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The musicians Lluís Millet and Amadeu Vives, founders of the Catalan Choral Society in 1891, commissioned Lluis Domenech i Montaner to construct a building as the headquarters of the organisation. However, they didn't want just any building, rather a unique building that would reflect the sentiment of the Catalan bourgeoisie of the late nineteenth century. On 23rd April, 1905, construction was started and the Barcelona high-society did not miss its opening on 9th February, 1908.
A particularly outstanding feature of the façade is the sculptural cluster representing Catalan popular music. Once inside, the visitor encounters main foyer, a baroque area full of colour, before they are presented with the real jewel of the building: the concert hall. Domenech i Montaner used a steel structure that supports the weight of construction in order to obtain a large, open and clean space. In addition, the ceiling is adorned with a large skylight in the shape of an inverted dome that represents a sun surrounded by female faces. The stage is the other big attraction of the hall, flanked by the most important sculptures of the building.
Domenech i Montaner designed a palace where architecture is combined with sculpture, joinery, marquetry, glasswork, mosaic and ceramics. This is what we know as a true work of art.
In 1885, Eusebio Guell commissioned Antonio Gaudi to construct his residence in the heart of Barcelona, specifically in the street Nou de la Rambla. Gaudí conceived a solemn and ostentatious building, and used rich and expensive materials such as marble, hardwood and wrought iron. The sobriety of the façade, most likely due to its location on a small site on a narrow street, contrasts with the lavishness of its interior. Parabolic arches on the façade are decorated with wrought iron railings, and give away to a wide entrance, allowing for the entry of horses and carriages.
The building is accessed through a magnificent central hall covered by a dome that exceeds the height of the roof and, through perforations shaped like a star, lets in sunlight. The hall, with a chapel attached, is richly decorated with columns, windows and grilles and leads to other rooms, all replete with windows and ornate furniture. The palace also has a large stable basement, a feature that few houses had.
There is also innovation in the use of chimneys located on the roof of the building; elements frequently used in the imaginative decoration of Gaudí. In fact, it is in the design of these chimneys that the architect first used a decorative resource that became most representative of his work: the 'trencadís' (mosaic).
The Casa Milà is one of Antoni Gaudí's most unique works. Situated right on the Passeig de Gràcia in Barcelona, it breaks with the physiognomy of the avenue. It is a building constructed with two interior patios and a basement, lower floor, main floor, four apartments, attic and roof. Gaudí established the building's structure based on stone pillars, brick and iron and the main support of the catenary archand parabolic arch.
Its construction generated a great deal of controversy in the early 1900's. Barcelonans gave it the nickname "La Pedrera," (the quarry) which refers to the type of creamy white stone used that comes from the quarries in Garraf and Vilafranca del Penedès.
Many also described it as a large boat that rowed along the Passeig de Gràcia. The building's façade is characterised by theundulations and openings in the stone to facilitate interior lighting and ventilation.
The building featured 20 homes that were rented to affluent families of the era. The Milà couple, the owners of the property, lived in the penthouse apartment. La Pedrera, however, is not a conventional residential building. Gaudí's objective was to create dwellings in movement, where everyone could have their own layout according to the needs of each tenant
The building is crowned with a rooftop terrace, finished with seven chimneys, covered withlime, white 'trencadís' (mosaic) and glass. The heads of seven mythological warriors are featured, which, from the almost imaginary rooftop, watch over the city.
Who says that a hospital has to be white and devoid of all decoration? Thanks to the legacy of the banker Pau Gil, in 1902 the modernist architect, Lluís Domènech i Montaner, planned a hospital full of beauty, rich in ornamentation, colour and vegetation.
It is a monumental complex consisting of 27 red brick pavilions located on the border between the districts of Eixample and Guinardó. It is a true hospital city where, surrounded by gardens, medical and general treatments are provided, and where apartments and a church are located. Everything is connected via a 2 km underground passage systemthat allows patients to move about without going outside.
The project by Domènech i Montaner, that would be finished by his son in 1930, is a completely innovative architectural and urban conceptin terms of the typical 20th century hospital. The hospital separated services to avoid contagion and favoured natural light and open spaces to freshen the air and provide a more pleasing environment for the patients .
After more than 80 years of healthcare activity, the hospital was moved to new buildings in 2009. Once vacated and renovated, Domènech i Montaner's modernist pavilions became the home of other institutions.
The Basílica Expiatòria de la Sagrada Família (Basilica and Expiatory Church of the Sagrada Familia) is one of the most remarkable examples of Catalan ‘modernisme’ (Art Nouveau) and has become a symbol of Barcelona. Undoubtedly it is the unfinished monument that attracts most visitors in the world. Moreover, Antoni Gaudí poured all his efforts and knowledge into the project right up until his death, although he only saw completion of the crypt, the apse and the façade of the Nativity with one of the bell towers. Together, these areas were declared World Heritage Site in 2005.
Construction of the Sagrada Familia began in 1882 with the crypt located under the apse, according to a preliminary neo-Gothic design. When the commission was handed over to Gaudí, he completely changed the design and adapted the project to his naturalist ideals. One of the treasures of the crypt is the Roman-style mosaics on the floor. Another feature that cannot be missed is the framed altarpiece dedicated to the Holy Family by the sculptor Josep Llimona. And it is precisely in this intimate and mystic setting that Antoni Gaudí is buried, specifically in the chapel of Our Lady of Mount Carmel.
Once the crypt and apse were finished, Gaudí started on a more ambitious and complex project based on detailed symbolism and great formal construction innovations based on the parabolic arch. This led to the Nativity façade. According to Gaudí: "If instead of creating this decorated, ornate and bombastic façade, I had begun with the Passion, hard, bare and bone-like; people would have expressed disapproval". Thus he turned the façade into a detailed stone book relating the episodes of Jesus’s childhood.
After Gaudí’s death, the building went through decades of slow evolution. With the revival of interest in the work of Gaudí, the number of visitors has greatly increased in recent years and construction work on the temple has advanced quickly, following the models and notes left by the master. The interior of the nave of the church is a new attraction and it is hoped that in 2026 the building of Gaudí’s dreams will be completed.
Eusebi Güell, faithful defender of the works of Antoni Gaudí, commissioned the architect to design a church for the textile village that he had constructed in Santa Coloma de Cervelló, close to Barcelona.
Construction didn't begin until the end of 1908, two years after its commission. Moreover, Gaudí abandoned the project in 1914 and work was suspended indefinitely in 1916, at which point only the crypt was built.
But for Antoni Gaudí, both the project and the construction of the crypt in Colònia Güell were a testing laboratory, where he experimented with architectural solutions and new structural techniques that he later used in the Sagrada Família. He made bold attempts, using brick and stone that pushed the limits of the construction of architectural structures, such as the parabolic arches and the sloping walls and columns.
Located in the heart of the city of Barcelona, the Parc de la Ciutadella is not only a reference point as a green space in the city: its great diversity of elements (museums, lake, waterfall, century-old vegetation, sculptures, etc.) make it especially valued by residents and visitors to the city. Built in the second half of the 19th century on the occasion of the Universal Exposition of 1888, the current park occupies the grounds of the citadel which Felip V ordered to be built in 1714 after the War of Succession.
Of the pavilions built for the Universal Exposition, the Castell dels Tres Dragons (headquarters of the Museum of Zoology of Barcelona), the Umbracle (the plant house), and the Hivernacle (greenhouse) survive. But where all eyes are focused is on the lake and the monumental waterfall. A young Antoni Gaudí took part in the construction of the fountain, topped by a wrought iron sculpture.
In the old Plaza de Armas of the fortress is the seat of the Parliament of Catalonia and very close by, you can see a copy of El desconsol (Desolation), by Josep Llimona. This replica is the most prominent of the hundreds of sculptures that the visitor can see in the Park.
The main entrance to la Ciutadella along the Passeig de Lluís Companys, which is headed by the imposing modernista Triumphal Arch and which forms one of the most beautiful urban postcards of the city.
For many years, the Ciutadella was the only park in the city, and the first of those currently existing which was designed specifically as a public space. Its versatility turns the green lung of Barcelona into a stage for leisure and cultural activities.
