MODERNISMO AND GAUDIacutersquoS CASA BATLLOacute

Casa Batlloacute as Icon for the Catalan Nationalist Movement

Megan McMahon

ARTH 372

April 21 2014

1

Antoni Gaudiacute designed many of the most famous buildings known in Barcelona He

championed a variety of styles ranging from moorish to Neo-Gothic to Modernismo each

contributing an imprint on an emerging definition of a national Catalan architecture His legacy

lies in his persistence to pursue a style that was uniquely his own resulting in his characteristic

organic facades parabolic arches and playful forms Completed in 1907 Casa Batlloacute became a

cornerstone in the collection of Gaudiacutersquos modernist structures demonstrating a radical departure

from linear forms and traditional Catalan architecture While its design was undoubtedly radical

at the time Casa Batlloacute tends to be overshadowed by Gaudiacutersquos 1910 Casa Milagrave in scholarly

literature Casa Batlloacutersquos radical design nevertheless serves as an important reminder of Gaudiacutersquos

desire to pursue a design uninhibited by preconceived stylistic constructs that would represent a

cultivated style appropriate for a rising Catalan bourgeoise ideal Through the formal analysis of

Casa Battloacute and its historical context this paper should clarify the relationship between Gaudiacutersquos

penchant for complete artistic freedom and his ties to Catalan Modernismo in the late 19th

century

The efficiency and speed that powered the rise of European industrialization initially

resulted in architectural tendencies that struggled to cope with the onslaught of technological

advancement instead electing to embrace reassurances of the comfortable past Nineteenth

century european architectural dogma was littered with revivalism This was soon met with

critiques of sobriety and cliche Viollet-le-Duc posed a challenge to his fellow architects ldquoIs the

nineteenth century destined to close without possessing an architecture of its own Will this age

which is so fertile in discoveries and which displays an energetic vitality transmit to posterity

2

only imitations or hybrid works without character and which is impossible to classrdquo In 1

response movements such as Art Nouveau in France and Belgium and Secessionism in Austria

began to explore innovative forms through the possibilities afforded to them by modern

construction materials like glass and wrought iron In Barcelona this reaction took form through 2

Modernismo which celebrated progress and modernization in concordance with the expression

of a genuine Catalan traditional culture

The Catalan nationalist movement in the late 19th century propagated an interest in

pursuing Modernismo as a means of establishing a sense of pride in the regionrsquos culture to shape

the direction for political advancement Catalans expressed deep frustration with their limited

political autonomy despite their recent economic success and rich cultural history ldquoDuring the

Middle Ages Cataloniahellip was an autonomous country with its own laws and its own language

Modern times - and the emergence of the Spanish Empire under Castilian rule - saw the gradual

loss of the regionrsquo independence by the early 19th century even use of the Catalan language had

been prohibited in the schoolsrdquo As a native to Catalonia Gaudiacute was surrounded by reminders of 3

this rich cultural past but like his peers became dissatisfied with Spainrsquos demands of the region

Just when Gaudiacute was finishing his formal training the Catalanista sentiment had evolved from

its literary beginnings into a political movement Though he never officially joined a political 4

party he demonstrated his sympathies to the movement through his persistence in the use of the

Catalan language and through his work Gaudiacute responded to Viollet-le-Ducrsquos appeal for a distinct

Eugegravene-Emmanuel Viollet-le-Duc ldquoArchitecture in the Nineteenth Century Importance of Methodrdquo in 1

Architecture and Design in Europe and America 1750-2000 (Oxford Blackwell Publishing 2006) 215

Alejandro Lapunzina Architecture of Spain (Greenwood Publishing Group 2005) lvii2

Rainer Zerbst Antoni Gaudiacute (Tokyo Taschen 2002) 173

Ceacutesar Martinell Gaudiacute His Life His Theories His Work (Cambridge MIT Press 1975) 484

3

nineteenth century architectural style by reinventing architectural forms in such a way that they

became representative of an emerging Catalan identity

At the turn of the century an industrial bourgeoisie emerged as a result of Cataloniarsquos

large successes in the textile naval and iron industries The increase in economic status

promoted an elevated level of social consciousness Because the Catalan bourgeoise possessed

limited political power they utilized art and architecture as a medium through which they

communicated their obstinance This recently-developed middle class upheld Modernismo as a 5

symbolic reflection of their desire for increased Catalan autonomy Josep Battloacute i Casanovas was

one such rising industrialist who owned a textile manufacturing company He sought to remodel

his four story neoclassical apartment building located on the fashionable Passeig de Gragravecia in

Barcelona to inspire a new image for himself and his business Batlloacute turned to Gaudiacute who by

this time had become somewhat of an architectural celebrity The resulting structure was

efficacious Gaudiacute added a bony stone and glass facade that frames the face of the existing

structure with thick pillars intruding on the pedestrian walkway demanding the attention of all it

encounters (Figure 1) The lower facade eventually gives way to a scaly blue and white mosaic

pattern which extends to the top of the building where it finally culminates in a jagged backbone

constituting the roof alongside a cross-shaped turret (Figure 2) Beginning at the third story

balconies swell out from the scales making the facade all the more charismatic for their skull-like

appearance The stir created by Casa Batlloacutersquos eclectic facade prompted numerous theories about

its thematic content a carnival the story of St George (St Jordi) and the dragon the sea the

mountains boneshellip Humor magazines nicknamed it ldquothe house of yawnsrdquo and ldquothe house of

Michael Eaude Catalonia A Cultural History (Oxford Oxford University Press 2008) 825

4

bonesrdquo with regard to its unusual organic shapes It seems the buildingrsquos mystery only added to 6

its appeal providing Battloacute with just the sort of iconic statement he wished to make

While its fantastical facade may imply the opposite Casa Battloacute is renowned as a highly

functionalist structure Gaudiacute shared Viollet-le-Ducrsquos sentiment that ldquothe more our buildings are

loaded with details and the richer they are through the variety of their constituent elements the

more do they betray forgetfulness of great principles and the absence of ideas in the artists who

contribute to their erectionrdquo Casa Battloacute manifests a logical arrangement of spaces and an 7

integrative decoration scheme that would have earned Gaudiacute the respect of his architectural idols

The Noble Floor delineated by a facade of bone-like framework was composed of the Battloacutersquos

private residence as well as a massive gallery (Figure 3) designed to feature the avant-garde

persona Battloacute was trying to convey The Coach Houses and Coal Cellars located below the 8

house functioned as a two-story area for the entertainment of large parties where the Battloacute

family could solicit their rising social status Servant activities were primarily localized to the 9

Loft (Figure 4) This area has been likened to an animalrsquos ribcage appropriately reflecting the

function of the servants as the organs or living machinery which allow the house to operate 10

The enlargement of the light-well (Figure 5) was also an important aspect of Gaudiacutersquos design

scheme because it permitted natural lighting in the interior of the house despite the density of the

surrounding city block Gaudiacute showed his mastery of functional architecture by maintaining a

Martinell Gaudiacute 826

Viollet-le-Duc ldquoImportance of Methodrdquo 2157

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website accessed April 23 2014 8

Ibid9

Ibid10

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

1

Antoni Gaudiacute designed many of the most famous buildings known in Barcelona He

championed a variety of styles ranging from moorish to Neo-Gothic to Modernismo each

contributing an imprint on an emerging definition of a national Catalan architecture His legacy

lies in his persistence to pursue a style that was uniquely his own resulting in his characteristic

organic facades parabolic arches and playful forms Completed in 1907 Casa Batlloacute became a

cornerstone in the collection of Gaudiacutersquos modernist structures demonstrating a radical departure

from linear forms and traditional Catalan architecture While its design was undoubtedly radical

at the time Casa Batlloacute tends to be overshadowed by Gaudiacutersquos 1910 Casa Milagrave in scholarly

literature Casa Batlloacutersquos radical design nevertheless serves as an important reminder of Gaudiacutersquos

desire to pursue a design uninhibited by preconceived stylistic constructs that would represent a

cultivated style appropriate for a rising Catalan bourgeoise ideal Through the formal analysis of

Casa Battloacute and its historical context this paper should clarify the relationship between Gaudiacutersquos

penchant for complete artistic freedom and his ties to Catalan Modernismo in the late 19th

century

The efficiency and speed that powered the rise of European industrialization initially

resulted in architectural tendencies that struggled to cope with the onslaught of technological

advancement instead electing to embrace reassurances of the comfortable past Nineteenth

century european architectural dogma was littered with revivalism This was soon met with

critiques of sobriety and cliche Viollet-le-Duc posed a challenge to his fellow architects ldquoIs the

nineteenth century destined to close without possessing an architecture of its own Will this age

which is so fertile in discoveries and which displays an energetic vitality transmit to posterity

2

only imitations or hybrid works without character and which is impossible to classrdquo In 1

response movements such as Art Nouveau in France and Belgium and Secessionism in Austria

began to explore innovative forms through the possibilities afforded to them by modern

construction materials like glass and wrought iron In Barcelona this reaction took form through 2

Modernismo which celebrated progress and modernization in concordance with the expression

of a genuine Catalan traditional culture

The Catalan nationalist movement in the late 19th century propagated an interest in

pursuing Modernismo as a means of establishing a sense of pride in the regionrsquos culture to shape

the direction for political advancement Catalans expressed deep frustration with their limited

political autonomy despite their recent economic success and rich cultural history ldquoDuring the

Middle Ages Cataloniahellip was an autonomous country with its own laws and its own language

Modern times - and the emergence of the Spanish Empire under Castilian rule - saw the gradual

loss of the regionrsquo independence by the early 19th century even use of the Catalan language had

been prohibited in the schoolsrdquo As a native to Catalonia Gaudiacute was surrounded by reminders of 3

this rich cultural past but like his peers became dissatisfied with Spainrsquos demands of the region

Just when Gaudiacute was finishing his formal training the Catalanista sentiment had evolved from

its literary beginnings into a political movement Though he never officially joined a political 4

party he demonstrated his sympathies to the movement through his persistence in the use of the

Catalan language and through his work Gaudiacute responded to Viollet-le-Ducrsquos appeal for a distinct

Eugegravene-Emmanuel Viollet-le-Duc ldquoArchitecture in the Nineteenth Century Importance of Methodrdquo in 1

Architecture and Design in Europe and America 1750-2000 (Oxford Blackwell Publishing 2006) 215

Alejandro Lapunzina Architecture of Spain (Greenwood Publishing Group 2005) lvii2

Rainer Zerbst Antoni Gaudiacute (Tokyo Taschen 2002) 173

Ceacutesar Martinell Gaudiacute His Life His Theories His Work (Cambridge MIT Press 1975) 484

3

nineteenth century architectural style by reinventing architectural forms in such a way that they

became representative of an emerging Catalan identity

At the turn of the century an industrial bourgeoisie emerged as a result of Cataloniarsquos

large successes in the textile naval and iron industries The increase in economic status

promoted an elevated level of social consciousness Because the Catalan bourgeoise possessed

limited political power they utilized art and architecture as a medium through which they

communicated their obstinance This recently-developed middle class upheld Modernismo as a 5

symbolic reflection of their desire for increased Catalan autonomy Josep Battloacute i Casanovas was

one such rising industrialist who owned a textile manufacturing company He sought to remodel

his four story neoclassical apartment building located on the fashionable Passeig de Gragravecia in

Barcelona to inspire a new image for himself and his business Batlloacute turned to Gaudiacute who by

this time had become somewhat of an architectural celebrity The resulting structure was

efficacious Gaudiacute added a bony stone and glass facade that frames the face of the existing

structure with thick pillars intruding on the pedestrian walkway demanding the attention of all it

encounters (Figure 1) The lower facade eventually gives way to a scaly blue and white mosaic

pattern which extends to the top of the building where it finally culminates in a jagged backbone

constituting the roof alongside a cross-shaped turret (Figure 2) Beginning at the third story

balconies swell out from the scales making the facade all the more charismatic for their skull-like

appearance The stir created by Casa Batlloacutersquos eclectic facade prompted numerous theories about

its thematic content a carnival the story of St George (St Jordi) and the dragon the sea the

mountains boneshellip Humor magazines nicknamed it ldquothe house of yawnsrdquo and ldquothe house of

Michael Eaude Catalonia A Cultural History (Oxford Oxford University Press 2008) 825

4

bonesrdquo with regard to its unusual organic shapes It seems the buildingrsquos mystery only added to 6

its appeal providing Battloacute with just the sort of iconic statement he wished to make

While its fantastical facade may imply the opposite Casa Battloacute is renowned as a highly

functionalist structure Gaudiacute shared Viollet-le-Ducrsquos sentiment that ldquothe more our buildings are

loaded with details and the richer they are through the variety of their constituent elements the

more do they betray forgetfulness of great principles and the absence of ideas in the artists who

contribute to their erectionrdquo Casa Battloacute manifests a logical arrangement of spaces and an 7

integrative decoration scheme that would have earned Gaudiacute the respect of his architectural idols

The Noble Floor delineated by a facade of bone-like framework was composed of the Battloacutersquos

private residence as well as a massive gallery (Figure 3) designed to feature the avant-garde

persona Battloacute was trying to convey The Coach Houses and Coal Cellars located below the 8

house functioned as a two-story area for the entertainment of large parties where the Battloacute

family could solicit their rising social status Servant activities were primarily localized to the 9

Loft (Figure 4) This area has been likened to an animalrsquos ribcage appropriately reflecting the

function of the servants as the organs or living machinery which allow the house to operate 10

The enlargement of the light-well (Figure 5) was also an important aspect of Gaudiacutersquos design

scheme because it permitted natural lighting in the interior of the house despite the density of the

surrounding city block Gaudiacute showed his mastery of functional architecture by maintaining a

Martinell Gaudiacute 826

Viollet-le-Duc ldquoImportance of Methodrdquo 2157

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website accessed April 23 2014 8

Ibid9

Ibid10

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

2

only imitations or hybrid works without character and which is impossible to classrdquo In 1

response movements such as Art Nouveau in France and Belgium and Secessionism in Austria

began to explore innovative forms through the possibilities afforded to them by modern

construction materials like glass and wrought iron In Barcelona this reaction took form through 2

Modernismo which celebrated progress and modernization in concordance with the expression

of a genuine Catalan traditional culture

The Catalan nationalist movement in the late 19th century propagated an interest in

pursuing Modernismo as a means of establishing a sense of pride in the regionrsquos culture to shape

the direction for political advancement Catalans expressed deep frustration with their limited

political autonomy despite their recent economic success and rich cultural history ldquoDuring the

Middle Ages Cataloniahellip was an autonomous country with its own laws and its own language

Modern times - and the emergence of the Spanish Empire under Castilian rule - saw the gradual

loss of the regionrsquo independence by the early 19th century even use of the Catalan language had

been prohibited in the schoolsrdquo As a native to Catalonia Gaudiacute was surrounded by reminders of 3

this rich cultural past but like his peers became dissatisfied with Spainrsquos demands of the region

Just when Gaudiacute was finishing his formal training the Catalanista sentiment had evolved from

its literary beginnings into a political movement Though he never officially joined a political 4

party he demonstrated his sympathies to the movement through his persistence in the use of the

Catalan language and through his work Gaudiacute responded to Viollet-le-Ducrsquos appeal for a distinct

Eugegravene-Emmanuel Viollet-le-Duc ldquoArchitecture in the Nineteenth Century Importance of Methodrdquo in 1

Architecture and Design in Europe and America 1750-2000 (Oxford Blackwell Publishing 2006) 215

Alejandro Lapunzina Architecture of Spain (Greenwood Publishing Group 2005) lvii2

Rainer Zerbst Antoni Gaudiacute (Tokyo Taschen 2002) 173

Ceacutesar Martinell Gaudiacute His Life His Theories His Work (Cambridge MIT Press 1975) 484

3

nineteenth century architectural style by reinventing architectural forms in such a way that they

became representative of an emerging Catalan identity

At the turn of the century an industrial bourgeoisie emerged as a result of Cataloniarsquos

large successes in the textile naval and iron industries The increase in economic status

promoted an elevated level of social consciousness Because the Catalan bourgeoise possessed

limited political power they utilized art and architecture as a medium through which they

communicated their obstinance This recently-developed middle class upheld Modernismo as a 5

symbolic reflection of their desire for increased Catalan autonomy Josep Battloacute i Casanovas was

one such rising industrialist who owned a textile manufacturing company He sought to remodel

his four story neoclassical apartment building located on the fashionable Passeig de Gragravecia in

Barcelona to inspire a new image for himself and his business Batlloacute turned to Gaudiacute who by

this time had become somewhat of an architectural celebrity The resulting structure was

efficacious Gaudiacute added a bony stone and glass facade that frames the face of the existing

structure with thick pillars intruding on the pedestrian walkway demanding the attention of all it

encounters (Figure 1) The lower facade eventually gives way to a scaly blue and white mosaic

pattern which extends to the top of the building where it finally culminates in a jagged backbone

constituting the roof alongside a cross-shaped turret (Figure 2) Beginning at the third story

balconies swell out from the scales making the facade all the more charismatic for their skull-like

appearance The stir created by Casa Batlloacutersquos eclectic facade prompted numerous theories about

its thematic content a carnival the story of St George (St Jordi) and the dragon the sea the

mountains boneshellip Humor magazines nicknamed it ldquothe house of yawnsrdquo and ldquothe house of

Michael Eaude Catalonia A Cultural History (Oxford Oxford University Press 2008) 825

4

bonesrdquo with regard to its unusual organic shapes It seems the buildingrsquos mystery only added to 6

its appeal providing Battloacute with just the sort of iconic statement he wished to make

While its fantastical facade may imply the opposite Casa Battloacute is renowned as a highly

functionalist structure Gaudiacute shared Viollet-le-Ducrsquos sentiment that ldquothe more our buildings are

loaded with details and the richer they are through the variety of their constituent elements the

more do they betray forgetfulness of great principles and the absence of ideas in the artists who

contribute to their erectionrdquo Casa Battloacute manifests a logical arrangement of spaces and an 7

integrative decoration scheme that would have earned Gaudiacute the respect of his architectural idols

The Noble Floor delineated by a facade of bone-like framework was composed of the Battloacutersquos

private residence as well as a massive gallery (Figure 3) designed to feature the avant-garde

persona Battloacute was trying to convey The Coach Houses and Coal Cellars located below the 8

house functioned as a two-story area for the entertainment of large parties where the Battloacute

family could solicit their rising social status Servant activities were primarily localized to the 9

Loft (Figure 4) This area has been likened to an animalrsquos ribcage appropriately reflecting the

function of the servants as the organs or living machinery which allow the house to operate 10

The enlargement of the light-well (Figure 5) was also an important aspect of Gaudiacutersquos design

scheme because it permitted natural lighting in the interior of the house despite the density of the

surrounding city block Gaudiacute showed his mastery of functional architecture by maintaining a

Martinell Gaudiacute 826

Viollet-le-Duc ldquoImportance of Methodrdquo 2157

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website accessed April 23 2014 8

Ibid9

Ibid10

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

3

nineteenth century architectural style by reinventing architectural forms in such a way that they

became representative of an emerging Catalan identity

At the turn of the century an industrial bourgeoisie emerged as a result of Cataloniarsquos

large successes in the textile naval and iron industries The increase in economic status

promoted an elevated level of social consciousness Because the Catalan bourgeoise possessed

limited political power they utilized art and architecture as a medium through which they

communicated their obstinance This recently-developed middle class upheld Modernismo as a 5

symbolic reflection of their desire for increased Catalan autonomy Josep Battloacute i Casanovas was

one such rising industrialist who owned a textile manufacturing company He sought to remodel

his four story neoclassical apartment building located on the fashionable Passeig de Gragravecia in

Barcelona to inspire a new image for himself and his business Batlloacute turned to Gaudiacute who by

this time had become somewhat of an architectural celebrity The resulting structure was

efficacious Gaudiacute added a bony stone and glass facade that frames the face of the existing

structure with thick pillars intruding on the pedestrian walkway demanding the attention of all it

encounters (Figure 1) The lower facade eventually gives way to a scaly blue and white mosaic

pattern which extends to the top of the building where it finally culminates in a jagged backbone

constituting the roof alongside a cross-shaped turret (Figure 2) Beginning at the third story

balconies swell out from the scales making the facade all the more charismatic for their skull-like

appearance The stir created by Casa Batlloacutersquos eclectic facade prompted numerous theories about

its thematic content a carnival the story of St George (St Jordi) and the dragon the sea the

mountains boneshellip Humor magazines nicknamed it ldquothe house of yawnsrdquo and ldquothe house of

Michael Eaude Catalonia A Cultural History (Oxford Oxford University Press 2008) 825

4

bonesrdquo with regard to its unusual organic shapes It seems the buildingrsquos mystery only added to 6

its appeal providing Battloacute with just the sort of iconic statement he wished to make

While its fantastical facade may imply the opposite Casa Battloacute is renowned as a highly

functionalist structure Gaudiacute shared Viollet-le-Ducrsquos sentiment that ldquothe more our buildings are

loaded with details and the richer they are through the variety of their constituent elements the

more do they betray forgetfulness of great principles and the absence of ideas in the artists who

contribute to their erectionrdquo Casa Battloacute manifests a logical arrangement of spaces and an 7

integrative decoration scheme that would have earned Gaudiacute the respect of his architectural idols

The Noble Floor delineated by a facade of bone-like framework was composed of the Battloacutersquos

private residence as well as a massive gallery (Figure 3) designed to feature the avant-garde

persona Battloacute was trying to convey The Coach Houses and Coal Cellars located below the 8

house functioned as a two-story area for the entertainment of large parties where the Battloacute

family could solicit their rising social status Servant activities were primarily localized to the 9

Loft (Figure 4) This area has been likened to an animalrsquos ribcage appropriately reflecting the

function of the servants as the organs or living machinery which allow the house to operate 10

The enlargement of the light-well (Figure 5) was also an important aspect of Gaudiacutersquos design

scheme because it permitted natural lighting in the interior of the house despite the density of the

surrounding city block Gaudiacute showed his mastery of functional architecture by maintaining a

Martinell Gaudiacute 826

Viollet-le-Duc ldquoImportance of Methodrdquo 2157

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website accessed April 23 2014 8

Ibid9

Ibid10

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

4

bonesrdquo with regard to its unusual organic shapes It seems the buildingrsquos mystery only added to 6

its appeal providing Battloacute with just the sort of iconic statement he wished to make

While its fantastical facade may imply the opposite Casa Battloacute is renowned as a highly

functionalist structure Gaudiacute shared Viollet-le-Ducrsquos sentiment that ldquothe more our buildings are

loaded with details and the richer they are through the variety of their constituent elements the

more do they betray forgetfulness of great principles and the absence of ideas in the artists who

contribute to their erectionrdquo Casa Battloacute manifests a logical arrangement of spaces and an 7

integrative decoration scheme that would have earned Gaudiacute the respect of his architectural idols

The Noble Floor delineated by a facade of bone-like framework was composed of the Battloacutersquos

private residence as well as a massive gallery (Figure 3) designed to feature the avant-garde

persona Battloacute was trying to convey The Coach Houses and Coal Cellars located below the 8

house functioned as a two-story area for the entertainment of large parties where the Battloacute

family could solicit their rising social status Servant activities were primarily localized to the 9

Loft (Figure 4) This area has been likened to an animalrsquos ribcage appropriately reflecting the

function of the servants as the organs or living machinery which allow the house to operate 10

The enlargement of the light-well (Figure 5) was also an important aspect of Gaudiacutersquos design

scheme because it permitted natural lighting in the interior of the house despite the density of the

surrounding city block Gaudiacute showed his mastery of functional architecture by maintaining a

Martinell Gaudiacute 826

Viollet-le-Duc ldquoImportance of Methodrdquo 2157

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website accessed April 23 2014 8

Ibid9

Ibid10

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

5

balance between public and private domains that allowed Casa Batlloacute to operate as a comfortable

private residence and a venue for social gatherings necessitated by the success of the new

Catalan bourgeoisie

The exterior of the house articulates these interior divisions by establishing a wide double

facade on the first floor gradually decreasing the window size with escalation and manipulating

the gradient of mosaic tiles by transitioning from white to blue as the eye ascends the buildingrsquos

facade This parallel exterior was deliberate ldquoGaudiacute realized that a multistory apartment building

does not just consist of one equal dwelling place on top of another and here he accordingly took

account of each unitrsquos differing relationship with the light-wellrdquo Gaudiacutersquos forms demonstrate 11

unfailing structural rationalism and express either personal or social significance In Casa Batlloacute

the rather bizarre permeating dragon motif shaped the parallel relationship between exterior and

interior thereby enhancing the structurersquos unified formal concept The turret topped with a cross

represents St Georgersquos lance which stabs the jagged roof that forms the dragonrsquos back (Figure 3)

The tribunes symbolize the skulls of the dragonrsquos prey testifying to the glory of St Georgersquos

heroic feat This paired with the dragonrsquos ribcage in the interior loft and the twisted spiral

staircase (Figure 6) symbolic of an animalrsquos spine complete the motif Gaudiacute may have selected 12

St George as a result of the strong Catholic conviction he developed as an adult indicating his

proclivity for artistic freedom and reliance on personal inspiration Others suggest that using the

regionrsquos patron saint was a tool to further the nationalist political agenda ldquoIn this case [Gaudiacute]

went to the extent of impregnating the whole facade with a symbolic lsquoposterrsquo of national identity

David Mackay Modern Architecture in Barcelona 1854-1939 (New York Rizzoli 1989) 4711

ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Website12

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

6

incorporating that most potent of Cataloniarsquos collective emblems St Georgerdquo While the extent 13

of this symbolism present in an industrialistrsquos bourgeoise apartment building is undoubtedly

bizarre this eclecticism is precisely what made Gaudiacutersquos work so appealing to Catalanistas

ldquoGaudiacute thought that satisfying the man by conforming to ninety degree angles and straight lines

only cemented the man in the lower-middle-class mindsetrdquo For his rising bourgeoise clientele 14

Gaudiacutersquos pursuit of an unprecedented visual style became reflective of their political aspirations

The organic forms characteristic of Gaudiacutersquos work sought to capture the beauty of the

Catalan landscape thereby emanating a strong cultural pride which coincided with Modernismo

He considered nature to be his most important teacher ldquoInstead of going to class he preferred to

sit by the shore and contemplate the sea which fascinated him The depth and movement of the

water revealed to him as in the depths of a mirror a fluid space rhythmic and architectonic a

dynamic both vivid and formalrdquo It is easy to see the source of inspiration for the turbulent 15

facade of Casa Batlloacute This decision was both practical and symbolic The undulating surface

reflects sunlight in different directions throughout the day to prevent it from reflecting as one

solid sheet The wave-like forms also indicate Gaudiacutersquos use of natural forms to represent the local

landscape ldquoThe greenish-blue sheen of the facade evokes the surface of the sea crowned with

little peaks of foam The window sills and frames seem to have been moulded out of clay The

facade - although tightly inserted between the two soberly designed houses on either side - has

been set into motion Everything seems to be welling up and then recedingrdquo Like the dragon 16

Mackay Modern Architecture in Barcelona 4713

Robert Descharnes Gaudiacute The Visionary (New York Viking Press 1971) 155 14

Ibid 14 15

Zerbst Antoni Gaudiacute 2916

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

7

motif this interpretation of the house as sea is executed to its full extent throughout the interior

of the house There are no corners the walls doors window openings fireplace are all contoured

by free-flowing lines (Figure 7) Gaudiacutersquos ability to layer symbolism produced a sophisticated 17

witty result worthy of championing the Modernismo movement Furthermore the upper facade is

constructed with local Montjuic stone directly integrating the local environment into the

structure while simultaneously conveying a sandstone texture that frames the marine-colored

mosaic tiles Gaudiacutersquos use of natural forms alludes to features of the distinctly Catalan 18

landscape furthering the potential for the expression of Catalan nationalist ideals

Because of his preference for natural forms some sources connect Gaudiacute to Art

Nouveau While Art Nouveau did place heavy emphasis on seeking inventive forms inspired by 19

nature it tended to rely on accentuated linear configurations and ornamentation Alternatively

Gaudiacute sought a much more functionalist approach - derived from his much admired paragons

Viollet-le-Duc and Ruskin - that aimed to capture the essence of the natural forces at work 20

beyond surface level In his didactic essay Gaudiacute writes ldquoThe most important requirement for an

object that is to be considered beautiful is that it fulfill the purpose for which it is destinedhellip

with a tendency toward a unified solution where the material conditions function and character

of the object are taken care of and synthesizedrdquo This departure reflects Gaudiacutersquos focus on the 21

Ibid 17217

Ibid 172 18

Laura Desfor Edles rdquoA Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and 19

Catalan Nationalism in Spainrdquo Social Science History 23 no 3 (1999) 319

Descharnes Gaudiacute The Visionary 14 20

Martinell Gaudiacute 12521

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

8

opportunity to create an eclectic modernist architecture that echoed the needs of the Catalan

nationalist objectives rather than his conformity to the Art Nouveau style

While initially Casa Batlloacute ldquoseems to be the brainchild of someone whose mind has

detached itself from everything that hitherto existed and who follows only its own dreams and

visionsrdquo formal analysis has shown it to be wholly evocative of architectural truth and 22

instrumental in the display of the increasing means of Cataloniarsquos bourgeoisie Gaudiacutersquos defiance

of traditional structural geometry combined with his imaginative incorporation of recognizable

cultural motifs has solidified Casa Battloacutersquos place as one of the most effective monuments to arise

from reactions to the controversial nineteenth century revivalism Casa Battloacute certainly deserves

a place of notability among the repertoire of Modernismo structures Its display of ingenuity is so

reflective of the architect to whom Barcelona is so indebted for the unique architectural

landscape that is so highly acclaimed today

Zerbst Antoni Gaudiacute 17222

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

9

Appendix A Images

FIGURE 1 Antoni Gaudiacute Casa Batlloacute Overview 1905-1907 Source Artstor

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

10

FIGURE 2 Antoni Gaudiacute Casa Batlloacute Turret Chimney Cluster Tile Work Detail 1905-1907 Source Artstor

FIGURE 3 Antoni Gaudiacute Casa Battloacute Interior Salon 1905-1907 Source Artstor

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

11

FIGURE 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved Ceiling 1905-1907 Source Artstor

FIGURE 5 Antoni Gaudiacute Casa Batlloacute Interior Light Shaft 1905-1907 Source Artstor

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

12

FIGURE 7 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Fireplace and Light Feature 1905-1907 Source Artstor

FIGURE 6 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Staircase 1905-1907 Source Zerbst 2002 171

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

13

Illustrations

Fig 1 Antoni Gaudiacute i Cornet Josep Maria Jujol ldquoCasa Josep Batlloacute i Casanovas Overviewrdquo Artstor httpartstororg (accessed April 23 2014) Fig 2 Antoni Gaudiacute ldquoCasa Josep Batlloacute i Casanovas Turret Chimney Cluster Tile Work Detailrdquo Artstor httpartstororg (accessed April 23 2014) Fig 3 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Salonrdquo Artstor httpartstororg (accessed April 23 2014) Fig 4 Antoni Gaudiacute Batlloacute House (Casa Batlloacute) Interior Curved CeilingrdquoArtstor httpartstororg (accessed April 23 2014) Fig 5 Antoni Gaudiacute ldquoCasa Batlloacute Interior Light Shaftrdquo Artstor httpartstororg (accessed April 24 2014) Fig 6 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Staircaserdquo From Rainer Zerbstrsquos Antoni Gaudiacute (Tokyo Taschen 2002) Fig 7 Antoni Gaudiacute ldquoBatlloacute House (Casa Batlloacute) Interior Fireplace and Light Featurerdquo Artstor httpartstororg (accessed April 23 2014)

14

Bibliography Beddall Thomas G Gaudiacute and the Catalan Gothic Journal of the Society of Architectural Historians 34 no 1 (March 1975) 48-59 ldquoCasa Batlloacuterdquo Casa Batlloacute Museum Accessed April 23 2014 httpwwwcasaBatlloacuteesen categorycasa-Batlloacute Collins George R Antoni Gaudiacute Structure and Formrdquo Perspecta 8 (1963) 63-90 Descharnes Robert Gaudiacute The Visionary New York Viking Press 1971 Eaude Michael Catalonia A Cultural History Oxford Oxford University Press 2008 Edles Laura Desfor A Culturalist Approach to Ethnic Nationalist Movements Symbolization and Basque and Catalan Nationalism in Spain Social Science History 23 no 3 (Autumn 1999) 311-355 Mackay David Modern Architecture in Barcelona 1854-1939 New York Rizzoli 1989 Martinell Ceacutesar Gaudiacute His Life His Theories His Work Cambridge MIT Press 1975 Permanyer Lluiacutes Gaudiacute of Barcelona New York Rizzoli 1996 Sobrer Josep Miquel Against Barcelona Gaudiacute the City and Nature Arizona Journal of Hispanic Cultural Studies 6 (2002) 205-219 Viollet-le-Duc Eugegravene-Emmanuel ldquoArchitecture in the Nineteenth Century Importance of Methodrdquo In Architecture and Design in Europe and America 1750-2000 215-220 Oxford Blackwell Publishing 2006 Zerbst Rainer Antoni Gaudiacute Tokyo Taschen 2002