Casa Batllo Case Study1

The Casa Batlllo

(1904-1906)

A n t o n i C

a

s

M a h d i a r

e

G a u d i S

t

u

d

y

G h a f f a r i a n H o s e i n i

Intro to Design Theories - Fall 2011

The Casa Batlllo (1904-1906) A n t o n i G a u d i Introduction Casa Batlló, is a six-story townhouse in the very heart of Passeig de Gràcia, which is very much Barcelona’s Park Avenue. It is a universe of symbolism, a canvas of marine inspiration, a dream world, which evokes nature with its organic elements and is suggestive of fantasy.

History and Neighborhood Cassa Batllo was a new design built on a former structure of a residence for a wealthy family that wanted to compete in having a predominant mansion. While neighboring other famous buildings designed by famous architects of the time. Casa Batllo was the last of the escalating architectural works that created a utopia of modernism. Each casa was built in attempt to upstage the neighbors. “Casa Batlló is beautiful. And it fits right into the neighborhood. Only a genius could have pulled this off.” (P. J. O’Rourke – Atlantic Magazine)

Exterior vision “The breathtaking exterior begins with the massive sandstone columns sampling from such natural forms as bones or flowers stems. The first three floors were where Gaudi concentrated most of his expensive materials, particularly the elaborately carved sandstone. The first two floors extend farther to the street than the others. Thus, this creates a leaning effect that is only accentuated the façade’s ceaseless undulations. Casa Batllo features no edges or right angles.; Gaudi had the old brick chipped away and replaced with a mosaic skin of lime, mortar, and broken pieces of tile and glass. This is a technique often used by Gaudi” (Ben Glick – Modernism and Architecture) Different aspects of the façade are resembles of natural objects and natural forms, such as bones (columns), masks (balconies), dragon, reptilian creature, ocean (roof), flower stems and so on It should be noted that the roof does a superb job of capping the near formless façade by producing horizontally undulating lines that effectively run perpendicular to the other waves. This provides the necessary contrast to the free form façade; thus, giving it shape, as a beach or harbor gives shape and form to the sea.

Nature and Natural Forms

way.

Gaudi

any

familiar and strange. Like the delicate

architect could need… Is already in natural

sandstone columns of the facade which

forms in nature.” This is surely the source

evoke

he

Casa

flowers. Natural forms are abstracted so

Batllo. He also said “Those who look for

that they create a fundamental ambiguity

the Laws of Nature as a support for their

resulting

new works collaborate with the creator.”

house. Traditional historic elements such

Also he believes that he had always the

as turret, dragon like roof, stained glass

inspiration, and nature showed him God’s

window

engineering.

architecture. Names like house of bones

said,

referenced

“Everything

when

that

designing

Shapes

both

a

add

that

human

are

tibias

dreamlike

up

to

simultaneously

and

quality

level

of

delicate

for

fantasy

the

in

All building is a metaphor of nature or

or house of yawn are products of using

the sampling of natural forms. The building

natural symbols and building an organic

is composed of familiar natural forms,

architecture.

arranged in a completely new and surreal

Symbolism and Story Telling The façade and the spirit of the whole building, all of the curves, symbolic forms and objects, natural forms, colors, glows and textures imply a feeling of fairytales and phantasmal dreams. Gaudi always intends religious imagery in his works which is usually subliminal, there are religious images and texts all over the building especially on the upper parts of the façade which are to some extend not very obvious. There is a giant appealing cross on the roof which is assumed to have different messages as the whole building does. The cross is Gaudi’s signature, a four-pointed transverse cross. “Gill suggests that the goal was to point out that “religion can embrace humour, fantasy and the absurd.” It can also be interpreted as a message to God that he was building in His name, instead of for fame or glorification of wealth.” “The cross is said to be the handle of St. George’s sword. This would make the turret the shaft of the blade. The roof is representative of the hard skin of a dragon’s back, and the façade is its soft underbelly. The sandstone columns are the bones of the dragon’s victims, so are the balconies, which are skulls. Thus, t he entire façade is symbolic of St. George, the patron saint of Catalunya.” In modern art symbolism was a major part as it was always apparent in Gaudi’s works.

Type

which were not primary parts of the building. And the

What Gaudi has done in his project is a type

solution for Gaudi was nature where natural forms

of in-between when the gothic is transferring

of plants and animals where self stable, both formal

to modernism and this type is neither a gothic

and functional. By this the gothic architecture was

architecture nor a modern one. As a result of using

developed and the light was added to the space.

Islamic, gothic and baroque forms for years an

Gaudi’s style encompasses all that defines the

abstract form of nature in an organic language was

Art Nouveau, a School of French decorative artists

emerged in this building.

from the 1890s who took influence from sinuous

As Gaudi believes that a house of god should

shapes in plants and nature. He explored his

stand on its own he considered gothic imperfect

interests in flowing shapes, patterns and colors in

because it was based on supports by elements

the Casa Batlló.

Casa Batllo is a bridge from gothic and traditional architecture to modernism and this building is considered as a premier modernist building. Gaudi tends to use new materials and techniques and new technical solutions and many natural forms and symbolism. However, the truly impressive thing about Casa Batllo is not the presence of these individual elements, but the unequivocal unity with which they were assembled

Architecture is not just a design, a form, a building or a structure but it is defined by its inhabitants, the human. “house of bones” or “house of yawns” are names referred to casa batllo by Antonio Gaudi, both these names and many other factors

and

interpretations

imply

that

not only this building has a lot to present regarding to the notion of the body but also the building itself is usually compared to a human body and is considered as a piece of natural organic architecture. This building as discussed in previous paper is introduced as a type of in between, when gothic and modern architecture together are leading this architecture. A building is always in relati on to the body and both body and architecture have effects on each other. It is the body that defines a space and the space does s o for the body “To be a body, is to be tied to a certain world, as we have seen; our body is not primarily in space: it is of it.”

Physical relation between building and the body the use of natural forms inside and outside

factors remind us of the modern scheme of health caring systems in which designing buildings which

of casa batllo represent a strong formal

provide

best

relation between architecture and nature

for man to live a healthy life by

which human body is a part of it, moreover

means

the space created inside and outside is

and humid spaces and instead

correlated to human figure portions and

of them designing sky lights and

requirements.

atriums with good air conditioning

such

possible as

situation

avoiding

dark

the large amount of light and ventilation

systems were the main concerns

in the space and the concentration of the

of the time. While some gothic and

architect on these technical health-oriented

classic beliefs regarding body is obvious in many features of this

casa batllo neighboring other buildings

architecture like using figurative elements or vitruvian portions. “a truly new spirit can only exist in a new body… we have to realize that the most formidable discovery of our time is health… physical health, basis of mental health, basis of every balanced activity, of all production, in all domains, and in that of art as much as un all the others… the body will emerge naked in the sun, washed, muscled, supple.” (Winter, Le Corps nouveau) While living in casa batllo the building’s windows,

balconies,

walls,

ceilings

and

curves are all metaphors of extensions of body, wide views through extended eyes, a deep breath through extended mouth in balconies (house of yawns) and so on.

Psychological

and

mental

relation

between building and the body Inside casa batllo unconsciously every individual is a flow following the path that architect has designed, it has been designed for them how to experience the space and how to feel in certain spaces. Every space is designed related to the body to make it a part of the space.

Although

is

addition to the use of natural forms and

in

materials and curved surfaces which induct

person’s mind but visitors and users have

the feeling of familiarity all together play

always claimed that the building feels so

roles in this phenomenon. When an individual

homely and they have never felt out of place

is experiencing the house, it is not just a

or not matched. homely or unhomely, a place

physical place but a psychological space in

where you feel familiar with and you feel at

person’s mind.

mysterious,

the

building

strange

and

and

its

form

unfamiliar

home, regardless to the fact that you have ever been there or not and irrespective to

How the building is a body

the appearance which can be strange or

Casa batllo is a result of transformation

not. The house has been design with respect

from an existing unwanted situation to a

to body actions and body requirements in

perfectly suitable appealing architecture. Like curing a disease Gaudi change a sick body with a healthy one not only by improvements but

also

by

organ

transplantations

and

even adding new organs. While designing a new circulation and space organization Gaudi thoroughly undertook the design of every single element of the building, from the

extravagantly

protuberant

facade

to

all aspects of the interior, including the gracefully gnarled furniture. Three

different

stages

that

define

the

relation between architecture and the body through centuries are “the building as body”, “the

building

epitomizing

bodily

states”

and “environment as a whole endowed with bodily characteristic”.

Casa batllo

is a

combination of “the building as a body” and “the building epitomizing body states” as it is simultaneously expressing the body and working as a body. This is another reason to claim the assumption of the type of inbetween. “The parts of building should be arranged similarly to those of an animal; as is seen, for example, in the case of the horse, whose parts are equally beautiful and efficient.” (Alberti) casa batllo is obeying this rule as

well, every feature is formally, functionally and structurally designed and these factors are not detachable. “The undulating rhythms and the organic imagery of these interiors create the feeling that the house lives and breathes. Spiral forms on the walls and ceilings l end a sensation of movement to the spaces. One Gaudi scholar, Philippe Thiébaut, has even suggested that the rooms of the Batllo apartment unfold like a process of cellular growth.” Grossman)

(Rachel

“From the smallest biological microbes to industrial manufacturing to logistical flows to information

idea of intertwined architecture.” (Summary on - The Structure of Vagueness, Lars Spuybroek)

management and software coding, technique manifests

other diagrams explaining the technique of dealing

itself as the capture and control of process[es] for

with different forces from inside or outside a building

the purpose of repeatability toward the production

or the relation between different pieces of art and

of material reality.” (Livesey, Parlac, Taron - On

techniques of art that Gaudi uses in his works and the

Technique)

architecture. “… More that the eye sees the body sense.

Cassa Battlo, a residential work of Antonio Gaudi,

… Out of chaos we came, within us is derived sense of

is discussed in through the lens of technology in this

order, not linear and logical, but odd and complex.”

paper by the means of a set of diagrams which show

(Cecil Balmond - New Structure and the Informal)

different aspects of this work and different meanings of technology in this building.

Gaudi believes in god, nature and human and considers each of them as a creature of the other.

“In Gaudi’s work, it is suitable to appreciate his

While talking as architect as creator of a building he

point of view as painter and sculptor. For him color

presents the human as a creature of the nature which

was light, and whether he was using pure or iridescent

cause the building to be a part of the nature as well.

shades, gold or silver, aspect and tone were just as

The technique of facing the issue of nature and the

important as the quality and durability of the pigment.”

debate between creature and creator is also studied

(www.gaudidesigner.com)

in another diagram.

there

many

different

factors in Gaudi’s architecture from structure to space or from art to mathematics that has been taken into consideration in a special way which is presented as a technique of combining different aspects in one of the diagrams which is seeking for the relation between them. This factor is generally seen in most of the diagrams explaining Gaudi’s work. “Then he explains the necessity of combining different aspects of building together, and criticized separation of plan, elevation structure and all different aspects of architecture. The

Combination of different factors

Combination of different factors

the architect, as producer of “objects” became an

As discussed before this diagram studies the

incongruous figure. It was no longer a question of

combination of different aspects. Some of the relations

giving form to single elements of the urban fabric, nor

are stated as the following:

even to simple prototypes. Once the true unity of the

- what about the relation between architectural

production cycle has been identified in the city, the

design and poetry when logic, rationalism and

only task the architect can have is to organize that

mathematics rules? “…the poetical content of reality,…

cycle”

Which is ultimating frame of reference for any truly

Balancig Interior and Exterior Forces

meaningful architecture, is hidden beneath a thick

As discussed in diagram 1 this diagram is studying

layer of formal explanations.” - By ascending philosophy and science, numbers and geometry was brought out into question, and

technique of combination of forces in a more formal manner

Art to Architecture

technique and the crafts were freed from their traditional

Gaudi as an architecture and artist relates his

magical associations, and for architecture it was the

artistic techniques and architecture in a specific way.

beginning of a new approach “architects began to

Here re some parts of the readings related to this

consider their discipline a technical challenge,...”

matter:

- ... Then he describes traditional architecture as

- before modern period the main problem of

locked in right angles and rigid, a rigidity that nothing

architecture was genesis of form, the form which turns

moves within. “The tradition is immobilized. we trap

out to follow the mathematical logics and follow the

movement.”, He introduce an idea of a new relation ...

function afterwards.

Participating in the world

- ... today, “architects who recognize an affinity

Diagram of participating in the world studies the

between their profession and art usually play formal

relation and effect that the architecture has to its

games, but fail to understand he transcendental

surrounding, such as effects on people and vehicle

dimension of meaning in architecture.” . Today

flow, relation between buildings, view points, etc.

architects often work under the absurd assumption

Architecture as a technique to organize urban space.

that meaning and symbol are merely products of the

“In the face of modernized production techniques and the expansion and rationalization of the market,

mind...

Participating in the world

Balancig Interior and Exterior Forces

Art to Architecture

What is really significant about Gaudi’s architecture, The technique of presenting Nature, Human and

as has been discussed in previous papers, is his style

Architecture as a union is studied in this diagram, the

of in between and emergence of a new meaning of

conflict between creature and creator.

technique in his work. “Gaudi’s position in the history of architecture is that of a creative genius who, inspired

- the world is complex and it shifts gear and jumps. We shy

by nature, developed a style of his own that attained

away from this difficulty because the mind has to bend around

technical perfection as well as aesthetic value, and

corners and the mathematics is difficult. The shadowy and fantastic seem to be the new reality; virtual and nascent, rather than fixed and concrete. “…in Trying to remove uncertainty we remove the invisible glue that holds things together. - “Creation is a simple act of the mind” - As in nature, nothing in Gaudi’s buildings or in his furniture is absolutely identical. - … naturalistic style, under the new influence of Modernism whose resonance can be seen beginning to emerge in its sinuous, plant-like lines, working with forms in which it seems as if the grain of the wood has mastered the cabinetmaker. - Nature itself laid down the law, with growth determining the forms in well-seasoned fine woods with joints and unions calculated to perfection by Gaudi. Throughout his career - Gaudí complemented this organic vision of architecture with a unique spatial vision that allowed him to conceive his designs in three dimensions, unlike the flat design of traditional architecture. - “Nature does not present us with any object in monochrome . . . not in vegetation, not in geology, not in topography, not in the animal kingdom,” (Gaudi)

bore the mark of his character.” (Wikipedia)

Nature’s curves add to the undulating features that make the space welcoming and functionally brilliant. Gaudi used a combination of natural forms and geometry to enhance the house. Cleverly working from nature, he used trencadis, the broken tile mosaic, to apply floral motifs with geometric patterning. This adds to the happy even bouyant quality of the space. In contrast to the dramatic coloration and richness of the rest of the house, the attic areas, upper and lower, were designed to be purely functional by Gaudi. They are painted a pure white. However, far from pure minimalist design as this is Gaudi’s work, the attic structure is sculptural with catenary arches repeating and defining the spaces. The catenary arches were built from solid thin Catalan bricks that were plastered over. This was a rapid construction and efficient system.

Interior and Exterior life “All of Gaudi’s works, however outwardly unruly, proceed from internal discipline.“ Casa Batllo instills visitors with a surreal feeling. “The interior mirrors the exterior”. As we saw on exterior there are curves and smooth angles in each and every corner. The space is organic, wide, open and expansive. There are lots of dreamlike fantasy features like curves, colors, windows and stained glass windows. The interior is full of details and materiality even more designed that the exterior and the interior space is just “as alive as it appears from the street”.

People say it’s the façade that catches your attention but the interior captures your imagination.

Flowing Architecture The hall streams, the stairs surge, there are no edges, no corners, walls glide into ceilings, rooms flow into rooms, it is a peristalsis house. But light, cheer, air, and comfortable proportions are everyplace. The design is meant fully for people, they are in good spirits, as the spirit of the house demands. The view of the building is changing and flowing as the sun hits the front of the building during the day, the facade magically materializes and dematerializes in a celebration of color. Depending on the weather and lighting Casa Batllo may change colors and apply an entirely different impression to the viewer. One critic describes the building façade as, having the same effect as a throwing a stone into a pool of water lilies.

For an architectural thought in thrall to the model of transparency, however, all partitions between inside and outside have collapsed. Space has been comminuted into “iconological” figures and values, each such fragment being invested with individuality or worth simply by means of a particular color or a particular material.

“There is doubtless no such thing as a “true space,” But there is certainly such a thing as a “truth of space” which embodies the movement of critical theory without being reducible to it. Human beings are in space; they cannot absent themselves from it, nor do they allow themselves to be excluded from it.” (K.M. Hays)