Europe’s most unconventional church, Sagrada Família is an emblem of a metropolis that likes to consider itself as individualistic. Full of symbolism inspired by nature, and striving for originality, it’s Antoni Gaudí’s greatest work. In 1883, a year after constructing had begun on a Neo-Gothic church on the location, the task of finishing it was given to Gaudí, who modified everything, extemporizing as he went along. It grew to become his life’s work; he lived like a recluse on the location for sixteen years and was buried within the crypt. On his death, just one tower on the Nativity Façade had been accomplished, however work continued after the Spanish Civil War and several more have since been completed to his plans. Work continues in the present day, financed by public subscription.
Towards the end of the nineteenth century, a brand new style of artwork and architecture, a variant of Art Nouveau, was born in Barcelona. Modernisme turned a way of expression for Catalan nationalism and tried to reestablish an area identity that had waned beneath the rule of Castilian Madrid. The style is characterised by curved lines and a profusive use of coloured tiles and tiled mosaics. The type’s radical look is without doubt one of the principal attractions of Barcelona at this time.
Born into a household of artisans, Antoni Gaudí (1852- 1926) studied at Barcelona’s School of Architecture. Inspired by a nationalistic seek for a romantic medieval past, his work was supremely unique. His most celebrated construction is the Sagrada Família, to which he devoted his life from 1883. He mixed bare, undecorated supplies – wood, rough-hewn stone, rubble, and brickwork – with meticulous craftwork in wrought iron and stained glass.
Gaudí united nature and faith in his symbolic vision of the Sagrada Família. The church has three monumental façades. The east entrance is directed towards the rising Sun and devoted to the birth of Christ. Nature, spring and summer symbols, fruits, birds, and flowers adorn this façade. The west entrance represents Chirst’s Passion and death, with columns eerily reminiscent of bones combined with an absence of ornament to mirror the loss that dying brings. The Glory Façade to the south has not yet been constructed, however is projected to be the biggest of all.