安东尼奥高迪的作品

The Gaudí Factory of Mataró is the first work built by the architect. The project was to build a factory of the Sociedad Cooperativa Obrera Mataronense, created between 1878 and 1883, but only one building made, this is the only testimony that has reached our days. Considered the starting point of the architect’s creative process, the cooperative’s cotton bleaching plant is notable for the importance of experimenting with parabolic arches, first used by Gaudí as structural elements. This architectural solution would later become a key element and very representative of Gaudí’s work. The building was restored in 2008.

Casa Vicens was the first important work that Antoni Gaudí received, in the year 1878, and it is considered his first masterpiece. It is an imaginative, modern and innovative project, where the artist uses for the first time numerous structural, decorative and symbolic elements that will eventually define his architectural language. The young Antoni Gaudí, just finished his architectural studies, receives the order from Mr. Manuel Vicens to build a summer house for him and his wife in the old Vila de Gracia. The works begin in 1883 and continue until 1888.

The first major work that Gaudí did for his great patron, Eusebi Güell, were the Pavilions of Finca Güell. The commission consisted of designing the summer palace gardens -the current Royal Palace-, building the entrance doors along the entire perimeter as well as the two access pavilions, destined for the house of the porter and the stables.
Count Güell had inherited the lands of Can Feliu and Can Cuyás and wanted to finish off the splendor of the main estate built by the architect Joan Martorell. Here, Gaudí left his personal stamp with the neomudéjar style aesthetic of his initial works and the introduction of arches, parabola turns and hyperbolic domes.

The Palau Güell was commissioned by Count Guell, the Barcelona International Exhibition of 1889 was held at Barcelona and the Count needed a new Palace to receive his guests. The Palau was one of the initiating buildings of Art Nouveau. It stands out, above all, for its innovative conception of space and light. Gaudí introduced in him very diverse solutions from very personal approaches and created exceptional expressive forms fruit of his imagination, using traditional noble materials (stone, wood, wrought iron, ceramics, glass, etc.). The construction of the Palau Güell supposes the culmination of the youth stage of the architect, using techniques in previous works and introduces most of the contributions that will constitute the basis of his later works.

At the end of the 19th century, the right side of the Eixample became a growing neighborhood, occupied in large part by the booming textile industrialists. One of them, Pere Mártir Calvet, entrusted Antoni Gaudí with the traditional rental house to locate his business in the underground and underground, reserving the main floor as a family home. Although it seems to be one of the architect’s most conservative and less daring constructions, numerous ornamental details and the distribution of spaces, such as the patio of lights, reveal the great mark of the reusense. In fact, the construction received in the year 1900 the annual prize for the best artistic building by the City of Barcelona.

The place where Gaudí built the Torre de Bellesguard is a piece of land with more than 2,000 years of history. It has found archaeological remains that show that, since the time of the Iberians, this area has always been inhabited. The abundance of groundwater and the 360 degree panoramic views over the city of Barcelona make Bellesguard a strategic location. The importance of Bellesguard, however, is due to its medieval past. In 1408, Bellesguard became the royal and papal seat: for two years it was the permanent residence of King Martin I the Human, the last Count of Barcelona, and the temporary residence of Benedict XIII, better known as Papa Luna.

The fence and the entrance portal of Finca Miralles was a minor work but one of undoubted interest in the Gaudí universe. Many of the elements have been preserved until today, and allow us to admire the architectural and stylistic solutions with which he was able to finish any work. The order, in this case, came from the industrialist Ermenegild Miralles, a good friend of his great patron, Eusebi Güell. The entire project consisted of building the private residence on the newly purchased land in Sarriá. The building, finally, was erected by the architect Doménec Sugranyes and Gaudí limited himself to designing the main access doorway and the perimeter wall.

Gaudí built, just in a year and a half, one of his most important creations and one of his main labels. Despite what may seem at first sight, Casa Batlló was not a new building, but the renovation of an existing building. The transformation so radical and at the same time so great in the use of colors and shapes never seen on the façade, quickly placed him as an icon of the new Barcelona. Popularly known as the house of bones, the house of masks, the house of yawns or the house of the dragon, the work symbolizes to perfection the stage of maximum constructive maturity of the architect. It represents the ideal combination between art and functionality, between architecture and design, and is a key building to understand what Catalan modernism meant.

The Colonia Güell began to be built in 1890 at the initiative of the businessman Eusebi Güell on his farm Can Soler de la Torre, located in the municipality of Santa Coloma de Cervelló. In his eagerness to procure social improvements for his workers, Güell entrusts the construction of equipment to different architects and entrusts Antoni Gaudí with the construction of a church. The employer does not impose any kind of limit, budget or type of work and, for the architect, the project serves as a test bed for the construction of the Sagrada Familia. But the work was left unfinished, only the lower nave was built, and that is why the church is popularly known as a crypt.

El Capricho is a villa in Comillas, Cantabria, Spain, designed by Antoni Gaudí. It was built in 1883-1885 for the summer use of a wealthy client, Máximo Díaz de Quijano.
Gaudi, who designed only a small number of buildings outside Catalonia, was involved with other projects at Comillas. He was the assistant of Joan Martorell on another summer residence, the palacio de Sobrellano.
El Capricho belongs to the architect’s orientalist period. The tower has been compared to a minaret.

When the original Episcopal Palace was destroyed by a fire in the 19th century, Bishop Juan Bautista Grau y Vallespinos of the Roman Catholic Diocese of Astorga decided to assign the design of the new building to his friend Antoni Gaudí. The two had become friends when Grau was Vicar-General in the Archdiocese of Tarragona and had inaugurated a church for which the architect had designed the high altar.
When Gaudí received the commission, he was still working at the Palau Güell in Barcelona, and thus he could not move to Astorga to study the terrain and the area of the new construction. He therefore asked the bishop to send him photographs so Gaudí could plan the new project. Gaudí sent back his design, and it was approved in February 1889. The first stone was placed in June the following year.
The edifice, built in gray granite from El Bierzo, is in a neo-medieval style harmonizing with its location, including the cathedral in particular. It does, however, also feature some of the elements typical of the later Gaudí, such as the arches of the entrance with buttresses, and the chimneys integrated in the side façades. Gaudí had devised a five-meter tall angel to crown the façade, but it was never mounted. The façade has four cylindrical towers and is surrounded by a ditch.
In 1893, after the death of Bishop Grau, Gaudí resigned over disagreements with the council, halting the construction for several years. The palace was completed between 1907 and 1915 by Ricardo Garcia Guereta. During the Spanish Civil War, the building served as the local headquarters of the Falange. In 1956 Julià Castelltort, a Catalan, began restoration works to adapt the building as a bishop’s residence. Later, Bishop Marcelo González Martín promoted the conversion to the current role of the palace, a museum of religious art called Museo de los Caminos, dedicated to the Way of Santiago.

Gaudí received the commission for this work in 1882 from his patron Eusebi Güell, who had seen Gaudí’s work at the Paris Expo in 1878; in this year Gaudí received a number of other commissions including the Palau Güell, the Pabellones Güell de Pedralbes, the Park Güell and the crypt of the Church of Colònia Güell in Santa Coloma de Cervelló.
The original commission consisted of the winery and several hunting pavilions, but the latter were never built. The whole complex was located on the La Cuadra estate in Garraf, Sitges and was the property of the Count Güell. The winery buildings were finally built between 1895 and 1897, under the direction of Francesc Berenguer, Gaudí’s helper.
The winery has a triangular frontal profile, with almost vertical roofs, steep sloping stone slabs, finished off with sets of chimneys and two doors that connect it to the old building. There are three floors: the ground floor for parking vehicles, an apartment on the first floor and a domed chapel on the top floor.
Count Güell actually produced wine in the winery, which was served on the ships of the Compañía Transatlántica Española shipping line and was also exported to Cuba. However, production stopped in 1936 due to lack of commercial success.
There is currently a restaurant in the Bodegas Güell.