Theory and History of Architecture, Restoration and Reconstruction of Historical and Architectural Heritage

Issue № 2 (38), 2018 ISSN 2542-0526

THEORY AND HISTORY OF ARCHITECTURE, RESTORATION AND RECONSTRUCTION OF HISTORICAL AND ARCHITECTURAL HERITAGE

UDC 72.01

V. O. Ignatyeva1

VOLUMETRIC AND PLANNING STRUCTURE AND CONSTRUCTION SOLUTIONS OF A. GAUDÍ’S PRIVATE HOUSES

Ural State University of Architecture and Art Russia, Yekaterinburg, e-mail: [email protected] 1Senior Lecturer of the Dept. of Fundamentals of Architectural Design

Statement of the problem. As there has been unflagging interest in the creative heritage of the architect A. Gaudi and a well-established art science approach to investigating it, it is of importance to conduct a comprehensive comparative analysis of the works by this great Catalan. In historiog- raphy there are no examples of strict comparative analysis of volumetric, planning and constructive characteristics of private houses created by A. Gaudi (Casa Vicens; Güell Palace; the Güell Bodegas; the Bellesguard Villa). Results. The comparative analysis of volumetric, planning and constructive characteristics of four private houses created by A. Gaudi was performed chronologically; traditional and the author's solutions are formulated; the features of construction schemes and tendencies of their application were found. Conclusions. A. Gaudi's innovation in the organization of private residences are as follows: plac- ing of a stable in a cellar; complex organisation of the floor-plan diagram; introduction of intermediate spaces for communication of various zones, an interior and an exterior; supply of light expo- sure of internal rooms; transformation of spaces; multipurpose flat roofing. Constructive decisions provide rationality of the device and expressiveness of interiors, embody the elementary tectonic schemes and craft traditions of Catalonia, author's unique method and complex structures. Con- structive truthfulness or illusiveness strengthens figurativeness of architecture by A. Gaudi.

Keywords: Gaudí ntoni; Spanish architecture; private house; Casa Vicens; Güell Palace; the Güell Bodegas; the Bellesguard Villa.

Introduction. The importance of the study is due to how essential it is to investigate artistic methods of Antonio Gaudi as a palette of design tools for improving visual images of modern architecture. There is currently an unflagging interest towards to A.Gaudi’s work that lead to

73 Russian Journal of Building Construction and Architecture a growing number of publications in the field looking into the main aspects of the artistic heritage of the great Catalonian. A common perception of the unique style of the author’s architectural language and method is largely based on an extensive collection of creative biog- raphies, fragmentary research, inconsistent descriptions of individual objects. This article is the first to present a comparative analysis of some of private residential buildings designed by A. Gaudi in the chronological order. The shaping of the author’s individual style of designing private residential houses might shed light on A. Gaudi’s contribution to the Spanish heritage of the late 19th and early 20th centuries. The level of information on the topic is indicated by a wide corpus of publications on A. Gaudi’s artistic heritage (creative style, architectural, constructional and symbolic features). The form-shaping tools, construction and engineering methods have been dealt with by scholars in individual studies (J. Bassegoda Nonell, González Moreno-Navarro, D. Gi- ralt-Miracle, H. Ibelings, A. V. Ikonnikov, Ye. V. Kalimov, M. A. Crippa, C. Martinel, Brunet, J. Molema, J. Roe, H. Teh-Chien, A.A. Tits, J. Tomlow, T. Torii, G. Fahr-Becker,

K. Frampton, S. A. Khvorostukhin, G. Van Hensbergen, R. Zerbst, etc.) [2, 3, 5, 6, 8—12, 14—24]. Most of them took on an art methodology approach. In the paper by V. . Ignatieva there is a study of volumetric and planning solutions and structure of three residential buildings designed by A. Gaudi in Barcelona with the main principles of their construction identified as part of the typology of the objects [4]. Up until recently there has been no consistent study of methods and solutions in A.Gaudi’s form-shaping tools employed in designing each individual residential building. Therefore the evolution of the author’s principles of designing private residential houses is yet to be addressed. The objective of the study is to identify the volumetric and planning and construction principles of designing private residential houses by A.Gaudi: Casa Vicens (1883—1888), Guell Palace, (1886—1888), Guell wine cellars (1895—1901), the Bellesguard villa (1900—1909). 1. Volumetric and planning structure and construction solutions. The volumetric and planning structure of each of the four residential houses is presented in the chronological order. Meticulous description of the planning solutions is challenging owing to a number of factors. Firstly, the structures are partially or completely closed to visitors; secondly, available sketches are very basic and thus provide no insight into the organization of the object

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(plans of individual floors might be missing); thirdly, the façade structure is not representa- tive of the interior; fourthly, individual premises were replanned; fifthly, there is no data on the function of individual buildings or floors. However, the analysis of the descriptions of the objects and comparison of sketches from different sources enabled us to synthesize our idea of the volumetric and planning structure of each building. 1.1. Casa Vicens (1883—1888). Following . Gaudi the mansion was reconstructed by another architect (as well as expanded due to an extra flight between the bearing walls). An original volumetric and planning scheme was presented in the plans of the house following the reconstruction (Fig. 1). The main entrance with a high porch was originally designed from the side of the façade facing the street in its left part. The laundry has a separate entrance (here as well) as well as a smoking room (from the opposite side). In the ground floor there were daytime premises (a dining room, verandah, smoking room), entrance hall, a backyard with stairs as well as household facilities, i.e. a kitchen and a laundry. The dining room was the center of the original planning structure that the remaining spaces are around it. The glassed verandah next to the dining room faces the garden, which connects the inside and outside spaces of the house. The premises can be accessed in various ways: the hall and dining room can be used to move between the entrance hall and the smoking room. In the first floor there were bedrooms, in the second floor there were most likely to be staff rooms. A cellar was used for housekeeping purposes. The multilevel roofing was fitted with a passageway where the movement trajectory is arranged with dome pavilions. Casa Vicens is structurally authentic, which means that the construction solution is expressed in the interior (Table 1). According to the simplest scheme, wood beams of the enclosures between the floors rely on the bearing stone walls. The enclosure of the cellar was made of cross-dome and cylindrical vaults, which is in keeping with the rural Catalan tradition [20, p. 235]. The description and size of a cut in the premises enclosed with such a vault is in agreement with a scheme of a cooper or billowed vault used in the Tsar Russia and the USSR [7, p. 236; 13, p. 21]. The roof of the house is a multi-level system of brick planes positioned along slanting wood beams. A non-standard solution allowed a passageway to be arranged along the roof at different heights (Fig. 1e).

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a b c

d e

Fig. 1. Casa Viceas (architect A. Gaudi). Functional zoning: ) plan of the cellar [24, p. 45]; b) plan of the ground floor [14, p. 39]; c) plan of the first floor [14, p. 39]; d) plan of the second floor [24, p. 45]; e) plan of the roof [24, p. 45]; 1 are daytime premises; 2 are bedrooms; 3 are housekeeping and cleaning premises; 4 are passageways; 5 is a a light well, a multi-light space; 6 is a movement trajectory

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Table 1 Schemes of the construction of private residential houses by architect . Gaudi

Objects Guell wine the Bellesguard Sche- Casa Vicens Guell Palace mes of the cellars villa construction

Scheme of the roof

Scheme of the enclosure between the floors

Scheme of the support of con- sole ledges

Scheme of the enclosure between the cellar and the ground floor

1.2. Guell Palace (1886—1888). The entrance hall of the ground floor is unique as it is part of the inside and outside space: the entrance portals only have a tracery filling of a forged grid. Car- riages and vehicles proceeded through the entrance hall and then onto the carriage premises and visitors followed to the front staircase along the pavement (they drove in both directions from the stairs for the convenience of two carriages coming and going) (Fig. 2b). The front staircase connects a two-light space with the mezzanine floor where the stairs lead into the first floor. The planning structure of the palace, which is complex for perception, is different from floor to floor, which creates an illusion of moving along a labyrinth and a vision of larger sizes of the structure (18×22 m). The significance of the planning center moves to the front stairs of the entrance hall in the ground floor to the multi-light atrium hall in the upper floors (Fig. 2 d—g).

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Starting from the first floor the mansion assumes the structure of a Renaissance palazzo where premises are centered around a hall or a backyard reaching up the entire building and enclosed with a dome [2, p. 32; 19, p. 121].

a b c

d e f

g h

Fig. 2. Guell Palace (architect A.Gaudi). Functional zoning: ) plan of the cellar [24, p. 73]; b) plan of the ground floor [24, p. 73]; c) mezzanine floor (between the first and second floors) [24, p. 73]; d) plan of the first floor [24, p. 73]; e) mezzanine floor (between the first and second floors) (graphical reconstruction by V. O. Ignatieva); f) plan of the second floor [24, p. 73]; g) plan of the attic [24, p. 73]; h) plan of the roof [24, p. 73]; 1 are daytime premises; 2 are bedrooms; 3 are housekeeping and cleaning premises; 4 are passageways; 5 is a light well, multi-light space; 6 is a movement trajectory

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The rectangular hall in the plan serves as the main front premises, a passageway center of the palace. The climax of the opening of the first floor is denoted with the multi-light space. The vertical part of the atrium connects the assembly hall in the first floor (with the built-in chapel), a mezzanine for musicians, galleries in the second floor and the upper balcony level. Var- ious opening in the dome serve to connect the spaces inside and outside the palace. Possible various access in the floor is provided by a range of vertical connections. The access to the cellar with a stable is provided with two ramps: a flat one from the edge for horses and a spiral one in the center for the staff. The main stairs, which is variedly positioned at different levels, connects the front spaces of the palace in the ground floor, mezzanine and first floor. In the first floor there is a passageway into an adjoining building (also owned by the Guell family). For the owners there is a separate climb onto the first floor with the daytime premises (as well as the study, library and waiting room) along a small stairs leading from the edge right entrance into the palace from the façade. The internal stairs to be used by the staff as well as the household elevator go through the entire palace from the ground floor up to the roof as a single unit. Between the first and second floor, the residential floor with the bedrooms and cleaning premises there is a separate climb. In the attic there were housekeeping premises, a kitchen, laundry, dining room as well as the staff bedrooms. In the planning structure of the palace the principle of circular passageways is implemented. In the first floor there is a movement along the front façade (a suite of the front premises: the entrance hall, reception hall, music room and gallery) and along the back façade (private halls, dining and billiard rooms, terrace). The operating roof serves as a recreational space at two levels with a promenade around a spire and ventilation shafts and chimneys. Natural lighting is an important factor of the volumetric and planning organization of the palace. A light backyard next to the back façade provides lighting in the open ramp, cellar and adjoining spaces of the ground floor. The internal light well next to the side wall of the palace enable the light to penetrate the household and cleaning premises of the first, second, third floors and the attic. The main atrium is natural lighting of the central space of the first and second floors. Natural lighting penetrates the multi-light space of the atrium at several levels. The light comes out of the openings in the spire and dome, streetlights located over the roof and surfacing (through the attic space). In the first floor the hall is lit from two facades through the adjoining halls. In order to light the mezzanine between the ground and first floor, there is the second light of the main entrance hall as well as a light passage along the walls of the waiting room from the windows next to the terrace opening.

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The construction of the Guell Palace is different in its variety of solutions: some are traditional (bearing walls and columns, flat vaults with a support onto steel flights in the ground floor), the others are innovative [2, p. 33]. In the cellar caps of thick brick supports are wi- dened like mushrooms to the top in order to reduce the spires. The enclosure of the mezzanine is an impressive set of marble plates placed in between metal two-faced flights [2, p. 33]. In the first floor the enclosure of the reception hall is positioned by a technically rich structure from metal and wood rods, i.e. a bearing spatial grid [2, p. 34] (Fig. 3). The central hall is enclosed with a significant parabolic dome (the height is 17.5 m, the side of the foundation square is 9 m), which allowed several levels to be connected vertically and lit (the internal dome with openings is topped with a cone spire with window openings) (Fig. 4b).

Fig. 3. Guell Palace (architect А. Gaudi). The ceiling in the reception hall in the first floor. Photo by V. O. Ignatieva

The dome is over four parabolic arches supported with a stone holder at the second floor level. In order to slant the roof, a system of metal beams is used that make up a hyperbolic paraboloid that is visible on the attic ceiling (see Table 1). Stairs hanging on the external

80 Issue № 2 (38), 2018 ISSN 2542-0526 enclosure on rolled metal rods lead into the roof [2, p. 34]. Construction solutions are cho- sen based on the geometric parameters of the premises and for an artistic effect to be pro- duced by each individual space. The characteristics of a material foundation of the Guell Palace is a construction authenticity: a construction solution is not concealed and pronounced in the interior.

a b c d

Fig. 4. Cuts: а) Casa Vicens [19, p. 235]; b) Guell Palace [14, p. 39]; c) Guell wine cellars [14, p. 73]; d) the Bellesguard villa [24, p. 133]; I is the first floor level

1.3. Guell wine cellars (1895—1901) are located on the Costa del Garraf, between Castelde- fels and Sitges, not far from Barcelona. In the medieval complex (containing a house, temple and a fence dating back to the 16th century). A. Gaudi designed the main building serving the residential and housekeeping purposes as well as a gated house of a door-keeper. A combination of the operating conditions, i.e. wine-making and stone mining, the Guells’ a short stay, hosting of guests, are central to the functional structure of the complex. In the ground floor of the old house there was a wine cellar that was joined with the cellar of the main building with a vaulted tunnel designed by A. Gaudi. The main building has a long rectangular plan, a pyramid cut and consists of five levels as well as two underground storages (Fig. 4, 5).

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a c

Fig. 5. Guell wine cellars (architect . Gaudi). Functional zoning: ) plan of the third floor [14, . 122]; b) plan of the second floor [14, p. 122]; c) plan of the first floor [14, p. 122]; 1 are the daytime premises; 2 are bedrooms; 3 are household and cleaning premises; 4 are passageways; 5 is a light well, multi-light space; 6 is a movement trajectory

The ground floor was used as a garage, stable for the staff room (for a stableman, housekeep- er, servants) joined with the internal stairs with the first floor hall. The external stairs lead from the coast to a part of the first floor (through a semi-open space) and onto the entire second floor. In the first floor there is an apartment with two terraces (one is close and the other one is open to the coast), which is joined with the old building through the gallery. The upper level is taken up by a chapel and belvedere that serves as its portico. The belvedere is both internal and external space. The linear structure of the planning is due to mutual location of the buildings, roads and slopes. The slanting walls and a restricted width of the building determine the only possible direction of the movement inside the building through the suite of premises or extra protrud- ing volumes. The structures that are similar to those used here were employed in Catalonia as early as in the medieval age. Based on the available data, the cellar is enclosed with diaphragm brick arches supported with a foundation as well as Catalan vaults between them (from thin empty bricks or plates of one or several layers) [20, p. 207]. Catalan vaults are also erected on the ground floor supported by the slanting external walls. The local construction tradition being retained might be due to the rationality of the approach, accessibility of the materials (all the external walls are

82 Issue № 2 (38), 2018 ISSN 2542-0526 made from stone mined here, in the Garraf quarry) and the work technology. The construction authenticity is due to open use of the rural Catalan construction technology. 1.4. The Bellesguard villa (1900—1909). The significance of the planning center belongs to the multi-light space of the angular volume with the front stairs that is the entrance area and the main passageway of the mansion (Fig. 6b). The first march of the front stairs in the ground floor leads into the area of two-light daytime premises with the central hall in the middle. Below the stairs the housekeeping premises in the ground floor can be accessed as well as in the cellar (with the garage and stables) and the first-floor level. The principle of zoning is taken on a different level in the first floor: from different sides of the hall, the planning center there are two-light bedrooms and cleaning premises. The front climb ends and a small stairs leads into the space between the first and second floors (perhaps with the staff living rooms), onto the attic (with the music parlor and smoking room) and onto the attic for household purposes). In the single space of the attic rows of supports, beams and spires are central to conditional zoning. Zoning is convenient due to a various access to different premises. Hence in the ground floor there is a passageway into the daytime premises through the housekeeping area. In the first floor the principle of the detour access into the residential area through the balcony that encir- cles the mansion from the North West into the North East. In the first floor the cleaning premises make up the internal planning core. The planning of the second light provides natural lighting of the premises located deep down in the complex. Hence in the top from the first-floor level the cleaning premises are lit in the ground floor and the upper light of the first floor lights the hall of the space between the first and second floors. On the roof there is a complex system of passageways: a circular passageway at the level of the flat roof is joined with the upper terraces, i.e. the central and angular ones. In the interior the original construction solutions are visible. There is a selection of different methods for designing stonework enclosures without traditional beams (only enclosures of some of the staff rooms are an ordinary system of beams). The enclosure of the cellar is designed using a row of partitioning half-mast vaults that are supported by thick cylindrical columns. The walls and columns of the ground floor are made of brick and the flat vaults make up a ceiling with spiral metal stretching rods. The overlap of the first floor consists of thin longitudinal arches with the step of 60 m where the overlapping floor from empty brick is laid [2, pp. 45—46].

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a b c

e f d

g h

Fig. 6. Bellesguard villa (architect . Gaudi). Functional zoning: ) plan of the cellar [24, p. 133]; b) plan of the ground floor [24, p. 133]; c) first floor space (between the ground and first floor) [24, p. 73]; d) plan of the first floor [24, p. 133]; e) first floor space (between the first floor and the attic) [24, p. 73]; f) plan of the attic [24, p. 133]; g) plan of the attic [24, p. 133]; h) plan of the roof (graphical reconstruction by V. . Ignatieva); 1 are daytime premises; 2 are bedrooms; 3 are housekeeping and cleaning premises; 4 are passageways; 5 is a light well, multi-light space; 6 is a movement trajectory

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In the space of the attic serving as the music parlor the bearing walls are replaced by square brick supports (Fig. 7). Some of them are expanded in the upper part (like those reminding of a mushroom) for supporting a wide beam that three-blade arches with the thickness of a brick. A step of the three-blade arches consists of about one meter. Along the perimeter there are niches with smaller archers that support the slopes of the roof and the detour gallery of the terrace. The material structure of the interior is represented by a finely designed construction foundation that is left nude in keeping with the unity of tectonics and aesthetics.

Fig. 7. Bellesguard villa. Attic. Photo by V. O. Ignatieva

2. Volumetric and planning structure of private residential houses in the context of a historical design tradition. A comparative analysis of the planning schemes of mansions of Medi- terranean countries from 1880—1890 allows the typical characteristics of the principles of planning residential houses where daytime premises are in the ground floor, bedrooms (with boudoirs and toilets) are in the first one and housekeeping premises are in the top floor [1, p. 11, 12, 20]. The structure of an inside space complies with two typical schemes. In the first case the planning center is made up with an entrance hall with stairs and in the second one with a patio along with a dining-room and a living-room. With variations both schemes are implemented in the private residential houses by A. Gaudi where the significance of the planning center is given

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(except the Guell wine cellars) to the dining room (Casa Vicens), front stairs and multi-light hall (the Guell Palace), front stairs and central halls (the Bellesguard). For A. Gaudi the principle of floor distribution is not only the continuation of the historic tradition but also its considerable development in three latest objects (Table 2). The cellar that houses the stable is given the function of a general-purpose storage. The kitchen is transferred from the cellar into the ground floor or the attic. The ground floor becomes a single passageway with extra premises. The spaces between the ground and first floor with the owner’s private premises are intermediate paths between the passageways and front premises, between the front premises and residential spaces. The first floor joins the front premises where the built-in chapel is transformed, i.e. is incorporated or isolated from the hall space. In the first two objects the upper floors houses the bedrooms and the last two are for the daytime premises. The attic is widely used as housekeeping premises also due to the kitchen being moved here (in the Guell Palace) or it traditionally remains an open space (at A. Gaudi’s times in Spain it was common for air circulation) [15, p. 49]. The roof becomes another significant planning level with a complex space of vintage points and promenade passageways.

Table 2 Functional structure of private residential houses in the historical tradition and in A.Gaudi’s objects Floors, levels Historical tradition (1880—1890) A. Gaudi’s objects (1883—1909) Cellar Storage; staff bedrooms; kitchen; housekeep- Storage; housekeeping premises; stable ing premises Ground floor Stable. Daytime premises. Bedrooms (in a Kitchen; housekeeping and staff premises; house with no cellar or attic) daytime premises. Stable, garage. Cleaning premises First No data is found Daytime premises. floor space Housekeeping and cleaning premises. Staff bedrooms First floor Bedrooms; boudoirs and cleaning premises; Bedrooms. Daytime premises. Chapel. study. Cleaning premises Daytime premises Second floor. Bedrooms; boudoirs and cleaning premises. Staff bedrooms. Upper residen- Daytime premises Bedrooms, boudoirs and cleaning premises. tial floors Chapel. Daytime premises Attic Housekeeping premises. Staff bedrooms Housekeeping premises; kitchen; Bedrooms and staff dining-room Roof –– rraces; promenade; vintage points

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Conclusions Throughout the course of the study of the planning solutions for private residential houses of Mediterranean countries of 1880—1890 the main schemes of the organization of their internal structure and floor distribution of premises were identified. The resulting data were compared with the results of the comparative analysis of four mansions designed by A. Gaudi at the same time. The study indicates that in Catalan architecture the main principles of the historical tradition of the interior of private residential houses are implemented. The following solutions develop the historical traditions: –– providing various access to the building, floors and different functional areas (several passageways, stairs); –– floor distribution of the building (front, residential and extra premises at different levels; the space between the ground and first floor); –– a wide use of passageways and recreational spaces (terraces, galleries, verandahs, balcony). The comparative analysis of the volumetric and planning structure of private residential houses allowed for the first time for A.Gaudi’s signature principles that came to become unique for the architectural practices of the 19th –– early 20th centuries to be elaborated: –– stables moved into the cellar level (consequently in Casa Mila this led to an underground car parking); –– connections between the interior and exterior by means of introducing spaces with double purposes or intermediate (an internal, volumetric and planning structure is joined with the external, volumetric and planning one); –– a complex volumetric and planning organization for lighting of internal spaces of different types (as well as housekeeping and cleaning); –– buffer zones (and floors) between the spaces (and levels) for different purposes (passageways and front, residential and front); –– a complex spatial organization of the planning center; –– of space (consequently in Casa Mila it resulted in the implementation of the principle of free planning); –– introduction of the operating roof as a planning level; –– possible circular passageway along the perimeter of the building (completely at the level of the operating roof, partially along the façades). The construction schemes became more complex: from the simplest mount-beam system to parabolic arches, vaults, slanted supports. By means of various applications of construction

87 Russian Journal of Building Construction and Architecture solutions (elementary, traditional Catalan or signature ones), a range of volumetric and planning schemes is implemented: from a traditional rectangular grid to a complex multi-level structure. The principle of construction authenticity or conversely, illusion or revealing or concealing a material foundation of architecture contributes to the expressive power of an internal organization of each object. Choosing the volumetric and planning and construction solutions agree with practical rationale and artistic power. The schemes of zoning of four private residential houses designed by A.Gaudi were identified for the first time (as well as the plan of the roof of the Bellesguard villa was graphically recreated); the comparative characteristics of the laws of the planning organization of the objects by A. Gaudi and architectural heritage of Mediterranean countries were determined; the schemes of the construction solutions were graphically recreated.

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