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1887-1893
Palau Episcopal D'astorga 04 Astorga
In 1886 a fire completely destroyed the residence of the deceased Joan Baptista Grau i Vallespinós, bishop of the diocese of Astorga, in the north-west of Spain, who was to direct a new building to his friend Gaudí. This neo-Gothic palau (per the structure and per the sobriety of the stone walls) consists of four levels, which reflect the natural light through a central space that crosses the building.
1888
Pavelló of the Companyia Transatlàntica I Barcelona
Provisional building, built for the Universal Exposition of 1888.
1888-1890
Col·legi de les Teresianes
Building intended for a convent, school and boarding school, commissioned by the Company of Santa 5 Teresa. The construction had to be simple and economical. Gaudí conceived the school with an original neo-Gothic castle, with a façana that combined the stone wall and the maó. The incorporation of religious symbols is the dominant note, including the anagrams of Jesus Christ, Carmelite shields and four-armed crescents on the angled towers.
1891-1893
Casa Botines
Gaudí is going to design a building for tourist and commercial dwellings for Simón Fernández Fernández and Mariano Andrés González Lluna, Lleó representatives of the Banc Hispano-Colonial de Barcelona and owners of a house of canvi and a magatzem of teixits.
1895
Cellers Güell I Carretera Comarcal, 246, Sitges (El Garraf)
These cellers were one of the caves where I saw that Eusebi Güell and Bacigalupi produced in Garraf, south of Barcelona. It is a work designed by Gaudí in which his collaborator Francesc Berenguer will intervene, in a very direct way.
1898-1900
Casa Calvet I Carrer de Casp, 48, Barcelona
Casa Calvet ©Fundació Catalunya La Pedrera. Photographer Humberto Rivas
Commercial building and d'habitatges de lloguer encarregat pels fills de l'industrial Pere M. Calvet. This building with its six plans is a work of transition between the first Gaudí, with neoclassical and baroque influences, and that of Maduresa, which trembles with the curved lines and the undulating surfaces. It stands out for the luminosity of the interior patios.
The Barcelona City Council will preserve Casa Calvet as the finest building from 1900.
1890-1917
Church of Colònia Güell
Unfinished building of great structural experimentation, destined to be the church of the Eusebi Güell textile colony.
Here Gaudí is going to investigate and create an original instrument of architectural design: a large multi-funicular model. This model is going to be built with fabric, cords and small weights, and allowed to deduce some architectural forms directly dictated by the aesthetic behavior of the projected building, something that would also serve for the construction of the Sagrada Família.
1900
Estendard de l’Orfeó Feliuà
Gaudí created the ensemble for the choral society of Sant Feliu de Codines. The insignia is preserved in the municipal museum of this town near Barcelona.
1900-1914
Park Güell
A private garden city promoted by Eusebi Güell to occupy fifteen hectares located to the north of Barcelona. Initially conceived as a model garden city, fully integrating architecture and nature, Gaudí designed and built the infrastructural and services part of this luxury residential area, which was never completed and which has sixty plots to be built on. Only three plots were sold, one of which was bought by Gaudí himself, who lived there with his father and a grandmother. Gaudí designed the two pavilions of the porch and a large landscaped staircase that leads the visitor to the large porch, the Sala Hipòstila, designed to house the market of the development.
1900
Primer Misteri de Glòria I Montserrat
On behalf of the Lliga Espiritual de la Mare de Déu de Montserrat, Gaudí designed the Primer Misteri de Glòria (First Mystery of Glòria), which was begun near the sanctuary of Montserrat.
1900-1909
Torre de Bellesguard
A single-family house with a cubic volume, built in the north of Barcelona and structured on five levels. The area where Gaudí built the Bellesguard Tower has a strong medieval past, as it was the home of the last Catalan king. The architect created a work full of symbolism, halfway between Gothic and Art Nouveau, in which he narrates the biography of Martí l'Humà and the disastrous fate of the kingdom when the monarch died without descendants. The structure of the Bellesguard Tower is covered with local pissarra stone, in line with Gaudí's approach of studying and using the geology and topography of the site.
1900
Santuari de la Verge de la Misericòrdia de Reus
Draft reform project for the main façade of the sanctuary of which few documents are preserved. The project was never completed.
When Gaudí started to carry out the project, he demanded the construction of a iron fence to facilitate the work with maximum safety and practicality, and this is where the problems began to arise. The owners of the neighbouring properties were opposed to the blockade, considering that it did not respect their right of passage. Signatures were collected from all the dissatisfied neighbours, the municipal architect set conditions for the wall completion, the matter became more and more complicated and, finally, in the middle of 1904, the Gaudí project was completely abandoned and never prospered.
1901-1902
Porta i tanca de la Finca Miralles
Wall and access gate to the land of the Miralles estate, located in the north of Barcelona.
1902
Decoration of the bar Torino I Barcelona
Collaboration with Ricard Capmany, official decorator of this establishment dedicated to the sale of Martini & Rossi vermouth and located in the central Passeig de Gràcia.
1903-1914
Restoration of the Cathedral of Mallorca
Restoration work commissioned by the bishop of Mallorca, Pere Campins i Barceló.
1904-1906
Casa Batlló
Expansion and renovation of an apartment building in the middle of the town by Josep Batlló Casanovas. Popularly known as the House of the Bears, the House of the Masks, the House of the Badges or the House of the Drac, the work is part of Gaudí's most mature period of construction. Gaudí's intervention in this building was not only ornamental but also structural, as he redesigned the exterior and rear façades and the interior walls of a characteristic building of the Eixample with the aim of bringing more natural light into the building, to which he also added two floors and a new crown. The façade is clad in polychrome tiling. The terracing is the natural evolution of the Palau Güell terracing, with the walls covered in glazed and coloured tesserae.
1904
Sala Mercè
Performance hall designed by the painter Lluís Graner i Arrufí on the Rambla dels Estudis.
To turn the place into a comprehensive art venue, he asked his friend Antoni Gaudí to decorate it. Taking advantage of the size of the site, he designed the Fantastic Grottoes, underground caves full of stalactites with craters and a natural waterfall inside. These original grottoes amazed the artists and geniuses of the time. In fact, Salvador Dalí himself described the landscape as edible.
1905
Xalet del Catllaràs i Jardins de Can Artigas
Xalet built for Eusebi Güell i Bacigalupi in La Pobla de Lillet (Berguedà), where he had a coal mine and the first cement factory in Spain.
1906
Standard of the guild of manyans
Standard commissioned by the board of directors of the corporation.
1906-1912
Casa Milà, La Pedrera
This is a building for rent and Gaudí's first civil work, which sums up the artist's mature period. Although its official name is Casa Milà - because it was a real estate initiative of this family - it is popularly known as La Pedrera, a nickname that ironically alludes to its external appearance, which is very similar to that of an open stone quarry. With an imposing façade of undulating stone and wrought-iron balconies made from recycled elements, La Pedrera is Gaudí's most innovative residential building, both in terms of structural design and decorative elements. Built around two large courtyards, the apartments have a structure of stone and stone pillars in a pioneering open-plan system. The golf courses, which allotted the safareig and the estenedors, are built by means of a set of catenary arches of flat maó of different heights, which also determine the different levels of the terrain. The terrain follows the pattern of the Palau Güell and Casa Batlló. Here, however, the badalots or scale boxes are clad in stone, copper and ceramic -monochrome and recycled- and the two vents and windows are stuccoed, except for one group which has traces of green blisters. It is worth noting the mosaic ceilings, the paintwork in the vestibules and the entrance doors.
1908
Hotel project for Nova York
Project for the construction of a hotel in New York which in the end was not executed.
1909
Provisional schools of the Sagrada Família
In parallel with the construction of the Sagrada Família, Gaudí built the school building for the children of the temple's workers and the children of the neighbourhood. Located at the south-west corner of the temple, this single-storey building is very simple in its construction.
1910
Streetligt commemorating Jaume Balmes
During a three-week stay in Vic, where he was recovering from an illness, Gaudí accepted a municipal invitation and proposed various projects to commemorate the first centenary of the birth of the local ecclesiastic and thinker Jaume Balmes.
