Analyzing the Architecture of Antonio Gaudí with Reference to Art Nouveau Style: An Inspiration from Nature
Journal: Architecture Engineering and Science DOI: 10.32629/aes.v3i4.1100
Abstract
Art Nouveau was a global movement that began in the early 1890s and combined two of the most powerful elements in the world: art and nature. Although these two have been associated from the beginning of time, Art Nouveau's significance and impact are far above any earlier attempts. Worldwide, artwork, sculpture, architecture, pottery, and furniture all exhibited this new style. Although there were many supporters and benefactors of Art Nouveau, only a select handful achieved the recognition and distinction of Antoni Gaudí. Sustainability and bio-education have been the hottest topics in the globe today. Hence, providing everyone with a search box for a solution. Let's take a look at the natural world around us, which is a never-ending source of lessons in effectiveness and a never-ending source of architectural inspiration. Moreover, what we actually need is learning, not just inspiration, which comes in second. As a result, and particularly for us as architects, it is within our power and duty to address sustainability in this plot — the architecture — with which we have been entrusted. The paper explores Antonio Gaudí’s philosophies and works, the effectiveness, the bio-learning, the self-sufficiency of nature, and other specific lessons that can be extracted from nature in order to be applied to architecture and to human life itself in order to help understand these inspirations from nature. The masterpieces by Gaudí reveal what made him special: his faultless exploitation of nature, extremely religiously inspired design, and unheard-of modernism. This combination not only helped Gaudí become famous around the world, but it also helped Art Nouveau become one of the most significant trends in art and architectural history.
Keywords
Antonio Gaudí, Art Nouveau, architecture, nature, inspiration
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[12]El Gazzar, Nadine T., Estévez, Alberto T., Abdallah, Yomna K. (2021). Bacterial Cellulose as a Base Material in Biodigital Architecture (Between Bio-Material Development and Structural Customization), Journal of Green Building, vol. 16, num. 2, College Publishing, Glen Allen, pp. 173-199.
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[19]Estévez, Alberto T. (2015). Biodigital Architecture & Genetics: writings / escritos, ESARQ (UIC), Barcelona.
[20]Estévez, Alberto T. (2014). Learning from Nature: Architecture and Design in the first Biodigital Age. in Alberto T. Estévez (ed.), 2nd International Conference of Biodigital Architecture & Genetics, ESARQ (UIC), Barcelona, pp. 8-23.
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[24]Estévez, Alberto T. (2002 A). Gaudí, Susaeta, Madrid.
[25]Estreicher K. (1986). Historia sztuki w zarysie. 7th ed. PWN, Warszawa.
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[27]Gijs van Hensbergen. (2001). Gaudí. Harper Collins. New York, XXVI.
[28]Jennifer Hawkins Opie. (2000). Art Nouveau 1890–1914. V&A Publications.
[29]Jeremy Berlin. (2010). The Big Idea: Biomimetic Architecture. National Geographic, [Online]; Accessed on: 28th October 2022; Available: http://ngm.nationalgeographic.com/2010/12/big-idea/gaudi-text.
[30]Jordi Oliveras. (2012). “Gaudí, Antoni,” in Grove Art Online, Oxford University Press, n.d. [Online]; Accessed on: 24th October 2022; Available: http://www.oxfordartonline.com/subscriber/article/grove/art/T030991
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[32]Laurence Buffet-Challié. (1982). The Art Nouveau Style. Rizzoli, New York, 9.
[33]Marci Vitruvii Pollionis. (1565). De Architectura libri decem, cum Commentariis Danielis Barbaris Venetiis. Apud F. Franciscium Senense & Ioan. Crugher Germanum (liber II, caput V: 56-60).
[34]Maria Antonietta Crippa. (2003). Antoni Gaudí, 1852-1926: From Nature to Architecture. Köln, Taschen, 9.
[35]Marinelli, L.; Scarpellini, P. (1992). La sagramatura. Una tradizionale tecnica di finitura delle cortine laterizie bolognesi. In: Scienza e Beni Culturali. Le superfici dell’architettura: il cotto. Caratterizzazione e trattamenti. Atti del Convegno di Studi Bressanone, Libreria Progetto Editore, Padova, pp. 37-47.
[36]Michèle Lavallée, (2012). “Art Nouveau,” in Grove Art Online, Oxford University Press, n.d. [Online]; Accessed on: 26th October 2022; Available: http://www.oxfordartonline.com.ezproxy.jccc.edu/subscriber/article/grove/art/T004438?q=art+nouveau&search=quick&pos=1&_start=1#firsthit.
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[39]Paul Greenhalgh, ed. (2000). Art Nouveau: 1890-1914. Harry N. Abrams, New York, 18.
[40]Pękala T. Secesja. (1995). konkretyzacje i interpretacje. Lublin: Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej.
[41]Sandrolini, F.; Franzoni, E. (2006). Recovery of Art Nouveau European architecture: materials, technologies, degradation and conservation strategies. In: Proc. Int. Conference “Heritage protection: construction aspects”, J. Radic et al. Eds, Dubrovnik, Croatia, pp. 379-384.
[42]Taut, Bruno. (1919). Die Stadtkrone. Eugen Diederichs, Jena.
[43]Temple Expiatori Sagrada Família. The Tree Structure. n.d. [Online]; Accessed on: 26th September 2022; Available: http://www.sagradafamilia.cat/sfeng/docs_instit/estructura2.php?pa=tree.structure.
[44]Tietz, J. (2000). Story of Architecture in the 20th Century. Konemann.
[45]Veiga de Oliveira, E.; Galhano, F. (2003) Portugal de Porto. Arquitectura tradicional portuguesa. Publicoe Dom Quixote, Lisboa.
[46]Wallace, A.R. (1905). My lie: A record of events and opinions. Chapman and Hall. London, [Online]; Accessed on: 10th October 2022; Available: http://darwin-online.org.uk/converted/Ancillary/1905_Wallace_A237/1905_Wallace_A237.2.html
[47]Wallis M. Secesja. (1984). Warszawa: Wyd. Arkady.
[48]Weisberg F. (1986). Art Nouveau Bing: Paris Style 1900. Harry N. Abrams, New York.
[49]Zerbst R. (2004). Antoni Gaudi: wszystkie budowle. Köln: Taschen.
[2]Bergós, Juan. (1974). Gaudí, el hombre y la obra. Universidad Politécnica de Barcelona, Barcelona, pp. 18 and 104.
[3]Bonet, Jordi. (2000). L’últim Gaudí / The Essential Gaudí, ECSA / Pòrtic, Barcelona, p. 12.
[4]Casa Batlló. (2012). Gaudí’s Work of Art: Casa Batlló Barcelona. [Online]; Accessed on: 28th September 2022; Available: http://www.casabatllo.es/en/history/casa-batllo/gaudi-work-art/
[5]Casa Batlló. (2012). History: Casa Batlló Barcelona. [Online]; Accessed on: 28th September 2022; Available: http://www.casabatllo.es/en/history/casa-batllo/history-building/
[6]Casa Batlló. (2012). A Visit to Casa Batlló: A modernist house in Barcelona. [Online]; Accessed on: 05th October 2022; Available: http://www.casabatllo.es/en/visit-us/information/visit/
[7]Casa Batlló. (2012). The Building: The Floors. [Online]; Accessed on: 06th October 2022; Available: http://www.casabatllo.es/en/history/floors/
[8]Cremona I. (1984). Il tempo dell’art nouveau: modern style, sezession, jugendstil, arts and crafts, floreale, liberty. Allemandi, Torino.
[9]Dell’Acqua, A. C.; Franzoni, E.; Sandrolini, F.; Varum, H. (2009). Materials and Techniques of Art Nouveau Architecture in Italy and Portugal: a First Insight for a European Route to Consistent Restoration. Restoration of Buildings and Monuments, vol. 15, pp. 129–144.
[10]DK Studio Architecture. The Defining Features of Art Nouveau Design and Architecture. DK Studio Architecture. [Online]; Accessed on: 12th October 2022; Available: http://www.studiodk.com/blog//history-of-art-nouveau-architecture
[11]Dollens, Dennis. (2017). Metabolic Architectures: Turing, Sullivan, Autopoiesis & AI, ESARQ (UIC), Barcelona.
[12]El Gazzar, Nadine T., Estévez, Alberto T., Abdallah, Yomna K. (2021). Bacterial Cellulose as a Base Material in Biodigital Architecture (Between Bio-Material Development and Structural Customization), Journal of Green Building, vol. 16, num. 2, College Publishing, Glen Allen, pp. 173-199.
[13]Encyclopedia Britannica. (2002) Art Nouveau, artistic style. Encyclopaedia Britannica [Online]; Accessed on: 28th September 2022; Available: https://www.britannica.com/art/Art-Nouveau
[14]Encyclopedia Britannica (Saint George). “Saint George,” Encyclopaedia Britannica [Online]; Accessed on: 28th September 2022; Available: http://www.britannica.com/EBchecked/topic/229970/Saint-George#tocBiblio.
[15]Estévez, Alberto T. (2002 A). Gaudí. Susaeta, Madrid.
[16]Estévez, Alberto T. (2010). Application of Life information in Architecture: Biodigital Architecture and Genetics”, in Aaron Sprecher, Shai Yeshayahu, Pablo Lorenzo-Eiroa (eds.), LIFE in: formation / On Responsive Information and Variations in Architecture ACADIA 2010, ACADIA, New York, pp. 168-173.
[17]Estévez, Alberto T., Urbano, Judith. (2020 B). Back to the Basics: Return to the Origin, Gaudí and Nature, in Jacqueline A. Stagner, David S-K. Ting (eds.), Green Energy and Infrastructure: Securing a Sustainable Future, CRC Press / Taylor & Francis Group, Boca Raton, pp. 273-286.
[18]Estévez, Alberto T. (2003). Genetic Architectures /Arquitecturas Genéticas. in VV.AA., Genetic Architectures/Arquitecturas Genéticas, Sites Books / ESARQ (UIC), Santa Fe/Barcelona, pp. 4-17.
[19]Estévez, Alberto T. (2015). Biodigital Architecture & Genetics: writings / escritos, ESARQ (UIC), Barcelona.
[20]Estévez, Alberto T. (2014). Learning from Nature: Architecture and Design in the first Biodigital Age. in Alberto T. Estévez (ed.), 2nd International Conference of Biodigital Architecture & Genetics, ESARQ (UIC), Barcelona, pp. 8-23.
[21]Estévez, Alberto T. (2002 B). Antoni Gaudí: Arquitectura cromática. in Judith Urbano (ed.), Gaudí a París l’any 1910, Sites Books / ESARQ (UIC), Santa Fe / Barcelona, pp. 7-10.
[22]Estévez, Alberto T. (2020 C). Sustainable Living? Biodigital Future!. in Jacqueline A. Stagner, David S-K. Ting (eds.), Sustaining Resources for Tomorrow, Springer International Publishing / Springer Nature, Berlin, pp. 137-162.
[23]Estévez., Alberto T. (2021). Sustainable Nature-Inspired Architecture. in David Ting and Jacqueline Stagner (editors), Sustainable Engineering Technologies and Architectures, AIP Publishing, Melville, NY (USA).
[24]Estévez, Alberto T. (2002 A). Gaudí, Susaeta, Madrid.
[25]Estreicher K. (1986). Historia sztuki w zarysie. 7th ed. PWN, Warszawa.
[26]Ching, Francis D. K., Shapiroo, Iann M. (2014). Green Building Illustrated. John Wiley & Sons, Inc., Hoboken.
[27]Gijs van Hensbergen. (2001). Gaudí. Harper Collins. New York, XXVI.
[28]Jennifer Hawkins Opie. (2000). Art Nouveau 1890–1914. V&A Publications.
[29]Jeremy Berlin. (2010). The Big Idea: Biomimetic Architecture. National Geographic, [Online]; Accessed on: 28th October 2022; Available: http://ngm.nationalgeographic.com/2010/12/big-idea/gaudi-text.
[30]Jordi Oliveras. (2012). “Gaudí, Antoni,” in Grove Art Online, Oxford University Press, n.d. [Online]; Accessed on: 24th October 2022; Available: http://www.oxfordartonline.com/subscriber/article/grove/art/T030991
[31]Kubalska-Sulkiewicz K,. (2005). Słownik terminologiczny sztuk pięknych wyd. PWN.V. Warszawa.
[32]Laurence Buffet-Challié. (1982). The Art Nouveau Style. Rizzoli, New York, 9.
[33]Marci Vitruvii Pollionis. (1565). De Architectura libri decem, cum Commentariis Danielis Barbaris Venetiis. Apud F. Franciscium Senense & Ioan. Crugher Germanum (liber II, caput V: 56-60).
[34]Maria Antonietta Crippa. (2003). Antoni Gaudí, 1852-1926: From Nature to Architecture. Köln, Taschen, 9.
[35]Marinelli, L.; Scarpellini, P. (1992). La sagramatura. Una tradizionale tecnica di finitura delle cortine laterizie bolognesi. In: Scienza e Beni Culturali. Le superfici dell’architettura: il cotto. Caratterizzazione e trattamenti. Atti del Convegno di Studi Bressanone, Libreria Progetto Editore, Padova, pp. 37-47.
[36]Michèle Lavallée, (2012). “Art Nouveau,” in Grove Art Online, Oxford University Press, n.d. [Online]; Accessed on: 26th October 2022; Available: http://www.oxfordartonline.com.ezproxy.jccc.edu/subscriber/article/grove/art/T004438?q=art+nouveau&search=quick&pos=1&_start=1#firsthit.
[37]National Geographic. (2010). Barcelona’s Natural Wonder. National Geographic. Basílica de la Sagrada Família [Online]; Accessed on: 20th October 2022; Available: http://www.sagradafamilia.cat/sfup/prensa/2010-09-01-01.pdf
[38]Okoń W. (2001). Stanisław Wyspiański. Wrocław: Wyd. Dolnośląskie.
[39]Paul Greenhalgh, ed. (2000). Art Nouveau: 1890-1914. Harry N. Abrams, New York, 18.
[40]Pękala T. Secesja. (1995). konkretyzacje i interpretacje. Lublin: Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej.
[41]Sandrolini, F.; Franzoni, E. (2006). Recovery of Art Nouveau European architecture: materials, technologies, degradation and conservation strategies. In: Proc. Int. Conference “Heritage protection: construction aspects”, J. Radic et al. Eds, Dubrovnik, Croatia, pp. 379-384.
[42]Taut, Bruno. (1919). Die Stadtkrone. Eugen Diederichs, Jena.
[43]Temple Expiatori Sagrada Família. The Tree Structure. n.d. [Online]; Accessed on: 26th September 2022; Available: http://www.sagradafamilia.cat/sfeng/docs_instit/estructura2.php?pa=tree.structure.
[44]Tietz, J. (2000). Story of Architecture in the 20th Century. Konemann.
[45]Veiga de Oliveira, E.; Galhano, F. (2003) Portugal de Porto. Arquitectura tradicional portuguesa. Publicoe Dom Quixote, Lisboa.
[46]Wallace, A.R. (1905). My lie: A record of events and opinions. Chapman and Hall. London, [Online]; Accessed on: 10th October 2022; Available: http://darwin-online.org.uk/converted/Ancillary/1905_Wallace_A237/1905_Wallace_A237.2.html
[47]Wallis M. Secesja. (1984). Warszawa: Wyd. Arkady.
[48]Weisberg F. (1986). Art Nouveau Bing: Paris Style 1900. Harry N. Abrams, New York.
[49]Zerbst R. (2004). Antoni Gaudi: wszystkie budowle. Köln: Taschen.
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