Works of Antoni Gaudí

Sagrada Familia (Bernard Gagnon/Wikipedia, CC BY-SA 3.0).

N41 24 48.168 E2 9 10.699
Date of Inscription: 1984
Extension: 2005
Criteria: (i)(ii)(iv)
Ref: 320bis

The Park Guell (Bernard Gagnon/Wikimedia, CC BY-SA 3.0).

The Works of Antoni Gaudí is a serial property consisting of seven buildings by the architect Antoni Gaudí (1852–1926) located in Barcelona and its surrounding areas. The property attests to the exceptional creative contribution of this architect to the development of architecture and construction technology in the 19th and early 20th centuries. The Park Güell, the Palau Güell, the Casa Milà-La Pedrera, the Casa Vicens, the Nativity Façade and the Crypt of the Sagrada Família, the Casa Batlló, and the Crypt of the Colònia Güell reflect an eclectic, very personal style to which Gaudí gave free rein in the field of architecture, as well as in the design of gardens, sculptures, and indeed all the arts.

The Works of Antoni Gaudí is an exceptional and outstanding creative contribution to the architectural heritage of modern times. His work is rooted in the particular character of the period, drawing on the one hand from traditional Catalan patriotic sources and on the other from the technical and scientific progress of modern industry. Gaudí’s work is a remarkable reflection of all these different facets of society and has a unique and singular character. In fact, his works are particularly associated with Modernisme, and in this sense, Gaudí can be regarded as the most representative and outstanding of the Modernista architects.

Gaudí’s work is an exceptional creative synthesis of several 19th-century artistic schools, such as the Arts and Crafts movement, Symbolism, Expressionism, and Rationalism, and is directly associated with the cultural apogee of Catalonia. Gaudí also presaged and influenced many forms and techniques of 20th-century Modernism. 

Criterion (i): The work of Antoni Gaudí represents an exceptional and outstanding creative contribution to the development of architecture and building technology in the late 19th and early 20th centuries.

Criterion (ii): Gaudí’s work exhibits an important interchange of values closely associated with the cultural and artistic currents of his time, as represented in el Modernisme of Catalonia. It anticipated and influenced many of the forms and techniques that were relevant to the development of modern construction in the 20th century.

Criterion (iv): Gaudí’s work represents a series of outstanding examples of the building typology in the architecture of the early 20th century, residential as well as public, to the development of which he made a significant and creative contribution. 

Suggested base:

Barcelona is Spain’s second largest city, with a population of nearly two million people, and the capital of Catalonia. A major port located on the northeastern Mediterranean coast of Spain, Barcelona has a wide variety of attractions that bring in tourists from across the globe. The many faces of Barcelona include the medieval Old Town, and the unique street grid resulting from 19th-century urban planning. The city has long sandy beaches and green parks on the hills, pretty much side-by-side. It is also famous for a number of prominent buildings, of which the most-known are by the architect Antonio Gaudi, including his Sagrada Família, which became Barcelona’s symbol to many. Founded more than 2,000 years ago as the ancient Roman town Barcino, Barcelona is thus as historic as it is modern, with a constant flow of projects changing the face of the city. [read more]

Hospitalet de Llobregat isn’t a beautiful city. It’s a “bedroom town” southwest of Barcelona. It’s the second biggest in Catalonia by population. It’s important for being one of the most dense cities in Spain and also in the European Union. This town doesn’t have anything special. It doesn’t have its own identity and personality. When people in L’Hospitalet want to go shopping or have fun, they travel to Barcelona where they find the charm that you miss in l’Hospitalet. The weather here is good. L’Hospitalet is a Mediterranean town and it’s climate is wet and warm. It sometimes rains a few days, normally in the spring and in the autum. The winter isn’t very cold and it hardly ever snows. The summer is sunny, but also very wet, so it feels hotter than it really is. People know it for its big hospital Residencia de Bellvitge and Hotel Hesperia Tower.

Tarragona is the first large seaside town south of Barcelona. The town also offers a number of historical sites including churches from several different periods and a well preserved Roman colosseum. The town itself has the usual Spanish assortment of plazas sprinkled with cafes and tapas bars. Tarragona is a good choice if you only have a day or two to get out of Barcelona, otherwise the beaches further south or the remoter seaside villages to the north of Barcelona offer a more unique experience. Tarragona’s main station, Tarragona, is on the main train line between Barcelona and Alicante, served by ‘Euromed’ and ‘Alaris’ trains, as well as regional trains. Talgo trains run as far as Montpellier in the north, and Lorca in the south. The ‘Trenhotel’ night train to Granada and the ‘Estrella’ night train to Madrid also call here. [read more]


3 Replies to “Works of Antoni Gaudí”

  1. My favourite of all the sites is the five-storey home renovated in 1904 for another wealthy Barcelona industrialist, Josep Batllo. Since a face-to-face is not possible, I’d settle for one of the remaining private apartments on the top floors, close to the dragon’s back and the clever chimneys on the roof.

    Casa Batllo is on the “Block of Discord” on the exclusive boulevard Passeig de Gracia, with its clashing architecture styles. Whoever designed the rather plain corner building adjacent to Casa Batllo must have given up. Who could compete with Gaudi’s oddball artistry?

    Climbing the stairs to the top floor and feeling with each step like we were getting closer to the heart of Gaudi’s genius. The windows had been shrunk to filter the harsh Mediterranean light. The tiles became a deeper blue to mimic the sky.

    There are no straight lines here; even the windows are curved, framing the Passeig de Gracia in an organic, natural way. We were a couple of storeys above the street, but a bunch of leagues under the sea, it seemed, thanks to stained-glass bubbles all around us.

    Gaudi’s work is just mind-blowing.


  2. Last summer, I visited the Sagrada Familia, the mammoth unfinished Roman Catholic Church. The awe-evoking cathedral did live up to its imposing promise as I stood there absorbing its brilliance. I have been to cathedrals around the world and this one seemed to evoke a different sense of awe — a somewhat paradoxical spectacle of centuries-old history, in a palpable state of flux. The flux is unique as the structure stands unfinished and open to interpretation, as modern day architects put shape to Gaudi’s centuries-old vision. An audacious vision combining Gothic and Art Nouveau forms, the cathedral has braved the Spanish civil war, intermittent slowdown in construction for lack of donations and controversies surrounding neglect of Gaudi’s design vision. As I absorbed the impact of this Basilica, jostled in a sea of gawking tourists, I wondered if the core of its attraction was perhaps in these very contradictions and incomplete status.


  3. The first time I visited Barcelona, I was blown away by the curvy shapes and exuberant colours of his buildings, a cross between Arts and Crafts and Gothic Revival, Disney and Star Wars. On the roof at Casa Mila, the chimneys are lined up in a row like visored knights, their “helmets” covered in broken glass. The cottages Gaudi designed at the entrance to Park Guell are straight out of a Brothers Grimm fairy tale, their surfaces decorated with mosaics made of broken plates, ceramic tiles and glass beads in the old Mediterranean style called trencadis. La Sagrada Familia was unlike any other church I had ever toured. The columns soared overhead like trees in a sun-dappled forest. Gaudi patterned his works after the motifs he found in nature and then added to them highly regulated geometric shapes.

    Stairwells spiral like the insides of seashells, spires are topped with pine cone finials.


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