March 2018


«Architecton: proceedings of higher education» № 42 June 2013

History of architecture

Ignatyeva Veronika O.

PhD student,
Research supervisor: Professor A.A. Barabanov, PhD. (Architecture),
Ural State Academy of Architecture and Arts,
Ekaterinburg, Russia, e-mail: vero-nika@list.ru


The spatial layout of residential buildings in A.Gaudi’s creativity gravitated from early on towards local design traditions. Casa Calvet (1898 - 1900) has the traditional typological, compositional and structural arrangement. The plan of Casa Batlló (1904 – 1906) features irregular symmetry and rectangularity; an increased number of skylighted courtyards and free variation of their geometry and size; introduction of a new structural system at attic level. Casa Milá (1906 – 1910) was given an essentially new typological, planning and spatial solution: additional functions of the underground floor and roof level, total absence of symmetry, regularity and total use of curvilinear and broken plasticity. The extraordinary spatial plan is based on a tectonic system which was essentially new for housing architecture at the turn of the 19th century.

Each next project was used by A. Gaudi for developing his own system of spatial structural elements. Attaching special functional and aesthetic significance to individual levels and structural systems, the master made a technological, functional and artistic breakthrough. The characteristics of A. Gaudi’s creative method are: a well-developed system of skylighted courtyards and stair and lift shafts; abandonment of symmetry and rectangular planning grid, development of a curvilinear broken system; artistic treatment of utilitarian functions; free plan; arrangement of underground parking lots and approach ramps; detailed studies of back elevations; treatment of several elevations as a single surface; the sculpture-like images of the houses.


1. Bassegoda i Nonnel, J. (1986) Antonio Gaudi. Moscow: Stroyizdat.

2. Vlasov, V.G. (2012) Architectural composition: an experience in typological modelling [Online]. Architecton, No.3(39). Available at: http://archvuz.ru/2012_3/1  (accessed on: 04.05.2013).

3. Glazychev, V.L. (1986) Afterword. In: Bassegoda i Nonnel, J. (1986) Antonio Gaudi. Moscow: Stroyizdat, pp. 75–78.

4. Gulyanitsky, N.F. (1976) Foreword. In: Maximov, P.N. Creativity methods in ancient Russian architecture. Moscow: Stroyizdat, pp. 5–7.

5. Zhuravskaya, A. The Spanish style [Online]. In: Real Estate Digest. 16.01.2007. Available at: http://www.irn.ru/articles/9728.html  (accessed on: 12.02.2013).

6. Ignatyeva, V.O. (2012) Semantic analysis of A.Gaudi’s residential architecture [Online]. Architecton, No. 38. Available at: http://archvuz.ru/2012_22/84  (accessed on 03.04.2013).

7. Karmazin, Yu.I. (2005) Architect’s creative method: introduction to theoretical and methodological foundations. Voronezh: Publishing house of Voronezh State University.

8. Building a house? Guiding materials, techniques, calculations, examples from building practice... [Online]. Available at: http://magak.ru/architekt/spravka/21-obshie-svedeniya-o-zdaniyah?start=4  (accessed on: 5/4/2013).

9. Martinell y Brunet, C. (1967) Gaudí. Su vida, su teoria, su obra. Barcelona: Colegio de arquitectos de Cataluña y Baleares. Comision de cultura.

10. Zerbst, R. (1993) Gaudi: 1852-1926. Antoni Gaudi i Cornet – A Life Devoted to Architecture. Cologne: Taschen.

Key words: Spanish architecture, residential architecture, architecture of for-profit houses, A. Gaudi

Russian text of this article

ISSN 1990-4126  Registration MCM el. № ФС 77-70832 of 30.08.2017 © USUAA, 2004-2017  © Architecton, 2004-2017