See the calendar for International Mass at Sagrada Familia of Barcelona (Spain)
They place a solid cross of 18 tons in the Sagrada Família
The Sardenya street in Barcelona has been cut to traffic Monday morning between Provença and Mallorca due to the installation of a large solid stone cross of 18 tons in the Sagrada Família.
This is the Creu Gloriosa, an installation of 7.5 meters high and 4.25 wide that has been placed on the façade of La Passió, whose installation was scheduled between 7:00 am and 9:00 am, although it has finished half an hour ahead of schedule, the basilica has informed Europa Press.
The installation works, which the Sagrada Família has considered “a real challenge” due to the size and shape of the cross, have been made with a self-propelled crane.
The time distribution of this video is limited. Can be viewed at tv3.cat until 25/06/2017 at 23:59 Don´t miss it, if you want to know the history of Sagrada Familia in 30-40 min.
Awesome images of Gaudí in video
The program “30 minutes” presents for the first time ever, a film by Antoni Gaudí made a year before his death. So far only had to record a few pictures of the architect, but had never seen the image of Gaudí moving.
Copy and paste in your browser to watch
The program is in catalan with subtitles in catalan also (sorry, but not in english)
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The sculptural ensemble remained hidden for years in the gardens of the Pedralbes Palace
The Expiatory Temple of the Sagrada Familia, Casa Batlló, Güell Park, Casa Milà … The work of Antoni Gaudí is world famous. His legacy remains more alive than ever and a century later Catalan is able to attract millions of people who crowd at the doors of these – and other buildings – to delight in his talented modernist style. The legacy of Gaudí is broad, with great works that elevated him and other more unknown that surprise those who discover them for the first time. Is this the case of the Hercules Fountain of the Palau Reial de Pedralbes?
It is, surely, one of the most secret works of Antoni Gaudí. So much so, that for many years was ignored, remaining hidden behind the vegetation of the place for those who worked for much of the twentieth century in maintaining the palace. Until 1984: since then, the source of Hercules, or of Gaudí, can be visited, restored and functioning, in the gardens of this emblematic corner of the city.
The story of this ‘forgotten’ work of Gaudí goes back to 1884, when the artist was commissioned by the politician Eusebi Güell, his patron, to design the gardens of the estate of 30,000 square meters he had acquired a few months earlier in the area Diagonal . To reform the exteriors of the old farmhouse of Can Feliu, Gaudí opted for mythology, recreating the legend of the garden of the Hesperides.
This tells the story of Heracles (or Hercules), who was able to steal golden apples from the garden of the goddess Hera, which, according to beliefs, guaranteed immortality. This idyllic and magical place was guarded by a dragon, Ladon, who after falling defeated by the god Atlas began to shed tears of blood. From every tear, by the way, a dragon was born. Hence Hercules and this animal are the two protagonists of this source realized in the most orientalist stage of the sculptor, and that is marked by the artistic influences of regions like Persia or Japan.
Most of the recovery of this work is the architect Ignasi Serra, who discovered during a cleaning project in the exterior of the palace this source hidden among the vegetation. The source had a curved bench and a stone sink with the coat of arms of Catalonia, a central column with a pedestal -empty- and a spout with the morphology of a wrought iron dragon.
All the elements of the source found are original, except the bust of Hercules. There are old photographs showing a large bust of the god on the pedestal, figure that was not found during the discovery of Ignasi Serra. In this way, the image of Hercules is the most recent of a sober sculptural set that integrates with the nature of the gardens of the Palace of Pedralbes and that since 1984 returns to emanate water after many years of silence.
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The Casa de les Punxes first time opened its doors
One of the most characteristic buildings of Eixample opens its doors to the public this Friday after over a hundred years without it. The Casa de les Punxes or Terradas house is an emblematic modernist urban palace built in 1905, designed by the architect Josep Puig i Cadafalch and located on Diagonal Avenue with Rossello.
Early last century, its owner Bartomeu Terradas prestigious Barcelona architect commissioned to design a house for each of his three sisters. The result was a single building with three different entrances, with elements of several architectural currents and six towers, aspects reminiscent of old medieval castles.
A century later, first opened its doors to locals and does so with a tune interesting point. The public can get into the bowels of the building and enjoy an immersive audiovisual which tells the legend of Sant Jordi, its undeniable connection with modernism and as a recurring icon in the Casa de les Punxes. And of course, visitors can enjoy the little details that keeps every corner of the property. Without forgetting the terrace, where besides enjoy the panoramic views surrounded by the towers so characteristic, you can visit a space dedicated to discover the author and all historical and architectural details of the house.
In recent months we have worked hard to adapt the building to the accessibility of visitors, “acting on the ground floor, the main deck, which are the areas that have been conditioned to the visit, adapting them to the museum activity” explains Jaume Falguera, responsible for the rehabilitation of this jewel of modernism listed as National Interest architect.
The family owns the real estate group, Texna, bought the entire estate in 2010, in which there are four houses, several offices, a bank and other businesses. But so far could not visit the interior, it has always been of interest for its facade and because it is located at an intermediate point between tourist icons of the city as La Pedrera and Sagrada Familia.
A point of celebrating the 150th anniversary of the birth of architect Josep Puig i Calafalch, the Casa de les Punxes opens in order to adapt history and tradition to new forms of cultural consumption. Thus uniting tradition and innovation, as did its creator with architectural advances developed.
It will be open from 9 to 20 hours all year except Christmas Day and will offer two types of visits: audioguide available in ten languages (12.50 euros) and format guided tour in small groups of a maximum of 20 people (20 euros ). In this second embodiment, throughout 2016 there will be a discount for residents in Barcelona who can purchase tickets at a price of 14 euros. They may be purchased at the box office and online.
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The Catalan architect, key figure of modernism and one of the pioneers of the avant-garde of the twentieth century, is hit by a tram.Lying on the sidewalk, his unkempt appearance condemns him. He died three days later.
Barcelona, June 7, five past six p.m.. Antoni Gaudí i Cornet is about to cross the Gran Via de les Corts Catalanes at the intersection between the streets Girona and Bailén. Leaning on his cane with rubber pad, delivered to their artistic dreams, cross the street slowly. A tram which runs from line 30 runs over him. The artist receives a terrible impact on the ribs and temple. Critically injured, he is lying on the ground unconscious.
His worn clothes, fastened with safety pins instead of buttons and dusty shoes that cover their wrapped in strips of cloth feet, give a poor appearance.
Most passersby, taking him for a beggar because of his unkempt appearance, denied their help. Only two of them are offered to assist him: Antonio Roig, managing the port, and Antonio Noria. They are trying unsuccessfully to arrest four taxis; the first three refuse to transport the wounded, fearful that the blood staining the upholstery of their vehicles. The fourth not even stop to see the body lying on the sidewalk.
A policeman approaches the tumult surrounding the artist and imposing his authority, requires a taxi to take him. To ensure that it will be properly cared for, he rises to the vehicle. The officer ordered the old man to move to the nearby dispensary Round San Pedro, 37.
The logbook will record center cursory examination of the wounded: ‘trauma at the height of the right ear and commotion of the patient, who calls himself Antonio Gaudi … It seems that the artist is appreciated regained lucidity for a brief moment, long enough to provide their identity, so far unknown data because the artist was undocumented. In their pockets not wearing more than the book of the Gospels, a rosary, a handkerchief and the little key from his desk.
The doctor on duty, to the serious condition of the injured, ordered his transfer to Hospital after administering a spasmodic.
Finally the fate wants Gaudí is transferred to the Hospital de la Santa Creu, but it’s too late. The next day is recognized by the chaplain of the Sagrada Familia, Mosen Gil Parés, good friend.
Gaudí died three days later, he has 73 years.
The coffin covers much of the city. The funeral procession is multitudinous, the chapel is visited by hundreds of locals. The turmoil generated is such that hardly contain urban agglomerations.
The authorities prohibit sending crowns, but this does not prevent the florists of the Rambla, the Boqueria vendors and neighbors throw flowers as the coffin.
The shops are closed and trams are forced to interrupt their journeys by the crowds that add to duel.
The revered architect is buried in the chapel of Carmen, in the first niche of the crypt of the Sagrada Familia, the only part of the temple which was built next to the Nativity facade.
Funeral ceremonies are officiated by the most prominent members of the clergy: Gil Pares, and the chaplain of the Güell family, Ricardo Persina.
Telegrams of condolence from King Alfonso XIII, the bishops of Mallorca and Avila and the mitred abbot of Montserrat, who granted indulgences to those who perform some act of piety in memory of the deceased are received.
The majestic burial bears witness to the prestige that the architect has acquired among his fellow citizens. Known as the hermit of the Sagrada Familia, Gaudí then is a very popular and much-admired character. A man who despite his haggard appearance has managed to earn the respect and affection of his fellow citizens.
His masterpiece, the Sagrada Familia, called ‘the cathedral of the poor’, their only vital goal remains unfinished. Since 1915 he had given exclusively to erect forty years working feverishly in the atoning temple, begging to finance its construction even to sleep multiple times in a small cubicle on premises.
At his death, its construction is in the hands of architects and artists.
Antoni Gaudí, universal architect, fought for his ideals, died as a poor, was buried like a king and has passed into history as one of the cornerstones of modernism and one of the great masters of contemporary architecture.
His tombstone reads:
Antonio Gaudi i Cornet (A.C.S.)
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The space is included in the route
The Basilica of the Sagrada Familia in Barcelona has extended the tour for visitors with the opening of the ground floor of the sacristy of the west, he has informed the board of trustees of the temple.
In the space of the cloister it has placed the ‘Way of the Liturgy’, an exhibition of pieces Antoni Gaudí designed for the Catholic liturgy. The pieces are tenebrario wrought iron candlestick two feet, a cross with candles, a lectern three sacral, a mobile chair two couches, three banks and a chair.
Moreover, within the sacristy there are two closets: one to keep the liturgical vestments worn by the celebrant and ministers of celebrations and another for the various liturgical objects such as chalices and patens. All parts that are part of the Way of the Liturgy are original or reproductions of designs by Antoni Gaudí.
37.5 meters high, on top, already it placed the bronze crown and base ring surrounding the tallest stone dome and dice glass domed give light to the interior space. We have also installed own symbolic details of this building: lamb and vendimiador represented with four medallions of 1 meter and 60 centimeters in diameter; two facing the street and two inland.
STUDY OF THE TOWERS
The dome of the sacristy is made with stone from Montjuïc, but the Rams are reddish porphyry, to represent splash of wine or blood.
According to the Board, to complete the iconographic program outside the sacristy still be missing other artistic details like the palms of bronze, which will be put down as dismantling the scaffold.
Those responsible for the temple reminded that this building is very important for the study and projection of the towers, since it has the same structure, but with other parameters. The upper floors of the sacristy will go to office and uses least one plant to the parish.