Sagrada Familia 7

Sagrada Familia 7. Gaudí wasn’t the original architect In 1881 Saint John Devotee Association (Asociación de devots de Sant Josep) bought a plot of land on which to build a temple Gaudí had grand designs for the temple Gaudí’s original plans for the Sagrada Família were ambitious His designs saw the temple have five naves three facades and 18 towers The towers are dedicated to the life of Jesus Christ The 18 towers all represent important figures in the life of Jesus Christ Twelve of the towers represent his disciples Gaudi died before the Temple was complete La Sagrada Família has three façades with each dedicated to a stage in the life of Christ The three life stages are his birth his suffering and his resurrection.

The Basilica de la Sagrada Familia also known as la Sagrada Familia or Gaudi’s Cathedral is a monumental unfinished Roman Catholic minor basilica located in Barcelona Spain Learn about the inspiration and original design of the building It is a project that began in 1882 and it is still under construction today.

Gaudí's 7.5metre module for the Sagrada Família Blog

The Basílica i Temple Expiatori de la Sagrada Família (Catalan [bəˈzilikə ðə lə səˈɣɾaðə fəˈmiljə] Spanish Basílica de la Sagrada Familia &#39Basilica of the Holy Family&#39) also known as the Sagrada Família is a large unfinished minor basilica in the Eixample district of Barcelona Catalonia Spain Affiliation Ecclesiastical or organizational status District Leadership .

7 Interesting Facts about Sagrada Familia in Barcelona, Spain

Experience the Sagrada Família as if you were there! Asset Publisher In 2022 Sagrada Família expects to finish the towers of the Evangelists Luke and Mark and add three more levels to the tower of Jesus The Junta hopes to finish the tower of Jesus Christ in 2026 although this will depend on how many visitors it receives.

Sagrada Familia 7 1234450 Crossroads Initiative

The Geometric Hierarchy of The Floor PlanThe Division of The PreExistingStructural Experience with The Cathedral in Palma de MallorcaThe Symbolism of NumbersDealing with the geometric hierarchy of the floor plan could seem like a medieval or Gothic approach which Gaudí distanced himself from overcoming or “perfecting” it as he said In fact although shifting from the initial alignment can be seen as chaos and not order with the 75metre module he was really seeking a new order the power of which can be seen when it is understood as a base measurement for the whole Temple in three dimensions vertically and horizontally For example the multiples of the 15×15metre square of the crossing twice the base module are used to determine the height of the whole project for the naves which proposes 1 a Railing for choirs 15 metres (75 metres x 2) 2 b Vaults on side naves 30 metres (75 metres x 4) 3 c Vaults on central nave 45 metres (75 metres x 6) 4 d Vaults on crossing 60 metres (75 metres x 8) 5 e Highest point of apse 75 metres (75 metres x 10) 6 f Total length 90 metres (75 metres x 12) So with a total o Gaudí sought to find a base module in the existing construction in orderto transition from it instead of implementing a sharp shiftThe preexisting elements offered Gaudí two options for his base measurement the width of the whole apse meaning the external dimension (30 metres) or the internal measurement of 174 metres The latter which is that of the semicircle of columns that encloses the presbytery altar and centre of all celebrations is important because it defines the space establishes its boundaries So this internal measurement could have been considered the main or toppriority base module However this isn’t what Gaudí did Taking this internal measurement as the base for generating a grid to lay out the position of all the columns in the Temple left him with two possibilities splitting the space in two with an 87metre module (174 / 2 = 87 metres) which could be a bit too big or splitting it in three which would be too small (58 metres) Starting from th Gaudí gained extensive knowledge of Gothic cathedrals by studying them from a mechanical point of view with vector graphics showing the loads passing through the buttresses and flying buttresses into the foundations This happened when he was commissioned to do work on the cathedral in Palma de Mallorca for which he conducted an exhaustive study In addition to renovating the nave and presbytery this commission required him to study whether the vertical shift of the columns was serious enough to affect the building’s structural soundness Thanks to the work of Joan Rubió Gaudí’s collaborator and an expert in graphic funicular studies from the works on the viaducts at Bellesguard and Park Güell they were able to stabilise the columns With these studies of the cathedral in Palma de Mallorca they saw the limitations of the Gothic systemwhich in France had continued growing upwards to the extreme case of the Beauvais Cathedral which standing 52 metres tall was unstable and lost Taking into account that an indepth analysis of everything that Gaudí designed always finds several readings that tend to fit together as a united whole (geometry mechanics and symbolism) in this case we think there may also be a symbolic motivation for him choosing the number 75 In secular symbology and in Christian symbology historically numbers are associated with meaning 3 the Trinity 4 the earthly order 12 the whole etc By choosing 75 halfway between 7 and 8 perhaps Gaudí was looking to bring in the symbolism of both of these numbers Some religions believe 7 represents good and 8 evil so 75 would fall between or above good and evil The number 7 occurs frequently in symbology there are 7 days of the week and of creation 7 planets 7 holy sacraments 7 sayings of Jesus on the cross 7 capital sins 7 gifts of the Holy Spirit and 7 acts of mercybut also 7 colours in the rainbow 7 metals of antiquity 7 musical notes 7 piano scales and 7 sages of ancie.