How do elements in sculpture and architecture on the opposing facades of the Sagrada Familia in
Spain unite the basilica?
Kaitlin Snyder
IB #:*********
Word Count: 3,765
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Abstract
The Sagrada Familia Basilica in Spain is a cultural icon wrapped in controversy. Due to
Gaudi’s unique innovations in architecture and decorative sculpture, his work continues to stand
out in the global community. The successes of the church’s architecture are often overshadowed
by Barcelona’s discomfort in the modernist art-noveau style, however the ability to combine
organic and geometric form in sculpture throughout the basilica is unprecedented. A particularly
interesting aspect of the Sagrada Familia is how architects and designers unified the Nativity and
Passion Facade, despite their stark differences in design and structure. This study examines
“How do elements in sculpture and architecture on the opposing facades of the Sagrada Familia
in Spain unite the basilica?” This is analyzed through the comparison of Antoni Gaudi’s and
Josep Subirachs’ styles, and between the two opposing facades of the basilica. This study is
carried out through a personal tour of the building, followed by research and interviews
concerning sculptural aspects of the Nativity and Passion Facades and architecture. This research
resulted in the conclusion that the Sagrada Familia facades can be unified through artist elements
and principles, religious symbology and history, and differences in the facades can be explained
by the impact of the Spanish Civil War. This study can show future artists and architects how to
analyze design to discover similarities and make comparisons between artwork.
Word Count: 226
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Table of Contents
I.
II.
Introduction........................4
Body...................................4
A. Gaudí and Subirachs......4
B. The Nativity Facade.......6
C. The Passion Facade.......11
D. Comparison...................13
III. Conclusion..........................16
IV. Bibliography.......................17
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Introduction
“There is no reason to regret that I cannot finish the church. I will grow old but others
will come after me. What must always be conserved is the spirit of the work, but its life has to
depend on the generations it is handed down to and with whom it lives and is incarnated.” -Gaudí
(Construction Board).
The Sagrada Familia Basilica Church in Barcelona, Spain is a cultural and architectural
icon created, or rather envisioned, by Antonio Gaudí in 1883 (Funes) He took over the project
from Francisco de Paula de Villar y Lozano, one of Gaudi’s first employers and a teacher at the
school of architecture. The Sagrada Familia (Temple of the Holy Family) is still a work in
progress as of today and the work on it is carried out by a number of other architects and artists,
including Josep Maria Subirachs, that follow Gaudí’s guide. The artistic elements and principles
utilized by each artist are what unite the opposing sides of the basilica, despite their
overwhelming differences in structure and theme, because his buildings “seem to be conceived
more as a sculpture on a gigantic scale” (Raeburn 111). This amazing monument has global
significance because it is a stunning act of visionary which has no resemblance of any other
architectural structure.
Gaudí and Subirachs
Gaudí was born in 1852 and grew up very close to the Church of Santa Maria del Mar
which enabled him to do comparative studies of the Gothic and develop an early love for
architecture (Sola-Morales 11). In school he learned Gothic masonry and the proper procedures
for dealing with stone and stained glass. He was excellent with arithmetic and received a very
traditional Christian education(Construction Board). He also was sick as a child which led him to
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turn to nature as an outlet as frequent hikes were a part of his treatment regiment (Collins 9).
Gaudí was obsessed with the Gothic structure and the natural elements he saw in the world
which he shows this through his final project. He saw the Golden Age and its architecture as a
symbol for the nationalism of Catalonia and drew much of his inspiration from it. (Arnason 78).
Though Gaudí’s style was a brilliant architect, his isolation within Barcelona limit the sphere of
his influence (Hunter 89) which is part of why his work is so unique today.
Gaudí’s passion for the Sagrada Familia was so deep that by the end of his life he lived in
the basement of the church and isolated himself from outside people and projects (Construction
Board). In this church he saw the future of architecture and a chance to fix the problems with the
Classic Gothic (Kostof 687). When funds were scarce, he went on the streets himself, soliciting
donations (Avery 22). What is truly astounding about Gaudí as an artist is his visionary, which he
showed through every project he worked on. Gaudí envisioned the entire temple prior to the
groundbreaking ceremony. He was very confined by the width of space he had for the church so
he turned his focus upward (Sola-Morales 29). Though many of his original plans were lost in a
fire in 1936, it is known that Gaudí’s idea for a 170 meter tower preceded the tools which
enabled this type of structure to be possible (Sagrada Familia Guide). He proved himself as “an
inventor, and none managed to liberate himself from the past so gracefully as did Gaudí” (Hunter
88). His gift was for the fantasy and “imagination freed of rational and traditional
constraints” (Hunter 89). It is this visionary along with the diverse elements and principles of art
used which connect the opposing sides of the Basilica, the Nativity and Passion Facades.
Historians have a hard time placing Gaudi within any particular architectural style (Burry
6). Most call his style part of the art noveau movement. Art noveau was created through the arts
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and crafts movement of the second half of the 19th century and it was an attempt to get away
from the grandeur of industry and commerce by increasing decorative elements that “get back to
nature” (Raeburn 108). Its signature was organic line and form (Kostof 687). Gothic architecture
of the 19th century had previously been dominated by rigid form. Gaudí challenged this with his
naturalistic design of the Sagrada Familia.
Josep Maria Subirachs was not born until 1927, nearly 30 years after the first commission
on the Sagrada Familia (Biography). He, like Gaudí, found influence in the Spain he saw around
him. He grew up during the tragedy of the Spanish Civil War and the Franco regime
overthrowing the Republican government (Biography). This was where much of his inspiration
as a sculptor originated from, including his additions to the Sagrada Familia. Though Subirachs
initially intended to be an architect, economic situations forced him to instead become a sculptor.
He moved from expressionism into abstraction, working with new materials, from clay to iron
(Biography). All of these styles were utilized when he was commissioned to do sculptures for the
Passion Facade of the Sagrada Familia, a project to which he dedicated twenty years. His
biography describes this work as “the synthesis and culmination of his career as a sculptor”
because it entailed work with stone and metal as well as a mixture of expressionism and
abstraction (Biography).
Nativity Facade
Gaudí began the Nativity Facade in 1892, and it is the only part of the church on which
he directly worked (Construction Board). His strength was in recognizing the organic balance
and structure of nature and integrating that into his design. The Nativity Facade is praised for the
“naturalistic decorative motifs” and “sinuous, twisting sculptural forms” (Hunter 89). The style
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of the Nativity Facade remains Gothic through classic elements such as buttresses and arches and
its appeal to the emotions, however Gaudí’s style had more naturalistic components with
Christian symbology (Sola-Morales 31). The Nativity Facade faces the east to greet the sun as it
rises each morning. Some of the sculptures include the Coronation of the Virgin, the
Annunciation, the Flight into Egypt, Jesus in the Arms of Simeon (Figure 1), and more
(Construction Board). The groups of sculptures are centered around corresponding doors: The
Charity Door, the Faith Door and the
Hope Door (Construction Board).
The main door is the Charity Door
which has the columns resting on the
turtle and tortoise backs, one
representative of the sea and the
other of the mountain(Construction
Board). Gaudí makes intricate
Fig. 1 A close up of the Nativity Facade showing Jesus in
the arms of Simeon, as well as illustrating the organic
sculpting (Construction Board).
connections between nature, religion, and art through his sculpting on the Nativity facade. The
turtle and tortoise hold up columns which morph to crowned palms symbolizing the triumph of
the Lord (Sola-Morales 31). The organic and free flowing form of the Nativity Facade is ideal for
the message emphasizing the hope and joy of life through the birth of Christ. This demonstrates
the synthesis between Gaudí’s education in religion and his deep, personal studies in nature.
Gaudí uses a wide range of artistic elements and principles in his sculptural work. For
instance, his use of organic or curvilinear shape and line is what gives the nativity facade its
naturalistic appeal (Avery 22). This creates a calming and flowing exterior to the Nativity
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Facade, seen in Figure 2. Organic shape and line is what is found
naturally and so the curving and twisting forms effectively represent
the birth of Christ and joy in life. The line, shape, and form of the
sculptures on the Nativity Facade bring life to the architecture. For
example, in the picture to the right, the stone is manipulated to
resemble leaves or conk mushrooms up the trunk of a great tree.
Even the statues depicting individuals are full of vitality. They, like
the rest of the facade, are made up entirely of curved lines and
Fig. 2 The Nativity Facade
(Snyder)
forms. This was a bold innovation by Gaudi, and this is what made
the work so controversial. Not unlike the Eiffel Tower in Paris for the French, this cultural icon
was originally hated by the Spanish. “During the time period, it was insane. Nothing had ever
been created like it and in 100 years, I doubt there will be anything like it still” (Chiodo).
The deep folds and high peaks add value to the art. Though the stone is just one tone, the
dimension adds value, making the stone appear darker or lighter in some places. Gaudí
intentionally uses this element to convey a message. The baby Jesus is further from the building
with few deep crevices which add darker values. This highlights the nativity scene and puts the
“light of the world” in direct sunlight where He will shine. Gaudí also created many of the
sculptures “in relief,” meaning that they appear to jut out from the background of the building
(Burke). Most of the intricate work is done in mid or high relief, which means that at least half
the sculpted figure is raised from the background (Burke). The impact of this is that it highlights
the foreground, emphasizing the symbolism of the sculptures and detail.
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An interesting aspect of the sculptures are the implied textures created by Gaudí’s
original and controversial style. Though the innnovations Gaudi was making were astounding,
some viewed them as a loss of traditional values (Sola-Morales 28). The fluid, organic forms
make the stone appear somehow soft, with the quality of the stone adding to the smoothness.
Gaudí used six different types of stone, the main for the exterior being Montjuic stone, which is a
hard stone that contrasts the look of the sculpture (Beddall). Textures of the stone were created
through many different techniques, including: polishing, pumicing, refining, rasping, chaw
chiseling, hammering, punching, and stippling (Construction Board). In Figure 3, the use of
stippling and punching can be seen in the stone. Besides creating
texture, this was another way to create high relief and projecting
sculpture from the architecture. Though Philip Bagenal calls the
Sagrada Familia a parody of all other churches of the world, it is the
original techniques like these with stone which actually set the
basilica in a category of its own.
The principles of art illustrated by the Nativity Facade are
displayed through the combination of elements. Balance is obvious
on the Nativity Facade, and it is a critical and traditional feature of
Fig. 3 Detail of the
stone texture on the
Nativity Facade
(Construction Board).
the Gothic cathedral because this architecture is characterized by pointed arches and flying
buttresses (Arnason 227). Though the sculptures themselves are diverse, the structure of each
facade individually has bilateral symmetry (Williams). On the Nativity Facade for example, the
tree columns on either side of the Charity door unite the facade and the arches and peaks of the
basilica also display this equilibrium. The unique technique of the sculpting and the hand crafting
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prevents perfect symmetry however, and the differentiation between sides creates more focal
points.
Emphasis on the nativity scene and baby Christ is created by the aforementioned
techniques with value and texture, as well as by manipulating contrast. The lightest tones of the
facade are in the Nativity scene, but because this is places further from the wall than other
sculptures, it also creates a contrast with the darker valued sculpting behind and the stained glass
window, making it even clearer. The central position of the most important thematic element also
provides an essential emphasis on this scene. The infant Jesus is placed directly above the Faith
Door and in the middle of the symmetrical piece, both of which help to draw focus (Avery 39).
Another section that is heavily emphasized is “The Coronation of Mary.” The crown is bestowed
on Mary’s head by an adult Jesus (Construction Board). In the Bible, this event takes place after
the Passion of Christ, making it the only sculpture which does not fit with the overall theme,
Jesus’ early life on Earth (Construction Board). This is an event which Gaudí evidently thought
was very important because it is highlighted again through the contrast between dark and light.
One principle which the organic and naturalistic lines best demonstrate is movement.
This is partially due to the regular repetition of elements, like the leaves of trees which seem to
be blowing in the wind. The positions of the individual figures also depict movement, as if they
have been interrupted or caught in a still during what Gaudí considered their most important acts.
The high relief sculpting above the Coronation of Mary appears to be dripping off the wall due to
its hanging over the darker cavern.
Similar elements can be found in the Passion Facade if the sculptures are again broken
down into their elements and principles.
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The Passion Facade
The Passion Facade was the second to be built following Gaudí’s plan, started in 1956
(Avery 14). Josep Subirachs was commissioned in 1986 to create the sculptures for the Passion
Facade of the Sagrada Familia.His sculptures were a radical change from Gaudí’s original
aesthetic goals for the church. “The incorporation of Subirachs’ sculptural work within the
church’s construction constituted an aesthetically radical change in Gaudí’s design, which was
moved from the naturalism in Nativity Facade to raw expressionism in the Passion
Facade” (Funes). Gaudí’s vision included realism in the depiction of nature and human beings,
whereas the Passion Facade was purposely unrealistic. However this may have divulged from
Gaudí’s original plan, it followed the thematic goal and demonstrated how the basilica’s unique
qualities and Gaudí’s foresight allowed for the innovation of modernism (Avery 51). The facade
faces west to face the setting sun. It also features three entrances dedicated to hope, charity, and
faith (Avery 49).
In contrast to the Nativity with almost no straight lines, the Passion Facade (Figure 4) is
solely made up of dramatic, sharp
line and form. The sculpted forms
are incredibly simple, symbolizing
the pain and isolation of the death
of Jesus Christ. The simplicity of
the lines and forms makes the
whole scene appear scarce and
dismal, while the man-made,
Fig. 4 Sketch of the Passion Facade (Construction Board)
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geometric forms both in the sculptures and in the background convey the idea that the tragedy of
Jesus’ death is the responsibility of human beings. Instead of the death being depicted as a
natural part of life, nature is completely removed from the scene because Jesus’ death was not a
natural one. The lines, forms, and shapes in the facade illustrate the theme ideally.
Value is the most obvious element utilized in the sculptures of the Passion Facade. The
sculptures distance from the background creates a contrast with the architecture as well as adding
deep and dark shadows to the piece which just emphasize the isolation. The Passion Facade
sculptures feature hatching and stippling to further add to the value of each piece and their
textures are hard with rough and uneven stones (Biography). Again, the facade is all one color,
but certain sections such as the crucifixion are much more dark and ominous. Subirachs also
used metals like iron for the crucifix which are hard and cold (Biography). No material was used
superfluously or without purpose.
Space was also vital to the placement of sculptures in the Passion Facade. There are
twelve “stations of the cross” which are depicted (Construction Board) and the amount of empty
or negative space simply provides a greater understanding of the concept behind the sculptures.
The space between each section is like the space between graves in the cemetery, separating the
dead as this facade seems a warning of death and a testament to sacrifice.
This facade displays the common symmetrical form of the Gothic Cathedral, a formal
concession to the traditional which seems to have no place in this modernist interpretation of the
tragedy of the Passion of Christ. However, the formation of the columns and familiar arches of
the Gothic help to unify all of the sculpture collection, just as much so as their similar elements
of art unify them.
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Emphasis is placed on Jesus through the bold contrast with the deep, cavernous space
behind and the different materials used for the crucifix. Though he has the same square head and
sad face of the onlookers, his body’s angles are detailed and distorted. He is smaller, frailer, and
more defeated than the others, with his rock ribs protruding behind his skin and knobby knees
hanging weak. However,
Subirachs sculpted strength in
his arms, and pointed his face
downward, so that a viewer who
has to bend their neck toward
the sky to see His figure, will
look him square in the face and
know the sacrifice made for
Fig. 5 Detail of crucifix in Passion Facade (Construction Board).
them. Gaudi manipulates the sculpture based on perspective, laying the cross horizontally rather
than vertical so that it is correct from the ground (Johnson). In this way, the sculpture of Jesus is
incredibly powerful and the emphasis brought on by contrast forces the viewer to see this.
Comparison
Much can be said about the similarities and differences between the Nativity and Passion
Facades. Not only are they both stylistically unique, but they also convey incredibly different
messages.
The most obvious difference between the opposing sides of the Sagrada Familia is in the
line and form. Where the Nativity is based entirely on natural life with organic shapes and
figures, the Passion is an unsettling composition of sharp, straight lines and angles. Though the
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concept of fear and isolation could have been demonstrated simply through the value and actual
scenes depicted, Subirachs adds strength to his message by abstracting the human form to the
point of almost unrecognizable. Through this, he conveys that it is humans who have behaved
unnaturally. The stark lines are shown in the architecture of the Passion Facade as well as the
decorative sculpture. The stark, straight lines of the columns contribute to the overwhelming
sense of impending doom, and the unnatural setting. If one were to look only at the line and form
of each individual facade, it would be nearly impossible to unite them, however the other
elements used bring the sides together.
Value, and the methods of creating it, was utilized on both sides of the Sagrada Familia.
On the Nativity Facade, it was used only to detail natural and joyous aspects of life, such as the
shade in a tree (Collins 13). On the Passion Facade, value was overused in order to dramatize the
scene and convey a message of profound loss. The dark has universally been a symbol for death,
isolation, sadness, and fear. The Passion Facade takes these manifestations of the dark and uses
them to tell the story of the Passion of Christ, in all of its horror. The direction each facade faces
in relation to the sun is also important. The Nativity faces the East and sees the rising of the sun,
symbolic of the start of life. This is why the Nativity is so heavily decorated and emphasizes the
joys which one gains from life. The Passion faces the West where the sun sets, symbolizing the
death or end of life (Construction Board). This connects to value because the sun rise highlights
the nativity scene and the birth of Jesus while the angles created by the sunset at night makes
shadows and value of the Passion even larger and darker toward the end of each day.
The Passion Facade utilizes space in a way which the Nativity does not. There is silence
in the Passion, emptiness. In contrast, the Nativity appears to be bursting with vitality from top to
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bottom. It can be described as chaotic, with the amount of joys and miracles to be conveyed too
numerous to fit within the confines of even this massive basilica. The differing uses of the
allotted space do not seem to say that one Facade is more important than the other, instead they
suggest two different sides to the same life.
Due to the use of stone throughout the construction, keeping with the tedious but
traditional decoration style used by Gaudí, the texture and materials on both sides are very
similar and help to bring the sides together (Construction Board). The Nativity shows how to
make stone appear soft while the Passion demonstrates just how hard and unforgiving it may be,
yet the similarity of materials suggests a connection between the two. Similar methods of
working the stone (see page 9) were also used on the stone for both sides which creates a similar
look.
The clash between geometric and organic forms was not limited to the Sagrada Familia.
The Spanish Civil War increasingly causeed artists to break from traditional styles as a reaction
to persecution by Franco and the horrible changes in Spain (Sagrada Familia Guide). Gaudi
would not have made the same choices that Subirachs did, but he was not influenced by the Civil
War in the same way that artists like Subirachs, or fellow Spanish artist Picasso were. There is
similarity with the square, abstract sculptures on the Passion Facade and the cubism in Picasso’s
paintings. A related distortion of the human body is a common element within many of Picasso’s
works, and the influence of War helps to explain Subirachs choices.
As mentioned earlier, both facades kept the traditional symmetrical style attributed to the
Gothic cathedral, however this seems an ironic choice for the Passion Facade. The Passion
displays unsettling features and an event which ultimately offset the lives of the friends and
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disciples standing by horrified. However, this conforming to traditional styles may play the
largest role in the unification of the opposing sides. Not only is this something that each facade
has in common, if also connects the horror of the Passion of Christ with the joy of the Birth and
Life of Christ. This uniformity in the architecture is what affirms that these are two equally
important parts of one life. These are two strikingly different but equally vital sides to one
beautiful, unfinished masterpiece.
Conclusion
More than architecture, the unique sculpting around the basilica makes the structure a
piece of visual art that can not be compared to any other in the world and the unity of the
sculptures unite the facade which they decorate as well as connecting the opposing facades. It is
the similarities in technique and material which make the Sagrada Familia one complete building
rather than two separately beautiful entities. It is also the originality of each side which somehow
works toward the completion of the whole. The accuracy in depicting the themes of Jesus’ life
and death and the allowance of Gaudí for future artist’s styles is why two facades so unique can
be unified as one. “You know it when you walk in. This is inspiration, this was
genius” (Johnson).
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Bibliography
Book sources
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Hunter, Sam, and John Jacobus. Modern Art. New York: Abrams, 1977. Print.
Kostof, Spiro. A History of Architecture. New York: Oxford Press, 1985. Print.
Raeburn, Michael. Architecture of the World. New York: Galahad Books, 1973. Print.
Solà-Morales, Ignasi. Gaudi. New York: Rizzoli, 1984. Print.
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Journal Sources
Beddall, Thomas. “Gaudi and the Catalan Gothic.” Journal of the Society of Architectural
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Other Sources
Johnson, Becky. Personal Interview. 20 Feb. 2013.
Sagrada Familia Guide. Personal Tour. 19 Mar. 2012.
Sam, Chiodo. Personal Interview. 20 Feb. 2013.
Snyder, Kaitlin. Nativity Facade. 2012. Photograph.