His architectural work over the years and early life.

2. Early Life
• Antoni Gaudí i Cornet (25 June 1852 – 10 June 1926) was
a Spanish Catalan architect and the best known practitioner of Catalan
Modernism. Antoni Gaudí was born in 1852 in Riudoms or in Reus.He
enrolled in the Piarists school in Reus where he displayed his artistic
talents via drawings for a seminar called El Arlequín (the Harlequin).During
this time he worked as an apprentice in the "Vapor Nou" textile mill in
Reus. In 1868 he moved to Barcelona to study teaching in the Convent del
Carme. In his adolescent years Gaudí became interested in utopian
socialism and, together with his fellow students Eduard Toda i Güell and
Josep Ribera i Sans, planned a restoration of the Poblet monastery that
would have transformed it into a Utopian phalanstère.

3. Gaudí studied architecture at the Llotja School and the Barcelona Higher
School of Architecture, graduating in 1878. To finance his studies, Gaudí
worked as a draughtsman for various architects and constructors such as
Leandre Serrallach, Joan Martorell, Emili Sala Cortés, Francisco de Paula
del Villar y Lozano and Josep Fontserè.In addition to his architecture
classes, he studied French, history, economics, philosophy and aesthetics.
His grades were average and he occasionally failed courses.

4. Early works
Gaudí’s first works both from his student days and the time just after his
graduation stand out for the precision of their details, the use of geometry and
the prevalence of mechanical considerations in the structural calculations
University years
During his studies, Gaudí designed various projects, among which the following
stand out: a cemetery gate (1875), a Spanish pavilion for the Philadelphia World
Fair of 1876, a quay-side building (1876), a courtyard for the Diputació de
Barcelona (1876), a monumental fountain for the Plaça Catalunya in Barcelona
(1877) and a university assembly hall(1877).

5. Quay-side building Fountain in Plaça Catalunya
University assembly hall Cemetery gate

6. • Early post-graduation projects
•Antoni Gaudí started his professional career while still at university. Gaugi’s friend Fontserè
received the commission from the city council for the Parc de la Ciutadella development, carried
out between 1873 and 1882. For this project, Gaudí was in charge of the design of the Park's
entrance gate, the bandstand's balustrade and the water project for the monumental fountain,
where he designed an artificial cave. Gaudí worked for Francisco de Paula del Villar on the apse of
the Montserrat monastery, designing the niche for the image of the Black Virgin of Montserrat in
1876. With Leandre Serrallach, he worked on a tram line project to Villa Arcadia in Montjuïc.
Eventually, he collaborated with Joan Martorell on the Jesuit church on Carrer Casp and the
Salesian convent in Passeig de Sant Joan, as well as the Villaricos church (Almería). He also carried
out a project for Martorell for the competition for a new facade for Barcelona cathedral, which
was never accepted.
•After his graduation as an architect in 1878, Gaudí's first work was a set of lampposts for
the Plaça Reial, the project for the Girossi newsstands and the Mataró cooperative, which was his
first important work. For this commission he designed two types of lampposts: one with six arms,
of which two were installed in the Plaça Reial, and another with three, of which two were installed
in the Pla del Palau. Made of cast iron with a marble base, they have a decoration in which
the caduceus of Mercury is prominent, symbol of commerce and emblem of Barcelona.

7. •The Girossi newsstands project, which was never carried out, was a commission from the
tradesman Enrique Girossi de Sanctis. It would have consisted of 20 newsstands, spread
throughout Barcelona. Each would have included a public lavatory, a flower stand and glass
panels for advertisements as well as a clock, a calendar, a barometer and a thermometer. Gaudí
conceived a structure with iron pillars and marble and glass slabs, crowned by a large iron and
glass roof, with a gas illumination system.
•In May 1878 Gaudí designed a display cabinet for the Esteban Comella glove factory.It was this
work that attracted the attention of the entrepreneur Eusebi Güell, he was so impressed that
he wanted to meet Gaudí on his return, beginning a long friendship and professional
collaboration. Güell became Gaudí's main patron and sponsor of many of his large projects.

8. Lamppost Girossi newsstands
Display cabinet

9. Gaudi’s work is classified into the following
periods:
Orientalist period
Neo-Gothic period
Naturalist period

10. Orientalist period
Buildings constructed in the Orientalist period
are:
Casa Vicens
El Capricho
Güell Pavilions
Palau Güell
Compañía Trasatlántica

11. Casa Vicens El Capricho

12. Güell Pavilions Compañía Trasatlántica

13. Neo-Gothic period
Buildings constructed in the Neo-Gothic
period are:
Colegi de les Teresianes
Episcopal Palace
Casa Botines
Bodegues Güell
Torre Bellesguard

14. Colegi de les
Teresianes
Episcopal
Palace

15. Casa Botines
Bodegues
Güell

16. Naturalist period
Buildings constructed in the Naturalist period
are:
Casa Calvert
Finca Miralles
Park Güell
Rosary of Montserrat

17. Finca Miralles
Casa Calvert

18. Park Güell
Rosary of Montserrat

19. Sagrada Familia

20. Sagrada Familia
Plan
While never intended to be a cathedral , the Sagrada Família was planned from
the outset to be a cathedral-sized building. In common with Catalan and many
other European Gothic cathedrals, the Sagrada Família is short in comparison
to its width, and has a great complexity of parts, which include double aisles,
an ambulatory with a chevet of seven apsidal chapels, a multitude of towers
and three portals, each widely different in structure as well as ornament.
Where it is common for cathedrals in Spain to be surrounded by numerous
chapels and ecclesiastical buildings, the plan of this church has an unusual
feature: a covered passage or cloister which forms a rectangle enclosing the
church and passing through the narthex of each of its three portals. With this
peculiarity aside, the plan, influenced by Villar's crypt, barely hints at the
complexity of Gaudí's design or its deviations from traditional church
architecture.

21. Spires
• Gaudí's original design calls for a total of eighteen spires, representing in
ascending order of height the Twelve Apostles, the four Evangelists,
the Virgin Mary and, tallest of all, Jesus Christ. Eight spires have been built
as of 2010, corresponding to four apostles at the Nativity façade and four
apostles at the Passion façade.
• The spire of the Virgin was in fact intended by Gaudí to be shorter than
those of the evangelists.
• The Evangelists' spires will be surmounted by sculptures of their
traditional symbols: a bull (Saint Luke), a winged man (Saint Matthew), an
eagle (Saint John), and a lion (Saint Mark). The central spire of Jesus Christ
is to be surmounted by a giant cross; the spire's total height (170 metres
(560 ft)) will be one metre less than that of Montjuïc hill in Barcelona as
Gaudí believed that his creation should not surpass God's. The lower
spires are surmounted by communion hosts with sheaves of wheat and
chalices with bunches of grapes, representing the Eucharist.
• The completion of the spires will make Sagrada Família the tallest church
building in the world.

22. Nativity Façade
• Constructed between 1894 and 1930, the Nativity façade was the first façade to be
completed. Dedicated to the birth of Jesus, it is decorated with scenes reminiscent of
elements of life. Characteristic of Gaudí's naturalistic style, the sculptures are ornately
arranged and decorated with scenes and images from nature, each a symbol in their own
manner. For instance, the three porticos are separated by two large columns, and at the base
of each lies a turtle or a tortoise (one to represent the land and the other the sea; each are
symbols of time as something set in stone and unchangeable). In contrast to the figures of
turtles and their symbolism, two chameleons can be found at either side of the façade, and
are symbolic of change.
• The façade faces the rising sun to the northeast, a symbol for the birth of Christ. It is
divided into three porticos, each of which represents a theological virtue (Hope, Faith and
Charity). The Tree of Life rises above the door of Jesus in the portico of Charity. Four towers
complete the façade and are each dedicated to a Saint (Matthias the Apostle, Saint
Barnabas, Jude the Apostle, and Simon the Zealot).
• Gaudí chose this façade to embody the structure and decoration of the whole church. He
was well aware that he would not finish the church and that he would need to set an artistic
and architectural example for others to follow. He also chose for this façade to be the first on
which to begin construction and for it to be, in his opinion, the most attractive and accessible
to the public. He believed that if he had begun construction with the Passion Façade, one
that would be hard and bare (as if made of bones), before the Nativity Façade, people would
have withdrawn at the sight of it.

23. Passion Façade
• In contrast to the highly decorated Nativity Façade, the Passion Façade is austere, plain
and simple, with ample bare stone, and is carved with harsh straight lines to resemble
the bones of a skeleton. Dedicated to the Passion of Christ, the suffering of Jesus during
his crucifixion, the façade was intended to portray the sins of man. The towers were
completed in 1976, and in 1987 a team of sculptors,they began work sculpting the
various scenes and details of the façade. They aimed to give a rigid, angular form to
provoke a dramatic effect. Gaudí intended for this façade to strike fear into the
onlooker. He wanted to "break" arcs and "cut" columns, and to use the effect
of chiaroscuro (dark angular shadows contrasted by harsh rigid light) to further show
the severity and brutality of Christ's sacrifice.
• Facing the setting sun, indicative and symbolic of the death of Christ, the Passion
Façade is supported by six large and inclined columns. Above there is a
pyramidal pediment, made up of eighteen bone-shaped columns, which culminate in a
large cross with a crown of thorns. Each of the four towers is dedicated to an apostle
(James, Thomas, Philip, or Bartholomew) and, like the Nativity Façade, there are three
porticos, each representing the theological virtues, though in a much different light.
• The scenes sculpted into the façade may be divided into three levels, which ascend in
an 'S' form and reproduce the Calvary, or Golgotha, of Christ.[2] The lowest level depicts
scenes from Jesus' last night before the crucifixion, including The Last Supper, Kiss of
Judas, Ecce Homo, and the Sanhedrin Trial of Jesus. The middle level portrays the
Calvary, or Golgotha, of Christ, and includes The Three Marys,Saint Veronica, Saint
Longinus and a hollow-face illusion of Christ. In the third and final level the Death,
Burial and the Resurrection of Christ can be seen. A bronze figure situated on a bridge
creating a link between the towers of Saint Bartholomew and Saint Thomas represents
the Ascension of Jesus.

24. Glory Façade
The largest and most striking of the façades will be the Glory Façade, on which
construction began in 2002. It will be the principal façade and will offer access to
the central nave. Dedicated to the Celestial Glory of Jesus, it represents the road
to God: Death, Final Judgment, and Glory, while Hell is left for those who deviate
from God's will.To reach the Glory Portico the large staircase will lead over the
underground passage built over Caller Mallorca with the decoration representing
Hell and vice. It will be decorated with demons, idols, false gods, heresy and
schisms, etc. Purgatory and death will also be depicted, the latter using tombs
along the ground. The portico will have seven large columns dedicated
to spiritual gifts. At the base of the columns there will be representations of the
Seven Deadly Sins, and at the top, The Seven Heavenly Virtues.

25. Nativity Façade Passion Facade

26. Casa Batlo

27. Casa Batlo
Loft
The loft is considered to be one of the most unusual spaces. It was formerly a
service area for the tenants of the different apartments in the building which
contained laundry rooms and storage areas. It is known for its simplicity of
shapes and its Mediterranean influence through the use of white on the walls.
It contains a series of sixty Catenary arches that creates a space which
represents the ribcage of an animal. Some people believe that the “ribcage”
design of the arches is a ribcage for the dragon’s spine that is represented in
the roof.
Noble floor and museum
The noble floor is larger than seven-hundred square meters, it is the main floor
of the building. The noble floor is accessed through a private entrance hall that
utilizes skylights resembling tortoise shells and vaulted walls in curving shapes.
On the noble floor, there is a spacious landing with direct views to the blue
tiling of the building well. On the Passeig de Gracia side is Mr. Batlló’s study, a
festejador and a secluded spot for couples, decorated with a mushroom-
shaped fireplace . The elaborate and animal-like décor continues throughout
the whole noble floor.

28. Loft Interior of the Noble floor

29. Roof
The roof terrace is one of the most popular features of the entire house due to its famous
dragon back design. Gaudí represents an animal’s spine by using tiles of different colors on
one side. The roof is decorated with four chimney stacks, that are designed to prevent
backdraughts.
Exterior facade
The facade has three distinct sections which are harmoniously integrated. The lower ground
floor with the main floor and two first-floor galleries are contained in a structure
of Montjuïc sandstone with undulating lines. The central part, which reaches the last floor, is
a multicolored section with protruding balconies. The top of the building is a crown, like a
huge gable, which is at the same level as the roof and helps to conceal the room where there
used to be water tanks.The top displays a trim with ceramic pieces that has attracted multiple
interpretations.
Roof tiles
The roof's arched profile recalls the spine of a dragon with ceramic tiles for scales, and a
small triangular window towards the right of the structure simulates the eye. Legend has it
that it was once possible to see the Sagrada Familia through this window, which was being
built simultaneously. The view of the Sagrada Familia is now blocked from this vantage point
by newer buildings.The tiles were given a metallic sheen to simulate the varying scales of the
monster, with the color grading from green on the right side, where the head begins, to deep
blue and violet in the center, to red and pink on the left side of the building.

31. Tower and bulb
One of the highlights of the facade is a tower topped with a cross of four arms oriented
to the cardinal directions. It is a bulbous, root-like structure that evokes plant life. There
is a second bulb-shaped structure similarly reminiscent of a thalamus flower, which is
represented by a cross with arms that are actually buds announcing the next flowering.
The tower is decorated with monograms of Jesus (JHS), Maria (M with the ducal crown)
and Joseph (JHP), made of ceramic pieces that stand out golden on the green
background that covers the facade. These symbols show the deep religiosity of Gaudi,
who was inspired by the contemporaneous construction of his basilica [to choose the
theme of the holy family.
The bulb was broken when it was delivered, perhaps during transportation. Gaudí liked
the aesthetic of the broken masonry and asked that the pieces be stuck to the main
structure with lime mortar and held in with a brass ring.
Central section
The central part of the facade evokes the surface of a lake with water lilies, reminiscent
of Monet's Nymphéas, with gentle ripples and reflections caused by the glass and
ceramic mosaic. It is a great undulating surface covered with plaster fragments of
colored glass discs combined with 330 rounds of polychrome pottery. The discs were
designed by Gaudí and Jujol between tests during their stay in Majorca, while working on
the restoration of the Cathedral of Palma.

32. Balcony
Finally, above the central part of the facade is a smaller balcony, also iron, with a
different exterior aesthetic, closer to a local type of lily. Two iron arms were
installed here to support a pulley to raise and lower furniture.
Main floor
The facade of the main floor, made entirely in sandstone, and is supported by two
columns. The design is complemented by joinery windows set with multicolored
stained glass. In front of the large windows, as if they were pillars that support
the complex stone structure, there are six fine columns that seem to simulate the
bones of a limb, with an apparent central articulation; in fact, this is a floral
decoration. The rounded shapes of the gaps and the lip-like edges carved into the
stone surrounding them create a semblance of a fully open mouth, for which the
Casa Batlló has been nicknamed the "house of yawns." The structure repeats on
the first floor and in the design of two windows at the ends forming galleries, but
on the large central window there are two balconies as described above.

33. Central section Main floor