The appointment last year by architect Jordi Faulí as the new director of the works of the Sagrada Família, lets make some observations on the continuation of the basilica. Gaudí, son of Boilermakers, was well prepared to transform a flat surface and said volume would have to be “much boiler” to continue the works of the Sagrada Familia.
Scaffolding installed on the main nave of the Sagrada Familia to build the six central towers. DANNY CAMINAL
Much less is the most interesting of the teacher but for the media force that has generated worldwide its construction becomes a must for most tourists visiting Barcelona. XVIen Benedict’s visit in 2010 expanded its outreach and altars rise to Gaudi’s could expand further.
The young Gaudí, who had always been critical of Gothic architecture, called her “an architecture with crutches,” began in Mataró Mataró Workers working for a cooperative run by his friend ReusSalvador Pagès. Gaudí said: “If we take away the crutches in Gothic architecture and use catenary arches (parabolic), we no longer need the buttresses that hold the Gothic cathedrals”. So it was with wooden arches of the nave of bleach “Mataronense Workers”.
Manuel Ribas Piera, professor of urbanism at ETSAB reminded us as Professor George R. Collins, a student of Gaudi, visiting these arches in 1958, marveled: “As old as new”. Workers In Mataronense Gaudí built the first catenary arches then used in many of his works. In the Holy Family could not, as it followed the vertical pillars initiated by Francisco del Villar Lozano. I like the young Gaudí of the Cooperative, which today houses the Museum of Contemporary Art in Mataró, Bassat Collection. The arches of the Nave Gaudí columns remind me of Santa Maria del Mar and the clarity of the German Pavilion DeMies van der Rohe, Barcelona Expo 1929 by its simplicity. Again Mies was right: “Less is more”.
TEACHER AFTER DEATH
Despite the professionalism of architects who have continued the Holy Family after the master’s death in 1926, Sunday Sugranyes, Isidre Puig Boada, Francisco Quintana, César Martinell, Joan Bergós, José Francisco Ràfols yBonet Garí and Jordi Bonet Armengol (1987 -2012), I worry about the path that has been followed in subsequent works.
Architects know well what a final design and use on site. The architecture of the Sagrada Familia, full of details and handmade crafts, more compelling still be on site. So did Gaudí with plans, models and accompanied by his collaborators.
But you can make your computer blow modernism and the accuracy of the hyperbolic paraboloid can not substitute teacher sensitivity: and that long since it shows in the Sagrada Familia. Wanting to further extrapolate the Nativity façade, the only one made Gaudi highlights the precariousness of the invention. It has been mistakenly followed the way of mimicry, using models and drawings, but this is a wrong way: Ceremony generates confusion and not clear where it ends and where Gaudí start the current directors of the work. Confusion that climaxes in the museum located in the basement of the basilica.
Probably without the brand Gaudí works funding would plummet and yet it seems as if the teacher is kidnapped and used as bait and claim Gaudí tourism and economic to continue the works. Today economic profitability is extraordinary and can last many years and even more if Gaudi comes to holiness.