Palau Güell [SEP] architect
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Palau Güell


The Palau Güell (, ) is a mansion designed by the architect Antoni Gaudí for the industrial tycoon Eusebi Güell and built between 1886 and 1888. It is situated on the Carrer Nou de la Rambla, in the El Raval neighbourhood of the city of Barcelona in Catalonia, Spain. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí". The home is centered around the main room for entertaining high society guests. Guests entered the home in horse-drawn carriages through the front iron gates, which
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Bodegas Güell


Bodegas Güell, in Catalan Celler Güell, is an architectural complex comprising a winery and associated buildings located in Garraf, in the municipality of Sitges (Barcelona), designed by the Catalan architect Antoni Gaudí. Gaudí received the commission for this work in 1882 from his patron Eusebi Güell, who had seen Gaudí's work at the Paris Expo in 1878; in this year Gaudí received a number of other commissions including the Palau Güell, the Pabellones Güell de Pedralbes, the Park Güell and the crypt of the Church of Colònia Güell
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Hyperboloid structure


spires are capped with hyperboloids. In the Palau Güell, there is one set of interior columns along the main facade with hyperbolic capitals. The crown of the famous parabolic vault is a hyperboloid. The vault of one of the stables at the Church of Colònia Güell is a hyperboloid. There is a unique column in the Park Güell that is a hyperboloid. The famous Spanish engineer and architect Eduardo Torroja designed a thin-shell water tower in Fedala and the roof of hippodrome "Zarzuela" in the form of hyperboloid of revolution
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Palau Reial de Pedralbes


). The palace has its origins in the old Masia (mas or farmer's house) de Can Feliu, from the 17th century. The corresponding land was acquired by the count Eusebi Güell in 1872 that at that time it was already known by the name of Torre Güell, along with the neighbouring Can Cuiàs de la Riera. Together they formed the Finca Güell, an extensive parcel of land (30,000 m). The Can Feliu building was remodeled by the architect Joan Martorell i Montells, who built a Caribbean-
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Antoni Gaudí


he had produced for the glove manufacturer Comella. Its functional and aesthetic "modernista" design impressed Catalan industrialist Eusebi Güell, who then commissioned some of Gaudí's most outstanding work: the Güell wine cellars, the Güell pavilions, the Palau Güell (Güell palace), the Park Güell (Güell park) and the crypt of the church of the Colònia Güell. Gaudí also became a friend of the marquis of Comillas, the father-in-law of Count Güell, for whom he designed "El Capricho" in Comillas
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Antoni Gaudí


same year, on the occasion of Eusebi Güell's obtaining the title of count, Gaudí designed a coat of arms for his patron. He devised a shield with the lower part in a catenary shape typical of Gaudí. He divided it into two parts: the lantern of Palau Güell features a dove and a gear-wheel on the right in allusion to the Colònia Güell in Santa Coloma de Cervelló ("coloma" is Catalan for dove), with the phrase "ahir pastor" (yesterday Shepherd). On the
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Palau Reial de Pedralbes


bust of Hercules on top of a pillar with Catalonia's shield and a spout in the shape of a Chinese dragon. Eusebi Güell gave the house and garden to the Royal family, as a thank you for his noble title of Count given to him, in 1918. The house was then remodeled to become a royal palace. The work was done from 1919 to 1924 by the architects Eusebi Bona and Francesc Nebot. The palace is formed by a central building four stories high, with a chapel on the back side and
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Eusebi Güell


work at the Spanish Pavilion. The pair become lifelong friends and associates and found that they had mutual interests, including religion (both were devout Catholics). Güell became a 'Mediciesque' patron to architect Antoni Gaudí. Their many collaborations began at the start of Gaudi's career, when Güell saw Gaudí as the man who could provide him with uniquely designed buildings. Among Güell's early commissions for the aspiring architect were the Bodega Güell (winery) at Garraf, the Pabellones Guell de Pedralbes and Park Güell which was originally
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Art Nouveau


most famous creator was Antoni Gaudí, who used Art Nouveau's floral and organic forms in a very novel way in "Palau Güell" (1886-1890). He considered every detail of his creations and integrated into his architecture such crafts as ceramics, stained glass, wrought ironwork forging and carpentry. His work on Güell Pavilions (1884-1887) and then Parc Güell (1900–1914) revealed a new technique in the treatment of materials called "trencadís", which used waste ceramic pieces. His designs from about 1903
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Episcopal Palace, Astorga


Grau was Vicar-General in the Archdiocese of Tarragona and had inaugurated a church for which the architect had designed the high altar. When Gaudí received the commission, he was still working at the Palau Güell in Barcelona, and thus he could not move to Astorga to study the terrain and the area of the new construction. He therefore asked the bishop to send him photographs so Gaudí could plan the new project. Gaudí sent back his design, and it was approved in February 1889. The first stone was placed in June
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Güell Pavilions


The so-called Pavellons Güell, or Güell Pavilions, is a complex of buildings in the neighborhood of Pedralbes, Barcelona, by the Catalan Modernist architect Antoni Gaudí, built between 1884 and 1887. Gaudí received the commission from his great patron, count Eusebi Güell. Güell had an estate in the Les Corts district of the small town of Sarrià (now part of Barcelona), which included two pieces of land known as Can Feliu and Can Cuyàs de la Riera. The architect Joan Martorell i Montells, one of Gaudí
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List of World Heritage Sites in Spain


"; "The Alhambra and the Generalife, Granada"; "Burgos Cathedral"; "Monastery and Site of the Escorial, Madrid"; and "Park Güell, Palau Güell and Casa Milà, in Barcelona". Five sites were added in 1985, and another four in 1986. Apart from 1984, 1985, and 1986 (Spain's first three years as a member), 2000 saw the most new sites inscribed, with five that year. As of July 2019, Spain has 48 total sites inscribed on
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Culture of Barcelona


which can be seen throughout the city. His best known work is the immense but still unfinished church of the Sagrada Família, which has been under construction since 1882, and is still financed by private donations: as of 2007, completion is planned for 2026. Other examples of his work are the Palau Güell, the Park Güell, the Casa Milà (La Pedrera) and the Casa Batlló. Many turn-of-the-century buildings were constructed in the context of the huge widening of the city which came with
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Antoni Gaudí


the Catalan Film Academy to award the best Catalan films of the year. An Iberia Airbus A340-642, EC-INO is named after Gaudí. Each year, since 2013, on June 10, the day when Antonio died, the World Art Nouveau Day is celebrated. Several of Gaudí's works have been granted World Heritage status by UNESCO: in 1984 the Park Güell, the Palau Güell and the Casa Milà; and in 2005 the Nativity facade, the crypt and the apse of the Sagrada Família, the Casa
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Church of Colònia Güell


The Church of Colònia Güell (, ) is an unfinished work by Antoni Gaudí. It was built as a place of worship for the people in a manufacturing suburb in Santa Coloma de Cervelló, near Barcelona (Catalonia, Spain). Colònia Güell was the brainchild of Count Eusebi de Güell; however, with Güell losing profits from his business, the money was depleted and only the crypt was completed. In 2000, local architects set about repairing the crypt. This took away aspects of the unfinished nature of the buildings.
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Antoni Gaudí


also collaborated with Gaudí on the Sagrada Família. Shortly after, Gaudí received an important new commission from Güell: the construction of his family house, in the Carrer Nou de la Rambla in Barcelona. The Palau Güell (1886–1888) continues the tradition of large Catalan urban mansions such as those in Carrer Montcada. Gaudí designed a monumental entrance with a magnificent parabolic arch above iron gates, decorated with the Catalan coat of arms and a helmet with a winged dragon, the work of Joan Oñós. A notable feature is the triple
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Park Güell


deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles. The park was originally part of a commercially unsuccessful housing site, the idea of Count Eusebi Güell, after whom the park was named. It was inspired by the English garden city movement; hence
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Park Güell


The Park Güell ( ; ) is a public park system composed of gardens and architectonic elements located on Carmel Hill, in Barcelona, Catalonia, Spain. Carmel Hill belongs to the mountain range of Collserola – the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism. The park was built from 1900
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Aleix Clapés


great reviews by Lo Somatent, which was the first newspaper to be printer in Catalan Rues. He also painted a painting of Hercules on the exterior of the east side of the Palau Guell. Hercules was the mythical founder of Barcelona. Guell had an infatuation with Hercules. Hercules was present on the lateral wall parallel to the La Rambla in a large painting by Aleix Clapés. He also painted "The" Rapture on the walls of Palau Güell, where Hercules, the hero, had been portrayed as the main protagonist.
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Eusebi Güell


amassed considerable riches during his stay in Cuba and thanks to the numerous activities established at his return in Barcelona. His mother, Francesca Bacigalupi I Dolcer, was a member of an ancient merchant family from Genoa who had moved to Catalonia in the late 18th century. Güell took over his father's business, which was predominantly in textiles, and added to the family's wealth. Güell met the young architect, Antoni Gaudi, following a visit to the World Fair held in Paris in 1878, where he had seen Gaudi's
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Antoni Gaudí


and the smoking room with a ceiling consisting of a false Arab-style stucco vault. Gaudí carried out a second commission from Eusebi Güell between 1884 and 1887, the Güell Pavilions in Pedralbes, now on the outskirts of Barcelona. Güell had a country residence in Les Corts de Sarrià, consisting of two adjacent properties known as Can Feliu and Can Cuyàs de la Riera. The architect Joan Martorell had built a Caribbean-style mansion, which was demolished in 1919 to make way for the Royal Palace of Pedralbes. Gaudí undertook
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Gaudí House Museum


The Gaudí House-Museum (), located within the Park Güell in Barcelona, is a historic home museum that houses a collection of furniture and objects designed by the Spanish architect Antoní Gaudí. It was the residence of Antoni Gaudí for almost 20 years, from 1906 till the end of 1925. On 28 September 1963 it opened as a historic home museum. At the end of the 19th century, Catalan industrialist Eusebi Güell i Bacigalupi, after a stay in England, returned to Barcelona with the intention to build a garden
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Joan Rubió


the Torre Bellesguard and Parc Güell in Barcelona, the restoration of La Seu (the cathedral of Palma de Mallorca), and the Colònia Güell (factory town) in Santa Coloma de Cervelló, where Rubió built the agricultural cooperativa building with Francesc Berenguer in 1900, along with two private homes: Ca l'Ordal (1894) and Ca l'Espinal (1900). When designing houses the architect had a prevalence for bow window on the corners of his designs. Rubió was also a "regidor" (councillor) on the Barcelona City
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Antoni Gaudí


house for Señor Miralles was designed by Domènec Sugrañes, associate architect of Gaudí. Gaudí's main new project at the beginning of the 20th century was the Park Güell (1900–1914), commissioned by Eusebi Güell. It was intended to be a residential estate in the style of an English garden city. The project was unsuccessful: of the 60 plots into which the site was divided only one was sold. Despite this, the park entrances and service areas were built, displaying Gaudí's genius and putting into practice many of his
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Casa Milà


deflection of the arch. Then the profile displayed on the wall by the chain was drawn and on this profile the carpenter marked and placed the corresponding centering, and the timbrel vault was started with three rows of plane bricks. Gaudí wanted to add a longitudinal axis of bricks connecting all vaults at their keystones". The work of Gaudí on the rooftop of La Pedrera brought his experience at Palau Güell together with solutions that were clearly more innovative – this time creating shapes and volumes with more body, more prominence, and less
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Banner of Misericordia


described in the "Semanario Católico de Reus" article of April 1900 and according to what can be observed in the fuzzy photographs, consisted of a flag of embossed and holey leather of approximately trapeze shape in a vertical direction formed by front and back. The first one was painted with the image in prayer of the shepherdess , who according to tradition had the vision of the Virgin Mary. The painting was by Aleix Clapés, painter friend of Gaudí that resided in Reus, who also collaborated with him in the Palau Güell and
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Aleix Clapés


painted with oil on canvas circa 1890. It was donated to Museu Nacional d'Art de Catalunya by Maria Lluisa Guell in 1928, but as of January 2016 is on loan to the Palau Güell. It has been selected for the project "Partage Plus – Digitising and Enabling Art Nouveau for Europeana". "Allegory of Doctor Robert" was painted with oil on canvas circa 1890–1902. It was donated to Museu Nacional d’Art de Catalunya by Pere Mila Camps in 1933 and is displayed at the Museu Nacional d’Art de Catalunya. Clapés'
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La Rambla, Barcelona


grew up along with housing for the workers, whilst the proximity to the port led to the area becoming known for its nightlife and clubs, as well as prostitution and crime. Today the area still retains a degree of 'edge', but it also home to several important buildings, including Gaudí's "Palau Güell", which is only a few steps down the "Carrer Nou de la Rambla" from the "Rambla dels Caputxins". At the southern end of the Rambla is the Christopher Columbus Monument and the
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Güell Pavilions


shades from red to yellow, and covered in coloured glass; in certain sections prefabricated cement blocks are also used. Gaudí was also partially responsible for the design of the estate’s gardens, where he built two fountains and a pergola, and planted several Mediterranean species: (pines, eucalyptus, palms, cypresses and magnolias). The “Fountain of Hercules” still stands near the Palau Reial de Pedralbes, restored in 1983; it consists of a bust of Hercules surmounting a basin with the coat of arms of Catalonia and
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Institut del Teatre


public library and the Museum. 1944: integration of the Institute within the Conservatory of music and Declamation. Development of dance studios. Recognition of official validity of studies. 1952: the Institute becomes a school of dramatic Art and dance. Director Artur Carbonell. 1954: opening the Museum of performing arts at the Palau Güell, with Bilbioteca and the file. 1957: start of the publication of the magazine "Estudios Escénicos". 1968: acquisition of valuable background of Artur Sedó (more than 90,000 titles). 1970-
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Park Güell


to 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under "Works of Antoni Gaudí". Park Güell is the reflection of Gaudí's artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty
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Palau Güell


featured a parabolic arch and intricate patterns of forged ironwork resembling seaweed and in some parts a horsewhip. Animals could be taken down a ramp and kept in the livery stable in the basement where the servants resided, while the guests went up the stairs to the receiving room. The ornate walls and ceilings of the receiving room disguised small viewing windows high on the walls where the owners of the home could view their guests from the upper floor and get a "sneak peek" before greeting them, in case they needed to adjust
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Palau Güell


their attire accordingly. The main party room has a high ceiling with small holes near the top where lanterns were hung at night from the outside to give the appearance of a starlit sky. In 2004, visits by the public were completely suspended due to renovations; some of the stone used in the original construction was weak and had cracked over the years causing structural problems within the building. It is currently completely open, with all restoration work completed in April 2011. It was used in Antonioni's film "The Passenger"
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Aleix Clapés


by Overbeck. He had a very colorful palette, closest to El Greco than to Overbeck. The public’s lack of interest eventually blossomed into public recognition. His talent did not go unnoticed and quickly entered the studio of S. Juan Hernandez. He specialized in drawings and paintings, who from the outset was considered one of the best and most gifted students. Clapés participated in an expo in 1888, where he began a close relationship with Antoni Gaudí. Gaudi hired him to work on the decoration of the Palau Güell in 1851
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Aleix Clapés


. Where, he also held the position of director from 1858 to 1885. Clapés received notoriety for contributing to the paintings that decorated the halls of the palace and the great mural painting which occupied part of the front side. Despite his participation in important projects, such as the Palau Güell and La Pedrera, he enjoyed the minor recognition that his talent deserved. Antoni Gaudi’s success seem to cloud Clapés' success in the involvement of these projects. Although, Gaudi’s success also introduced Clapés to many opportunities that he may
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Güell Pavilions


’s teachers, had built a Caribbean-style mansion, which stood almost where the Palau Reial de Pedralbes now stands. This house was called Torre Satalia, so christened by Jacinto Verdaguer, a friend of the family. Gaudí was commissioned to remodel the house and build a perimeter wall with gates. Gaudí proposed an Orientalist design, somewhat reminiscent of Mudejar art. He planned an ashlar wall with several gates, of which the main gate would be a wrought-iron grille in the shape of a dragon, with glass eyes
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Antoni Gaudí


1900, he won the award for the best building of the year from Barcelona City Council. A virtually unknown work by Gaudí is the Casa Clapés (1899–1900), at 125 Carrer Escorial, commissioned by the painter Aleix Clapés, who collaborated on occasion with Gaudí, such as in decorating the Palau Güell and the Casa Milà. It has a ground floor and three apartments, with stuccoed walls and cast-iron balconies. Due to its lack of decoration or original structural solutions its authorship was unknown until 1976, when the
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Trencadís


this case, the mosaic is only cemented together once all of the fragments have been placed. Alternatively, an artist may spontaneously arrange fragments without a prior design; here the success of the finished work depends greatly on their improvisation skills. The Catalan modernist architects Antoni Gaudí and Josep Maria Jujol used trencadís in many projects, among which Barcelona's Parc Güell (1900–1914) is probably the most famous. Gaudí's first use of this technique was at the Güell Pavilions, where the sinuous architecture forced him to break the tiles in
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Gabinet de les Arts Gràfiques


The Gabinet de les Arts Gràfiques, in English Graphic Arts Cabinet, is a museum opened in 1942 and located in the Palau Reial de Pedralbes in Barcelona. Together with Museu de les Arts Decoratives and the Museu Tèxtil i d'Indumentària is part of the Disseny Hub Barcelona. The palace has its origins in the old Masia (mas or Provençal farmhouse) de Can Feliu, from the 17th century. The corresponding land was acquired by the count Eusebi Güell, along with the neighbouring Can Cuiàs de la Riera. Together they formed the
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Aleix Clapés


not have had without his close relationship with Gaudi. Clapés artistic abilities did not limit him to painting. He also excelled in designing carpets and furniture. This included close collaboration with Ibars Josep Ribas, a furniture maker and decorator, including furnishing designs for the Asylum Hospital de Sant Pau. During the construction of Palau Güell, Clapés also "created cabinet doors inserts, including twelve copper plates that contained the representation of apostles, one of whom is believed to be his self-portrait. In the living room are also his
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Concha Pérez Collado


custody of her son. Pérez Collado also reconnected with Maurici Palau, and the couple opened a jewelry and underwear shop which hosted anarchist meetings. Following the death of Franco, she became more openly involved in local organizing events and continued her anarchist activities. Pérez Collado died on 17 April, 2014, in Barcelona, one of the last of her generation of female Civil War fighters to die. Pérez Collado was born on 17 October 1915 in Les Cortes, Barcelona. Her father, Juan Pérez Güell, had six children by
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Confidant from the Batlló House


personal statement, he soon found inspiration in nature and its organic, curved lines and shapes, resulting in highly ergonomic designs. As with his architecture, Gaudí made three-dimensional clay and plaster models of his furniture, allowing him to create organic shapes with malleable material. For Palau Güell (1884-1887), Gaudí's furniture design style was still rather traditional, though he did create some curved, asymmetrical pieces, and he also sought to mix styles of furniture even within the same room, desiring to create a
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Ngerulmud


to a Hawaii-based architecture firm, Architects Hawaii Ltd. (AHL), which had previously designed the capitol complex of the Federated States of Micronesia, located at Palikir. Progress was slow, as Palau lacked engineers and architects, and most of the construction materials had to be imported. Further work was not begun until the early 2000s when Palau secured a $20 million loan from Taiwan as part of efforts to enhance relations between the two countries and secure Palau's diplomatic recognition of Taiwan. Containing separate buildings for the "
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Eusebi Güell


Eusebi Güell i Bacigalupi, 1st Count of Güell (; 15 December 1846 - 8 July 1918) was a Spanish entrepreneur who profited greatly from the industrial revolution in Catalonia in the late 19th century. He married Luisa Isabel Lopez y Bru —a daughter of Antonio López y López first Marquis of Comillas, in 1871 and the couple had ten children. One of Güell's daughters, , became a noted composer. Güell was born in Barcelona and was the son of Joan Güell i Ferrer, a wealthy industrialist from Torredembarra who had
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Robert Seppings


Sir Robert Seppings, FRS (11 December 176725 April 1840) was an English naval architect. Seppings was born to Robert and Lydia Seppings at Fakenham, Norfolk, on 11 December 1767 and baptised three days later. In 1782 he was apprenticed in HMNB Devonport, Plymouth. In 1800, when he had risen to be master shipwright assistant in the yard, he invented a device which greatly reduced the time required to repair the lower portions of ships in dry dock when compared with the laborious process of lifting then in vogue.
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Palau de la Música Catalana


also were made by Barcelona's wealthy industrialists and bourgeoisie. The Palau won the architect an award from the Barcelona City Council in 1909, given to the best building built during the previous year. Between 1982 and 1989, the building underwent extensive restoration, remodeling, and extension under the direction of architects Oscar Tusquets and Carles Díaz. In 1997, the Palau de la Música Catalana was declared a UNESCO World Heritage Site along with Hospital de Sant Pau. Today, more than half a million people a year attend musical performances in
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Palau de Gel


Palau de Gel, is an arena in Barcelona, Catalonia, Spain, belonging to FC Barcelona. The 1,256 seating capacity arena is home to the ice hockey division of FC Barcelona. It is located between Mini Estadi and the Camp Nou, few meters north of the Palau Blaugrana. The building occupies and the playing area is long by wide. Palau de Gel was opened on 23 October 1971, along with the Palau Blaugrana. It was designed by architects Francesc Cavaller and Josep Soteras. The arena hosted several international ice hockey
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Gaudí House Museum


as well as some personal Gaudí belongings, evoke memories of when the architect lived in this house. They also host a great exhibition of furniture designed by Gaudí for buildings such as Casa Batlló, Casa Calvet, Casa Milà, Casa Vicens or the Colònia Güell’s crypt, that along with the wrought iron elements also designed by the architect - exhibited in the garden- are the most valuable objects of the collection. The collection also includes furniture, sculptures, paintings, drawings and other objects of Gaudí coworkers that are exhibited in several
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Sep Ruf


Sep Ruf (full name Franz Joseph Ruf; 9 March 1908, in Munich – 29 July 1982, in Munich) was a German architect and designer, belonging to the Bauhaus group. He was one of the representatives of modern architecture in Germany after World War II. His elegant buildings received high credits in Germany and Europe and his German pavilion of the Expo 58 in Brussels, built together with Egon Eiermann, achieved worldwide recognition. He attended the Interbau 1957 in Berlin-Hansaviertel and was one of the three architects who
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Casa Batlló


architect that would design a house that was like no other and stood out as being audacious and creative. Both Josep and his wife were open to anything and they decided not to limit Gaudí. Josep did not want his house to resemble any of the houses of the rest of the Batlló family, such as Casa Pía, built by the Josep Vilaseca. He chose the architect who had designed Park Güell because he wanted him to come up with a risky plan. The family lived on the Noble Floor of Casa Batlló until
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Eusebi Güell


fully operational boasts many fine examples of modernist architecture. Reportedly on one occasion Gaudí said to Güell, "Sometimes I think we are the only people who like this architecture." Güell replied, "I don't like your architecture, I respect it." in 1900, Güell bought land in Gracia, Barcelona and employed Gaudí to build an estate for the rich. At that time, the area was considered to be remote and the project failed to realize commercial success. Only two houses were built. In 1923,
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Antoni Gaudí


Eusebi Güell was the church for the Colònia Güell, an industrial village in Santa Coloma de Cervelló (1890–1918). The project began in 1890, and the factory, service buildings and housing for the workers were constructed. What would have been the colony's church was designed by Gaudí in 1898, though the first stone was not laid until 4 October 1908. Unfortunately only the crypt (known today as Crypt of the Colònia Güell) was built, as Güell's sons abandoned the project after his death in 1918. Gaudí
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Eusebi Güell


the Güell family home and only later bequeathed to the state. In 1890, Güell moved his textile factory from Sants to Santa Coloma de Cervello, north of Barcelona. There he established a worker's colony along the lines of the British worker's colonies which had been built in the late nineteenth century. The colony or village at Santa Coloma, now known as Colonia Güell, was built with high socialist ideals; homes with larger than average rooms, wide windows and good ventilation so that the textile workers and their families could
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Palau de la Generalitat de Catalunya


War of Spanish Succession and the Nueva Planta Decree in 1716, the Royal Audience established its headquarters at the Palau, without taking much account of the rich architecture of the building. Partitions were built to divide the various services of the Audiencia. Later, in the 19th century, the architect Miquel Garriga i Roca was commissioned to do some building repairs, mainly on the façade on the Carrer de Sant Honorat and the Gothic gallery. Between the second and fourth decade of the twentieth century, under the direction of the architect Josep
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Palau Sant Jordi


Palau Sant Jordi (, ) is an indoor sporting arena and multi-purpose installation that is part of the Olympic Ring complex located in Barcelona, Catalonia, Spain. Designed by the Japanese architect Arata Isozaki, it was opened in 1990. The maximum seating capacity of the arena is 17,960. It is the largest indoor arena in Spain. The Palau Sant Jordi was one of the main venues of the 1992 Summer Olympics hosting the artistic gymnastics, handball final, and volleyball final events. Today, it is used for all
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Palau dels Esports de Barcelona


Inaugurated in 1955 for the Mediterranean Games, it was designed by the architect Josep Soteras. It was the only indoor arena of its type in Barcelona until 1971 when FC Barcelona inaugurated the Palau Blaugrana. Even after this, the Palau dels Esports continued to be the only indoor arena in public hands: for this reason it continued to host the main sporting, social, cultural and musical events that took place in the city. During the 1980s it was the home of the RCD Espanyol basketball team, which for several seasons competed
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Palau de la Música Catalana


architect for building materials and techniques that symbolized the Catalan character. In response, he commissioned and gave great creative freedom to a variety of local artisans and craftsmen to produce the fabulous ornamentation, sculpture, and decorative structural elements for which the Palau is famous. The rich decoration of the façade of the Palau, which incorporates elements from many sources, including traditional Spanish and Arabic architecture, is successfully married with the building's structure. The exposed red brick and iron, the mosaics, the stained glass, and the glazed tiles
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Palau Robert


After the Spanish Civil War, Robert's family regained the "Palau", until its second purchase by the Generalitat de Catalunya (the Catalan government) in 1981, when it became a public building. An example of late neoclassical style, made of stone from Montgrí, the Palau Robert was finished in 1903 under the direction of architects Henry Grandpierre and Joan Martorell i Montells. The garden was designed by Ramon Oliva, who also designed Plaça Catalunya. Its palm trees were brought during the 1888 Barcelona Universal Exposition. The nearest
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Park Güell


with sixty triangular lots being provided for luxury houses. Count Eusebi Güell added to the prestige of the development by moving in 1906 to live in Larrard House. Ultimately, only two houses were built, neither designed by Gaudí. One was intended to be a show house, but on being completed in 1904 was put up for sale, and as no buyers came forward, Gaudí, at Güell's suggestion, bought it with his savings and moved in with his family and his father in 1906. This house, where Gaudí
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Antoni Gaudí


their paraboloid shape like those of the Missions. In 1895 he designed a funerary chapel for the Güell family at the abbey of Montserrat, but little is known about this work, which was never built. That year, construction finally began on the Bodegas Güell, the 1882 project for a hunting lodge and some wineries at La Cuadra de Garraf (Sitges), property of Eusebi Güell. Constructed between 1895 and 1897 under the direction of Francesc Berenguer, Gaudí's aide, the wineries have a triangular end facade, a very
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Stern


called for "fashioning" the after part of the ship. This frame is designed to support the various beams that make up the stern. In 1817 the British naval architect Sir Robert Seppings first introduced the concept of the round or "circular" stern. The square stern had been an easy target for enemy cannon, and could not support the weight of heavy stern chase guns. But Seppings' design left the rudder head exposed, and was regarded by many as simply ugly—no American warships were designed with such sterns
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Park Güell


and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premises. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia). Güell and Gaudí conceived this park,
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Antoni Gaudí


of a bee, symbol of industriousness. In May 1878 Gaudí designed a display cabinet for the Esteban Comella glove factory, which was exhibited in the Spanish pavilion at the Paris World Exhibition that year. It was this work that attracted the attention of the entrepreneur Eusebi Güell, visiting the French capital; he was so impressed that he wanted to meet Gaudí on his return, beginning a long friendship and professional collaboration. Güell became Gaudí's main patron and sponsor of many of his large projects. Güell's first task for Gaudí
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Gràcia


to areas of the roof rarely inhabited. That the design aspects often seem unrelated makes for an aesthetically interesting work of art. Eusebi Güell, a close friend of Gaudí, commissioned him to bring into fruition the majestic Park Güell. Güell selected the beautiful area of Muntanya Pelada, where he envisioned a park modeled after the residential parks of England, with the spectacular view of the sea on display for its residents. Already blooming were carob and olive trees, and based on the weather conditions, Guadí’s design included Mediterranean plants
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Artigas Gardens


had done a similar project, although on a smaller scale, at Park Güell which he was then building in the Gràcia District of Barcelona. He sent some of Park Güell's workers to Lillet, and the resulting stylistic and structural similarities between the two locations are obvious. As he did with Parc Güell, Gaudí designed the Artigas Gardens fully integrated with the surrounding natural environment. He also built an artificial grotto, a typical Gaudí hallmark, like the one he had designed for the cascade of the Parc de la Ciutadella.
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Güell Foundation


The Güell Foundation is a non-profit organization for artists in Catalonia, Spain, created in August 1957 by , Count of Güell. Since the beginning its main aim has been to protect financially through grants painters, sculptors, musicians and other artists and students of art, mainly Catalan, being able to extend this to other artists in Valencia and the Balearic Islands. The foundation has also participated in other artistic activities, has collaborated with museums and art institutions, and a fund of art. The main activity that has been
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Theophilus P. Chandler Jr.


Theophilus Parsons Chandler Jr. (Sep 7, 1845– August 16, 1928) was an American architect of the late 19th and early 20th centuries. He spent his career at Philadelphia, and is best remembered for his churches and country houses. He founded the Department of Architecture at the University of Pennsylvania (1890), and served as its first head. Born in Boston on 7 Sep 1845, the son of Theophilus Parsons Chandler and his wife Elizabeth J Schlatter, Chandler was educated at Harvard University and in the atelier of
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Park Güell


situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism – especially in the entrance stairway where the Catalan countries are represented – and from Catholicism
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Gaudí House Museum


were added to the old house, that already existed in the place and whose owner was Eusebi Güell himself. The model property, designed by architect Francesc Berenguer i Mestres, built by contractor Josep Casanovas i Pardo and signed by Gaudí himself, was built between 1903 and 1905. It was on sale but it attracted no purchasers. In 1906, Gaudí bought the house and lived there with his father and niece. His father died that very same year, and his niece in 1912. Since then, Gaudí lived there alone
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Mosaic


is the Museum of Natural History station of the New York City Subway (there are many such works of art scattered throughout the New York City subway system, though many IND stations are usually designed with bland mosaics.) Another example of mosaics in ordinary surroundings is the use of locally themed mosaics in some restrooms in the rest areas along some Texas interstate highways. Some modern mosaics are the work of "modernisme" style architects Antoni Gaudí and Josep Maria Jujol, for example the mosaics in the Park Güell in Barcelona. Today
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Café del Mar


Café del Mar (, ; "Sea Café") is a bar located in Sant Antoni de Portmany, Ibiza, established in 1980. In 1999, it founded the record label Café del Mar Music, known for its series of chillout CDs. The "Café del Mar" was founded on 20 June 1980. The look of the Café del Mar was designed by architect Lluis Güell. He was in charge of the design, decoration and architecture. Café del Mar Music releases balearic ambient, easy listening music. The
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Jujol Centre – Can Negre


one for an aristocrat. The work was carried out in stages, adapted to the owner's budget. The first phase involved renovation (1915–1917), followed by an extension (1917–1921) and then a decorative phase (1920–1926). In 1966 the house became the property of Sant Joan Despí Town Council, a donation from the heirs of the Negre family. In 1982, architects Antoni Navarro, Gabriel Robert and Xavier Güell drew up the first refurbishment projects. The house was completely refurbished between 1984 and 1990, with a
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Casa de la Festa Major de Vilafranca del Penedès


of Vilafranca architect Santiago Güell; it was built in 1911 and renovated in 1927. Since 1987, this space has had two functions: to archive and store the folkloric heritage related to the Vilafranca town festival and to serve as a museum to disseminate said heritage. The Town Festival Centre exhibits the typical dances of the Vilafranca town festival, or festa major, many of which are medieval in origin and related to the different guilds and collectives, as well as the origin of the bestiary, the dragon and the oldest pair of
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Palau de la Música Catalana


The Palau de la Música Catalana (, ) is a concert hall in Barcelona, Catalonia, Spain. Designed in the Catalan "modernista" style by the architect Lluís Domènech i Montaner, it was built between 1905 and 1908 for the Orfeó Català, a choral society founded in 1891 that was a leading force in the Catalan cultural movement that came to be known as the "Renaixença" (Catalan Rebirth). It was inaugurated February 9, 1908. The project was financed primarily by the society, but important financial contributions
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Museu de les Arts Decoratives


formed the Finca Güell, an extensive parcel of land (30,000 m). The Can Feliu building was remodeled by the architect Joan Martorell i Montells, who built a Caribbean-style small palace, together with a Gothic-style chapel and surrounded by magnificent gardens. Later the building remodeling was given to Antoni Gaudí, together with the construction of a surrounding perimeter wall and the side entry pavilions. Gaudí also partially designed the gardens surrounding the palace, placing two fountains and a pergola and planted many Mediterranean plants like palm trees
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Museu Tèxtil i d'Indumentària


Can Cuiàs de la Riera. Together they formed the Finca Güell, an extensive parcel of land (30,000 m). The Can Feliu building was remodeled by the architect Joan Martorell i Montells, who built a Caribbean-style small palace, together with a Gothic-style chapel and surrounded by magnificent gardens. Later the building remodeling was given to Antoni Gaudí, together with the construction of a surrounding perimeter wall and the side entry pavilions. Gaudí also partially designed the gardens surrounding the palace, placing two fountains and a pergola
15161448
Gabinet de les Arts Gràfiques


Finca Güell, an extensive parcel of land (30,000 m). The Can Feliu building was remodeled by the architect Joan Martorell i Montells, who built a Caribbean-style small palace, together with a Gothic-style chapel and surrounded by magnificent gardens. Later the building remodeling was given to Antoni Gaudí, together with the construction of a surrounding perimeter wall and the side entry pavilions. Gaudí also partially designed the gardens surrounding the palace, placing two fountains and a pergola and planted many Mediterranean plants like palm trees, cypress
15161478
Public art in Barcelona


sculptor Venanci Vallmitjana relief Puiggener Louis, Joan Roig i Solé, Rossend Novas and Francesc Pagès and Serratos -destruït 1936, was restored in 1944 by Frederic mud-flats; "Joan Güell i Ferrer " (1888), in the Gran Via de les Corts Catalanes with Boulevard of Catalonia, designed by the architect Martorell Joan and sculptors Rossend Novas, Torquat Tasso, Edward B. Alentorn Maximí Hall and Francesc Pagès and Serratos -igualment destroyed in 1936 and rebuilt in 1945 by Frederic Marès; and "Josep Anselm Clave monument " (1888
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Vicky Cristina Barcelona


The Prestige" (2006). The film featured several paintings by Catalan artist Agustí Puig and included several examples of the work of architect Antoni Gaudí, including his Park Güell. , the film grossed $96 million worldwide; in relation to its $15 million budget, it is one of Allen's most profitable films. "Vicky Cristina Barcelona" garnered the best reviews Allen received since his Academy Award-nominated 2005 film "Match Point" (also starring Johansson), particularly for Cruz's performance. The film has
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Palau dels Esports de Barcelona


in the ACB. It was remodelled in 1986 by the architect Francesc Labastida for the group E games of the World Basketball Championship of 1986. At the beginning of the 1990s activity in the arena began to diminish. The basketball team disappeared and in 1990 the Palau Sant Jordi was inaugurated, attracting many of the top events from that date on. The venue hosted rhythmic gymnastics and the preliminary phase of the volleyball for the 1992 Summer Olympics. This proved to be its sporting swansong, however, and from the mid-1990s it concentrated
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Palau Nacional


Pere Domènech i Roura constructed Palau Nacional as a temporary building for the Exhibition of 1929. The speed of the construction and the modesty of the materials used meant that a restoration of the structure was called for in 1934, when it became the National Art Museum of Catalonia. It was the ground floor rooms which underwent the most important transformation. The architect Ramon Reventós was appointed in charge of the renovation, in which they removed excess interior decorations and smoothed the wall surfaces to prepare for the display of paintings. They also undertook
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Palau Reial Major


The Palau Reial Major (; "Grand Royal Palace") is a complex of historic buildings located in Plaça del Rei, Barcelona, Catalonia, Spain. It was a residence of the counts of Barcelona and later, of the Kings of Aragon. It is composed of three distinct edifices: The "Saló del Tinell" was built in the 14th century under the direction of architect Guillem Carbonell. Its gothic round arches are founded over 11th-century vaults (built themselves over a pre-existing monumental structure dating to the Visigoth
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William Vitarelli


William Vincent "Vit" Vitarelli (October 21, 1910 – January 19, 2010), also referred to as Rubak in Palau, was an American educator and architect. He worked for the Trust Territory of the Pacific Islands (TTPI) from 1948 to 1970. He was stationed in various islands in Micronesia, including Palau and Ebeye, and participated in various educational and community development projects. Vitarelli was born on October 21, 1910 in New York City's Greenwich Village to parents of Italian ancestry. He gained an early
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Joan Martorell


Martorell taught Gaudí graphic statics, an important engineering technique that Gaudi frequently used to create vaulted ceilings without the use of buttresses. He also introduced Gaudí to his most important client and patron, Eusebi Güell. Martorell also steered other commissions to Gaudí, including design work for the city of Barcelona and furniture design for the Marqués de Comillas. Martorell headed the committee that selected Antoni Gaudí to take over the design and construction of the Sagrada Familia in Barcelona in 1883 when the original architect, Francisco de Paula del Villar y Lozano,
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Josep Maria Jujol


Josep Maria Jujol i Gibert (; 16 September 1879 – 1 May 1949) was a Spanish architect. Jujol's wide field of activity ranged from furniture designs and painting, to architecture. He worked with Antoni Gaudí on many of his most famous works. Among Jujol's projects are Casa Batlló, Casa Milà, Park Güell, and Our Lady of Montserrat, and among his design styles are Modernisme and Art Nouveau. Josep Maria Jujol was born in Tarragona where he lived until age 9. He was the son of Andreu Jujol
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Palau Reial de Pedralbes


. In 1990 the Museu de Ceramica was placed at the palace. The Palau de Pedralbes and by extension the Royal Chambers which include Alfonso XIII's bedroom, and Victoria Eugenia's waiting room and chamber, were constructed between 1919 and 1924. The architects Eusebi Bona and Francesc de Paula Nebot were commissioned to build this home for the King and his family during their brief and sporadic visits to Barcelona. Alfons XIII's chamber, and the waiting room and chamber of Victòria Eugènia, were added to the itinerary of the Museu de
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Enric Catà i Catà


of public laundry designed around 1915. As municipal architect he also drafted numerous private projects. Catà collaborated often with other architects. After finishing his studies, he worked in the workshop of the modernist architect Lluís Domènech i Montaner. In 1916 with Eusebi Bona i Puig he won the competition to build the Posts and Telegraphs building in Girona. Another success was in collaboration with Pedro Cendoya the winning of the design competition for the Palau Nacional in 1925, completed for the 1929 Barcelona International Exposition. Collaborating with the architect Adolf Florensa,
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World Qualification Series (2009)


18 - Aug 23" 30th Anniversary of the Lacanau Pro and good conditions this year. Surf, concerts, events scheduled. Check out the video for a summary of the event http://vimeo.com/6994555 "Aug 25 - Aug 30" "Sep 01 - Sep 06" "Sep 01 - Sep 06" "Sep 04 - Sep 06" "Sep 09 - Sep 12" "Sep 10 - Sep 13" "Sep 08 - Sep 13" "Sep 15 - Sep 20" "Sep 16 - Sep 22" "Sep
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Joan Comas Pausas


study the pictorial works. He exhibited privately in Vilanova i la Geltrú, Vilafranca del Penedès, Olot, Martorell, Ripoll, Molins de Rei, Igualada, El Vendrell, Begues and Barcelona (at Mayte Muñoz gallery and at the Technical Architects Association). As a member of the Watercolour Association of Catalonia, he participated in every collective exhibition of this Association from 1977 to 1989 in Barcelona (Palau de la Virreina, Palau Reial de Pedralbes, Antiguo Hospital de la Santa Cruz and Banco de Bilbao), Terrassa, Vilafranca
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Lluís Domènech i Montaner


a visible iron structure and ceramics). He later developed this style further in other buildings, such as the Palau de la Música Catalana in Barcelona (1908), where he made extensive use of mosaic, ceramics and stained glass, the Hospital de Sant Pau in Barcelona, and the Institut Pere Mata in Reus. Domènech i Montaner's work evolved towards more open structures and lighter materials, evident in the Palau de la Música Catalana. Other architects, like Gaudí, tended to move in the opposite direction. Domènech i
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Museu Nacional d'Art de Catalunya


build the Palau Nacional was then won by the architects Eugenio P. Cendoya, Enric Catà and Pere Domènech i Roura. The palace was to provide the central venue for a great exhibition entitled Art in Spain and featuring original works and reproductions representing the history of Spanish art, complemented by two extensions: the Poble Espanyol (Spanish Village) architectural site, still open today, and the Palau d'Art Modern (Palace of Modern Art), which was later demolished. In the area around the Museu Nacional d'Art de Catalunya site, moreover
7060402
List of 1982–83 NBA season transactions


1982 Oct 2, 1982 Oct 1, 1982 Sep 30, 1982 Sep 29, 1982 Sep 28, 1982 Sep 27, 1982 Sep 24, 1982 Sep 22, 1982 Sep 20, 1982 Sep 19, 1982 Sep 18, 1982 Sep 17, 1982 Sep 15, 1982 Sep 14, 1982 Sep 13, 1982 Sep 10, 1982 Sep 9, 1982 Sep 7, 1982 Sep 2, 1982 Sep 1, 1982 Aug 31, 1982 Aug 27, 1982 Aug 26, 1982 Aug 16, 1982 Aug 8,
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Palau Baró de Quadras


The Palau Baró de Quadras is a small modernista palace located in Barcelona on Avinguda Diagonal, equidistant from La Pedrera and Casa de les Punxes. It was built by the Catalan architect Josep Puig i Cadafalch between 1904 and 1906. In 1976 it was designated as Nacional National Historical Monument of Artistic Interest. Currently houses the main offices of the Institut Ramon Llull. Starting with a thorough renovation of an existing building on a narrow plot of land that faced Carrer Rosselló, Puig i Cadafalch created this small Modernista building, now with two
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Sep Ruf


1593 to 1596. In the 17th century it was called the Herzog-Max-Burg. After it was destroyed in World War II., only the renaissance-tower was still standing. The city asked some architects to find ideas for the place and allowed to destroy the old tower. Only Ruf and Theo Papst were the two architects, who wanted to save it. So both got the order to build the New Maxburg. The steel skeleton building followed the structure of the tower and in the middle of the buildings
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Expo 58


pavilion was designed by the architects Egon Eiermann and Sep Ruf. The world press called it the most polished and sophisticated pavilion of the exhibition. The pavilion of Yugoslavia was designed by the architect Vjenceslav Richter, who originally proposed to suspend the whole structure from a giant cable-stayed mast. When that proved too complicated, Richter devised a tension column consisting of six steel arches supported by a pre-stressed cable, which stood in front of the pavilion as a visual marker and symbolized Yugoslavia's six constituent republics. Filled with
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Sep Ruf


1936-1938 he was ordered to build parts of the Werdenfels and the Kemmel barracks in Murnau, after the war they were used by the US army and German troops. As soon as possible he went back to the building of private houses. In 1939 Ruf had to go to war. From 1940 to 1942 he was allowed to stay at home because he worked as an independent architect with the family of Hugo Junkers. From 1934 to 1936, one year before his death, Junkers had allowed the 26-year-old architect
20990478
September 1941 lunar eclipse


A partial lunar eclipse took place on Friday, September 5, 1941. It was a shallow partial lunar eclipse, with less than 10% of the Moon covered in Earth's shadow. Aug 31, 1941 = Sunday Sep 1, 1941 = Monday Sep 2, 1941 = Tuesday Sep 3, 1941 = Wednesday Sep 4, 1941 = Thursday Sep 5, 1941 = Friday Sep 6, 1941 = Saturday Sep 7, 1941 = Sunday Sep 8, 1941 = Monday Sep 9, 1941 = Tuesday Sep 10, 1941
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Antoni Gaudí


they each contributed to it. The style of the building evokes Gaudí's early work, such as the Casa Vicens or the Güell Pavilions; it had an entrance gate in the shape of a fishing net, currently installed in the Park Güell. The building was demolished in 1939. Also in 1906 he designed a new banner, this time for the Guild of metalworkers and blacksmiths for the Corpus Christi procession of 1910, in Barcelona Cathedral. It was dark green in colour, with Barcelona's coat of arms in the upper
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William Robert Davidge


. He entered University College in 1896, and also studied at Kings College, graduating with a degree in architecture in 1900. He married Kathleen Mary Lane and had three children, Kathleen Enid Grace Davidge (24 Sep 1910), Margaret Mary Davidge (6 June 1912), and Helen Joyce "Jane" Davidge (15 May 1919). From 1902 to 1907 Davidge was an assistant to W.E. Riley in the architect's department of the London County Council. He became an associate member of the Royal Institute of British Architects
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Güell Pavilions


; it represented Ladon, offspring of Typhus, the dragon that guarded the Garden of the Hesperides, which was overcome by Hercules as one of his twelve labours—an episode that was narrated by Jacint Verdaguer in his poem "L'Atlàntida", dedicated to Antonio López y López, first marquis of Comillas, who was Eusebi Güell’s brother in law. Over the dragon there is an antimony orange-tree, another allusion to the Hesperides. The shape of the dragon corresponds with the position of the stars in the Serpens constellation
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