Dissertations / Theses on the topic 'Antoni Gaudí'

Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.

This Thesis is a study on the conforming process of the architect Antoni Gaudí and his work image as a reference and city claim of Barcelona, and how he has became the masterpiece on the International Catalan Modernism recognition. Over the years, the relationship between the image of Gaudi and Barcelona had two opposite sides that include terrible critics and unconditional admiration. From the analysis of different art exhibitions, particularly in Catalonia and Japan about the image of Antoni Gaudí and his work, it aims to evidence which have been the key factors that have developed this cultural phenomenon. We have analyzed each of the key exhibits in detail and has found evidence that expressed, at any time, a rejection or admiration of the work of Antoni Gaudí. This process begins with the Universal Paris exhibition in 1878 and still continues. The level of expertise achieved on the reception of the work of the Catalan architect and the understanding of the tourism mass phenomenon today in Barcelona must give us the keys to future actions to highlight the work of existing Gaudí buildings. The "Nau Gaudí", his first work in Mataro, should be able to get the conclusions of the study applied and like this, it will be able to be included in the Gaudian corpus, following the current model with the necessary amendments if necessary.
Aquesta tesi doctoral consisteix en l'estudi sobre el procés de conformació de la imatge de l'arquitecte Antoni Gaudí i de la seva obra com a referent i reclam de la ciutat de Barcelona i peça clau en el reconeixement internacional del modernisme català. El treball s'ha fet a partir de l'anàlisi de la seva fortuna crítica i sobretot a partir de les exposicions relacionades, tractades com a eines estratègiques al llarg del temps i arreu del món i es posa especial atenció en les que tingueren lloc a Barcelona i al Japó. S'ha analitzat cadascuna de els exposicions clau de manera detallada i s'ha detectat les evidències que han expressat, en cada moment, un rebuig o bé una admiració de l'obra d'Antoni Gaudí. Aquest procés, s'inicia amb l'Eexposició de Paris de 1878 i es perllonga encara ara. El grau d'expertesa assolit sobre la recepció de l'obra de l'arquitecte català ajudarà a canalitzar i reflexionar sobre les conseqüències de la conformació de la seva imatge com la massificació del turisme actual de Barcelona. Les conclusions han de servir per identificar les diferents claus que han propiciat aquesta conformació del fenomen Barcelona-Gaudí per saber intervenir en el futur en altres obres de Gaudí i del modernisme en general, com per exemple, la seva primera construcció, a Mataró, la "Nau Gaudí" per tal de situar-la dins del corpus Gaudinià, seguint el model actual amb les esmenes necessàries si s'escau.

Based on the study and analysis of existing buildings, and using three-dimensional modeling software, we can understand and thus explain the main mechanisms for historic buildings design and construction, making them understandable to non-specialist audiences. Knowledge of CAD softwares devices allow us a deeper study of the development of mechanisms that describe the building before constructing it or when we have to rebuild them into their original state if they have been destroyed or partially sunk. The thesis explores these resources from various examples from Antoni Gaudí works, Catalonia's most influent architect, with special emphasis on the geometry and the form that defines it. The level of expertise achieved and the constant process of training gives us the capacity to transmit (to future generations) resources in order to achieve with judgment and utmost accurary the necessary documentation to be good professionals in the field of design,engineering and architecture.
A partir de l'estudi i anàlisi d'edificis existents ,i utilitzant el modelat tridimensional hom pot entendre i per tant explicar, els principals mecanismes de disseny i construcció d'edificis històrics fent-los comprensibles a públics no especialitzats. El coneixement de les eines que ens ofereixen avui els softwares de CAD permeten aprofundir molt en el desenvolupament de mecanismes descriptius de l'edifici, abans de construir-los o tornant-los al seu estat originari si han sigut enfonsats o parcialment enfonsats. La tesi aprofundeix en aquests recursos a partir de diversos exemples, obres d'Antoni Gaudí, arquitecte referent a Catalunya, incidint especialment en la geometria i en la forma que els defineix. El grau d'expertesa assolit i el constant procés de formació ens doten de capacitat per transmetre (a futures generacions) recursos per tal d'assolir amb criteri i rigor la documentació necessària pera ser bons professionals en el camp del disseny, l'enginyeria i l'arquitectura.

Created between 1903 and 1912 by an anonymous architect, the Modernist constructions in the gardens of the former Mental Hospital in Sant Boi de Llobregat, Barcelona, allude to, anticipate or are contemporaries of works by Antoni Gaudí. For example, the serpentine bench in Park Güell (1909-1913), Casa Milà (1906-1912), the crypt at the Güell Colony (1908-1914) and the model for the ceilings in the Sagrada Familia (1915-1921). The building of the sanatorium in Sant Boi de Llobregat –with somewhat careless and rudimentary construction because the labour was provided by the mental hospital’s patients– presents architecture of great geometric complexity and contains an elaborate symbolic discourse that also hints at the participation of a first-class architect. This thesis therefore expounds that, given its characteristics, the construction of the former Sant Boi de Llobregat Mental Hospital would articulate as a first example, alongside the Güell Colony crypt, the great stylistic and conceptual change that led Antoni Gaudí to create his final architectonic works. Furthermore, the aim of the thesis is to create a broad exploratory field in the same period – mid-nineteenth to early twentieth-century Catalonia– as the subject of the study, making inferences from its social, cultural, economic and religious context. Thus, the Modernist interventions at the former Sant Boi de Llobregat Mental Hospital could become an observatory and referential axis that allows us to ask more questions and formulate connections from a new perspective that generate new viewpoints and approaches to history. For all this to be possible, the study also examines the biographies of the different agents involved in the period contemporary to the construction of the Modernist site in Sant Boi de Llobregat, including key figures such as Jacint Verdaguer and Antoni Gaudí himself and analysing the ideological-artistic connection established between the pair. It must be noted that Catalan society in the second half of the nineteenth century, then governed by a liberal political system and a fully capitalist society, was undergoing a significant process of change and transformation towards modernity and contemporaneity. Among a significant part of the society, this process triggered a response and debate, largely related to Catholicism, which was completely against all these modifications. Gaudí and Verdaguer are the two paradigmatic figures in this debate and in the face of this ‘traumatic’ experience of modernity they established a rich, complex ideological-artistic connection that would lead them to produce such singular, exceptional elements as the text entitled ‘Exorcisms’ by Verdaguer and Antoni Gaudí’s project for the Sagrada Família Temple. Consideration must also be given to the fact that the reading and interpretation that noucentism made of Gaudí’s work situated it far from its profound and complex symbolic content and this thesis aims to explore a field directly related to the Catholic world and specifically to the text in the Book of Revelation, which could enrich and add a new dimension to the views held on and interpretation of Gaudí’s architectonic works.
Les construccions modernistes dels jardins de l’antic manicomi de Sant Boi de Llobregat (Barcelona), dutes a terme entre 1903 i 1912 per un arquitecte del qual no tenim constància del seu nom, al·ludeixen, anticipen o són coetànies a obres d’Antoni Gaudí, com ara el banc ondulat del Park Güell (1909-1913), la Casa Milà (1906-1912), la cripta de la Colònia Güell (1908-1914) i la maqueta dels sostres de la Sagrada Família (1915-1921). L’edificació del sanatori de Sant Boi de Llobregat, sota una construcció descurada i rudimentària, atesa la participació dels malalts mentals en la seva elaboració, presenta una arquitectura de gran complexitat geomètrica i d’un elaborat discurs simbòlic que ens remet, també, a la participació d’un arquitecte de primer ordre. Així, la tesi exposa que, donades les característiques que presenta, la construcció de l’antic manicomi de Sant Boi de Llobregat articularia, com a obra inèdita i junt amb la cripta de la Colònia Güell, el gran canvi estilístic i conceptual que va portar Antoni Gaudí a fer les seves últimes obres arquitectòniques. L’objectiu de la tesi és crear una àmplia àrea d’exploració en el període coetani a l’objecte d’estudi, la Catalunya de mitjan segle XIX i principis del segle XX, referint-se tant al context social, cultural, econòmic com religiós. Així, el conjunt modernista de l’antic manicomi de Sant Boi de Llobregat pot esdevenir un observatori i eix de referència que permeti, des d’una altra perspectiva, interrogar-nos i formular connexions que generin noves mirades i aproximacions a la història. Perquè tot això sigui possible s’estudiarà, a més, la biografia referent als diferents agents que formen aquest entorn coetani a la construcció del conjunt modernista objecte d’estudi: Jacint Verdaguer i el mateix Antoni Gaudí seran els personatges clau, i s’analitzarà el vincle ideològic-artístic que s’estableix entre ambdós. Cal remarcar que la societat de la Catalunya de la segona meitat del segle XIX, regida per un sistema polític liberal i una economia plenament capitalista, es trobava en un procés importantíssim de canvi i transformació cap a la modernitat i la contemporaneïtat, fet que provoca, en una part important de la societat, una resposta i un discurs, en clau catòlica, totalment confrontats a totes aquestes modificacions. Gaudí i Verdaguer són els dos personatges paradigmàtics d’aquest discurs i, enfront d’aquesta experiència «traumàtica» de la modernitat, estableixen un complex i ric vincle ideològic-artístic que els portarà a materialitzar elements tan singulars i excepcionals com el text dels «Exorcismes» de Verdaguer i el projecte del temple de la Sagrada Família d’Antoni Gaudí. Cal considerar, a més, que la lectura i interpretació que el noucentisme va fer de l’obra de Gaudí, la situa lluny de tot el contingut simbòlic profund i complex que conté; i aquesta tesi pretén explorar un àmbit que, directament relacionat amb el món catòlic i, concretament amb el text de l’Apocalipsi de Sant Joan, pot enriquir i donar una nova dimensió a la visió i interpretació de l'obra arquitectònica de Gaudí."

L'originalitat de l'arquitectura d'Antoni Gaudí (Reus 1852- Barcelona 1926) ha sorprès des de la primeria del segle XX diverses generacions de crítics i historiadors. Aquest estudi intenta situar-la ideològicament. Per això partim d'una crítica del concepte de Modernisme, tot analitzant les diverses ideologies que s'integraren en aquest moviment. Això ens portava a recercar les arrels romàntiques de la ideologia de Gaudí, l'idealisme alemany i l'arquitectura neogòtica europea, especialment en les figures de Pugin i Ruskin.
De la filosofia alemanya es dedueix el concepte d'arquitectura cristiana identificada amb el gòtic; dels dos teòrics anglesos una sèrie de preceptes morals que havien de caracteritzar aquesta arquitectura. Alhora es justifica com es transmeté el pensament romàntic a Catalunya a través de Piferrer i Rogent.
Una anàlisi del Park Güell com a símbol de la dialèctica entre naturalesa i cultura ens condueix al temple de Delfos i als plantejaments de l'Estètica de Hegel i d'El Naixement de la Tragèdia de Nietzsche,
A la Sagrada Família, en canvi, ens enfrontem a dos misticismes. D'una banda a l'arquitectura de l'espai concebut com a buit, com a esperit; de l'altra a l'arquitectura simbòlica del material, dos conceptes que procedien de Hegel.
Finalment, a la cripta de l'església de la Colònia Güell, Gaudí portarà a terme la síntesi d'aquests dos misticismes, tot recercant l'espiritualitat del material.
The originality of Antoni's Gaudí (1852- 1926) architecture has amazed several generations of critics and historians from the early 20th century onwards. This thesis tries to place it ideologically. This is the reason why we set up from a criticism of the concept of Catalan Modernist Movement, with an analysis of the ideologies that composed this movement. This takes us to the romantic roots of Gaudí's ideology, the German idealism, and European gothic revival, specially focusing on Pugin and Ruskin.
From German philosophy we deduce the concept of Christian architecture identified with gothic and from the English thinkers some moral precepts that gave character to this architecture. We also justify how this romantic architectonic thought was transferred to Catalonia along the 19th century by Piferrer and Rogent.
The analysis of the Park Güell as a symbol of the dialectic between nature and culture leads us to the temple of Delphi and to the thesis of Hegel's Aesthetics and Nietzsche's The Birth of the Tragedy.
Moreover, we find two mysticisms in the Sagrada Família. First, we stand up to the architecture of the space, as vacuum, as spirit. Likewise, we challenge with symbolic architecture of material; two concepts that came from Hegel.
Finally, in the crypt of the church of Colònia Güell, Gaudí will achieve the synthesis of these two mysticisms, searching for the spirituality of material.

The thesis resolves the geometry of and elicits a model for hyperboloid spindle bells, which allows for the creation of the exterior stop for the large organ carillon in the Sagrada Familia that Gaudi designed for placement in the Nativity façade towers. The stop has been sized to fit a minimum of 84 bells, thereby demonstrating the feasibility of obtaining the lowest notes in a conventional manual. This was a problem that could not be solved with the traditional shape of the bells, leading Gaudi to research and work on his own design for these bells. The results were obtained through extensive research and review of documents, some which were previously unpublished, on the musical design of the Temple developed from a cross disciplinary perspective including projective geometry, algebraic geometry, organology, acoustics and across the history of architecture and musicology. The research also documents and resolves geometry of the only remaining bell from Gaudi's extensive efforts to solve the problem of the carillon, which began with the considerably large cylindrical tubular bells that were invented at the end of the 19th Century as an alternative to the liturgical tower bells. The hyperboloid surface provided in Gaudi's design responds to the needs for setting the geometry parameters for its formation in the workshop. This is in order to optimise its dimensional scaling and enable resolution of each of the notes on the manual. It has also been analysed in the reflective and emissive areas, resulting in the discovery of the surface as an optimal resonance tube, which makes it both suitable and effective as organ façade reeds whose resonance exceeds the conical and even the classical exponential horn. This discovery also resolves the façade reeds and reed stop design of the Passion façade while at the same time providing an ordered distribution of the highs and lows and consonant families in the bells of the Nativity façade. In this way the sound of the higher notes further from the floor are successively amplified by the lower bells, thus bringing its sound, in a certain way, closer to the position of the listeners immediately outside of the Temple and reinforcing the effect of the abat-sons, which Gaudi incrusted in the towers for this purpose. The road taken to determine the geometry of the thickness of the Gaudi models also provided a profiling model of the traditional cup-shaped bell, which, with a normal thickness variation, obtains the main aliquots converted into major-third harmonic and fifth harmonic, thus exceeding the irregular contemporary shapes obtained by calculating the finite elements and techniques of shape optimisation. The path of the work also provides for the discovery of different sources that derive from science dissemination that Gaudi so ingeniously applied to architecture and the techniques and trades that it involves. In the area of geometry, this work also contributes to the knowledge and the adaptation by Gaudi of the projective devices of the period and the techniques that analyse the geometry of these surfaces by ruled generation or torsion in the same way that we can currently analyse the geometry of these surfaces through infographic software. These contributions allow for updating and reinterpreting Gaudi's philosophy. Lastly, the thesis also contributes to the knowledge and analyses, unknown until now, of a new ruled surface discovered by Gaudi and to which he even attributed a constructive application. Gaudi defined the surface obtained as a general hyperboloid, beyond the Scalene hyperboloid (general hyperbolic hyperboloid), which is why I have named this surface Gaudi's supra-hyperboloid.
La tesi resol la geometria i obté el model de campanes de fus hiperboloïdal, que permeten conformar el registre exterior de carilló de l’orgue major de la Sagrada Família, que Gaudí va dissenyar per ubicar-lo a les torres de la façana del Naixement. Aquest registre ha estat dimensionat per a la seva extensió mínima de 84 campanes, demostrant la viabilitat per obtenir les notes més greus d’un teclat convencional, irresolubles amb la forma tradicional de campanes, motiu que va dur a Gaudí a investigar i treballar pel seu compte, el propi disseny d’aquestes campanes. El resultat s’ha obtingut a partir de la recerca i de la documentació exhaustiva, en bona part inèdita, sobre la concepció musical del Temple, treballada des del punt de vista disciplinar transversal, des de la geometria projectiva, la geometria algebraica, l’organologia musical, l’acústica i a través de la història de l’arquitectura i de la musicologia. La recerca també documenta i resol la geometria de l’única campana que s’ha conservat fins a l’actualitat, del procés de l’ampli treball de Gaudí per resoldre el carilló, iniciat a partir de les campanes tubulars cilíndriques de considerable dimensió que foren inventades a finals del segle XIX, com alternativa a les campanes litúrgiques de torre. La superfície hiperboloïdal, proporcionada segons el disseny de Gaudí, que respon a les necessitats de parametritzar la seva geometria per a la seva conformació a taller, amb la finalitat d’optimitzar el seu escalat dimensional i poder resoldre cada una de les notes musicals del teclat, s’ha analitzat també en l’àmbit reflexiu i emissiu, descobrint així la característica d’aquesta superfície com un òptim tub ressonant, que el fa molt adient i efectiu com a trompeteria d’un orgue, superant la ressonància del con, i fins i tot a la botzina exponencial clàssica. Aquest descobriment resol també el disseny de la trompeteria o registre de llengüeteria destinat a la façana de la Passió, alhora que aporta la disposició ordenada d’agut a greu i per famílies consonants, de les campanes de la façana del Naixement, de forma que el so de les notes més agudes i allunyades verticalment del terra, són amplificades successivament per les campanes inferiors, atansant en certa manera, el seu so a la posició dels oients de l’exterior immediat del temple, i reforçant l’efecte dels abatsons, que Gaudí petrifica en les torres amb aquesta finalitat. El camí emprat per determinar el regruix de la geometria obtinguda dels models de Gaudí, ha permès aportar també un model de perfil de campana de vas tradicional, que amb una variació de gruix regular, obté els sobretons principals, convertits en tercera major harmònica, i cinquena harmònica, superant així les contemporànies formes irregulars obtingudes pel càlcul d’elements finits i tècniques de shape optimization. El recorregut del treball també aporta el descobriment de diferents fonts provinents de la divulgació científica, que Gaudí aplica genialment a l’arquitectura i a les tècniques i oficis que engloba. En l’àmbit de la geometria, aquest treball també aporta el coneixement i l’adaptació de Gaudí dels aparells projectius de l’època, i de les tècniques que li permetien analitzar de forma eficaç, les superfícies de generació reglada o per torsió, de la mateixa manera que avui dia podem analitzar la geometria d’aquestes superfícies a través del software infogràfic. Aquestes aportacions, permeten actualitzar i re-entendre el procés i la filosofia creativa de Gaudí. Finalment, el treball aporta també el coneixement i anàlisi fins ara desconeguts, d’una nova superfície reglada que va descobrir, i fins i tot li va donar aplicació constructiva, i que va definir com un hiperboloide general, per sobre de l’hiperboloide escalè, motiu pel qual, l’he batejat com a "supra-hiperboloide" de Gaudí.

Föreliggande uppsats studerar Friedensreich Hundertwassers (1928-2000) organiska/vegetativaarkitektur, begränsad till utvalda signifikativa arkitekturelement på fyra olika bildnivåer, frånöversiktsbild till en avgränsad del av ett mindre utrymme. Den byggnad som avses är kvarteretDie Grüne Zitadelle i Magdeburg, Tyskland. Uppsatsen är tudelad i den meningen att den utgårifrån nämnd arkitektur och analyseras/syntetiseras enligt Erwin Panofskys ikonologiska metod. Urdenna första analys framvaskas relevanta dikotomier, en metod som i sin ursprungliga form ärHeinrich Wölfflins komparativa. Dock jämförs inte Hundertwassers verk genom epokskiljandestilfaktorer, utan genom jämförande med en konstnär som enligt tidigare forskning anses varanärliggande Hundertwasser. Denne arkitekt är Antoni Gaudí (1852-1926), verket för analysen ärCasa Milá i Barcelona i Spanien. Syftet med uppsatsen är att genom dikotomierna experimentelltjämföra arkitekterna och deras verk, och forskningsinriktningen ligger i att urröna omdikotomierna kan blottlägga insikter om skillnader och/eller likheter som annars kunde varit svåraatt identifiera. Resultatet visar att arkitekterna tolkat filosofin på delvis lika och delvis olika sätt.Sammanfattande har Hundertwasser ett betydligt mer individualiserat formspråk avseende designifikativa arkitekturelementen. Oavsett om den dubbla metoden tillför nya kunskaper eller inte,torde dikotomierna kunna fungera som stöd för arkitekturanalyser och som hjälp vidkonstreflektion.

Esta tesis es un estudio del paisaje histórico de la zona alta del Pla de Barcelona, centrado en las parroquias de Sarrià y Sant Gervasi, enmarcado dentro de una cronología que abarca la Edad Moderna. El objetivo de hacer este estudio des de una línea de investigación como es el análisis del paisaje histórico obedece a que se quieren ver los cambios o las continuidades que se produjeron sobre el territorio debido a la incidencia de factores naturales, demográficos, económicos, sociales y políticos desde una perspectiva plurisecular. A partir del estudio de diferentes fuentes documentales, especialmente el archivo Gualbes de la iglesia de los santos Just y Pastor de Barcelona, se analizan los procesos transformadores del territorio de la zona alta del Pla de Barcelona, situando como eje vertebrador la torre Bellesguard, el antiguo palacio del rey Martí l’Humà, desde sus inicios en el año 1408, hasta que la propiedad fue gestionada por la Comunidad de presbíteros de Sants Just i Pastor en el s. XVIII. Mediante el análisis de los propietarios de Bellesguard, que ocuparon la torre de manera ininterrumpida durante cuatro siglos, se han podido ver los cambios que estos realizaron en el paisaje inmediato, representados los diferentes estratos de la sociedad de su tiempo, des de los miembros de la familia real (Martí l’Humà, Margarida de Prades y Violant de Bar), la alta nobleza (Elionor de Cervelló, Cecília d’Urgell o Bernat Joan de Cabrera), la burguesía acomodada de Barcelona (Caçador, Peguera y Gualbes), y por último la Comunidad de presbíteros de la iglesia de los Santos Just i Pastor de Barcelona. Por tanto, a partir de una propiedad situada en Sant Gervasi ha sido posible comprobar como los miembros de la sociedad moderna de Barcelona actuaban sobre el territorio que tenían más próximo, y como sus estrategias y necesidades particulares modificaron el paisaje que les rodeaba.
This thesis is a study of the historical landscape of the upper area of Pla de Barcelona, focused on the parishes of Sarrià and Sant Gervasi, framed within a chronology that encompasses the Modern Age. The objective of doing this study from a line of research such as the analysis of the historical landscape is due to the fact that we want to see the changes or continuities that occurred on the territory due to the incidence of natural, demographic, economic, social and politicians from a centuries-old perspective. From the study of different documentary sources, especially the Gualbes archive of the church of Saints Just and Pastor in Barcelona, the transformative processes of the territory of the upper area of Pla de Barcelona are analyzed, placing the Bellesguard tower, the former palace of King Martí l'Humà, from its beginnings in 1408, until the property was managed by the Community of priests of Sants Just i Pastor in the s. XVIII. Through the analysis of the owners of Bellesguard, who occupied the tower uninterruptedly for four centuries, it has been possible to see the changes that they made in the immediate landscape, representing the different strata of the society of their time, from the members of the royal family (Martí l'Humà, Margarida de Prades and Violant de Bar), the high nobility (Elionor de Cervelló, Cecília d'Urgell or Bernat Joan de Cabrera), the wealthy bourgeoisie of Barcelona (Caçador, Peguera and Gualbes), and finally the Community of priests of the church of Santos Just i Pastor in Barcelona. Therefore, from a property located in Sant Gervasi, it has been possible to verify how the members of modern Barcelona society acted on the territory that was closest to them, and how their strategies and particular needs modified the landscape that surrounded them.

Esta investigación tiene como objeto el estudio del legado teórico y arquitectónico de Joan Rubió i Bellver (Reus, 1870 - Barcelona, 1952) en el contexto mallorquín. Rubió i Bellver acompañó a su maestro, Antoni Gaudí, a Palma de Mallorca para colaborar con él en las obras de reforma de la Seu. A partir de esa circunstancia se forja una relación muy especial con la isla que derivará en una retroalimentación fundamental para ambas partes. Esta colaboración fue el punto de partida para desarrollar toda otra serie de proyectos diseminados alrededor de la isla; la revisión del catálogo de todas esas obras que dejó en Mallorca constituye uno de los retos importantes del presente estudio.

Rubió se convirtió en el principal embajador del gaudinismo en la isla de Mallorca. Mediante todos los proyectos que Rubió dejó repartidos por la isla estaba contribuyendo a la difusión de la nueva arquitectura creada por su maestro, Antoni Gaudí. No sólo contó para estos cometidos con la ayuda de alguno de sus frecuentes colaboradores y amigos catalanes, sino que actuó de acuerdo a unas pautas que como referente último tendrían a Gaudí. Si bien es cierto que otros catalanes pasaron por la isla, véase Domènech i Montaner o Madorell, es nuestro arquitecto quien se involucró más en la idiosincrasia y el contexto mallorquín del momento, convirtiéndose en el arquitecto modernista catalán con más obra en Mallorca.

La presente investigación analiza la presencia de Rubió en Mallorca como una estrategia de un grupo reducido de intelectuales -fundamentalmente religiosos- para vincularse a Cataluña y hacerse partícipes del sentimiento nacionalista tan ferviente en aquellos años. Figuras como el obispo Campins o el vicario general Alcover son fundamentales en los encargos que Rubió recibe en la isla respondiendo esto, en última instancia, a un movimiento deliberado con los propósitos arriba mencionados. La presencia de Rubió en lugares de la isla a priori inconexos y, si cabe, algo insólitos, respondería a esta estudiada estrategia de los religiosos.

Tal vez sea su faceta como teórico aquella más desconocida, sorprendiendo muy especialmente el hecho de que, directa o indirectamente, con frecuencia aparece vinculada a Mallorca. Prácticamente un tercio del volumen de sus textos tienen como objeto algún tema o arquitectura de la isla. Varios de estos escritos fueron publicados, además, en diarios mallorquines. Dentro de todo este legado escrito interesan muy especialmente las aportaciones que se refieren al gótico meridional, siendo uno de los primeros en tomar conciencia de unas diferencias estilísticas con respecto al más popular gótico nórdico. Cabe entender estas reflexiones como parte de su sentir nacionalista y de su continua búsqueda de unas raíces comunes en todos lo países catalanes. Estas conclusiones las extrae, en su mayoría, a propósito de las exhaustivas y rigurosas investigaciones que lleva a cabo en la catedral de Mallorca, convirtiéndose estas también en estudios sin precedentes y esenciales para el conocimiento de este templo. El legado teórico de Rubió es lo que traduce más claramente su personalidad e ideología, siendo esencial para la óptima comprensión de sus arquitecturas. Su paso por Mallorca y, en especial todas sus reflexiones y estudios que de esta derivaron son fundamentales para comprender la trayectoria profesional de Rubió como arquitecto.
"Joan Rubió i Bellver in Mallorca.
Architecture and Theory

TEXT:

The aim of this research is the study of the theoretical and architectural legacy of Joan Rubió i Bellver (Reus, 1879 - Barcelona, 1952) in Mallorca. Rubió I Bellver went to Palma de Mallorca with his master, Antoni Gaudí, to collaborate with him in the works of La Seu. This collaboration set up the start for the development of a series of projects that were carried out around the island; the revision of the catalogue of all the works he left in Mallorca, is one of the most important challenges of this study.

This research analyses the presence of Rubio in Mallorca as a result of a strategy of a reduced group of intellectuals, mainly religious, in order to be related to Cataluña and take part of the nationalism that was a strong and determinant feeling at that time. Figures as the bishop Campins or the General Vicar Alcover, played an extremely important roll in involving Rubio in different projects in Mallorca.

His work as theoretician, is probably the less known side of Rubio, and specially surprising is the fact that directly or indirectly it is frequently related to Mallorca. Nearly a third of his writing is based on the architecture or other subjects of interest in the island. Moreover, several of these articles were published in newspapers of Mallorca.

Within all this written legacy, the most interesting are those referred to the Southern Gothic, being Rubió one of the pioneer in clearly establishing the differences between the above mentioned style and the most popular Northern Gothic. His statements were likely due to his nationalism and his constant research of a common identifier in all of the Catalonian Countries.

The majority of his conclusions were based on the exhaustive and rigorous research he carried out in the Cathedral of Mallorca, which became essential for the further knowledge of the temple. His work in Mallorca, and mainly his conclusions and consequents studies are of the most importance in order to understand the professional performance of Rubió as architect.

[EN] THESIS INTRO The aim of this thesis is to offer a new vision of Antonio Gaudi's architectural project for the Sagrada Familia, within the context of the historical dialogue between architecture and liturgy. The thesis considers the sacred vision of the 'church-building' concept, understanding this not as an isolated sanctuary from the outside secular world, but as a place where liturgy is in constant dialogue with the physical and human environment in which the Christian faith is celebrated by the religious community. Gaudí proposes something extremely attractive and revolutionary at both the architectural and liturgical levels, maintaining the coherence between the instruction he had received, his writings (mainly the Reus Manuscript), and the mature expression of his professional experience. The Santa Coloma and Mallorca projects engage directly with his idea of what the Church should be when the construction of Sagrada Familia begins, in times when ecclesiastical architecture was no more substantial than that embodied by the national vows. Gaudi demonstrates how a comprehensive, unified and harmonic approach to the congregational area could give form to the architectural project in its entirety. In answer to the question, 'What should the 'church-building' represent?', the structure, space, and construction elements are ordered and regulated in an imaginative manner, being both modern and concise in line with Gaudi's idea of beauty, linked to the idea of the 'character' of church architecture, it's theological meaning and its functionality in liturgical terms. It is also worth pointing out the physical permeability and artistic dialogue with the urban surroundings. The project is based on solid foundations: The elevation of the Catholic dogma, the search for a stable structural system and wise use of light as a means of architectural definition. As a result, Gaudi achieves a type of architecture, which is both expressionist and living protorationalist, self-generating and in permanently engagement with the demands of the most up to date liturgical praxis at that time: The Liturgical Movement. This movement emerges from the Benedictine abbeys of Central Europe in the early twentieth century, and is officially promoted by Pius X and continues right up to the Second Vatican Council. Gaudi's answer to the 'form versus function' debate is to progressively remove the previous style constraints from the space. His architectonic language overcomes the conditioning factors, and reworks everything with a non-material and purely spiritual vision. The structural geometry based on the interweaving of ruled surfaces into domes and columns, follows a plan which is based on the liturgical ordering of the space. The significance of events and religious elements arises from the act of worship and is explained by the theological liturgy. The space, which has been dematerialised by the use of light and colour, offers itself in service to the transcendental nature of worship, aided by a painstakingly calculated constructive symbolism and liturgical furniture. In this way, the iconographic and acoustic balance pursued is fully efficient in returning the place of Christian worship to its original essence, thereby obtaining a notable liturgical harmony, which is perceived both internally and externally.
[ES] RESUMEN La presente Tesis quiere aportar una visión novedosa del proyecto arquitectónico de Antonio Gaudí para la Sagrada Familia dentro del diálogo histórico entre Arquitectura y Liturgia. Los objetivos que se persiguen están relacionados con la visión sacra del edificio-iglesia, entendiendo este no como espacio aislado de lo profano sino como lugar litúrgico en dialogo con el medio físico y humano donde la comunidad orante celebra la Fe cristiana. Desde la coherencia entre la formación recibida, sus escritos -fundamentalmente el Manuscrito de Reus-, y la madura expresión de la experiencia profesional adquirida, Gaudí realiza un planteamiento sumamente atractivo y revolucionario desde los planos arquitectónico y litúrgico. Los proyectos de Santa Coloma y de Mallorca dialogan interactivamente con su idea de lo que quiere ser una Iglesia en orden a la ejecución de la Sagrada Familia en un tiempo en que la arquitectura eclesiástica no va más allá de lo que significaban los votos nacionales. Gaudí muestra cómo la concepción integral, unitaria y armónica del espacio celebrativo puede configurar completamente el proyecto arquitectónico. Frente a la pregunta ¿qué quiere ser el edificio-iglesia?, la estructura, espacios, y elementos constructivos son ordenados y regulados imaginativamente, de una manera moderna y sintética según su idea de belleza, ligada al concepto de carácter de la arquitectura eclesiástica, a su significación teológica y a su funcionalidad litúrgica. Destaca también la permeabilidad física y dialogo artístico con el hábitat urbano. El proyecto se asienta en sólidos fundamentos: la exaltación del dogma católico, la búsqueda de un sistema estructural estable y sabia utilización de la luz como elemento de definición arquitectónica. El resultado es que Gaudí consigue una arquitectura expresionista y protorracionalista viva, que se autogenera en permanente dialogo con las exigencias de la praxis litúrgica más actual en aquel momento: el Movimiento Litúrgico que emerge desde las abadías benedictinas de Centro Europa en los albores del siglo XX, es promovido oficialmente por Pio X y llega hasta el Concilio Vaticano II. En el debate forma-función Gaudí actúa liberando progresivamente el espacio de condicionamientos estilísticos previos, su lenguaje supera los condicionantes y lo re-elabora en términos de una visión desmaterializada y netamente espiritual. La geometría estructural, entretejida de superficies regladas en bóvedas y columnas, sigue un plan fundamentado en la ordenación litúrgica del espacio. La precedencia de actuaciones y elementos es dada por el culto y explicada por la teología litúrgica. El espacio, desmaterializado por la luz y el color, se pone al servicio de la trascendencia del culto, ayudado por una estudiada y cuidada simbología constructiva y mobiliario litúrgico. De esta manera, el equilibrio iconográfico y acústico buscados se muestran eficaces para el reencuentro del lugar de culto cristiano con su esencia original obteniéndose un confort litúrgico notable, que se percibe externa e internamente.
[CAT] RESUM La Tesi vol presentar una visió novedosa del projecte arquitectònic d'Antoni Gaudí per a la Sagrada Familia dins del diáleg históric entre Arquitectura i Liturgia. Els objectius cercats están relacionats amb una concepció sacra de l'edifici-església, entés aquest no com un espai aillat del mon profá sinó com un indret litúrgic que conversa amb el medi físic i humá on cel.lebra la seua Fe la comunitat cristiana. Des de la coherència amb l' educació i formació rebudes, els seus escrits -especialment el Manuscrit de Reus-, i la madura expressió de l'experiencia professional adquirida, Gaudí realitza un plantejament molt atractiu i revolucionari des dels punts de vista arquitectònic i litúrgic. Els projectes de Santa Coloma i de Mallorca es presenten com assaigs dins d'un itinerari que tria dur a terme la seua idea d'el que vol esser una Església. Ambdós son orientats cap a la execució de la Sagrada Familia perque aquest es un projecte molt singular en un temps en que l'arquitectura eclesiástica europea no va més enllá d'el que signifiquen els vots nacionals. Gaudí mostra cóm la concepció integral, unitaria i armónica del espai cel.lebratiu pot configurar completament el projecte arquitectònic. Davant de la questió ¿qué vol esser l'edifici-església?, l' estructura, espais, i elements constructius son imaginativament ordenats d' una manera moderna i sintética segons la seua idea de la bellesa, lligada al carácter d'aquesta arquitectura i a la seua significació teológica i funcionalitat litúrgica. Hi ha que destacar també la permeabilitat física i l'interacció artística amb l'hábitat urbá. El projecte posa els seus fonaments sobre la lloança del dogma católic que es converteix en motor de la recerca d'un sistema estructural estable i d'una cuidada utilització de la llum com a element clau de la definició espacial. A la fí de la seua tasca Gaudí arriba a un expressionisme protorracionalista vibrant, en continua autogeneració a partir de la praxis litúrgica més actual d'aquell temps: el Moviment Litúrgic. Aquest, eixint dels monéstirs benedictins centroeuropeus al començament del segle XX, es dessentrotlla amb l'empenta oficial del Papa Pius X fins al Concili Vaticá II. En el debat forma-funció, Gaudí allibera progresivament l'espai dels condicionaments estilístics mitjançant un llenguatge que re-elabora el problema en termes d'una visió estructural, funcional i artística. La geometría, entreteixida amb un bon grapat de superficies reglades emprades en voltes i columnes, segueix un plà fonamentat en la jerarquizació dels espais. La precedència en les actuacions i els elements constructius es posen al servei del culte, prenent com a base la teología litúrgica. L'espai, desmaterialitzat per la llum i el color, i significat per una imaginativa iconografía, tria la trascèndencia, bé que reforçat pel imaginatiu simbolisme constructiu i el mobiliari litúrgic. D'aquesta manera, l'equilibri iconográfic i acústic cercats ens mostren útils per al retrovament del espai de culte cristià amb el seu sentit original, obtenint-se un gran confort litúrgic, com clarament es percebéix externa e internament.
Reig Martínez, JÁ. (2016). EL ESPACIO CELEBRATIVO COMO CONFIGURADOR DEL PROYECTO ARQUITECTONICO DE LA SAGRADA FAMILIA DE ANTONIO GAUDÍ [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/64075
TESIS

Aujourd’hui, dans un contexte de forte compétition, de nombreuses villes doivent trouver des stratégies pour se distinguer et se positionner sur le marché mondial. Pour ce faire, certaines villes vont recourir spécifiquement à la mise en valeur de leur patrimoine architectural local. Cette thèse s’attache à comprendre le rôle que joue un capital culturel et symbolique majeur dans la construction identitaire, communicationnelle, patrimoniale et touristique d’une ville. La recherche s’est centrée sur le rôle qu’a en particulier joué la figure de l’architecte emblématique, et s’appuie notamment sur celle d’Antoni Gaudí (1952-1926). En effet, Barcelone a connu en seulement quelques années un accroissement touristique spectaculaire, et est devenue une destination culturelle internationale. Cette augmentation du tourisme a été accompagnée par la mise en valeur des œuvres de cet architecte représentatif du modernisme catalan, longtemps restées fermées au public, et devenues aujourd’hui l’attraction touristique phare de la capitale catalane. Barcelone est à présent automatiquement identifiée à Gaudí, devenu le symbole de la ville. A partir d’une analyse comparée et approfondie de la patrimonialisation et de la mise en tourisme des œuvres d’Antoni Gaudí à Barcelone et de Charles Rennie Mackintosh à Glasgow, cette thèse vise à éclairer pourquoi dans certains cas, les constructions «ville-architecte» sont très développées et les villes immédiatement identifiées à un architecte, et à l’inverse, pourquoi dans d’autres cas, cette fusion qui s’opère entre l’image d’une ville et l’image d’un architecte est beaucoup moins développée et évident
Today, in a context of strong global competition, many cities have to find ways to position themselves on the global market and to distinguish themselves. In order to do so, some cities will specifically seek to enhance their local architectural heritage. This thesis aims to understand the role that a major cultural and symbolic capital plays in a city’s identity construction and its communication, heritage and tourist development. The research is centered on the role played in particular by the figure of an emblematic architect, and focuses especially on the role of Antoni Gaudí (1952-1926). Indeed, in only a few years, Barcelona has witnessed a spectacular increase in tourism figures and has become an international cultural destination. This increase in tourism, has been accompanied by the enhancement of the work of this representative architect of Catalan modernism. His work remained for a longtime closed to the public, and yet today they have become the major tourist attraction of the Catalan capital. Barcelona is now instantly identified with Gaudí who has become the symbol of the city. Through an in-depth comparative analysis of the the heritagization and touristification of Antoni Gaudí’s work in Barcelona and Charles Rennie Mackintosh’s work in Glasgow, this thesis aimsto understand why in some cases, the “city-architect” constructions are well developed and the cities are immediately identified to an architect, and on the other hand, why in other cases, this link that occurs between the image of a city and the image of an architect, is much less developed and obvious

Antoni Gaudí developed, for the pinnacles ofthe Sagrada Famí!ia, a unique constructive solution with precast concrete elements which were slightlyreinforced and covered with a trencadís ofMurano glass (Venice). In the continuation ofthe work until the present da y, the system des igned bythe architect was kept for the construction ofthe other pinnac!es ofthe basílica. During the !ast years, a greater deterioration and !oosening oftrencadís pieces at the pinnac!es ofthe !ast stages was detected (e.g.: Pass ion Fayade) and a!so a reduced service !ife compared to those ofGaudí's time (1915-1930) was observed. Therefore, a!! these structures were cave red with a safety mesh in orderto avoid resu!ting risks for visitors and workers. The main purpose ofthe Doctoral Thesis was to determine the origin ofthe problem, and !aterto prevent recurren ce, with the revision and optimization ofthe materia!s and procedures which were applied during the restoration and construction of these precast elements. During the investigation, the problem was globa!!y analyzed and its chemical causes were considered, a process which was carried outwith an analysis ofsamples byXRD, DTA-TGAand SEM, as well as through physical-mechanical effects, bydeformation incompatibility among the materials. In addition, because ofthe singularity of these coatings at great height, more detailed studies about durabilitywere carried out, and these elements underwent differenttypes ofaccelerated aging cycles (thermal shock, weVdryprocess, frosVthaw process and resistance to crysta!lization of salts) in arder to ensure the efficiency ofthe developed materials. For the control and m onitoring ofthe materials in this study, different non-destructive testing techniques were used (ultrasound, acoustic impact and thermographic pictures), which in addition were evaluated for a possible use during future inspections in the work. The mortar pieces and procedures proposed, as a resultofthe Doctoral Thesis, are now used in the restoration ofthe pinnacles ofthe Sagrada Fa m ília. Additionally, the new precast pieces are being manufactured forthe future pinnacles ofthe basílica with the micro-concrete with plastic fibers that has been developed.
En los pináculos de la Sagrada Família, Antoni Gaudí desarrolló una singular solución constructiva mediante prefabricados de hormigón ligeramente armados y revestidos con un trencadís de vidrio de Murano (Venecia). En la continuación de la obra hasta la actualidad, se mantuvo el sistema diseñado por el arquitecto para la construcción del resto de pináculos de la basílica. En los últimos años, se detectó una mayor degradación y desprendimientos de piezas del trencadís en los pináculos de las últimas etapas (p. ej.: Fachada de Pasión) y con una menor vida en servicio respecto a los de la época de Gaudí (1915-1930). En consecuencia, todas estas estructuras se envolvieron con una malla de seguridad para evitar riesgos derivados a los visitantes y a los trabajadores de la obra. El principal objetivo de la tesis doctoral fue determinar el origen del problema y, con posterioridad, evitar su reaparición, mediante la revisión y optimización de los materiales y procedimientos aplicados en la restauración y en la construcción de estos elementos prefabricados. En la investigación se analizó el problema desde su globalidad, considerando causas químicas, a través del análisis de muestras por DRX, ADT-TG y MEB, como también por efectos físico-mecánicos, por incompatibilidad de deformación entre los materiales. Dada la singularidad de estos revestimientos a gran altura, se realizaron también estudios de durabilidad más extensos frente a distintos tipos de ciclos de envejecimiento acelerado (choque térmico, mojado/secado, hielo/deshielo y resistencia a la cristalización de sales) para garantizar la eficiencia de los materiales desarrollados. Para su control y seguimiento en este estudio se emplearon distintas técnicas de ensayo no destructivas (ultrasonidos, impacto acústico e imágenes termográficas), las cuales fueron también evaluadas para su posible aplicación en las futuras inspecciones en la obra. Los morteros y procedimientos propuestos, como resultados de la Tesis Doctoral, son aplicados en la actualidad en la restauración de los pináculos de la Sagrada Familia. Asimismo, se están fabricando las nuevas piezas prefabricadas para los futuros pináculos de la basílica con el micro-hormigón con fibras plásticas desarrollado.

This thesis confronts the possibility of an architecture which limits and reveals, freedom for a way to live, for the activities of man which are vital to a good life. An architecture which is investigated and projected through making. Architecture Separates and makes Distinct, while finding meaningful connection. The work of drawing here attempts to project an architecture which is vital to man, by providing a connection to the activities of Man, in which the spirit of their beginning is recaptured and renewed through a reimagining of the Institutions of Man. Where a sense of Wonder is imperative, and the sense of the eternal in architecture is cultivated. One where a renewal is possible and sense of the cosmos is more evident. On the Threshold of 'Where the desire to express meets the possible' (Kahn) using architectural form. Awareness What is the form? Beginning with the room
Master of Architecture

O estudo enfoca a arquitetura religiosa moderna, no intuito de apreender as permanências simbólicas e as conquistas figurativas alcançadas pelos arquitetos modernistas para dar forma e representação ao templo, em tempo dito ‘dessacralizado’ porque materialista e espiritualmente plural. Fundamentalmente, compila e sistematiza, por similaridades ideológicas, funcionais, simbólicas, tipológicas e formais, o legado eclesiástico projetado e/ou construído no mundo ocidental cristão entre os anos 1850 e 1960, grosso modo. Em sincronia, apresenta suas condições de origem, razões e significados e analisa como os pressupostos modernistas aplicaram-se ao fato arquitetural das novas catedrais, igrejas paroquiais, capelas locais e obras eclesiásticas várias, católicas e protestantes. Revela, também, seus produtores – financiadores, incentivadores, projetistas e construtores – analisando a atenção dada ao tema pelos mais eminentes nomes do período e realçando agentes inestimáveis, desprezados pela ‘bibliografia oficial’ do Movimento Moderno. Nas entrelinhas ensaia, ainda, discussão crítico-interpretativa de obras paradigmáticas ao debate por conjunção especial de fatores, no sentido de identificar as estratégias e signos modernos válidos à prática arquitetural contemporânea.

O estudo trata sobre o templo cristão na modernidade no período 1920 a 1970 de modo a resgatar, reconhecer e posicionar essa produção, digna de estudo, no contexto da arquitetura do século XX. Panorama acerca do tema, apresenta compilação e sistematização do concebido em capelas, igrejas paroquiais e catedrais, relacionando cristianismo e tempos modernos para identificar e avaliar os reflexos litúrgicos e simbólicos, por um lado, e funcionais, construtivos e estilísticos, por outro, numa inter-relação de homem, arte e sagrado no período. Historiografia crítica sobre o assunto, além de reunir e lançar juízo sobre as obras, recolhendo constatações gerais e peculiaridades como contribuição ao estado da arte moderna, desvela autores e incentivadores destacados em movimentações e resultados arquitetônicos para o templo cristão, afirmando suas importâncias e promovendo seu devido reconhecimento. Por tese, comprova a relevância da arquitetura do templo cristão como programa na modernidade, demonstrando sua continuidade, em quantidade e qualidade e evidenciando que a representação icônica do sagrado, que acontece através do tempo no templo, não se esvaiu ou perdeu-se nesse tempo histórico, tendo continuado o Cristianismo, através de outras construções marcantes, o trabalho inexorável de amparo e consolação espiritual a que se dedica a mais de dois milênios.
The study deals with the Christian temple in the modern period from 1920 to 1970 in order to rescue, to recognize and position this production, worthy of study in the context of twentieth century architecture. Panorama on the subject, has designed the compilation and systematization in chapels, parish churches and cathedrals, linking Christianity and modern times to identify and assess the liturgical and symbolic reflections, on the one hand, and functional, constructive and stylistic, the other, by a cross-relation of man and sacred art in the period. Critical historiography on the subject, besides gathering and lay judgments about the works by collecting general findings and peculiarities as a contribution to the state of modern art, unveils encouraging authors and movements in outstanding architectural and results for the Christian church, affirming their importance and promoting their due recognition. In theory, demonstrates the relevance of the Christian church architecture as a program in modernity, demonstrating its continuity, in quantity and quality, showing that the iconic representation of the sacred, what happens over time in the temple, not faded or lost at this time history, Christianity has continued through other landmark buildings, the relentless work of spiritual support and comfort that is dedicated to more than two millennia.

This dissertation looks at the presence of the human skeleton’s ostheology in five of Gaudí’s buildings: Casa Battló, Casa Milá, Parque Guëll, Colónia Guëll e Sagrada Família. We resorted to bone drawings that resembled structures from the mentioned five buildings. The architect’s enigmatic work methods were described. The conclusion was that Gaudí’s fundamental work concept and guidelines were based upon Nature and all its bearings. However, Gaudí had in mind that Man is the most perfect Nature’s creation, specially it’s skeleton, it’s frame. This idea is present across he’s work, from the ergonomic chair design to the bone models that were he’s inspiration to the buildings drawings, namelly the Sagrada Família’s mock, made specifically for this building’s sculpture groups. Gaudí addressed the human body’s inclusion in he’s work in various ways: from a ornamental perspective, a structural one, with a precise and objective attitude. From a ornamental point of view, we observed “bas-reliefs” in wooden doors (Casa Batlló interior). Regarding the work’s structural approach (the one Gaudí considered to be the most important), we describe it’s presence in the building’s columns ans pillars. This one is closely related to Nature’s beings such as trees. The precise and objective way of including human body in he’s work (observed in all the latest one), is obvious in the sculpture groups for which Gaudí made a thorough study

碩士
朝陽科技大學
建築系建築及都市設計碩博士班
103
The development of fractal theory originated from Benoit Mandelbrot's 1967 paper "How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension." In this study, Mandelbrot proposed that fractal theory could be widely used to discuss and analyze things in nature, whether they pertain to matters of shape, phenomenon, or problems that cannot be explained using principles of Euclidean geometry. As the architects Santiago Calatrava and Antoni Gaudi have both claimed to have found inspiration from the world of nature, this study aims to interpret and analyze the works of these two master architects through the application of fractal theory, and delves into the architectural aesthetics related knowledge. This study focuses on the architectural works of Santiago Calatrava and Antoni Gaudi, and uses the software Matlab for calculation of fractal dimensions. In discussing the concept of beauty in architecture, factors such as shape, color, scale, and space atmosphere are often considered. Calatrava's works display compliance to certain laws of order and regularity and are further developed, whereas Gaudi's works from his late period transcend technical limitations of his time, as can be seen from his tendency to commune with nature in order to make his architecture blend well with nature and hence more pleasing aesthetically. The study reveals that the fractal dimensions found in Antoni Gaudi's works are higher than those found in the works of Santiago Calatrava. Both architects use concepts of symmetry, proportion, and order in their designs, and bring a sense of natural beauty to their works through conversion of natural creatures, allowing the architecture to echo and blend with the surrounding environment. It is hoped that the result of this study may provide reference to those studying architecture. From the foregoing fractal dimensions and discussion of the emotional perception, it can be found that fractal dimensions of Gaudi’s works are higher than those of Calatrava, but the emotional perceptions are quite the opposite. In terms of spatial emotional perceptions, those of Gaudi’s works are contrary to those of Calatrava’s works. Calatrava’s works have generated a higher degree of liking in terms of spatial design compared to those of Gaudi’s, but this is contrary to their fractal dimensions.