Casa MilÃÆ' ( Catalan pronunciation: Ã, ['kaz? mi'? a] , Spanish pronunciation: Ã, ['kasa mi'la] ), known as La Pedrera or "The stone quarry", a reference to unconventional rough appearance, is a modern building in Barcelona, ​​Catalonia, Spain. It was the last private residence designed by architect Antoni GaudÃÆ' and was built between 1906 and 1912.
The building was commissioned in 1906 by Pere MilÃÆ' and his wife, Roser Segimon. At that time, it was controversial because of the bumpy stone facade, twisting wrought iron balconies and designed by Josep Maria Jujol. Some structural innovations include standalone stone façade, and free floor plans, underground and spectacular garages on the roof terrace.
In 1984, it was declared a World Heritage Site by UNESCO. From 2013 is the headquarters of the Catalunya La Pedrera FundaciÃÆ'Â yang who manages visits to buildings, exhibitions and other cultural and educational activities at Casa MilÃÆ'.
Video Casa Milà
Build history
Building owner
Casa MilÃÆ' was built for Roser SegimÃÆ'³n and her husband Pere MilÃÆ'. Roser Segimon is rich widow Josep Guardiola, an Indiano or Americano, or a former colonist who returned from South America, has made his fortune with a coffee plantation in Guatemala. Her second husband, Pere MilÃÆ' is a developer known for her flamboyant lifestyle.
Construction process
In 1905, MilÃÆ' and SegimÃÆ'³n were married and on June 9, Roser SegimÃÆ'³n bought a house with a garden occupying an area of ​​1,835 square meters, located in Paseo de Gracia, 92. In September, they commissioned Gauda to build them a new house with the idea of ​​staying on the main floor and renting out the rest of the apartment. On 2 February 1906, the project was presented to the Barcelona City Council and work began, demolishing existing buildings rather than reforming, as in the case of Casa BatllÃÆ'³.
The building was completed in December 1910 and the owner asked GaudÃÆ' to create a certificate to inhabit the main floor, which was the official City Council in October 1911, and the couple moved on. On 31 October 1912, GaudÃÆ' issued a certificate stating that, in accordance with his plan and direction, the work was completed and the whole house was ready to be rented.
Criticism and controversy
The building does not respect the conventional style rules, which Gaudá received a lot of criticism. To begin with, the name "La Pedrera" is actually a nickname given by a citizen who does not approve of his peculiarities. The unique structure of the building and the relationship between the building architect and Pere MilÃÆ' became the object of ridicule for the people of Barcelona and many funny publications at the time.
catholic symbol
GaudÃÆ', a Catholic and devotee of the Virgin Mary, plans for Casa Mila to become a spiritual symbol. Extremely religious elements include quotes from the Rosary on the proposed cornices and Mary statues, especially Our Lady of the Rosary, and two archangels, St. Michael and St. Gabriel.
However, Casa MilÃÆ' was not fully built to GaudÃÆ' specification. Local authorities ordered the demolition of elements that exceeded the high standards for the city, and fined Mil for many violations of building rules. After Semana Trágica, the anticlerical plague in the city, MilÃÆ' wisely decided to forget the religious statues. GaudÃÆ' intends to leave the project but a pastor persuades him to continue.
Change of ownership
In 1940, Mila died. Segimon sold the property in 1946 to 18 million pesetas to Josep Ballvà © à © i PellisÃÆ' ©, known for its department store in Ronda de Sant Antoni, in partnership with the PÃÆ'o Rubert Laporta family. The CompaÃÆ'  ± ÃÆ'a Inmobiliaria Provenza, SA (CIPSA) was established to manage the building. Roser Segimon continued to live on the main floor until his death in 1964.
The new owner split the first floor facing Carrer de ProvenÃÆ'§a into five apartments instead of the original two. In 1953, they commissioned Francisco Juan Barba Corsini to convert 13 garbage-filled laundry rooms into apartments overlooking the street, leaving a communal alley on the side facing the courtyard. Some of the two or three-bedroom apartments have an attic and are designed and furnished in the early 1950's style that typically uses brick, ceramics and wood. Furniture items, such as Pedrera chairs, reminiscent of Eero Saarinen's work.
The Northern insurance company took over the main floor in 1966. At that time, Casa Mila has housed in the bingo hall, academy and offices of Cementos Molins and Inoxcrom among others. The cost of care is high and the owners have allowed the building to be dilapidated, causing the stone to loosen in 1971. Josep Anton Comas made some emergency repairs, especially on the paintings in the yard, while respecting the original design.
Recovery
The work of GaudÃÆ' was named as a historic and artistic monument on July 24, 1969. Casa Mila was in a bad condition in the early 1980s. It has been painted gloomy brown and many of its interior color schemes have been abandoned or left to worsen, but have been restored since and many of the original colors are revived.
In 1984, the building became part of a World Heritage Site that included some of Gaudá's works. The city council of Barcelonan tried to rent the main floor as an office for the 1992 Olympic bid. Finally, the day before Christmas 1986, Caixa Catalunya bought La Pedrera for 900 million pesetas. On 19 February 1987, much needed work began on the recovery and cleansing of the façade. The work was done by architect Joseph Emilio HernÃÆ'¡ndez-Cross and Rafael Vila. The renovated main floor opened in 1990 as part of the Barcelona Cultural Olympiad. The floor becomes an exhibition hall with an example of modernism in Eixample.
Maps Casa Milà
Design
The building is 1,323 m 2 per floor on a plot of 1,620m 2 . GaudÃÆ' made his first sketch in his workshop at Sagrada Familia. He designed the house as a constant curve, both outside and inside, incorporating controlled geometry and naturalistic elements.
Casa MilÃÆ' consists of two buildings, arranged around two courtyards that provide the light to the nine floors: basement, ground floor, mezzanine, main (or noble) floor, four upper floors, and attic. The basement is meant to be the garage, the main floor of Mil's residence (flat from all 1,323 m 2 ), and the rest distributed to 20 apartments. The resulting layout is shaped like an asymmetric "8" because of the different shapes and sizes of the page. The attic puts the laundry room and drying, forming an isolation space for the building and simultaneously determining the level of the roof.
One of the most prominent elements of the building is the roof, crowned with skylights, stairway exits, fans, and chimneys. All of these elements, built of bricks covered with chalk, broken marble, or glass have certain architectural functions but also real sculptures that are integrated into the building.
These apartments have ceilings plastered with dynamic reliefs, handmade wooden doors, windows and furniture, as well as hydraulic tiles and various ornamental elements.
The staircase is intended as a service entry, with main access to an apartment with an elevator except for a noble floor, where GaudÃÆ' adds a prominent interior staircase. GaudÃÆ' wants people who live in the flat to get to know each other. Therefore, there are only elevators on every other floor, so people on different floors will meet each other.
Structure
Casa MilÃÆ' is characterized by a stand-alone stone facade, which means that it is free of load-bearing walls. The facade is connected to the internal structure of each floor by using a curved iron beam around each floor. This construction system allows, on the one hand, large openings on the facade that give light to the house, and on the other hand, the free arrangement of different levels, so that the internal wall can be added and destroyed without affecting the stability of the building. This allows the owners to change their minds at will and to modify, without problems, the interior layout of the house.
Constructive and decorative items
Facade
This facade consists of large limestone blocks of Garraf Massif on the first floor and from the Villefranche mine to a higher level. The blocks are cut to follow the model projection path, then lifted to their location and adjusted to align in continuous curves to the surrounding pieces.
Viewed from outside the building has three parts: the main body of a six-story block with a winding stone floor, two floors set the block back with different curves, similar to waves, smoother textures and whiter colors, and with small holes that look like embras , and finally the roof body.
The original facade of Gauda has some lower level iron removed. In 1928, Mosella's tailor opened the first shop in La Pedrera, and he removed the bars. This does not concern anyone, because in the middle of the 20th century, wrought iron was not so important. The iron disappeared until a few years later, when Americans donated one to MoMa, where it was displayed.
With a restoration initiative launched in 1987, the facade rejoins with some fallen stone parts. In honor of genuine allegiance, material was obtained from the Villefranche mine, although at the time it was no longer operating.
Hall and page
This building uses a completely original solution to solve the problem of the lobby is too closed and dark. The open and airy courtyard provides a transit point and is instantly visible to those who access the building. There are two terraces on the side of Passeig de Gracia and the Provence road.
- Patios
Patios, structurally, are key as supporting the burden of the interior facade. The courtyard floor is supported by cast iron pillars. In the yard, there are traditional elliptical beams and girder but GaudÃÆ' implements ingenious solutions using two concentric cylinder beams with stretched radial beams, like bicycle fingers. They form a point outside the beam for two dots above and below, making the keystone center girder function and working in tension and compression simultaneously. The supported structure is twelve-foot in diameter and is considered a "building soul" with a clear resemblance to the Gothic basement. The center was built at the shipyard by Josep Maria Carandell who copied the steering wheel, interpreting Gauda's intention to represent the steering wheel of life.
- Interior, gate
Access is protected by large iron gates with designs associated with Jujol. It was originally used by people and cars, because access to the garage was in the basement, now an auditorium.
Both halls are fully polychrome with oil paintings on the surface of plaster, with eclectic references to mythology and flowers.
During construction there were problems including the basement as a garage for cars, a new discovery that rattled the bourgeoisie at the time. The neighbor of the future, Felix Anthony Meadows, owner of Industrial Linera, requested a change because his Rolls Royce could not access it. GaudÃÆ' agreed to remove the pillars on the road leading to the garage so that Felix, who set up sales and factories in the Walls of Valles, could go to both places with his car from La Pedrera.
For the floor of the Casa MilÃÆ', GaudÃÆ' â "¢ uses a square-shaped wooden floor model with two colors, and hydraulic hexagonal pieces of blue and ocean motif originally designed for the Batllo house. The candle was designed in gray by John Bertrand under the supervision of Gauda who "touched with their own fingers," in the words of the manufacturer Josep Bay.
Loft
As in Casa BatllÃÆ'³, GaudÃÆ' demonstrates the application of catenary arches as a support structure for the roof, a form he has used immediately after graduating in the framework of the MatarÃÆ'Â k co-operative wood known as "L'Obrera Mataronense." In this case, GaudÃÆ' used the Catalan timbrel technique, imported from Italy in the fourteenth century.
The attic, where the laundry room is located, is a clear room beneath the Catalan vault roof that is supported by 270 parabolic dome with different altitudes and is about 80 cm. The roof resembles a large animal's ribs and palms, giving the roofs a very unconventional shape similar to hilly landscapes and valleys. The shape and location of the page make the arch higher when the space is narrowed and lower when space expands.
The BayÃÆ'Â Pemb Builder explains his construction: "The first face of a wide wall is filled with mortars and plastered.Then Canaleta shows the opening of each arch and BayÃÆ'³ puts a nail at each starting point of the arch at the top of the wall.From these nails dangle the chain so that the lowest point coincides with the deflection of the arch Then the profile displayed on the wall by the chain is drawn and in this profile the carpenter marks and locates the appropriate centering, and the rebel dome starts with three rows of bricks GaudÃÆ' wants to add the longitudinal axis of the bricks that connect all the vault in their keystone ".
Roof and chimney
GaudÃÆ''s work on the roof of La Pedrera brings his experience at Palau GÃÆ'¼ell along with a more obviously more innovative solution - this time creating shapes and volumes with more body, more prominence, and less polychromasia. & lt; Permanyer, 1996 or 2008 & gt;
On the roof there are six glass doors/exits (four of which are covered with broken pottery and some end with a typical double cross GaudÃÆ'), twenty-eight chimneys in several groups, two semi-concealed ventilation whose function is to renew the air in the building, and four dome are thrown into the facade. The stairs also accommodate the water tank; some of them snail-shaped.
The rooftop stepped La Pedrera, called "park warrior" by Pere Gimferrer poet because the chimney seemed to protect the skylights, had undergone a radical recovery, removing the chimney added in intervention after GaudÃÆ', the television antenna, and other elements that degraded the space. The restoration brings back the splendor to the chimney and skylights that are covered with marble fragments and broken Valencia tiles. One of the chimneys on it with a piece of glass - it is said that Gauda did that the day after the inauguration of the building, took advantage of the empty bottle of the party. It was restored with a bottle bottle of champagne from the early twentieth century. The repair work has enabled the recovery of the original impact of the overhang made of stone from Ulldecona with tile flakes. The whole set is more colorful than the facade, although here the color of the cream is dominant.
Furniture
GaudÃÆ', as he did at Casa BatllÃÆ'³, designed a special furniture for the main floor. It is part of the concept of art itself integral to modernism in which architects take responsibility for global issues such as structures and facades, as well as every detail of decoration, designing furniture and accessories such as lamps, planters, floors or ceilings.
This is another friction point with Segimon, who complains that there is no straight wall to place his Steinway piano. GaudÃÆ'â "¢ Response is blunt:" So play the violin. " The result of this dispute is the loss of decorative heritage of GaudÃÆ' ,, since most of the furniture has been removed due to climate change and the changes he made to the main floor when GaudÃÆ' died. Some remain in private collections, including curtains made of oak 4 m. length of 1.96 m. high in the Museum of Catalan Modernism; and chair and desktop MilÃÆ'.
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Arsitektur
Casa MilÃÆ' is part of the UNESCO World Heritage Site "The Work of Antoni GaudÃÆ'". It was the forerunner of several buildings with similar biomorphic appearance:
- The 1921 Einstein Tower in Potsdam, designed by Erich Mendelsohn
- The Solomon R. Guggenheim Museum in Manhattan, New York, designed by Frank Lloyd Wright
- Chapelle Notre Dame du Haut, Ronchamp, France, designed by Le Corbusier
- Hundertwasserhaus and other works by the Austrian architect Friedensreich Hundertwasser
- Disney Concert Hall in Los Angeles, by Frank Gehry
Free exhibitions are often held on the first floor, which also provides several opportunities to view interior design. There is an entrance fee to the apartment on the fourth floor and the roof. The other floors are not open for visitors.
Constructive Similarities
GaudÃÆ''s La Pedrera is inspired by mountains, but there is no agreement on which mountain is the reference model. Joan Bergs thought it was the Fray Guerau rocks in the Prades mountains. Joan Matamala thought the model might be St. Miquel del Fai, while sculptor Vicente Vilarubias believes that it was inspired by Torrent Pareis cliffs in Menorca. Other options include the UÃÆ'§hisar mountains in Cappadocia, suggested by Juan Goytisolo, or Mola Gallifa, suggested by Louis Permanyer, based on the fact that GaudÃÆ' visited the area in 1885, escaped from a cholera outbreak in Barcelona.
Some people say that the interior layout of La Pedrera comes from a study of Gaudá made of medieval fortress. This image is reinforced by the appearance of the chimney roof as a "guard" with a large helmet. The iron door structure in the lobby does not follow symmetry, straight or repetitive patterns. Instead, it evokes the soap bubbles that form between the hands or the structure of plant cells.
Criticism and controversy
Unconventional building styles make it the subject of much criticism. It was given the nickname "La Pedrera", which means "mine". Casa MilÃÆ' appears in many satirical magazines. Joan Junceda presented it as a traditional "Easter cake" using a cartoon on Patufet. Joaquim Garcia made a joke about the difficulty of arranging a wrought-iron damask balcony in his magazine. The owner of the house in Passeig de Gracia becomes angry with MilÃÆ' and stops to greet him, arguing that Gaudà aneh's strange building will reduce the price of land in the area.
Administrative issues
Casa MilÃÆ' also caused some administrative problems. In December 1907 City Hall stopped working in the building because the pillars that occupy part of the sidewalk, did not respect the alignment of the facade. Again on August 17, 1908, more problems occurred when the building exceeded the predicted height and borders of a construction site with 4,000 square meters (43,000 sq., Ft). The Council requested a fine of 100,000 pesetas (about 25% of the cost of work) or for the dismantling of the attic and roof. The dispute was settled one and a half years later, December 28, 1909, when the Commission declared that it was a monumental building and thus not required to have 'strict compliance' with the rule.
Design competition
The owner enters La Pedrera at the annual Barcelona Artistic Building Competition sponsored by Barcelona City Council ( Ayuntament ). Other entries in the competition include two works by Sagnier (Calle Mallorca 264, and one in Corsica and Av. Diagonal), Casa GustÃÆ' by architect Jaume GustÃÆ', and Casa PÃÆ' Â © rez Samanillo, designed by Joan Josep HervÃÆ's. Although the most dramatic and clear favorite is Casa MilÃÆ', the jury argues that despite its complete facade, "there is still much to be done before it is fully completed, completed and in perfect condition." The winner in 1910 was Samanillo Perez, for his building which is now the headquarters of [1] Circulo Ecuestre.
Design differences
GaudÃÆ''s relationship with Segimon worsened during the construction and decoration of the house. There are many differences of opinion among them, one example is the monumental bronze del Rosario, which Gauda wants as a statue in the front of the building in honor of the owner's name, that the artist Carles Mani i Roig will sculpt. The statue was not made even though the words "Ave gratia M full Dominus tecum" is written on the top of the facade. The ongoing dispute caused Gauda to bring MilÃÆ' to court for the charges she was wearing. The lawsuit was won by GaudÃÆ' in 1916, and he gave 105,000 pesetas which he won in the case to charity, stating that "principles are more important than money." Mila has to pay the mortgage.
After the death of GaudÃÆ' â "¢ in 1926, Segimon eliminated most of the furniture that GaudÃÆ' had designed and covered the design parts of GaudÃÆ' â" ¢ with a new decor in the Louis XVI style. La Pedrera was acquired in 1986 by Caixa Catalunya and when the restoration was done four years later, some of the original decorations reappeared.
When the Civil War broke out in July 1936, Mil was on vacation. Part of the building was collected by the united Socialist Party of Catalonia; Milà © left the place with some artwork.
In the media and literature
A scene in The Passenger (Italian: Professione: reporter), a film directed by Michelangelo Antonioni and starring Jack Nicholson and Maria Schneider, filmed on the roof of the building.
Gallery
See also
- Casa BatllÃÆ'³
- List building
- List of Modernist buildings in Barcelona
- List of museums
References
- Rainer Zervst. GaudÃÆ', 1852-1926, Antoni GaudÃÆ' i CornetÃ, - A Life Devoted to Architecture. Cologne: Benedikt Taschen Verlag GmbH & amp; Co KG., 1988. p176.
External links
- La Pedrera Official Website
- Immersive Photographer from Casa MilÃÆ'
- Virtual tour
- Link image
- La Casa MilÃÆ', furnishings and decorative arts
Source of the article : Wikipedia
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