ENGLISH
4
INFORMATION Architecture
BOOKLETS of the Sagrada
Família
Gaudí changed and
improved on classic
styles, particularly
Gothic, to create a
new architecture.
Although still in
the early stages, in
this pinnacle Gaudí
shows hints of the
architecture he would
develop in the future.
INFORMATION BOOKLET 4 · ARCHITECTURE OF THE SAGRADA FAMÍLIA
Sagrada Família, by Gaudí General view
Many architects have worked at the Sagrada Família, The profile of the Sagrada Família is not only the result of
but it is undoubtedly Gaudí’s work, as his conceptual architectural criteria. It also applies symbolic criteria, because
and formal mark on the building is unquestionable. everything in it has transcendental meaning and symbolism.
Gaudí devoted 43 years of his life to Throughout the building, there is a clear The floor plan of the Basilica is in the Each of the three great façades will have
the Sagrada Família, so nearly his relationship between architectural form shape of a Latin cross, as Francisco a different monumental narthex. The
whole professional career is reflected and symbolism. As architect Isidre Puig de Paula del Villar y Lozano established structures will be topped with four domes
there. And although he could only Boada said, Gaudí “knows the emotional in the original plans and was common in forty metres off the ground, one on each
head up part of the construction, he value of art, and uses it for the specific Gothic architecture. It has three monu- corner. To the north, on either side of the
left plans for the rest in drawings and purpose of religious education.” The mental façades: the main façade at the apse, there are two sacristies and to the
models, as well as clear instructions meaning lies not only in the images foot of the cross, and the other two, south, on either side of the main façade,
regarding the path to follow. and inscriptions, but is also conveyed Nativity and Passion, on the arms or the Baptistery and the Chapel of Peni-
He designed the Temple based on through the shape and expressiveness Overhead view of transepts of the cross. On the top of the tence and the Sacrament.
the tradition of Byzantine and Gothic of the architecture. the great hyperboloid cross is the apse, with the same floor plan The three façades and these four
churches and cathedrals, and the covering the apse. as the crypt, and seven apse chapels. constructions will be joined by a wide
rigour of classical Greek architecture Gaudí designed a total of eighteen towers, covered walkway with a double façade
can also be seen in the proportions with the shortest twelve on the façades that Gaudí called the cloister. This
of the columns and hierarchy of (the bell towers, which will each be section will be used in a similar way to
measurements. Gaudí changed and roughly 100 meters tall and represent the traditional cloisters (space for proces-
improved on these styles to create a apostles) and the six tallest in the centre, sions, to walk and mediate), as well as
new architecture. A specific applica- in a pyramidal structure expressing the insulating the nave from the street noise
tion of geometry allowed him to design hierarchy of their symbolism. Of these, and allowing access between buildings
never-before-seen shapes that, given the tallest will be over the crossing, without going through the naves.
their unique nature, make this Temple representing Jesus Christ and standing
one-of-a-kind. The Sagrada Família also at 172.5 metres tall (23 times 7.5 metres,
shows the influence of nature, which the base module for the dimensions of the
The towers of the
inspired Gaudí to apply balanced, logical naves and towers). It will be surrounded Sagrada Família
structures and continuous surfaces, by four thinner, 135-metre towers (18 are laid out in a
seeking beauty and the best liturgical times 7.5 metres) representing the four pyramidal structure.
function for the various celebrations Evangelists. Another 138-metre tower,
that would be held at the Temple. completed in 2021, covers the apse and
represents the Virgin Mary. Together, the
eighteen towers make up an extraor-
dinary work of art, changing with each
point of view and giving the sensation of
elevation and sheltering the central tower
of Jesus Christ.
Gaudí’s specific
application of geometry
allowed him to design
never-before-seen shapes
that, given their unique
nature, make this
Temple one-of-a-kind.
INFORMATION BOOKLET 4 · ARCHITECTURE OF THE SAGRADA FAMÍLIA 2
Structure and shapes Light
One of Gaudí’s contributions was his drive to get rid of elements that
were characteristic of traditional architecture, and he replaced them
with solutions that would make his work brighter, taller and thinner.
The architecture of the Sagrada Família
is based on balanced structures, which Sunlight penetrates
quickly and effectively transfer loads to harmoniously throughout
the foundations. So, on one side, on the the interior of the Temple.
Nativity façade, the towers and many
support elements for the three portals
are catenary or parabolic arches, which
are very stable and highly resistant to the
wind. They also accentuate the sensa-
tion of verticality and of reaching up
towards the heavens. And, on the other,
on the portal on the Passion façade,
the two levels of the narthex have six
and eighteen columns, respectively, that Gaudí used light to bring out the
lean towards the centre and interior, splendour and expressiveness of his
helping highlight the dramatic nature of architecture. Rays of light make the
this narthex. Gaudí defended the theory pinnacles that top the towers and
that a properly inclined column is more windows shine. The sun in the east
stable than a vertical one. So, in the The two levels of illuminates the portals on the Nativity
naves he designed a structure of inclined the narthex on the façade and accentuates the joy of
columns that, based on the double twist Passion façade. life that is the birth of Jesus. On the
column, create a space reminiscent of a Passion façade, the contrasting light
forest and that, given its characteristics, and shadows from the setting sun
encourages introspection and prayer. makes it feel even coarser and harsher.
While on the Glory façade, the midday
Geometric shapes sun will make the sixteen lanterns on
In the final phase of his career, Gaudí the monumental narthex shine and
opted to design and build with a combi- The geometric illuminate the main entrance to the
shapes Gaudí used
nation of geometric shapes. He did so Basilica. And the purpose of this light
(sphere, octahedron,
on the pinnacles for the Nativity façade cube and triangular shining harmoniously into the interior of
and in the project for the vaults inside pyramid, etc.) can be the Temple is none other than to convey
the Temple and other parts, using and found on the tips of the presence of God.
the pinnacles on the
combining curved ruled surfaces. This bell towers.
way, he created a life-like overall char-
acter and expression, in line with his
architecture.
INFORMATION BOOKLET 4 3
Light not only
shines into the
Sagrada Família
through windows
on the walls, but
also through
skylights in
the vaults.
The skylights on the vaults of the Basilica are hyperboloids.
INFORMATION BOOKLET 4 · ARCHITECTURE OF THE SAGRADA FAMÍLIA 4
Colour The construction
A firm believer in the importance of colour, which is ever-present in nature,
Gaudí made his Temple very colourful. And he did so beyond just the stained-
schedule
glass windows, which he designed in a wholly unconventional manner.
Inside the Temple, Aware that he wouldn’t be able to
colour is found not finish the Temple, Gaudí decided to
only in the stained- build it in parts, thinking that if he
glass windows but could leave one section completed
also in the building it would be more difficult to abandon
the project. So, after the crypt was
materials themselves.
finished and before work began
on the apse façade, he tackled the
Nativity façade.
His disciples carried on with this
work method, raising the towers and
lower narthex on the Passion façade
between 1954 and 1977. Their
successors continued in the same
manner, focusing on the naves,
which were covered in 2010.
Afterwards, the works carried on
according to the same schedule:
the western sacristy was completed
in 2016, and serves as the model for
the second sacristy and the central
towers that are currently being built.
In 2021, the tower of the Virgin Mary
was completed and inaugurated.
The tower dedicated to Jesus Christ
will be finished by 2026, while
construction of the Glory façade
will be left for the final phase.
Gaudí said that colour is an expression glass and ceramics glazed in a variety Inner nave, with
of life and that’s why he wanted it to be a of colours, and bricks and stones, etc. columns in different
materials and colours:
big part of the Sagrada Família. Inside, in addition to the colours from the granite and prefabri-
We find it, among other places, on the building materials, such as the different cated concrete (light
cypress on the Nativity façade, on the types of stone used and the tiles on the grey), basalt (dark
grey) and porphyry
pinnacles and other tips of the towers at vaults, there are also many elements with
(reddish stone).
the Temple, in the episcopal attributes, symbolic colours, like the stained-glass
the fruit, the shafts of wheat and the windows and the inscriptions on the light
grapes (which represent the Eucharistic points at the knots in each column in
symbols of bread and wine), covered the central nave and crossing, and the
in trencadís mosaic made of Venetian diffusers in the vaults.
INFORMATION BOOKLET 4 · ARCHITECTURE OF THE SAGRADA FAMÍLIA 5
Building materials and techniques
One thing about the architecture of the Sagrada Família that isn’t often highlighted
is the use of building materials and techniques that are quite advanced for their
time. Gaudí used reinforced concrete and his followers carried on in this line.
In general terms, the materials used to
build the Sagrada Família are the same
ones Gaudí proposed and that were used
for the part of the Temple he headed up.
The stone used for the bell towers on the
Nativity and Passion façades is sand-
stone from Barcelona’s Montjuïc moun-
tain. Due to the very limited availability of
this stone (the quarries have been closed
for years and the only stone available
comes from old buildings in Barcelona
that are torn down), different types of
stone have been used for the windows
and part of the towers, such as granite
and other sorts of sandstone. Reinforced
concrete, which Gaudí also used on Gargoyle and windows The support columns Columns and capitals in white concrete Choir vaults, built using Vaults of the side
in the cloister on for the tower of Jesus in the Crossing Room. The columns were prefabricated concrete nave, built with white
the pinnacles on the Nativity façade, the Nativity façade, Christ, as they pass poured on site using polyester moulds, pieces and concrete exposed concrete
was used to build the naves, following in sandstone from through the lower and the columns were prefabricated using poured on site. and polyester and
the architect’s instructions. The vaults Barcelona’s Montjuïc part of the Crossing polyester moulds on the Temple grounds fibreglass formwork.
mountain. Room. They are and then lifted into place with a crane.
were also built with the Catalan vault exposed concrete.
technique (adapted to the shape of the
hyperboloids and paraboloids), often
used by Gaudí in his buildings and in
Catalan architecture for centuries. Technology for construction
The difference is that today these
materials are used with the resources
now available thanks to modern building
technology. So, the stone is cut using
computer mechanisation systems, and
there are several different concrete
formwork systems, ranging from metal
or wood cut with the help of a computer
The materials used to polyester and fibreglass or polysty-
to build the Sagrada rene, also moulded using a computer.
Família are the same Finally, it must be noted that today’s
ones Gaudí proposed. auxiliary equipment (metal scaffolding,
The difference is that tall and powerful cranes, computer
systems for laying out and marking,
today these materials
etc.) have become essential tools
are used with the to tackle the construction and the
resources now available assembly of large stone pieces, form-
thanks to modern work and reinforcements in a precise,
building technology. effective manner.
INFORMATION BOOKLET 4 · ARCHITECTURE OF THE SAGRADA FAMÍLIA 6
Glossary
Catenary arch Arch with the Formwork Mould to shape Reinforced concrete Con-
shape of a rope or chain sus- the wet concrete poured into crete with metal rods inside to
pended from both ends. On its it. It can be made of various help it stand up to tensile and
own, it is the most stable type, materials: wood, metal, resin bending stresses, which the
meaning it doesn’t need other or other fibres. concrete on its own would not
support elements. be able to withstand.
Granite Very strong volcanic
Double twist column rock. Ruled curved surface Sur-
Column with a polygon or face generated by a straight line
star base that twists to the Laying out Drawing a plan moving on a plane or in space.
right and the left as it moves (horizontal or vertical) of the
upwards, becoming a circle. general lines for the founda- Sandstone Detrital sedimen-
This makes it more stable and tions or other part of a building tary rock with more than 85%
gives it a more stylised, har- before beginning construction. sand, held together by any 1 Meaning of the Sagrada Família
monious appearance overall. sort of cement.
Narthex Vestibule, portico, 2 Brief history of Temple construction
in front of the door of a church Vault Curved architectural
or temple. structure that creates a roof
3 Gaudí and his followers. The workshop
and is made up of elements
4 Architecture of the Sagrada Família
Parabolic arch Arch with the that hold each other up.
shape of a parabola. Similar to 5 Crypt, apse façade and Chapel of the Assumption
the catenary arch.
6 Nativity façade, cloister and portal of the Rosary
7 Passion façade, cloister and sacristy
8 Glory façade, Baptistery and Chapel of Penitence and the Sacrament
9 Interior of the Basilica
10 Bell towers, lanterns and sacristies
Catenary arch Parabolic arch
© of the architectural work: Fundació Junta Constructora del Temple Expiatori de la Sagrada Família. Edition 07/2022
© texts: Daniel Giralt-Miracle (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
© photos: Pep Daudé (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
© illustrations: Rocío Márquez (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
