Starting Point of the Arabic-Andalusi Influence in Gaudi’s Ornamental Ceramic

Mireia Freixa,Marta Saliné

doi:10.36950/manazir.2021.3.9

Abstract

Between 1884 and 1887, Antoni Gaudí built two rather modest constructions for his patron, Eusebi Güell: a stable for the horses and a porterhouse for his country house in Les Corts. In these constructions, he makes an important step in relation to his previous works, El Capricho (Comillas, Santander) and the Casa Vicenç (Barcelona). The tiles used in both, featuring lines of color that contrast with the brick and stone, derive from an original system of using ceramic, the trencadís. He takes as a reference point the Arabic or Mudejar building system to embed ceramic pieces in the walls and in the coronation railings of the buildings, but adds a brilliant contribution by converting it into “broken” ceramics. We call this ornamental resource trencadís, since trencar means broken in Catalan. This technique is one of Gaudí’s more significant decorative choices with brilliant examples of this being the façade of Casa Batlló and the dragon and banc-balustrade in Park Güell.

Highlights

Gaudí experimented with ceramic material replacing the popular look of traditional mosaic tiles with fragments resulting from irregular cutting
We can provide some answers that justify the great success of trencadís during the Modernisme
The context in which this research is carried out is our interest in the Güell Pavilions (1884-1887), the gatehouses to the summer home of his patron Eusebi Güell, that are integrated into the campus of the Universitat de Barcelona

Summary

Introduction

The tiles used in both, featuring lines of color that contrast with the brick and stone, derive from an original system of using ceramic, the trencadís. Gaudí experimented with ceramic material replacing the popular look of traditional mosaic tiles with fragments resulting from irregular cutting. Antoni Gaudí: The architect of color In his early works—Casa Vicens and El Capricho (both between 1883-1885), the Güell Pavilions, and his main residence, Palau Güell (1886-1889)—the architect combines the use of historic styles with elements of great decorative originality using hitherto unseen building techniques.

Results

Conclusion