Gaston Bachelard’s exploration of language, distinguishing between the utilitarian “signification” and the creative “poetry,” provides a lens through which we can analyse the intersection of language and architecture. In Michael Graves’ “A Case for Figurative Architecture,” the analogy between common language and the internal structure of a building is drawn, emphasising the pragmatic and technical aspects as akin to language’s utilitarian function. However, poetic form in architecture, according to Graves, involves the integration of societal myths and rituals, transcending the purely functional.
Antoni Gaudi’s architectural narrative exemplifies the fusion of utilitarian and poetic elements. Gaudi’s buildings, described as three-dimensional texts, intertwine a constructive narrative with textural, chromatic, and decorative inferences. The syntagmatic relation of architectural elements, such as columns, windows, and walls, creates a semantic field rich in metaphor and symbol. Gaudi’s unique style, rooted in his Catalan origins, embraces both the utilitarian language of construction and the creative, poetic language of symbolism.
Umberto Eco’s assertion that any object, including architecture, can communicate a message aligns with Bachelard’s dual functions of language. Analysing the transmission of meaning in architecture through the lens of Ferdinand de Saussure’s theory of signs, Eco emphasses the arbitrary and conventional relationship between signifiers and signifieds. Applying Saussure’s architectural analogy, an “architectural sign” becomes any part of a building that relates syntagmatically to other parts and associatively to various styles.
Gaudi’s work, especially exemplified in Park Güell, integrates nature as a significant element. The architectural signs draw inspiration from the Catalan landscape, reflecting the terrain, light effects, and natural forces. The syntagmatic relations of architectural units in Park Güell, with their ornamentation and organic motifs, create a figurative meaning that resonates with Art Nouveau and other styles. The architectural signs, through their interdependence, interweave signification with poetry, capturing the essence of nature and evoking emotional responses.
Colour, as a signifier in Gaudi’s architecture, disrupts the automatism of language. Gaudi’s belief that ornamentation should be coloured manifests in Park Güell through trencadis, broken pieces of colourful ceramics adorning medallions and benches. The visual patterning created by colour, repetition, rhythm, texture, and form reinforces the poetic language in Gaudi’s work. The use of colour serves as a defamiliarising element, making the architecture strange and capturing the vivid hues of the Mediterranean.
Gaudi’s architecture, as interpreted through Roland Barthes’ perspective, becomes a text constructed of codes and fragments that invite multiple interpretations. The trencadis, for instance, can be read as a vibrant expression capturing the sensual feeling of nature and associating with Art Nouveau. The incorporation of fragments of bottles and cups beyond the common narrative system expands the architectural code, establishing new aesthetic meanings.
Gaudi, along with other Catalan architects, embraced the principles of Modernism, incorporating undulating lines, organic forms, and a variety of materials such as iron, glass, marble, and ceramics. While Art Nouveau is often associated with surface decoration, Gaudi went beyond ornamentation to explore new structural systems and building methods, contributing to the movement’s evolution.
The construction of the chapel of Colonia Güell serves as a case study to illustrate Gaudi’s innovative structural solutions. Through unconventional methods, such as building an upside-down model to study forces and experimenting with volumes, Gaudi developed new architectural units, including hyperbolic parabolas and twisted forms, marking a departure from traditional Gothic design.The architectural narrative of Colonia Güell reflects Gaudi’s emphasis on both economy and efficiency in common language and the poetic expression embedded in new structural forms. The resulting space, with dissimilar columns, curved surfaces, and a mix of materials, creates a mysterious, primitive ambiance, enhancing the ritualistic role of the building.
The concept of “Ecstatic Architecture” is introduced through the lens of Charles Jencks, highlighting Gaudi’s ability to evoke emotional reactions and a sense of euphoria. Gaudi’s work, whether in Park Güell or the crypt of Colonia Güell, captures nature’s forces, provoking feelings of delight, devotion, and even a mystical experience.
The significance of Gaudi’s architecture as metaphorical is explored, particularly in Casa Batlló. The building’s various surface metaphors, including references to the Mediterranean sea, the carnival, and the legend of Saint George, contribute to its multivalent meaning. Antoni Gaudí’s magnum opus, the Sagrada Familia, is sensitive to the intricacies of his architectural genius, weaving a narrative of religious symbolism and spiritual ascent. The three planned facades of the cathedral, representing distinct phases of Christ’s life, unfold a sacred tale frozen in stone. Although construction was halted with Gaudí’s demise in 1926, existing elements like the Nativity facade resonate with profound Christian symbolism, orchestrating an overwhelming religious experience.
Gaudí’s architectural prowess lies in meticulous details, with features like spiral towers and organic forms serving as conduits for ecstasy and communion with the divine. The Sagrada Familia’s vertical thrust becomes a metaphor for the soul’s ascent toward the heavens, employing metonymy to intertwine physical structures with abstract concepts. This verticality is not merely a spatial dimension but a spiritual journey, echoing the transcendence of the human spirit.
Beyond the Sagrada Familia, Gaudí’s enchantment extends to Casa Milà, where the rooftop becomes a surreal canvas. Strange and fantastical shapes of chimneys and ventilation shafts create a disconcerting landscape, tapping into the recesses of the subconscious and evoking visions of monsters and phantoms. Here, Gaudí’s architectural language becomes a portal to the uncanny, inviting contemplation on the border between reality and imagination.
Gaudí’s impact transcends the utilitarian; his architecture is an invitation to an immersive, poetic experience. It stimulates the senses, resonating not just with practical function but with the ability to evoke powerful emotions. Casa Milà’s unsettling rooftop shapes prompt a subconscious response, revealing the depth of Gaudí’s connection with the human psyche. His work, like a carefully crafted poem, speaks to the soul, inspiring a spontaneous overflow of powerful feelings.
In essence, Gaudí’s creations communicate a language beyond form and signification. They become conduits for profound emotional responses, akin to the essence of poetry as described by William Wordsworth. Gaudí’s architecture beckons viewers to actively engage with the built environment, transcending the boundaries of conventional design. It is an artistic expression that not only captivates the eyes but resonates with the soul, leaving an indelible mark on the imagination and emotions of those fortunate enough to witness its grandeur.
Evolution in Chinese Architectural History in Last Eight Decades
