Antonio Gaudi, by George R. Collins

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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:18 am

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"Plate 19. View of the Sagrada Familia church from the side of its unfinished nave--the early Gothic Revival apse can be seen at the left. Note that the church will in time be surrounded by the public parks and gardens that its builders intended." ("Antonio Gaudi," by George R. Collins)

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"Plate 20. Chalk and ink drawing of 1917 for the other transept of the Sagrada Familia church, that of the Passion. It resembles more the Colonia Guell than the earlier transept." ("Antonio Gaudi," by George R. Collins)

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"Plate 21. Early model for the Sagrada Familia church (c.1910). This model employs parabolic arches, but otherwise uses Gothic structure with vertical piers." ("Antonio Gaudi," by George R. Collins)

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"Plate 22. A drawing that shows Gaudi's ideas for the exterior of the church as of about 1906. Note that the pinnacles are of a foliated Gothic form, not the final type." ("Antonio Gaudi," by George R. Collins)

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"Plate 23. Transverse section of the nave of the church of the Sagrada Famlia as it is now planned. Here can be seen the structure of the roof, composed of a series of pyramidal units rising more than 75 feet above the vaulted ceiling." ("Antonio Gaudi," by George R. Collins)

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"Plate 24. Present model for the nave of the church. It uses inclined tree-like supporting piers as well as vault and wall surfaces made of hyperbolic paraboloids that produce attractive star-like patterns. It is based on Gaudi's last model of about 1925 (destroyed)." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:18 am

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"Plate 25. Two schematic plans of the projected church of the Sagrada Familia: (top) drawn at floor level, shows the liturgical use of the internal parts and explains the symbolism of the piers and portals; (bottom) drawn at heights that reveal the different vaulting forms, gives the names of the towers and cupolas." ("Antonio Gaudi," by George R. Collins)

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"Plate 26. Two schematic plans of the projected church of the Sagrada Familia: (top) drawn at floor level, shows the liturgical use of the internal parts and explains the symbolism of the piers and portals; (bottom) drawn at heights that reveal the different vaulting forms, gives the names of the towers and cupolas." ("Antonio Gaudi," by George R. Collins)

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"Plate 27. A section through the Palacio Guell from front to back. This was drawn and published for Eusebio Guell in connection with the exhibition of Gaudi's works in Paris in 1910." ("Antonio Gaudi," by George R. Collins)

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"Plate 28. The Palacio Guell (1885-89) is situated in a bohemian quarter of Barcelona just off the Rambla de Capuchinos, which can be seen at the street's end. Picasso once had his studio on a roof opposite." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:18 am

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"Plate 29. Typical of the painstaking craftsmanship of the Palacio Guell is this three-dimensional construction evolved from the escutcheon of Catalonia. The door grilles are so contrived that one sees out but not in." ("Antonio Gaudi," by George R. Collins)

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"Plate 30. These parabolic arches were selected by Eusebio Guell over a variety of more conservative facade designs that Gaudi prepared for him. The curling Art Nouveau ironwork of the doors contains the patron's initials "E" and "G" above and at the bottom corners, coiled serpents." ("Antonio Gaudi," by George R. Collins)

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"Plate 31. Rear of the Palacio Guell. Note how the unusual blinds and the variety of roof elements contrast with the simple rhythms of the window openings." ("Antonio Gaudi," by George R. Collins)

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"Plate 32. Roof of the Palacio Guell. The tall cupola shell is surmounted by a cross, with which Gaudi nearly always finished off his buildings." ("Antonio Gaudi," by George R. Collins)

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"Plate 33. Palacio Guell, Barcelona. Entrance vestibule with dismounting steps. Carriages were parked in coachroom behind the door at left. The bulging grille behind the steps gives light to the spiral ramp below." ("Antonio Gaudi," by George R. Collins)

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"Plate 34. Interior of the Palacio Guell (1885-89) in its heyday. Unfortunately the house was occupied during the Civil War by the garbage-collector's union and stripped almost bare." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:19 am

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"Plate 35. Palacio Guell, Barcelona. Gaudi's three-dimensional version of what the Spaniards call an "artesonado" ceiling." ("Antonio Gaudi," by George R. Collins)

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"Plate 36. Palacio Guell, 1885-89. Wrought-iron decoration of an arch in an upper-floor bedroom, Palcio Guell, 1885-89." ("Antonio Gaudi," by George R. Collins)

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"Plate 37. In the Palacio Guell's underground stables heavy mushroom columns of brick and flat Catalan tile vaulting support the floor above." ("Antonio Gaudi," by George R. Collins)

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"Plate 38. The stables in the basement (sotano) of the Palacio Guell employ a spiral ramp of brick and of tile for the horses to descend from the coachroom above." ("Antonio Gaudi," by George R. Collins)

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"Plate 39. Dragon gate of the Finca Guell. One of the most elaborate examples of the wild outburst of ironwork in late 19th century Catalonia. The dangling chains are characteristic of contemporary gates, but the delicate meshwork is unusual." ("Antonio Gaudi," by George R. Collins)

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"Plate 40. Gatekeeper's lodge of the Finca Guell in Barcelona, 1887. The tall arches, the interlocked brick pattern and the endless repetition of circles in stucco remind one vaguely of Moslem architecture. Notice how simply and economically the designs are worked out with raw building materials." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:19 am

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"Plate 41. The Episcopal Palace in Astorga, 1887-93. It was Gaudi's desire to construct an edifice appropriate to the harshness of the Spanish meseta and in keeping with the dignity of his friend the Bishop Grau. (Astorga cathedral is behind at the left)." ("Antonio Gaudi," by George R. Collins)

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"Plate 42. Entrance to the Astorga Palace. This unusual portal seems to recall, vaguely, ecclesiastical hats, crowns and canopies." ("Antonio Gaudi," by George R. Collins)

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"Plate 43. Basement of Episcopal Palace of Astorga. Gaudi's underground vaulting is always powerful, complex and Catalan in technique. (This now serves as a museum)." ("Antonio Gaudi," by George R. Collins)

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"Plate 44. Drawing by Gaudi for a Franciscan mission in Tangier (1892-93). The edifice was to be circular in plan and high, containing schools, lodgings and other facilities. In the central compound was to rise a chapel, whose many towers seem to have been the inspiration for later work on the Sagrada Familia church." ("Antonio Gaudi," by George R. Collins)

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"Plate 45. Teresan school in Barcelona, 1889-94. These external walls are of rubble interlarded with brick and terracotta ornament. The whole is done in soft earth colors ranging from tan to reddish brown." ("Antonio Gaudi," by George R. Collins)

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"Plate 46. Transverse section of the Colegio de Santa Teresa de Jesus drawn for the architect Luis Bonet y Gari." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:19 am

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"Plate 47. Plan of the ground floor of the Colegio de Santa Teresa de Jesus drawn for the architect Luis Bonet y Garii." ("Antonio Gaudi," by George R. Collins)

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"Plate 48. Teresan school entrance gate. This is in the age-old Spanish tradition of rejas (grille-work), here spikey like those of Leon." ("Antonio Gaudi," by George R. Collins)

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"Plate 49. Interior of the ground floor of the Teresan school, 1889-94. Notice how simply and strongly the structural lines of the various arches and piers are articulated. Chicago architects were developing a similar bare rationalism in metal in these same years." ("Antonio Gaudi," by George R. Collins)

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"Plate 50. Arcades of the first floor of the Teresan college. Here the piers are only one brick thick. Parabolic arches have by now become standard for Gaudi." ("Antonio Gaudi," by George R. Collins)

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"Plate 51. Door grille of the Case Fernandez-Andres of Leon (fabricated in Barcelona) contains the lion of the city at top. The sculptured St. George of Barcelona above caused a stir in Leon; the present one is a modern replica of 1956." ("Antonio Gaudi," by George R. Collins)

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"Plate 52. Gaudi's original drawing for the elevation of Casa Fernandez-Andres of Leon, 1891. The building was completed in 1894." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:19 am

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"Plate 53. Detail of a carved wooden ceiling in the Casa Fernandez-Andres." ("Antonio Gaudi," by George R. Collins)

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"Plate 54. Casa Calvet in Barcelona, 1898-1904. The owner's name (Pedro Martir) is symbolized by a transfigured saint's head at the cornice, the center one being Peter Martyr. As usual the building is topped with crosses." ("Antonio Gaudi," by George R. Collins)

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"Plate 55. Lobby of Casa Calvet. As with the Palacio Guell, one of the outstanding qualities of the building is the costliness and variety of materials--natural and artificial--employed in its decoration." ("Antonio Gaudi," by George R. Collins)

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"Plate 56. View of the porch of the Colonia Guell chapel (1898-1908-15)." ("Antonio Gaudi," by George R. Collins)

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"Plate 57. Crypt of the Colonia Guell chapel near Barcelona. The roughness of effect throughout the building is enhanced by the irregular way that these inclined columns are cut. Note the spidery benches." ("Antonio Gaudi," by George R. Collins)

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"Plate 58. Detail under the porch of the Colonia Guell chapel at Santa Coloma de Cervello (near Barcelona)." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:19 am

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"Plate 59. Detail of the crypt interior of the Colonial Guell chapel." ("Antonio Gaudi," by George R. Collins)

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"Plate 60. Rough sketch of projected exterior of the Colonia Guell chapel. This was drawn over an inverted photograph of the working model." ("Antonio Gaudi," by George R. Collins)

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"Plate 61. Companion sketch for the interior of the chapel of the Colonia Guell, based on an inverted photograph." ("Antonio Gaudi," by George R. Collins)

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"Plate 62. Inverted photograph of the funicular model for the Colonia Guell chapel hanging in the workshop beside the building. This represents the sheet-calculations for exterior surfaces." ("Antonio Gaudi," by George R. Collins)

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"Plate 63. Inverted photograph of the interior of the funicular model in [previous picture] shows calculations for the columns and arches of the structure." ("Antonio Gaudi," by George R. Collins)

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"Plate 64. Casa Figueras in Barcelona, called "Torre Bell Esguard," 1900-02. The mosaic benches (1910) and other details of the entrance were done by a follower of Gaudi." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:20 am

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"Plate 65. Attic of 'Bell Esguard.' Here, Gaudi called on the wizardry of his Catalan masons to produce what seems to be pure 'Constructivism.'" ("Antonio Gaudi," by George R. Collins)

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"Plate 66. Panoramic view of part of the Park Guell of Barcelona, 1900-14. The building seen above the right hand gatehouse is the house in which Gaudi lived from 1906 to 1925." ("Antonio Gaudi," by George R. Collins)

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"Plate 67. View of the stairway and 'market hall' of the Park Guell in about 1908 when the ceramic benches of the playground above were still under construction. In this photograph the lizard fountain is concealed behind the serpent one in the center." ("Antonio Gaudi," by George R. Collins)

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"Plate 68. Roofs and crowning members of the two gate lodges of the Park Guell. The two perforated pinnacles are actually chimney pots." ("Antonio Gaudi," by George R. Collins)

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"Plate 69. Playground of the Park Guell in Barcelona. In the distance can be seen the church of the Sagrada Familia. The patterns in tile mosaics on the benches are a child's delight." ("Antonio Gaudi," by George R. Collins)

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"Plate 70. A gallery of the Park Guell supporting one of the several viaducts." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:20 am

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"Plate 71. One of the galleries of the Park Guell. Note the rough pendant stones in the vault and the reinforcing ribs of iron that weave through them." ("Antonio Gaudi," by George R. Collins)

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"Plate 72. Gateway, Finca Miralles, 1901-02. The roofing, an ingenious water-shedding device, has now disappeared. The central gate is not by Gaudi." ("Antonio Gaudi," by George R. Collins)

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"Plate 73. Part of the wall of the Finca Miralles in Barcelona. Unfortunately this wall has been partly knocked down since 1956, and the iron grating was removed in 1959." ("Antonio Gaudi," by George R. Collins)

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"Plate 74. One of a pair of simple pulpits designed for the parochial church of Blanes, near Gerona, about 1905. These pulpits, now lost, were remarkable for their straight lines, which we have seen that Gaudi was inclined to avoid." ("Antonio Gaudi," by George R. Collins)

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"Plate 75. Measured drawing of the stairwell of the Casa Batllo of Barcelona drawn for the architect Luis Bonet y Gari. This court is broader at the top and the tiles are lighter in color at the bottom to ensure illumination of the lower floors." ("Antonio Gaudi," by George R. Collins)

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"Plate 76. Facade of the Casa Batllo, 1905-07. Adjoining it on the left is the Casa Amatler by Gaudi's friend Puig y Cadafalch. On the cylinder that supports the cross pinnacle are inscribed in gold the initials of the Holy Family." ("Antonio Gaudi," by George R. Collins)
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