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  2. Sagrada Família - Wikipedia › wiki › Sagrada_Família

    The style of la Sagrada Família is variously likened to Spanish Late Gothic, Catalan Modernism or Art Nouveau. While the Sagrada Família falls within the Art Nouveau period, Nikolaus Pevsner points out that, along with Charles Rennie Mackintosh in Glasgow, Gaudí carried the Art Nouveau style far beyond its usual application as a surface decoration.

  3. Blog Sagrada Família › en

    Construction of the Sagrada Família is full of challenges. One of them has undoubtedly been building the central lanterns. Now that these are on track and about to start changing the Temple profile, the next important challenge will be the main façade, the Glory façade. As we explained in a previous post, work is currently …

  4. La Sagrada Família (Church of the Sacred Family) Reviews | U ... › Barcelona_Spain › Things_To_Do

    La Sagrada Família is not only considered to be Gaudí most recognized work, but also his best. Believe it or not, this church wasn't always Gaudí's.

    • C/ Mallorca, 401, Barcelona 08013
  5. Work Resumes On Gaudí’s Sagrada Família, But The 2026 ... › sites › isabellekliger

    Sep 16, 2020 · In the immediate future, the Sagrada Família construction project will focus specifically on the Tower of the Virgin Mary, the second tallest in the Basilica, which will reach a dizzying height ...

    • Isabelle Kliger
  6. Double twist columns - Blog Sagrada Família › en › specialists
    • Synthesis of Architectural Columns from Throughout History
    • The Double Twist Column
    • Hidden Symbolism
    • Four Types of Columns, A Structural Hierarchy
    • The Star-Shaped Bases
    • Diameter and Height
    • The Colour of Material

    Gaudí sought out a new column, one that would surpass previous ones. His goal was not to be ground-breaking or revolutionary but merely reflected his simple, characteristic desire to always do more, better. So, after dogged research, he finally came up with this new column, which brought together all the history of columns from architectural traditions around the world. However, far from classifying them as Ionic, Doric or Corinthian columns, Gaudí’s method was much more trivial, grouping them into three basic models: 1. Smooth, cylindrical columnswithout any decoration, created simply by extruding the circle from the base, like the columns at the Pantheon in Rome. 2. Greek columns, engraved with vertical striations running from top to bottom, with the Parthenon in Athens as the perfect example. 3. Solomonic columns, typical of Baroque architecture, with an ascending helical twist. The columns on the baldachin of St. Peter’s in the Vatican are a good example. In this article, we’ll...

    To understand how Gaudí came up with this solution, it is important to follow his path, which as always was highly practical and empirical. Let’s imagine a cylinder of fresh plaster, still malleable, and a wood template with a hole in the centre shaped like a star with rounded points, which Gaudí was using at the time as the cross-section of the columns. If we put the template over the column and drag it down, it will shape the cylinder leaving striations from top to bottom if moved in a straight line parallel to the axis of the cylinder. Gaudí, however, introduced the twist. So, by twisting the template as it moved down the column, like turning a steering wheel, the cylinder was engraved just like a Solomonic column, with the helicoidal path of the helical twist. That wasn’t anything new, but what was new was doing a second pass with the template, this time twisting in the opposite direction. This time the path is not the same. The template removes the extra fresh plaster again and...

    We know that, for Gaudí, meaning and form are inseparable, and we can see this here too. By drawing a star on the ground (the shape of the base of the column) and moving it in helicoidally upwards, it is clearly connecting the earth and the heavens. Furthermore, by repeating this movement twice (passing the template over the column two times in opposite directions), we are reminded that Gaudí left notes that the columns were dedicated to the saints of the various dioceses in Catalonia and the world, with the saints ascending into heaven and the angels descending to meet them. So, this can give us the key and make us think of everything that could have been in Gaudí’s mind when he decided to run the template over the column twice, in opposite directions.

    The main columns inside the temple follow a hierarchy based on the what they have to support from a mechanical or structural standpoint. First we have the columns on each of the four corners of the crossing, which have to support the load of the central lantern of Jesus Christ, as well as part of the weight of the four towers of the Evangelists that surround this lantern, plus the proportional part of the vaults and roofs along the way. For this reason, they are the most important columns. Second are the eight columns that bear the load of the towers of the Evangelists. They are also located on the crossing, behind the first group. After that, we have the columns in the apse and nave. While those in the apse bear the load of the tower of the Virgin Mary, they are very close together and the same as those in the nave, which support the vaults and attics on the central nave and part of the side nave. Finally, the columns that separate the side naves from the main navebear the weight o...

    The first thing that sets the columns apart is the shape of their base, the star. This has led us to refer to the columns by the number of points on the stars used for the base. So, the column with the most has twelve points. It is, therefore, the most important from a hierarchical standpoint. To make these stars that define each of the groups of columns, Gaudí always superimposed simpler regular polygons: the equilateral triangle, square and pentagon. So, to make the six-pointed star, he superimposed two equilateral triangles; for the eight-pointed star, two squares; for the ten-sided star, two pentagons; and for the twelve-sided star, three squares. Therefore, the four columns on the crossing have twelve-pointed stars; the eight columns with ten-pointed stars are those of the Evangelists; the columns in the nave and apse have eight-pointed stars; and those on the side naves and the choir, six-pointed stars. In each case, the points of the star are sharp on the inside and rounded o...

    The total height of each column is always, in metres, double the number of points on the star, broken down into the base, shaft and capital. The height of the bases is always the same as the number of points in decimetres, while the shaft is always the sum of the first three sections it is broken down into. Additionally, the inner diameter of each column and the height of the shaft follow the same relation of 1/10, meaning the height of the shaft is always ten times its inner diameter. Also, multiplying the number of arrises to infinity, until you get a circle, would complicate the stone-cutting process, so Gaudí simplified it by creating ellipsoid capitals that hide the other sections. This way, the circle isn’t visible; it is hidden inside the ellipsoid of the knot or capital.

    Gaudí used the materials laboratory at the then recently opened Escola Industrial on Carrer del Comte Urgell to get empirical data on the strength of a wide variety of types of stone. With this study, he determined that the twelve-pointed columns, on the crossing, would be covered in red granite porphyry, the strongest stone used in construction. The ten-pointed columns, under the towers of the Evangelists, are clad in black basalt. The eight-pointed columns are grey granite and the six-pointed ones, yellowish sedimentary sandstone. Despite these trials, Gaudí himself realised that the structural requirements for these columns were greater and considered using iron columns because, as was reflected in his conversations with architect and collaborator César Martinell in 1915, conventional solid stone columns would have to be so big they would eat up the space on the temple floor. In the end, he used reinforced concrete, as his right-hand man Domènec Sugranyes explained in 1923 at a c...

  7. Sagrada Família – Barcelona, Spain - Atlas Obscura › places › sagrada-familia

    Sagrada Família Barcelona, Spain Construction of Barcelona's iconic (but controversial) church is expected to be completed in 2026—a century after the death of its architect.

  8. La Sagrada Família Basilica By Antonio Gaudí › en › gaudi

    The Sagrada Família is not only famous for being Barcelona's no.1 tourist attraction it's also famous for its entrance queues. Up to 2 hours or more is not uncommon. Bear in mind you could be queuing for hours in the hot Spanish sun making this a particularly unpleasant experience.

  9. Sagrada Família - Wikimedia Commons › wiki › Sagrada_Família

    Oct 21, 2019 · The Sagrada Família is an unfinished catholic church in the Catalan city of Barcelona in Spain, considered to be architect Antoni Gaudí i Cornet's masterpiece. Overview [ edit ] View from the Parc Güell .

  10. La Sagrada Família | Barcelona, Spain Attractions - Lonely Planet › spain › barcelona

    The Temple Expiatori de la Sagrada Família (Expiatory Temple of the Holy Family) was Antoni Gaudí’s all-consuming obsession. Given the commission by a conservative society that wished to build a temple as atonement for the city’s sins of modernity, Gaudí saw its completion as his holy mission.

    • Carrer de la Marina, Barcelona, Catalonia
    • 932 08 04 14
  11. Holy Family GAUDI Barcelona Sagrada Família Handcraft DIY ... › itm › Holy-Family-GAUDI-Barcelona

    (3) Use Scissor or Craft Knife to cut parts precisely by following the outer edge. The level of precision affects the effect of combination. (Cut the most outer edge if the line is thick). A. For Scissor cutting, suggest not to push the Scissor but pull the paper.

    • CHINA, China