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 77. Casa Batllo, facade. In Gaudi's reform of this house on the fashionable Paseo de Gracia of Barcelona the shapes of the original edifice have almost disappeared." ("Antonio Gaudi," by George R. Collins)

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"Plate 78. Floor plan of the principal apartment of the Casa Batllo as drawn for the architect Luis Bonet y Gari." ("Antonio Gaudi," by George R. Collins)

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"Plate 79. Entrance vestibule of the Casa Batllo with stairs on the left that ascend to the apartments." ("Antonio Gaudi," by George R. Collins)

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"Plate 80. View into the skylight that covers the stairwell of the Casa Batllo. As usual, the parabolic arch dominates Gaudi's design." ("Antonio Gaudi," by George R. Collins)

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"Plate 81. Part of the attic of the Casa Batllo of Barcelona, 1905-07." ("Antonio Gaudi," by George R. Collins)

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"Plate 82. Entry hall of the principal apartment of the Casa Batllo. Stairway at right comes from the ground level. Gaudi liked small doors that are set in larger hinged panels which can open for state occasions or in order to move furniture." ("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 83. Dining room on the principal floor of the Casa Batllo. Outside of the windows can be seen the terrace garden that goes with this, the owner's apartment." ("Antonio Gaudi," by George R. Collins)

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"Plate 84. Ceramic roofing and pinnacle of the Casa Batllo, 1905-07." ("Antonio Gaudi," by George R. Collins)

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"Plate 85. lustered chimney pots of the Casa Batllo present a rather ecclesiastical appearance." ("Antonio Gaudi," by George R. Collins)

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"Plate 86. Facade of the Casa Mila of Barcelona, 1905-10. The Municipality objected to the pier at the left that juts out into the sidewalk, but backed down when Gaudi threatened to knock the pier out altogether." ("Antonio Gaudi," by George R. Collins)

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"Plate 87. Gaudi's original drawing for the exterior of the Casa Mila, signed by himself and by the Milas." ("Antonio Gaudi," by George R. Collins)

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"Plate 88. Casa Mila. Above the entrance we see the three-part balcony of the proprietor, Dona Rosario Mila, whose monogram ("M" and a rose) appears on the cornice of the building. Her apartment contains more than 20 rooms, most of them large, a private chapel and a theater-salon." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:21 am

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"Plate 89. Roof of the Casa Mila, Barcelona. The heavy-lidded windows admit light to the inside of the attic vaults. Unlike most of Gaudi's work, the ceramic here is in monochrome of grey, white or tan." ("Antonio Gaudi," by George R. Collins)

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"Plate 90. Ventilator cover on the Casa Mila roof." ("Antonio Gaudi," by George R. Collins)

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"Plate 91. Chimneys of the Casa Mila." ("Antonio Gaudi," by George R. Collins)

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"Plate 92. One of the two entrance courts of the Casa Mila, 1905-19. Facing us is the grand stairway to the owner's apartment. Beneath us is a subterranean garage." ("Antonio Gaudi," by George R. Collins)

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"Plate 93. An interior of the Casa Mila of Barcelona in the lush days. Gaudi obviously did not decorate this suite, however, this photograph gives some idea of the openness of his planning." ("Antonio Gaudi," by George R. Collins)

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"Plate 94. The attic (desvan) of the Casa Mila before it was split up into duplex apartments (1954). Here are the famous Catalan arches and vaults of tiles laid edge to edge, precursors of our contemporary 'egg-shell' concrete vaulting." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:21 am

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"Plate 95. Schools of the Sagrada Familia church, 1909. Gaudi's warped forms were not an artistic affectation, but a simple means of obtaining greater structural efficiency with less material." ("Antonio Gaudi," by George R. Collins)

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"Plate 96. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)

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"Plate 97. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)

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"Plate 98. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)

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"Plate 99. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)

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"Plate 100. A chaise lounge from the Palacio Guell which illustrates Gaudi's early use of the extravagant curvilinear shapes of the Art Nouveau." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:21 am

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"Plate 101. An unusually asymmetrical and animated dressing table in the Palacio Guell. The lower surface is for lacing shoes." ("Antonio Gaudi," by George R. Collins)

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"Plate 102. An unusually asymmetrical and animated dressing table in the Palacio Guell. The lower surface is for lacing shoes." ("Antonio Gaudi," by George R. Collins)

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"Plate 103. A Candelabrum designed for the Tenebrae services in the Church of the Sagrada Familia." ("Antonio Gaudi," by George R. Collins)

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"Plate 104. Detail of the altar of the private chapel in the Casa Batllo." ("Antonio Gaudi," by George R. Collins)

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"Plate 105. Furniture for meeting room in the business offices of the Casa Calvet, probably about 1901. Curvilinear, robust and ingeniously fit to the human figure." ("Antonio Gaudi," by George R. Collins)

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"Plate 106. Director's desk in the offices of the Casa Calvet. There is nothing light and fragile about Gaudi's version of the Art Nouveau." ("Antonio Gaudi," by George R. Collins)

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"Plate 107. Detail of bric-a-brac shelving in the director's office of the Casa Calvet (about 1901)." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:21 am

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"Figure 1. Machine shed in Mataro, 1878-82. Horizontal and vertical sections as drawn by Juan Bergos." ("Antonio Gaudi," by George R. Collins)

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"Figure 2a. [One of two engravings] of del Villar's first project for the Sagrada Familia church as published in El Propagador, official organ of the enterprise, in 1882." ("Antonio Gaudi," by George R. Collins)

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"Figure 2b. [Two of two engravings] of del Villar's first project for the Sagrada Familia church as published in El Propagador, official organ of the enterprise, in 1882." ("Antonio Gaudi," by George R. Collins)

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"Figure 3. Section of the Palacio Episcopal of Astorga as planned (and signed) by Gaudi in 1887. ("Antonio Gaudi," by George R. Collins)

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"Figure 4. Plan of the proprietors' floor of the Casa Fernandez-Andres in Leon. The upper floors are similar, but are divided into four apartments instead of two." ("Antonio Gaudi," by George R. Collins)

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"Figure 5. Original plan of the Park Guell of Barcelona, before revisions were made." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:21 am

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"Figure 6. Gaudi's original sectional drawing of the Casa Mila." ("Antonio Gaudi," by George R. Collins)

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"Figure 7a. [One of] two of Gaudi's original schematic floor plans for the Casa Mila: the third floor with its many irregular rooms and curving corridors." ("Antonio Gaudi," by George R. Collins)

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"Figure 7b. [Two of] two of Gaudi's original schematic floor plans for the Casa Mila: the basement for stables, cars, and storage." ("Antonio Gaudi," by George R. Collins)

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"Figure 8. Diagrams and a transverse section illustrating how the helicoidal form of the roof of the Sagrada Familia schools was obtained by laying the tile surface on wooden cross beams (a, b, c ...) which teeter asymmetrically upon a central metal beam J as their ends follow the helix S-S. Projecting lips at the low points of the roof throw water free of the walls which, being perpendicular to the beams (a, b, c ...), are also helicoidal." ("Antonio Gaudi," by George R. Collins)

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"Figure 9. Ground floor of the workers' chapel at the Colonia Guell near Barcelona, 1898-1915, as drawn for the architect Luis Bonet y Gari." ("Antonio Gaudi," by George R. Collins)

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"Figure 10. Decorations of the Salon de San Juan." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:22 am

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"Figure 11. Design for Church Monstrance. Drawing is in Municipal Museum of Reus." ("Antonio Gaudi," by George R. Collins)

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"Figure 12. Adjacent kiosk." ("Antonio Gaudi," by George R. Collins)

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"Figure 13. Gaudi's original project for the exterior of the Sagrada Familia was very neo-Gothic, differing from del Villar's second plans only in being more complex and pointed." ("Antonio Gaudi," by George R. Collins)

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"Figure 14. Gaudi's project for chapel of S. Jose in the crypt. Mass was celebrated here from 19 March 1885, before the crypt was vaulted." ("Antonio Gaudi," by George R. Collins)

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"Figure 15. No medium was too lowly for [Gaudi] to take on. He was proud to design banners for civic processions." ("Antonio Gaudi," by George R. Collins)

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"Figure 16. [Gaudi''s] design for a sanctuary at Reus in 1900 is almost too sketchy to judge, but seems to be in keeping with the Sagrada Familia portal." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:22 am

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"Figure 17. It is difficult to evaluate the rock-cut Rosary group designed for Montserrat (1904) in this development, owing to the poor quality of our surviving illustration." ("Antonio Gaudi," by George R. Collins)

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"Figure 18. [As part of the] interior reform of the Cathedral of Palma de Mallorca, [Gaudi] prepared models for the royal tombs." ("Antonio Gaudi," by George R. Collins)

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"Figure 19. Of a monument to Jaime el Conquistador he seems to have executed only some painted phrases on old walls in the calle Tapineria." ("Antonio Gaudi," by George R. Collins)

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"Figure 20. That [Gaudi's] attention occasionally wandered is attested to by a page of his Surveying class notes in the Reus Museum that is covered with "doodles," including a rather fine study for a capital." ("Antonio Gaudi," by George R. Collins)

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"Figure 21. Perhaps the most fruitful interrelationship [between Gaudi and Martorell] came in connection with the group of Catalan-style buildings constructed at Comillas (near Santander) for the Marqueses of Comillas. The first Marques commissioned a large neo-Gothic palace which Martorell carried out between 1878-90." ("Antonio Gaudi," by George R. Collins)

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"Figure 22. A quantity of building was done at Garraf for the Guells by Francisco Berenguer, Gaudi's closest associate. It consisted of an unusual stone building of triangular section which served as a residence, chapel and warehouse (above), and a gatehouse with brick and remarkable wrought iron work (next picture). Gaudi admired it (Salvador, Arquitecturai IX, 1927, p. 10), and it has been frequently mistaken for his own work." ("Antonio Gaudi," by George R. Collins)
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Re: Antonio Gaudi, by George R. Collins

Postby admin » Tue Dec 11, 2018 12:22 am

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"Figure 23. A quantity of building was done at Garraf for the Guells by Francisco Berenguer, Gaudi's closest associate. It consisted of an unusual stone building of triangular section which served as a residence, chapel and warehouse (previous picture), and a gatehouse with brick and remarkable wrought iron work (above). Gaudi admired it (Salvador, Arquitecturai IX, 1927, p. 10), and it has been frequently mistaken for his own work." ("Antonio Gaudi," by George R. Collins)

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"Figure 24. Gaudi respected the ancient ruins [of Bell Esguard] in several ways. The remaining walls he built into a type of terrace in front of the new house. And the access road (now called calle Bellesguard) was moved well away to the front, overhanging a gully. This necessitated the construction of a retaining wall and viaduct, which he made with inclined piers of rough stone work similar to those of the contemporary Park Guell." ("Antonio Gaudi," by George R. Collins)

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"Figure 25. Juan Martorell y Montells (1833-1906). His works, principally churches, are too many to list here, but certain of his projects had a direct bearing on Gaudi's career. Gaudi and Domenech y Montaner as young assistants helped him in the controversy over the Cathedral facade." ("Antonio Gaudi," by George R. Collins)
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