Gaudí’s
La Sagrada Família: Genius or folly?
Soaring
above Barcelona, Antonio Gaudí’s church will eventually become the world’s
tallest when it is finally finished. But is it also the most controversial
religious building? Jonathan Glancey investigates.
BBC
“My client is in
no hurry”. Antoni Gaudí believed that God had all the time in the world, so
there was no need to rush the completion of the Catalan architect’s most
ambitious work, the Sagrada Família. Often mistaken for Barcelona’s cathedral,
the breathtaking Basilica and Expiatory Temple of the Holy Family, paid for
entirely by private donations and sales of tickets to the 2.5 million people
who visit it each year, is unlikely to be finished before 2026. Given that
construction began in 1882, this is clearly the work not just of a singular and
devoutly religious architect, but of several determined generations of
dedicated professionals and enthusiasts.
When the final
stone is set in place, the Sagrada Família will be the world’s tallest church,
soaring 560-ft (170-m) above the Catalan capital. It will also be the strangest
looking and possibly the most controversial place of worship ever built on such
an epic scale. Looking for all the world like a cluster of gigantic stone
termites’ nest, a colossal vegetable patch, a gingerbread house baked by the
wickedest witch of all or perhaps a petrified forest, this hugely ambitious
church has confounded architects, critics and historians ever since its
unprecedented shape became apparent soon after World War I.
George Orwell
said it was “one of the most hideous buildings in the world” and rather hoped
it would be destroyed during the Spanish Civil War. Salvador Dalí spoke of its
“terrifying and edible beauty”, saying it should be kept under a glass dome.
Walter Gropius, master of right-angled architecture and founder of the Bauhaus,
praised its technical perfection. Louis Sullivan, the great American architect,
and “father of skyscrapers”, described it as “spirit symbolised in stone.”
Tourist trap?
When the
mind-numbingly complex stone vault over the 150-ft (45.7-m) high nave was
completed in 2010 and the basilica consecrated by Pope Benedict XVI, the debate
reignited. According to Manuel Vicent, a columnist for the Madrid daily El
Pais, “The only saving grace of the Temple of the Sagrada Família was the fact
that it was unfinished, the dream of a genius driven crazy by mystic reveries.
Now it will completed with the money of tourism, and when its walls are finally
enclosed, there will be no one inside but Japanese tourists.”
The architect
Enric Massip, a member of the Advisory Committee to the City of Barcelona,
denounced the basilica as “an artificially inflated space lacking in soul.”
Intriguingly,
Massip founded his own architectural studio in 1990 “with the goal to create a
leading and innovative practice at the edge of architectural thinking”. Without
spelling it out – he rarely wrote thoughts down, and drew precious little –
this is very much what Antoni Gaudí had done when he developed a form of
radical architecture that, in many ways, was far ahead of its time.
Those who take
against the Sagrada Família do so largely because they refuse to see beyond its
richly decorated and apparently arbitrary forms. Scratch the surface, though,
and this mind-bending building proves to be a tour-de-force of highly
sophisticated mathematics and advanced structural engineering. Gaudí based his
designs on the complex forms we know today (or ought to know) as helicoids,
hyperboloids and hyperbolic paraboloids. These are forms abstracted from nature
and then translated into the design of the columns, vaults and intersecting
geometric elements of the structure of the Sagrada Família. Look up at the
vault crowning the interior of the basilica’s nave. Does this resemble a dense
forest of trees with sunlight shining through it? Gaudí hoped you might see it
like this. Everything he designed, he said, “comes from the Great Book of
Nature”. His ‘textbooks’ were the mountains and caves he loved to explore.
In fact when
Mark Burry, a 23-year-old New Zealander came to Barcelona in 1980, and became
involved in trying to piece the fragments of Gaudí’s remaining architectural
models of the Sagrada Família together, he was unable to make sense of their
unfamiliar and demanding geometry until the peseta dropped and he
understood that it was in the rock formations of mountains, among other natural
phenomena, that Gaudí’s exceptional mathematical imagination had been rooted.
Burry went on to
become both the executive architect of the Sagrada Família and a leading light
in spatial design and computer programming at RMIT University, Melbourne.
Devising parametric computer modelling techniques, adapted from the aerospace
industry, Burry has been able to complete Gaudí’s designs. Working under Jordi
Faulí I Oller I, director of works in Barcelona, he has even sped up the
construction process by having stones cut by computer-driven machinery. What
Burry and his associates in Barcelona find so very humbling is that Gaudí was
able to work out such complex three-dimensional mathematical models in his
mind’s-eye, using intuition alone.
Architectural
miracle?
What few models
and sketches there were by Gaudí’s hand were mostly destroyed by Catalan
anarchists when they assaulted the Sagrada Família during the Spanish Civil
War. They did, however, leave the architect’s tomb intact. For, whatever their
grudge against General Franco and the Catholic Church, they knew full well that
Gaudí was considered a saint by people of all classes and political beliefs. On
7 June 1926 Gaudí had been struck down by a tram at the intersection of
Barcelona’s Carrer de Bailén and the Gran Via. Taxi drivers refused to take a
man they mistook for a beggar to the city hospital. Local people took the wafer
thin and ragged old man to the pauper’s hospital instead. When he was
discovered there, Gaudí refused to be moved. “My place is here”, he said.
Thousands lined the streets for his funeral.
It is difficult
today to understand the upswell of religious feeling that had given rise to the
Sagrada Família. The idea had come to Josep Maria Bocabella, a printer of
religious books after a visit to Italy where he made a pilgrimage to the Shrine
of Loreto, the church housing what is alleged to be the house in which the
Archangel Gabriel appeared to the Blessed Virgin Mary. The house had been flown
to Italy, it was said, by angels to save it from desecration in the 13th
Century. Bocabella founded the Associació de Devots de Sant Josep which bought
the land for the Sagrada Família and paid for the work. At its peak, these
devotees of St Joseph, Mary’s husband, numbered 600,000. If faith could
move mountains, it could build Gaudí’s basilica. The Association for
the Beatification of Antoni Gaudí now campaigns for the architect to
be made a saint.
When complete,
the basilica will boast no fewer than eighteen spires – eight have been built
so far 12 representing Christ’s apostles, four the evangelists (Matthew, Mark, Luke
and John), one the Blessed Virgin Mary and the tallest, Christ the Saviour.
It may be
difficult for puritan eyes, or those with a decided preference for straight
lines and minimalist aesthetics to look at, and yet this utterly brilliant feat
of imaginative construction has inspired designs by some of the world’s finest
engineers and architects over the past century, Oscar Niemeyer, Frei Otto and
Pier Luigi Nervi among them. It will continue to haunt the imagination of
generations to come for whom its architect may well come to be known,
officially, as Saint Antoni Gaudí.