So, Barcelona was home to Gaudi. The two biggest works of his to see are Sagrada Familia and Parc Güell. As the weather was holding but due to rain the next day, we went to see Parc Güell.
I was under the impression that it's not located in a particularly awesome neighborhood of Barcelona.
Turns out, to get to the park, you have to either walk up a rather large hill, or find the awesome series of street escalators. Here was the beginning:
There was a sign on a nearby building, in between layers of escalators:
It wasn't escalators the whole way up. Here's a stretch of walking, in which you can see something of the incline involved:
Even more escalators; this is looking down from the topmost to the penultimate:
Walking up to the park, we passed by some graffitti'd prickly pears:
Here's a view of Sagrada Familia from just inside the park:
And an anarchist shack, with Barcelona in the background:
We passed by a weird caterpillar train:
This was our first view of the park "proper":
Here's a view towards the 'main' entrance of the park, along the tile-decorated open area:
Gaudi was known for being inspired by nature, and hear had used rough stones to make cool looking pillars:
It's worth mentioning that Gaudi picked every plant that was used inside the park himself and where to put it. And it is a big park.
C. pointed out the pigeon that had clearly been caught and decorated by someone:
Cool tile-work benches along the terrace:
View of the front gate thing:
another view:
Nearby the terrace was this cool columned area with the following 'wave' ceiling:
adjacent to this area:
One thing the park is particularly known for is the 'dragon' fountain. I really think it looks more like a gecko, but you guys can let me know if you disagree.
One of the train stations we passed through had a giant, refrigerated vending machine thingy. This was just half of it:
Lunch after Parc Güell was at Cafe Delfin (overpriced, but tasty), which advertised "traditional Catalonian food".
I was under the impression that it's not located in a particularly awesome neighborhood of Barcelona.
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Turns out, to get to the park, you have to either walk up a rather large hill, or find the awesome series of street escalators. Here was the beginning:
There was a sign on a nearby building, in between layers of escalators:
It wasn't escalators the whole way up. Here's a stretch of walking, in which you can see something of the incline involved:
Even more escalators; this is looking down from the topmost to the penultimate:
Walking up to the park, we passed by some graffitti'd prickly pears:
Here's a view of Sagrada Familia from just inside the park:
And an anarchist shack, with Barcelona in the background:
We passed by a weird caterpillar train:
This was our first view of the park "proper":
Here's a view towards the 'main' entrance of the park, along the tile-decorated open area:
Gaudi was known for being inspired by nature, and hear had used rough stones to make cool looking pillars:
It's worth mentioning that Gaudi picked every plant that was used inside the park himself and where to put it. And it is a big park.
C. pointed out the pigeon that had clearly been caught and decorated by someone:
Cool tile-work benches along the terrace:
View of the front gate thing:
another view:
Nearby the terrace was this cool columned area with the following 'wave' ceiling:
adjacent to this area:
One thing the park is particularly known for is the 'dragon' fountain. I really think it looks more like a gecko, but you guys can let me know if you disagree.
One of the train stations we passed through had a giant, refrigerated vending machine thingy. This was just half of it:
Lunch after Parc Güell was at Cafe Delfin (overpriced, but tasty), which advertised "traditional Catalonian food".
Day 5: Sagrada Familia
Sagrada Familia was/is Gaudi's magnum opus. Seriously.
We opted to try out the audio guides (as there were only 2 or three tours a day in English with a live person), and I felt they were well thought out and quite informative.
Gaudi made sketches and models and studies for the church, many of which were destroyed during the civil war, and the church itself was leveled by Franco. However, even in his plans, he had not planned everything. He'd made it clear that he expected this to be a building that was added to and built more on over 'the centuries' (although he had also originally though the construction the first time would take 30 years (if it had been allowed to finish)). Subirachs is the name of the architect who took over the project of supervising construction in the early 80's. It is supposed to be finished in 2025, I believe.
The 'tour' starts on the ''passion'' façade (and ends on the nativity façade). Of the two facades we saw (the other two as yet unfinished), I liked it best. All cubist and rough and strange. This is supposed to look "harsh" to symbolize suffering.
The figure on the 'bridge' area shown is a 5m (or so) tall bronze statue of 'ascended' Jesus.:
More from the passion façade. The four column chunks had a meaning that I forget:
There was a comment that in assembling the suffering-Jesus statue, they used a piece of stone that had a palm fossil (which was noteworthy as palms are a sign of martyrs):
Here was Peter looking bummed about his betrayal:
The inside of the church was no less strange than the outside. There was a good bit in the audio guide about Gaudi's obsession with controlling the light coming in. I thought I was looking up at windows above the colored ones which were not yet full of glass. Turns out, he had designed those to be color-less "stained'-glass windows at the top to let in more light.
Above the altar, an umbrella-like awning with glass grape bunches (which seem to be lights):
Behind the Altar:
Ceilings
Ceilings above the choir loft, meant to have awesome acoustics:
Ceilings and a cool staircase:
There was an inner 'museum' room explaining stuff about the cool hyperbolic and parabolic shapes used, and things he borrowed from nature.
E.g. this is basically a model for the roof of one of the out-buildings:
Apparently trees can use some parabolic hyperboloids, which were used in some pillars (in the façade?):
There was another 'museum' area, underneath the church. It included models, photos of models and other sketches and stuff involved in the design and construction.
These sketches are by Subirachs:
Here's a plaster workshop that's being used currently to help in planning construction:
Including a pic of a model of Gaudi's of the (future) 'glory façade':
A picture which showed how the ceiling-things were hyperboloids of 1 sheet:
A sketch of the ceiling and supports:
Model of as much as a hyperboloid of 1 sheet which was used in the ceiling thingies:
with a mirror so that you could see up inside and verify for yourself that it in fact was the thing you see on the ceiling of the church:
Another surface used in the schoolhouse nearby or another builing:
Next time, Montjuïc (from which vantage point Barcelona had destroyed their previous citadel) and the tail end of Barcelona, moving on to Málaga, birthplace of Picasso.
Sagrada Familia was/is Gaudi's magnum opus. Seriously.
We opted to try out the audio guides (as there were only 2 or three tours a day in English with a live person), and I felt they were well thought out and quite informative.
Gaudi made sketches and models and studies for the church, many of which were destroyed during the civil war, and the church itself was leveled by Franco. However, even in his plans, he had not planned everything. He'd made it clear that he expected this to be a building that was added to and built more on over 'the centuries' (although he had also originally though the construction the first time would take 30 years (if it had been allowed to finish)). Subirachs is the name of the architect who took over the project of supervising construction in the early 80's. It is supposed to be finished in 2025, I believe.
The 'tour' starts on the ''passion'' façade (and ends on the nativity façade). Of the two facades we saw (the other two as yet unfinished), I liked it best. All cubist and rough and strange. This is supposed to look "harsh" to symbolize suffering.
The figure on the 'bridge' area shown is a 5m (or so) tall bronze statue of 'ascended' Jesus.:
More from the passion façade. The four column chunks had a meaning that I forget:
There was a comment that in assembling the suffering-Jesus statue, they used a piece of stone that had a palm fossil (which was noteworthy as palms are a sign of martyrs):
Here was Peter looking bummed about his betrayal:
The figures on the nativity side are much more traditional/realist (and I am less of a fan of). Here's the scene of the slaughter of the firstborn:
The inside of the church was no less strange than the outside. There was a good bit in the audio guide about Gaudi's obsession with controlling the light coming in. I thought I was looking up at windows above the colored ones which were not yet full of glass. Turns out, he had designed those to be color-less "stained'-glass windows at the top to let in more light.
Above the altar, an umbrella-like awning with glass grape bunches (which seem to be lights):
Behind the Altar:
Ceilings
Ceilings above the choir loft, meant to have awesome acoustics:
Ceilings and a cool staircase:
There was an inner 'museum' room explaining stuff about the cool hyperbolic and parabolic shapes used, and things he borrowed from nature.
E.g. this is basically a model for the roof of one of the out-buildings:
Apparently trees can use some parabolic hyperboloids, which were used in some pillars (in the façade?):
|
There was another 'museum' area, underneath the church. It included models, photos of models and other sketches and stuff involved in the design and construction.
These sketches are by Subirachs:
|
Here's a plaster workshop that's being used currently to help in planning construction:
Including a pic of a model of Gaudi's of the (future) 'glory façade':
A picture which showed how the ceiling-things were hyperboloids of 1 sheet:
A sketch of the ceiling and supports:
Model of as much as a hyperboloid of 1 sheet which was used in the ceiling thingies:
with a mirror so that you could see up inside and verify for yourself that it in fact was the thing you see on the ceiling of the church:
Another surface used in the schoolhouse nearby or another builing:
Next time, Montjuïc (from which vantage point Barcelona had destroyed their previous citadel) and the tail end of Barcelona, moving on to Málaga, birthplace of Picasso.