Barcelona Art Nouveau house. Barcelona architecture - modern in the company of Catalan Gothic
October 20th, 2013
I love modern style - in architecture and design. In Barcelona, in this regard, there is something to profit from. In a relatively short period of time, called the Catalan Renaissance, several masterpieces were created. And there is one very famous creator who left behind a particularly rich legacy at the very end of this blessed period for the country ...
The houses of Gaudi, the most famous architect on the Iberian Peninsula, are a must-see for all lovers of Art Nouveau... In total, he left 18 objects behind him.
Of the residential buildings - the most famous are 2 - the House of Bones and the House-Cave. When I planned the trip, I had a choice - which of the two houses of Gaudí to see. I settled on the "Cave", because this building is considered the most perfect and impeccably executed architectural structure Gaudí even from the point of view today.
This house was also the last of Gaudí's four buildings on Gracia Avenue and the second of the surviving ones. It is believed that the author could not fully embody his aspirations in the architecture of another house (Kostya), where the architect was only required to carry out reconstruction. Therefore, only here the architect was able to fully express his vision of the building layout from the basement to the roof.
Numerous reviews - they conjured us to go exactly to the "cave", since it is much more interesting inside, unlike the "house of bones". In the "cave" is available for viewing - the apartment of the homeowners, a whole floor with all the furnishings of that time ... There was already a post about this apartment in the community and it is very beautiful, I just hope to tell about this monument of art - in my own way.
Casa Mila, La Pedrera is the last completed work of Gaudí. Although it has several names, but the second - folk - "quarry" or "stone cave" seems to me the most correct.
Mountains, sea and desert were the main symbols of this project.
Gaudí called the façade "a fossil wave in one vast sea of stone". Antonio Gaudi combined the features of Catalan architecture ( national gothic) with the Art Nouveau style that was then in vogue.
Smooth forms flow down from the roof like water from rapids, causing the eye to slide down a series of whirlpools.
Although the bearings in the building are primarily columns, but the blocks of stone for building the house were so heavy that special transport was required to move them. And this almost led the contractor to bankruptcy. Each stone had to be lifted more than once before it fell into place.
It is a kind of man-made mountain, with caves opening up on the façade. The theme is seaweed hanging from the cliff-like ledges of the façade... Initially, Gaudí planned to decorate all the balconies with lush vegetation to soften the stone façade. But even now the house is completely decorated with leaves and plants - only cast iron ones.
Almost all of them were designed by Gaudi in line with one of the strongest handicraft traditions in Catalonia. The gate and fence contain an endless repetition of cast iron palm blossoms. The authorship of several projects of fences designed to decorate the balconies of the Mila house belongs to Gaudi's colleague - Jusepo Maria Huhol. However, they were made with the direct participation of Gaudi. The architect was personally present not only during the casting of the fence, but also during the preliminary production of ingots and from time to time made adjustments to the ornament.
One of the stories tells how he brought the sculptor to tears, forcing him to redo the work again and again, and finally he himself took up a chisel and sculpted a decorative rose intended to decorate the upper part of the facade. The sculptor carved a specific rose from life, and Gaudí needed the quintessence of a rose. He removed the details until the image turned into an ideal, into a rose in general, frozen at the moment of its heyday.
This rose was supposed to symbolize the wife of his client, with whom he wanted to establish a relationship and who was initially against his participation in the construction of the building.
On the other hand, many describe the rose on its building as a symbol of the Mother of God. Perhaps the second assumption is closer to the truth, rather than a beautiful dedication to the beautiful signora. The fact is that Gaudi intended to place several more dedications to the Holy Virgin Mary (including in the form sculptural composition in a special niche on the roof). By that time, the architect had become very religious. However, a fierce campaign against the clergy was launched in Barcelona, which led to the burning of monasteries and bloodshed. And the cautious owner of the house (the nephew of the mayor of Barcelona and a deputy) did not dare to realize Gaudi's plans to the end, but composed a beautiful romantic story about the rose :)
From this plan, only the inscription across the entire facade in Latin remained.
Perhaps the Pedrera is the best and most complete architectural expression of Gaudí's commitment to nature. There is not a single straight line in his projects, and there are none in nature either. Unfortunately, subsequently the configuration of the apartments inside the building was significantly straightened out.
Gaudi himself said about his work: "... corners will disappear, and matter will generously appear in its astral roundness: the sun will penetrate here from all four sides and an image of paradise will arise ... so, my palace will become brighter than light."
In order to make the "cave" lighter and filled with air, Gaudí designed two courtyards and six light wells... The ceiling of the courtyard, which has a rounded plan, is a kind of gothic style.
To be fair, I will write that all the calculations for the construction of the new structure were made by the assistants of the architect, Jaime Baio and Canaleta, according to Gaudi's sketches. And the structural supports were calculated by Jaime Baio, the brother of Gaudí's contractor Baio, who at that time taught strength of materials at the School of Architecture.
In 1984, the "cave", "House of Mila" was included in the UNESCO World Heritage List. Let's go in and see what's inside...
The tour actually starts from above, where the museum of the architect is located under the very roof.
The attic is located above the last floor. It is a cloisonne brick arches, the shape of which repeats the line of a suspended chain. The construction plan turned out to be so complex that it was necessary to give the arches and spans a variety of shapes. In order for the arches to be perceived as elements of a single composition, Gaudi ordered to connect them together with a twisted longitudinal beam made of three rows of brickwork.
The forum of these arches was adopted by other famous architects of that time. For example, the architect José Puig came to see and clarify - from what point in the structure it is necessary to start the construction of the arch, which Gaudi called "balanced".
here are shown the details of the building layout, drawings, models and even films about his work...
Then you can go to the roof or go down - to a residential apartment with modern furnishings.
First I will show you my personal apartments, and then I will take you to the roof :)
Some passages inside the building are also open for inspection... 
Gaudi was not just an architect - he thought through the whole design - from chairs to door handles.
Gaudí designed furniture himself, adhering to the same torii of fluidity. He considered perfection to be egg.
He also sculpted with his own hands the wax model of the hexagonal pavement tile, which was first used at the construction site of Batllo's house. When these relief tiles are stacked in seven pieces, three images are obtained: seaweed, shell and starfish.
In his house - everything is thought out before the smallest details... I was forever impressed by what I saw...
Unfortunately, after his death, the owner (the wife of the owner of the house who did not like the architect) completely changed the interior after the death of the architect, leaving only the details of the building's fittings untouched...
True, after the restoration of the building by the Bank of Catalonia, the apartment on the penultimate floor took on the appearance of a typical apartment of a noble family of the early 20th century.
And some of the furniture from the owners' apartment is now in the Gaudí house-museum in Parc Güell. For example, this one.
But studying the interior and decor items was just as exciting as looking at the building itself, although they belong to different periods of the same style...
The museum-apartment occupies 2 residential apartments on the 4th floor of the building.
It's a kitchen
coffee grinder, not a meat grinder! :)
coffee pot or kettle? that time
Ironing
What do you think of this suitcase?
At the end of the inspection there is a nursery, in which the most interesting exhibit I found - a closet with miniature models of rooms...
And now - let's go up to the roof :)
On the roof of the house there is a terrace that allows you to admire the stone "menagerie" consisting of ventilation pipes, shafts, stairs, gardens blooming over deep courtyards, mysterious and disturbing monsters in hoods.
The forms of these elements are not completely crazy - they basically correspond to their utilitarian function, although they were, of course, significantly embellished ... Gaudi assigned more importance to ventilation in the building - there are a lot of chimneys and ventilation pipes.
Many of them are lined with trencadís mosaics made from fragments of broken ceramics, pebbles, marble and glass.
They still argue whether these sculptures reflect the theme of natural motifs (caves, the sea, the underwater world) or the architect gave them a resemblance to all famous characters fairy tales...
The architect himself said that the shapes of these pipes echo the outlines of the mountains surrounding Barcelona, which can be seen from the roof of this house.
Yes, the views from there are amazing!
At the end of the tour of the residential apartment, there is a souvenir shop with very good art albums and interesting products in the Gaudí style...
This is a residential building, that is, people still live there. I don’t know how they tolerate the presence of crowds of tourists, but living in such a house is probably very interesting)
His work is an imitation of the life of the cosmos, within which people must pass through a mystical-primitive existence...
The building is located at the intersection of Passeig de Gracia Boulevard with Carré de Provença (address Pg. De Gracia, 92,
To begin with, a short digression about the Catalan Art Nouveau. This is not exactly the same as French Art Nouveau.
For Catalonia at the end of the nineteenth century, Art Nouveau meant not just a new art (flowing lines, asymmetry, inspiration from nature and symbolism) and industrial progress (iron, glass and concrete, which allowed experimentation with materials), but also the revival of Catalan culture.
Purely Catalan in Art Nouveau - traditional crafts (color mosaic) and mythological plots (the legend of the patron saint of Catalonia, St. George). It is worth remembering the influence of Arabic architecture, which has always been strong in Spain.
Art Nouveau in Barcelona is associated with Antoni Gaudí. But we will tell not only about his houses, but also about the buildings of other famous architects who worked at the same time. The main platform on which modernists honed their fantasies at the beginning of the twentieth century was the modern Eixample district.
The wealthy Catalan bourgeoisie needed new houses with which to trump in front of friends. This is how Eixample appeared with the Gracia Boulevard. Three main architects built buildings on it Catalan modern: Antonio Gaudí, Luis Domènech i Montaner and Josep Puig i Cadafalch.
Three Art Nouveau masterpieces stand side by side on Gracia Boulevard: Gaudí's Casa Batlló, Domènech y Montaner's Leo Morera House and Amalle Puigia y Cadafalch's House. This quarter was called the "Apple of Discord" (Illa de la Discordia).
Batlló is the most unusual and bright project Gaudí commissioned to him by the industrialist Josep Batllo y Casanovas. The legend of St. George is encrypted in the architecture. The roof is reminiscent of the backbone of a dragon, the turret-dome is the hilt of a saint's sword.
The silhouette of the house, both inside and outside, seems like a bizarre skeleton. The balconies look like bones and carnival masks.
The facade, lined with polychrome colored mosaics, changes shades depending on the lighting (Monet's Water Lilies come to mind).
To clad the house, Gaudí used traditional Catalan techniques - colored mosaics for the facade and roof, as well as white and blue tiles for the courtyard.
Tours of the house come with a cleverly composed audio guide, right down to the instructions: "Now look at the patio from the bottom up."
CASA LLEÓ MORERA
House of the architect Luis Domènech y Montaner, one of the founders and ideologists of the Catalan Art Nouveau. The order came in 1902 from Señora Francesca Morera, whose family had grown rich in the New World. Then the name of her son, Leo, was added to the name.
The facade has not been preserved in its original form, but you can still see statues, classical ones, but if you look closely, they are holding signs of the times in their hands - a gramophone, a telephone and an electric light bulb.
Domenech y Montaner came up with the architectural design of the house, and the interior decoration was invited to do the prominent masters of those times - sculptors, cabinetmakers and glaziers. Now restored interiors with rich wood trim, ceramics and mosaics.
It is curious that everywhere you come across symbols associated with the names of the owners. Morera is translated as "mulberry", so flower-shaped ceramics, images of a mulberry tree in stained-glass windows and mosaics. 
Also look for a stone lion, because this is how the name Leo is translated. The brightest part of the house is the incredible stained-glass windows with cockerels and mosaics with ladies relaxing on the lawn by the pond. All visits to the House of Leo Morera are by appointment only on the website.
CASA MILÀ (LA PEDRERA)
House Mila, also called the quarry (La Pedrera). In 1905, magnate Pere Mila commissioned Antonio Gaudi to build a house with apartments for rent, including apartments for himself.
The architect emphasized the undulating façade and wrought iron balconies. It seems that withered ivy wraps around a stone. Mila is known for its prominent roof, where the architect disguised chimneys and vents as stone warriors.
It is believed that medieval knights were taken as a model for the figures. Perhaps Gaudi thought about ancient greek myth about the teeth of the dragon, from which the warriors grew. For some reason, 33 heroes from the depths of the sea came to our minds in The Tale of Tsar Saltan. The main point of visit in Mile is the rooftop and one of the apartments, which retains the furnishings of the early 20th century.
PALAU DE LA MÚSICA CATALANA
One of the most important architectural projects of Luis Domenech y Montaner is the House of Catalan Music, which he worked on from 1905 to 1908.
The red-brick façade contains some Moorish influences, with typical turrets and columns, but also modernist sculptures, wrought iron, mosaics and colorful tiles.
The building makes a stunning impression from the inside, stained-glass windows and mosaics in the foyer, and a concert hall with enamel panels on the ceiling, a stained-glass dome and stained-glass windows around the entire perimeter.
Thanks to the abundance of glass for concert hall During the day, only natural light is used. You can take a guided tour of the House of Catalan Music.
HOSPITAL DE SANT PAU
Another work of Luis Domenech y Montaner is St. Paul's Hospital. In terms of scale, it can partly be compared with the Sagrada Familia of Gaudí's colleague.
The original idea of the architect was to build 48 modern and functional pavilions, but only 27 of them were built.
He combined elements of Gothic and Arabic style in the facade, adding colored tiles and tiles, as well as arsenic-coloured wrought iron structures, typical of Art Nouveau.
Inside - stained-glass windows, ceramics, mosaics with floral ornaments, lamps made of colored glass. Can you imagine such a hospital?
The hospital has now moved to a new building. The pavilions of the Hospital de Sant Pau have been restored and turned into a museum.
CASA AMATLLER
The third important name for Catalan Art Nouveau is Josep Puig i Cadafalch. In The Apple of Discord, his House of Amalle stands in the middle between the houses of Batllo and Leo Morera. As with his colleagues, the house was commissioned by the nouveau riche chocolate magnate Antonio Amalie.
Puig y Cadafalch provided the house with a stepped Flemish gable and Gothic windows. The facade is tiled in pastel colors, which makes the building look a bit like a gingerbread house.
Barcelona gave the world architectural style called Catalan Modernism. This bright current existed in the late 19th and early 20th centuries. The Catalan branch of Art Nouveau is represented by the fantastic works of Antonio Gaudí, a giant of architectural art. His dynamic and imaginative creations, along with those of Josep Puig i Cadafalch and Luis Domènech i Montaner, can be found everywhere in Barcelona, and Gaudí's iconic temple has become almost synonymous with the city.
Gaudí Catholic and Catalan
Gaudí was a devout Catholic and a patriot of Catalonia. In addition to sources in nature, he drew inspiration from the images of the Catalan medieval churches and took pride in using local building materials: clay, stone and wood. In contrast to his architecture, Gaudi lived a simple life and did not shy away from knocking on doors, literally begging for money to build a cathedral.
When Gaudi became more enterprising, he gave the impression of a lone wolf. As he aged, he relied more and more exclusively on religious feeling, devoting the rest of his life to what remained the symbol of Barcelona - the unfinished Sagrada Familia.
In 1926, Gaudí died. On the way to the church of St. Philip Neri, where the architect went every day, he was hit by a tram. Gaudi's clothes were worn, with empty pockets (he freed them for orange peels), so at first he was mistaken for a beggar and sent to a nearby hospital, where he was put in a ward for the poor; he died two days later. Thousands of people took part in the funeral procession to the Sagrada Familia, in the crypt of which Gaudí was buried.
Like his unfinished creation, the Sagrada Familia, Gaudí's story is far from over. In March 2000, the Vatican decided to resume the canonization process for the architect, and pilgrims are already coming to venerate his grave. One of the key sculptors working on the church, the Japanese Etsuro Sotoo, converted to Catholicism due to a passion for Gaudí architecture.
Creations of Gaudí
In his work, the architect turned to everyday bright, but often fabulous or surrealistic techniques. A perfect example of this approach is the private apartment building of Batllo, in which everything seems to be a rebellion of the unnaturally natural - or naturally unnatural. Not only are straight lines excluded, the very line between the real and the unreal, reasonable sobriety and intoxication with a dream, common sense and game is blurred. Depending on how you look at the facade, you can see St. George (one of the patron saints of Barcelona) slaying a dragon, a magnificent sparkling fish (a symbol of the inhabitants of the Mediterranean region) or elements of a rampant carnival.
Domenech i Montaner
Although he remains in Gaudí's shadow, Luis Domènech y Montaner (1849-1923) was one of the the greatest masters modern. He traveled a lot, was a man of great intellect, his knowledge covered different areas sciences - from mineralogy to medieval heraldry. In addition, he was a professor of architecture, a prolific writer, and a nationalist politician. The question of Catalan identity and the development of national architecture completely absorbed Domènech y Montaner, who during his life created more than a dozen large-scale works.
The opulent steel-framed Palace of Catalan Music is one of his masterpieces. The façade is decorated with elaborate gothic windows, floral ornaments and sculptures depicting characters from Catalan folklore and world music, as well as ordinary citizens of Barcelona. The inner hall amazes visitors with graceful columns covered with floral ornaments, shining walls and a ceiling made of colored glass. The movable proscenium, full of sculptures, is reminiscent of the characters of musical epics.
Other greatest masterpiece The architect is the Hospital of the Holy Cross and Saint Paul (Hospital of Sant Pau), with its sparkling mosaics on the façade and stained glass ceiling windows that fill the lobby with golden light (like Matisse, Domenech y Montaner believed in the therapeutic power of the sun). The floral ornamentation of the hospital complex, the rich use of sculpture, and the intricate detailing of the dome create a remarkable sense of structural beauty.
Materials and decor
Art Nouveau architects relied on craft techniques that are now almost a thing of the past. There was no concreting of large sections (in contrast to what is being done today in the Sagrada Familia). Stone, brickwork, iron exterior and steel frames, generous use of stained glass and ceramics in decoration - these were the features of the new style. Indeed, it is these common details that make Art Nouveau decor so colorful.
The craftsmen who were able to cope with the implementation of these tasks were the heirs of the guild artisans. For centuries, they learned in practice what can and cannot be done with such materials. Wrought iron and steel have only recently appeared, but the approach to learning how to use them has been similar to that of more traditional materials. Gaudi in particular relied on old skills and even taught classes at the Sagrada Familia to keep the tradition alive.
Catalonia Modernism (Modernismo en Cataluña).
CATALAN MODERNISM - (Spanish: "modernismo catalan") - a national-romantic trend in the art of Spain during the Modern period late XIX- the beginning of the XX century. The ideas of this movement were formed in the circle of Spanish Pre-Raphaelites, which was headed by the painter, art theorist, collector and patron Pablo Mila i Fontanals (1810 -1883). In 1851-1856. Mila i Fontanals was a professor at the School fine arts in Barcelona. The study and restoration of the monuments of medieval Catalonia was carried out by the architect Lluis Domenech i Montaner (1850 -1923). Archaeologist, writer, researcher of architecture José Puig y Cadafalch (1867-1956) participated in the Arts and Crafts movement, which originated in England, in the workshops of W. Morris, built neo-Gothic buildings in Barcelona with Art Nouveau elements. But most of all, the movement of "Catalan modernism" is associated with the name of the science fiction architect Antonio Gaudi (1852-1926). Customer and patron of this unusual artist was Mila y Fontanals. Gaudí was called the "genius of the Modern". He is from Catalonia and worked in Barcelona. Gaudi managed to create such an incredible, phantasmagoric style that he had to come up with a special name for it: Catalan modernism. The artist worked during the Art Nouveau period, in France the style of this time was called Art Nouveau ("New Art"), in Germany - Jugendstil. A man of his era, Gaudí was inspired by the traditions of his native Catalan Gothic, the national styles of Mudéjar, Isabellino, Plateresque and Churrigueresco. Gaudi worked without design engineers, intuitively, like a medieval master, improvising on a construction site. Apart from preparatory drawings and sculptural models in 1/10 natural size, Gaudi drew directly on the board, during construction - what he wants to do, and his assistants had to make a lot of effort to translate these fantasies into material. The works of Gaudí can only partly be called architecture - they were not built, but “arised”, grew organically, like natural formations. The design imperceptibly transformed into a sculptural image, which could immediately turn into a mosaic on a voluminous surface, become color plastic, painting, inlay, so that later it could again develop into a kind of organo-constructive form. Such an architecture is otherwise referred to as "organic". The work of Gaudi can be attributed to this trend, but also only in part. Its organic architecture is populated with bizarre creatures, human and animal figures, dotted with flowers and trees made of stone, with walls of multicolored concrete writhing like snakes, and roofs with ridges like a sleeping Catalan dragon. Architectural historian M. Ragon called Gaudí "an obsessed poet of stone." In some of Gaudí's buildings there is not a single right angle, which is unusual for architecture, but typical of Art Nouveau. In many buildings, characteristic elements of the Gothic are used: shamrocks, quadrifolia, cruciferous, Gothic capitals, phials and cruciferous. In the Park Güell in Barcelona (1900-1914), created by the architect, a Doric colonnade suddenly appears, and in the Palace of Catalan Music - a strange combination of Moorish style with Chinese. An important role in these fantastic works was given to color and texture, for which cladding with a broken ceramic shard, a mosaic of multi-colored glass was used. In the House of Batlo (1905 -1907) A. Gaudí invented tops made of glass balls filled with colored sand, and multi-colored glass bells ringing in the wind. The Catalan master used in his constructions unusual, but strict, from a mathematical point of view, forms: parabolas, helicoids, hyperboloids, star-shaped polygons to connect columns and vaults. Moreover, he emphasized that these forms are constantly found in nature. Stylistically, the world of Gaudí is eclectic, sometimes on the verge of kitsch, even in those cases when this brilliant master erects a Christian temple - the Sagrada Familia Cathedral (Spanish: Sagrada Familia - “Holy Family”) in Barcelona (begun in 1883). “Everything in his work screams complete indifference to style… He has no taste at all: at least to the modern eye, the barbarism of the master’s stylistic collages in all his works seem blatant… One glance at the facades of the Sagrada Familia is enough to notice: with a formal compliance with the everything reeks of heresy. In this architecture... there is more carnival mystery, a hymn to nature... There is more magic here than religion, and the archaic epic prevailed over Christian dogma... Gaudi is not organic, but organic architecture, not an imitation of what was created by nature, but an imitation of its creative power. Another artist’s statement echoes this assessment: “Spain is a country of the worst taste in the world,” S. Dali said defiantly, as always, but aptly, “with the general dominance of kitsch, it supplies its highest samples. Spain is able to give birth to such geniuses as Gaudi, as Picasso.” In classic Spanish art combines religious fanaticism, mystical expression and naturalism of form. Such is the work of the great Spanish painters El Greco, F. Zurbaran, D. Velasquez, F. Goya. The phantasmagoric creations of the classics are related to the “kitsch naturalism” of mass-produced church market items of the 19th-20th centuries. The creations of A. Gaudi in line with the Spanish tradition resemble nightmarish visions, but the architect himself was sincere, naive and religious. A sincere religious impulse is felt in the main work of his life - the Sagrada Familia Cathedral.
March 16th, 2013 admin
Catalan modernism is an artistic historical-geographical name, mainly associated with Catalan architecture of the late 19th and early 20th centuries. The main ideas and techniques of Catalan Art Nouveau are also present in sculpture, painting and decorative arts. The concepts and techniques of the Catalan Art Nouveau organically fit into the pan-European architectural trends of that time - Art Nouveau, Jugendstil and others. In Spain, modernism acquires its own distinctive features and, first of all, is associated with the capital of Catalonia - the city of Barcelona. Catalan modernism has had a great influence on other provinces of Spain: for example, the architect Víctor Beltrí became famous for his Art Nouveau works in the city of Cartagena, in the province of Murcia. We can also mention such Spanish cities as Comillas (Comillas), Novelda (Novelda), Astorga (Astorga), Melilla (Melilla) and León (León), which adorn works in the style of Catalan Art Nouveau.
The artists Ramón Casas, Santiago Rusiñol, Joaquín Sunyer, Hermenegildo Anglada Camarasa, Joan Brull, Ricard Canals left their mark on the history of Catalan Art Nouveau. ), Javier Gosé, José María Sert, Miguel Utrillo and others.
Creative and personal contacts connected Catalan artists with their like-minded French avant-garde artists. The Barcelona cafe "Four Cats" (Els Quatre Gats) was the place of their meetings and creative discussions. By the way, it was here in 1900 that the first solo exhibition of the artist Pablo Ruiz Picasso was organized. The Pablo Picasso Museum in Barcelona is located on Montcada Street (C/Montcada) 15-23. Price entrance ticket – 11 €.
Photo: Natalya Penkina. Cafe Four Cats
Catalan modernist architects Elies Rogent i Amat, Luis Domènech i Montaner, Josep Puig i Cadafalch, Antonio Gaudí and others , developed their own special architectural artistic universe. Modernism denies the style of industrial architecture that dominated the first half of the 19th century, developing new architectural forms. The basis of modernity in architecture is Her Majesty Nature. Nature is present everywhere: in the materials that are used for construction, in the forms of buildings and structures, in the details and images that are used in decorating facades. Architects easily place figures of animals, birds, butterflies, plants and flowers on the facades of their buildings. Mosaics and ceramics are widely used in decorating facades and interiors. Oversized mythical and fairy tale characters suddenly appear on the gables and cornices of buildings. Windows and balconies are decorated with wrought-iron gratings, repeating floral motifs.
Photo: Natalya Penkina. catalan mordern
The Museum of Catalan Modernism is located in Barcelona on Balmes Street 48 (C / Balmes, 48). IN weekdays and Saturday open from 10:00 to 20:00, Sunday from 10:00 to 14:00. The cost of the entrance ticket is 10 €. Address in
