise).

CASA BATLL O

43,Passeig de Gercia Barcelona

BASIC LOCATION : at INFORMATION

YEAR CONSTRUCTE : built in the year 1877 and

remollded in the years 1906

1904-

ARCHITECT : Antonio Gaudi

INTODUCTION

The colorful Casa Batll, which is a remodeled building by ANTONIO GAUDI. It is one of Gaudis masterpieces in Barcelona.

The local name for the building isCasa dels ossos(House of Bones), it does have avisaceral , skeletal visceral,skeletal organic quality. It was originally designed for amiddle-classfamily and situated in a prosperous district of Barcelona.

The building looks very remarkable like everything Gaud designed, only identifiable asModernismeorArt Nouveauin the broadest sense. The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work.

FLOOR PLAN

SECTION

ROOF PLAN

Antonio Gaudi in his redesign project tried to avoid straight lines completely . He used curved foms in his design and ART NOUVEAU architectural style. Hyperbolas and parabolas in windows, arches and doors are common, and decorative mouldings 'grow' into plantderived forms. He gave special treatment to FACADE. , ROOF , BALCONIES ,WINDOWS , DOORS AND INTERIOR of the building .

ARCHITECTURAL FEATURES

FACADE

The facadeis decorated with MOSAICmade of broken ceramic tiles which is golden orange moving into greenish blues.

The bones and skulls on the facade represent all the dragon's victims.

ROOF

The roof has been compared to a reptilian creature, the backbone of a gigantic dinosaur .
The roof is covered with bluishpink tiles on the street side. The small tower, topped with a cross which symbolised the sword of ST. GEORGE .

The roof has a replica of reptile skin, which is blue in colour.

DECORATIVE Click to edit Master text styles ROOF the side part of the roof Second level

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structure is decorated with a ccurvilinear dome like objects which is blue in colour. The rest of the roof structure is decorated with ceramic chips which is brownish orange in colour.

The whole roof is made in organic form.

BALCONY AND Balconies at the lower WINDOW

floors have bone-like pillars, those on the upper floors look like pieces of skulls. These features gave the house the nickname 'House of Bones'. The first floor features irregularly sculpted ovalwindows.

The enlarged windows on the first floor gave

Click to edit Master text styles Second level Third level Fourth level Fifth level

INTERIOR
The interior was designed like a cave. The height of the interior is approximate 5 metre. The interior is designed with columns and arches. He used coloured glasses in the outside facing walls. In the interior also

Thank You
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