Unique architectural constructions around the world (P.75) - La Sagrada Familia (Spain): A Testament of Architectural Ingenuity

01-12-2020

(WorldKings.org) The Sagrada Família, is a large Roman Catholic church in Barcelona, Catalonia, Spain, designed by Catalan architect Antoni Gaudí (1852–1926). Although incomplete, the church is a UNESCO World Heritage Site, and in November 2010 was consecrated and proclaimed a minor basilica by Pope Benedict XVI.

Though construction of Sagrada Família had commenced in 1882, Gaudí became involved in 1883, taking over the project and transforming it with his architectural and engineering style—combining Gothic and curvilinear Art Nouveau forms.

The Sagrada Família, is a large Roman Catholic church in Barcelona, Catalonia, Spain, designed by Catalan architect Antoni Gaudí (1852–1926). Although incomplete, the church is a UNESCO World Heritage Site, and in November 2010 was consecrated and proclaimed a minor basilica by Pope Benedict XVI.

Though construction of Sagrada Família had commenced in 1882, Gaudí became involved in 1883, taking over the project and transforming it with his architectural and engineering style—combining Gothic and curvilinear Art Nouveau forms.

Gaudí devoted his last years to the project, and at the time of his death in 1926, less than a quarter of the project was complete. Sagrada Família's construction progressed slowly, as it relied on private donations and was interrupted by the Spanish Civil War—only to resume intermittent progress in the 1950s. Construction passed the midpoint in 2010 with some of the project's greatest challenges remaining and an anticipated completion date of 2026—the centennial of Gaudí's death.

Describing Sagrada Familia, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art" and Paul Goldberger called it 'the most extraordinary personal interpretation of Gothic architecture since the Middle Ages'.

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 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 Gaudi 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 Church will have three grand façades: the Nativity façade to the East, the Passion façade to the West, and the Glory façade to the South (yet to be completed). The Nativity Façade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on the Cross. These controversial designs are the work of Josep Maria Subirachs. The Glory façade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as the Seven Deadly Sins and the Seven Heavenly Virtues.

The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns.

Essentially none of the interior surfaces are flat; the ornamentation is comprehensive and rich, consisting in large part of abstract shapes which combine smooth curves and jagged points. Even detail-level work such as the iron railings for balconies and stairways are full of curvaceous elaboration.

According to architectuul.com


Mihan (Collect and edit) (World Records Union - WorldKings.org)

 

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