Today, The Grandma has received news from Mayte,who has visited Gràcia, one of the most popular neighbourhoods of Barcelona, and has shared her memories and photos with TheGrandma.
Gràcia is a district of the city of Barcelona, Catalonia.
It
comprises the neighbourhoods of Vila de Gràcia, Vallcarca i els
Penitents, El Coll, La Salut and Camp d'en Grassot i Gràcia Nova.
Gràcia
is bordered by the districts of Eixample to the south, Sarrià-Sant
Gervasi to the west and Horta-Guinardó to the east. A vibrant and
diverse enclave of Catalan life, Gràciawas an independent municipality for centuries before being formally annexed by Barcelona in 1897 as a part of the city's expansion.
Gràcia was established in 1626, by a Novitiate of Carmelites, who established a convent there, called Nostra Senyora de Gràcia.
Following the War of the Spanish Succession, Gràcia
remained an independent municipality in the direction of the Serra de
Collserola mountains (north/northwest) from central Barcelona.
Passeig
de Gràcia, the street which is today home to the most high-end
international fashion brands and posh hotels , was back then a country
road linking the town to the larger city, through the plain of
Barcelona.
During
the mid-1800s, Barcelona was rapidly industrialising and significantly
expanding its borders from those of the Roman walls and old city. The
advent of new industry was drawing Catalans by the thousands to abandon
their farms and move to the city, spurring a shift from an
agriculturally based, rural economy to an urban economy focused on
manufacturing and trade.
In 1897, Barcelona formally annexed the town of Gràcia, and it has existed since as a neighborhood of the Catalan capital. Although no longer independent, Gràcia has long maintained a distinct identity as a unique district of the diverse, larger metropolis to which it belongs.
Gràcia
is both the smallest district by area, at 4.2 km2, and the second most
densely populated neighbourhood in Barcelona. One of the hippest, most
cosmopolitan areas in the city, Gràcia's intimate, close-packed
streets and predominately low-rise, Mediterranean architecture give it a
distinct feel. Its old, one-way streets are organized around a series
of plazas, including Plaça de Vila de Gràcia, Plaça del Sol and Plaça de
la Virreina. Old-world charm abounds.
To the northern end of Gràcia on El Carmel mountain lies Park Güell, arguably the most famous work of Catalonia's most famous architect, Antoni Gaudí.
On Carrer de les Carolines, between Plaça Lesseps and Fontana, lies CasaVicens,
Gaudí's first major work of architecture and a staple in his canon of
modernist design. An occupied house for decades, Casa Vicens only
recently became a tourist attraction on November 15, 2017. The building
was declared a UNESCO World Heritage Site in 2005.
Casa Fuster, a fabled, grand modernist-style hotel that lies at the edge of Gràcia's southern end on the Plaça de Nicolás Salmerón. Designed by Catalan master architect Lluís Domènech i Montaner between 1908 and 1910, the ornate house was converted to a hotel in 2004.
In
the Plaça de la Vila de Gràcia, the bell tower marks the old
administrative centre of the former independent municipality. The tower,
a 33-meter-high octagonal figure, was built by Rovira i Trias between
1862 and 1864. A legend describes the Campana de Gràcia and its role in local conflicts from 1870.
Mercè Rodoreda's most important novel, La Plaça del Diamant, is set mainly in Gràcia at the time of the Second Spanish Republic and the Spanish Civil War.
The Gràcia population
is a mix of young professionals and artists and a growing elderly
population, with a significant portion of older Catalans who came of age
as Franco came to power. Catalan flags adorn many a Gràcia window or
terrace, symbols of the neighbourhood's fiercely pro-independence
politics.
The most notable event in Gràcia is the Festes de Gràcia, which goes on for eight days every August.
The largest neighbourhood festival in Barcelona, the Festa Major de Gràcia began in 1817 as a celebration of the neighbourhood itself, at the time still an independent town.
Gràcia's
residents compete for the crown of best street or square, selecting
distinct themes and extensively decorating in Spanish carnival style,
and organised by a number of local associations. The selected themes
range from scenes of nature, to wild animals and creatures, to
characters from popular culture.
Popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is also the stake to be won or lost in that struggle. It is the arena of consent and resistance.
Today, The Grandma has received news from Mayte, one of her closest friends. Mayte has visited Gràcia, one of the most popular neighbourhoods of Barcelona, and has shared her memories and photos with TheGrandma.
Gràcia is a district of the city of Barcelona, Catalonia.
It comprises the neighbourhoods of Vila de Gràcia, Vallcarca i els Penitents, El Coll, La Salut and Camp d'en Grassot i Gràcia Nova.
Gràcia is bordered by the districts of Eixample to the south, Sarrià-Sant Gervasi to the west and Horta-Guinardó to the east. A vibrant and diverse enclave of Catalan life, Gràciawas an independent municipality for centuries before being formally annexed by Barcelona in 1897 as a part of the city's expansion.
Gràcia was established in 1626, by a Novitiate of Carmelites, who established a convent there, called Nostra Senyora de Gràcia.
Following the War of the Spanish Succession, Gràcia remained an independent municipality in the direction of the Serra de Collserola mountains (north/northwest) from central Barcelona.
Passeig de Gràcia, the street which is today home to the most high-end international fashion brands and posh hotels , was back then a country road linking the town to the larger city, through the plain of Barcelona.
During the mid-1800s, Barcelona was rapidly industrialising and significantly expanding its borders from those of the Roman walls and old city. The advent of new industry was drawing Catalans by the thousands to abandon their farms and move to the city, spurring a shift from an agriculturally based, rural economy to an urban economy focused on manufacturing and trade.
In 1897, Barcelona formally annexed the town of Gràcia, and it has existed since as a neighborhood of the Catalan capital. Although no longer independent, Gràcia has long maintained a distinct identity as a unique district of the diverse, larger metropolis to which it belongs.
Gràcia is both the smallest district by area, at 4.2 km2, and the second most densely populated neighbourhood in Barcelona. One of the hippest, most cosmopolitan areas in the city, Gràcia's intimate, close-packed streets and predominately low-rise, Mediterranean architecture give it a distinct feel. Its old, one-way streets are organized around a series of plazas, including Plaça de Vila de Gràcia, Plaça del Sol and Plaça de la Virreina. Old-world charm abounds.
To the northern end of Gràcia on El Carmel mountain lies Park Güell, arguably the most famous work of Catalonia's most famous architect, Antoni Gaudí.
On Carrer de les Carolines, between Plaça Lesseps and Fontana, lies CasaVicens, Gaudí's first major work of architecture and a staple in his canon of modernist design. An occupied house for decades, Casa Vicens only recently became a tourist attraction on November 15, 2017. The building was declared a UNESCO World Heritage Site in 2005.
Casa Fuster, a fabled, grand modernist-style hotel that lies at the edge of Gràcia's southern end on the Plaça de Nicolás Salmerón. Designed by Catalan master architect Lluís Domènech i Montaner between 1908 and 1910, the ornate house was converted to a hotel in 2004.
In the Plaça de la Vila de Gràcia, the bell tower marks the old administrative centre of the former independent municipality. The tower, a 33-meter-high octagonal figure, was built by Rovira i Trias between 1862 and 1864. A legend describes the Campana de Gràcia and its role in local conflicts from 1870.
Mercè Rodoreda's most important novel, La Plaça del Diamant, is set mainly in Gràcia at the time of the Second Spanish Republic and the Spanish Civil War.
The Gràcia population is a mix of young professionals and artists and a growing elderly population, with a significant portion of older Catalans who came of age as Franco came to power. Catalan flags adorn many a Gràcia window or terrace, symbols of the neighbourhood's fiercely pro-independence politics.
The most notable event in Gràcia is the Festes de Gràcia, which goes on for eight days every August.
The largest neighbourhood festival in Barcelona, the Festa Major de Gràcia began in 1817 as a celebration of the neighbourhood itself, at the time still an independent town.
Gràcia's residents compete for the crown of best street or square, selecting distinct themes and extensively decorating in Spanish carnival style, and organised by a number of local associations. The selected themes range from scenes of nature, to wild animals and creatures, to characters from popular culture.
Popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is also the stake to be won or lost in that struggle. It is the arena of consent and resistance.
Last August, Mayte & TheGrandma were enjoying the popular festivities of Gràcia,one of the most famous neighbourhoods of Barcelona. Both friends were visiting its main streets decorated by the own neighbours and they were enjoying beautiful performances and lots of popular activities.
The Grandma was very interested in investing. She uses to buy buildings to give them other uses, especially social ones. Mayte and TheGrandma were visiting one of the last acquisitions, the Casa Vicens, a wonderful building designed and built by Antoni Gaudí, the genius of Modernist architecture.
After visiting Casa Vicens, Mayte and The Grandma visited Park Güell,another Gaudí's work. It is a public park located on Carmel Hill that belongs to La Salut neighbourhood, in Gràcia district. Park Güell was assigned to Antoni Gaudí by Eusebi Güell, his main patron and mentor.
After some weeks of studies and big decisions, today, The Grandma has bought another building. It is located near Park Güell and she wants to transform it in a great centre to take care of the old people of Gràcia, these people who have kept popular traditions year after year despite difficulties, who explain the importance of traditions to new generations, who participate in a constant social activism and who keep the dignity of all neighbours alive against vulture funds and speculators.
The Park Güell is a public park system composed of gardens and architectonic elements located on Carmel Hill, in Barcelona, Catalonia. Carmel Hill belongs to the mountain range of Collserola -the Parc del Carmel is located on the northern face.
Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalanmodernism.
The park was built from 1900 to 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under Works of Antoni Gaudí.
Park Güell is the
reflection of Gaudí's artistic plenitude, which belongs to his
naturalist phase, first decade of the 20th century.
During this period, the
architect perfected his personal style through inspiration from organic
shapes. He put into practice a series of new structural solutions rooted
in the analysis of geometry. To that, the Catalan artist adds creative
liberty and an imaginative, ornamental creation. Starting from a sort of
baroquism, his works acquire a structural richness of forms and
volumes, free of the rational rigidity or any sort of classic premises.
Mayte visited Gràcia in Barcelona
In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of Sagrada Família.
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism -especially in the entrance stairway where the Catalan countries are represented -and from Catholicism- the Monument al Calvari, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.
On the other hand, many
experts have tried to link the park to various symbols because of the
complex iconography that Gaudí applied to the urban project. Such
references go from political vindication to religious exaltation,
passing through mythology, history and philosophy. Specifically, many
studies claim to see references to Freemasonry, despite the deep
religious beliefs of both Gaudí and Count Güell. These references have
not been proven in the historiography of the modern architect.
The multiplicity of
symbols found in the Park Güell is, as previously mentioned, associated
to political and religious signs, with a touch of mystery according to
the preferences of that time for enigmas and puzzles.
The park was originally
part of a commercially unsuccessful housing site, the idea of Count
Eusebi Güell, after whom the park was named. It was inspired by the
English garden city movement; hence the original English name Park, in
Catalan the name is Parc Güell.
The site was a rocky
hill with little vegetation and few trees, called MuntanyaPelada. It
already included a large country house called Larrard House or Muntaner
de Dalt House and was next to a neighbourhood of upper-class houses
called La Salut.
The
intention was to exploit the fresh air, well away from smoky factories,
and beautiful views from the site, with sixty triangular lots being
provided for luxury houses.
Count
Eusebi Güell added to the prestige of the development by moving in 1906
to live in Larrard House. Ultimately, only two houses were built,
neither designed by Gaudí.
One was intended to be a show house, but on
being completed in 1904 was put up for sale, and as no buyers came
forward, Gaudí, at Güell's suggestion, bought it with his savings and
moved in with his family and his father in 1906.
Mayte visited Gràcia in Barcelona
This house, where Gaudí lived from 1906 to 1926, was built by Francesc Berenguer in 1904. It contains original works by Gaudí and several of his collaborators. It is now the Casa Museu Gaudí, a museum, since 1963. In 1969 it was declared a historical artistic monument of national interest.
Park Güell is designed and composed to bring the peace and calm that one would expect from a park. The buildings flanking the entrance, though very original and remarkable with fantastically shaped roofs with unusual pinnacles, fit in well with the use of the park as pleasure gardens and seem relatively inconspicuous in the landscape when one considers the flamboyance of other buildings designed by Gaudí. One of these buildings houses a permanent exhibition of the Barcelona City History Museum MUHBA focused on the building itself, the park and the city.
The focal point of the park is the main terrace, surrounded by a long bench in the form of a sea serpent. The curves of the serpent bench form a number of enclaves, creating a more social atmosphere. Gaudí incorporated many motifs of Catalan nationalism, and elements from religious mysticism and ancient poetry, into the Park. Much of the design of the benches was the work not of Gaudí but of his often overlooked collaborator Josep Maria Jujol.
Roadways around the park to service the intended houses were designed by Gaudí as structures jutting out from the steep hillside or running on viaducts, with separate footpaths in arcades formed under these structures. This minimized the intrusion of the roads, and Gaudí designed them using local stone in a way that integrates them closely into the landscape. His structures echo natural forms, with columns like tree trunks supporting branching vaulting under the roadway, and the curves of vaulting and alignment of sloping columns designed in a similar way to his Church of Colònia Güell so that the inverted catenary arch shapes form perfect compression structures.
The large cross at the
park's high-point offers the most complete view of Barcelona and the
bay. It is possible to view the main city in panorama, with the Sagrada
Família and the Montjuïc area visible at a distance.
The
park supports a wide variety of wildlife, notably several of the
non-native species of parrot found in the Barcelona area. Other birds
can be seen from the park, with records including short-toed eagle. The
park also supports a population of hummingbird hawk moths.
Eusebi Güell i
Bacigalupi, 1st Count of Güell (15 December 1846-8 July 1918) was a
Catalan entrepreneur who profited greatly from the industrialrevolution
in Catalonia in the late 19th century. He married Luisa Isabel Lopez y
Bru, a daughter of Antonio López y López first Marquis of Comillas, in
1871 and the couple had ten children. One of Güell's daughters, Isabel
Güell i López, became a noted composer.
Eusebi Güell & The Grandma visiting Park Güell
Güell was born in Barcelona and was the son of Joan Güell i Ferrer, a wealthy industrialist from Torredembarra who had amassed considerable riches during his stay in Cuba and thanks to the numerous activities established at his return in Barcelona. His mother, Francesca Bacigalupi i Dolcer, was a member of an ancient merchant family from Genoa who had moved to Catalonia in the late 18th century.
Güell
took over his father's business, which was predominantly in textiles,
and added to the family's wealth. Güell met the young architect, AntoniGaudí, following a visit to the World Fair held in Paris in 1878. The pair become
lifelong friends and associates and found that they had mutual
interests, including religion, both were devout Catholics.
Güell became a Mediciesque patron to architect Antoni Gaudí. Their many
collaborations began at the start of Gaudí's career, when Güell saw
Gaudí as the man who could provide him with uniquely designed buildings.
Among
Güell's early commissions for the aspiring architect were the BodegaGüell (winery) at Garraf, the Pavellons Güell de Pedralbes and Park
Güell which was originally the Güell family home and only later
bequeathed to the state.
In 1890, Güell moved his textile factory from Sants to Santa Coloma de Cervello, north of Barcelona. There he established a worker's colony along the lines of the British worker's colonies which had been built in the late nineteenth century. The colony or village at Santa Coloma, now known as Colonia Güell, was built with high socialist ideals; homes with larger than average rooms, wide windows and good ventilation so that the textile workers and their families could enjoy comfortable living conditions. The village was to be relatively self-contained and included shops, cafes, a theatre, library and a school (only for boys).
In 1890, Gaudí was commissioned to build a church and crypt on the hill overlooking the village. However, Güell ran into financial difficulties and the project was eventually abandoned. In spite of its unfinished status, the work is a masterpiece and demonstrates many of Gaudí's signature architectural devices including catenary arches and tessellated finishes. The village, which is still fully operational boasts many fine examples of modernist architecture.
Reportedly on one occasion Gaudí said to Güell, Sometimes I think we are the only people who like this architecture. Güell replied, I don't like your architecture, I respect it.
In 1900, Güell bought land in Gràcia, Barcelona and employed Gaudí to build an estate for the rich. At that time, the area was considered to be remote and the project failed to realize commercial success. Only two houses were built. In 1923, the Güell family gave the land to the city, as Park Güell.
Eusebi Güell died in his house in Park Güell in 1918.
Today, The Grandma has visited Gràcia in Barcelona. Tomorrow, she is going to travel Roses and she has met with Mayte, her closer friend, to talk about photography and especially the importance of colours in it. Roses is a wonderful town in Girona, full of history vry well-known by its Greek and Phoenician past and its beautiful bay.
Taking photos in a bay is a difficult work because is a very opened place and you must pay attention to sun light and shadows if you want to catch the essence of sea and land colours. Mayte, who is a great expert in photography, has recommended The Grandma to visit together the Casa Vicens, an awesome building in Gràcia neighbourhood, an historic building and first work of AntoniGaudí in Barcelona that is property of an Andorran bank nowadays.
The Grandma, who is also Andorran, has phoned the owners of Casa Vicens to ask for a private visit to take as photos as they want without the presence of these hundreds of tourists who visit this emblematic building every day.
Before meeting Mayte, The Grandma has studied a new lesson of her Ms. Excel course.
Casa Vicens is a house in Barcelona, designed by Antoni Gaudí, now a museum. It is located in the neighbourhood of Gràcia on Carrer de les Carolines, 20-26. It is considered one of the first buildings of Art Nouveau and was the first house designed by Gaudí.
The style of Casa Vicens is a reflection of Neo-Mudéjar architecture, one of the popular styles that can be seen throughout Gaudí's architecture, including oriental and neoclassical as well. However, what was unique about Gaudí was that he mixed different styles together and incorporated a variety of different materials, such as iron, glass, ceramic tiles and concrete, many of which can be seen in this building.
Mayte visits Casa Vicens, Barcelona
Gaudí broke away from tradition and created his new language of architecture, and Casa Vicens represents a new chapter in the history of Catalan architecture as well as the beginning of a successful career for Gaudí.
In 1883, Gaudí received the commission from Manuel Vicens i Montaner for the completion of a summer residence. In February 1883, Manuel Vicens requested permission from the CityCouncil of Vila de Gràcia to build a summer house on Calle Sant Gervasi 26, currently Carolines 20-26. A month earlier he had requested permission to demolish the house he had inherited from his mother, Rosa Montaner given the poor state of conservation of the same.
Although Mr. Manuel Vicens remains a quite unknown character, his will mentions his profession: brokerage and exchange, which would mean that he alleged his connection with ceramics and that he would be reinforced by the inventory of 1885 of the ceramic factory Pujol i Bausis that is conserved in the Municipal Archive of Esplugues de Llobregat, there is documented Mr. Manuel Vicens i Montaner, of Gracia, as a debtor of 1,440 pesetas.
This early work exhibits several influences, most notably the Moorish or Mudéjar influence. Casa Vicens marks the first time Gaudí utilized an orientalist style, mixing together Hispano-Arabic inspiration. This was a style of architecture that completely breaks with the norm of the period. Not only does this house mark Gaudí's coming of age, being his first major work of architecture, but it also represents the flowering of Catalan modern architecture.
The plans for construction -site, main floor, facade and section- date back to January 15, 1883. Gaudí was granted a construction permit on March 8 of the same year (Number 239-71; certificate 613). This is recorded in the files of Les Corts de Sarrià. The house is constructed of undressed stone, rough red bricks, and colored ceramic tiles in both checkerboard and floral patterns.
At the time of this
construction, Gaudí was just beginning his career. Gaudí graduated from
the Provincial School of Architecture in Barcelona in 1878.
Mayte visits Casa Vicens, Barcelona
Throughout his time in school and in the period shortly after, his work portrayed a rather Victorian style, similar to that of his predecessors; however, shortly after finishing school he began to develop his own style that was characterized by Neo-Mudéjar influence. Some characteristics of this style include the juxtaposition of geometric masses, the use of ceramic tiles, metalwork, and abstract brick ornamentation.
In 1899, Casa Vicens was acquired by Dr. Antonio Jover, a surgeon from Havana, Cuba who was the grandfather of the owners of the building prior to its sale to MoraBanc in 2014. In 1924, Jover moved into the house. Before that, it had only been used as a holiday home.
During the time of his ownership the house was a private building and was not open to the public. However, the one day that visitors could enter was on 22 May for Saint Rita's day.
In 1925, architect Juan
Sierra de Martínez added on a new bay to the rear of the building,
following the same style as Gaudí, and also significantly extended the
size of the garden. He also modified the main floor entrances. With the
widening of Carrer de las Carolines, the access to the house had to be
changed.
The former entrance was converted into windows that open directly on to the street and can still be seen today. These renovations were done with maximum respect for the original work, and Gaudí himself even approved these plans.
During this time, he was busy constructing the Sagrada Família and was too busy to assist with the renovations for Casa Vicens. Martínez also built a cupola-topped chapel dedicated to Saint Rita at the angle furthest from the house. He continued this project until its completion date in 1926. Due to this work, Martínez won the prize for the best and most emblematic building of the city of Barcelona (Concurs annual d'edificis arístics) in 1927, awarded by the city council.
A final restoration took
place between the years 2001 and 2004. The aim of this restoration was
to consolidate the facades and furnishings. This work was done under
architect Ignacio Herrero Jover.
Mayte visits Casa Vicens, Barcelona
The roof of Casa Vicens is sloped on two sides and has four gables. A small path was built around the edge of the roof that allows for easy and accessible maintenance if necessary. A characteristic seen throughout Gaudí'swork is that the ventilation conducts and chimneys are intricately decorated in similar styles as the facade, adding to and extending the artistic drama of the architecture.
The house is divided into four levels: a basement, two floors for living and a loft. The original building was small and measured only 12 x 16 meters with two individual bays. A brick waterfall fountain was built as well. The basement is 302 metres square, the ground floor is 332 metres square plus 22 metres square of terrace, the first floor is 225 metres square plus 79 metres square of terrace, and the second floor is 272 metres square. The total area of the house is roughly 1266 metres square.
On the ground floor,
there is an extensive sitting-dining room, a small Turkish-style smoking
room, and two additional rooms. This floor was slightly elevated to
allow for better ventilation and improved lighting of the basement. The
second floor was where the family's bedrooms were. A horseshoe-shaped
stairway served as access to this floor. The third floor, or the attic,
was where the servants lived. The horseshoe-shaped stairway also
continued up to this floor. However, after the renovations in 1925 the
location of the stairway that gave access to the bedrooms was changed.
The basement, or bottom floor contained just enough space for a storage
room, junk room and a kitchen. The basement received its light from an
English-style courtyard.
Casa Vicens was built using a variety of different materials and vibrant colors. This style was a key characteristic of modern architecture. Some key elements include bricks, tiles and iron. The architecture of the house itself was unique, however the combination of paintings, sculptures and the applied arts adds essential complements that are characteristic of the modern style of Gaudí.
Neo-Mudéjar architecture is a type of Moorish revival architecture that Gaudí incorporated into Casa Vicens. This revival movement began in Madrid in the late 19th century, later spreading to other parts of the country. It is considered a special mixture of Muslim-Christian design.
Mayte visits Casa Vicens, Barcelona
Some
features of this ancient style such as horse-shoe arches, and abstract
and vibrant facade ornamentation can be seen in Casa Vicens; the
horse-shoe shaped staircase and the brick ornamentation on the front
facade.
El Capricho (1833-1835) and the Güell Estate of the later 1880s are two other examples of Neo-Mudéjar style in Gaudí's architecture.
The dining room is the most decorated room in the house and incorporated many figures from nature, such as birds and vines. Gaudí used pressed cardboard to create three dimensional model figures of ivy, fruit and flowers for the interior of the building. The dome painting in the sitting room gives one the impression of looking through a glass dome, to the sky. The interior ceiling ornamentation is decorated with colorful plants and flowers.
The first two levels of the house, as seen from the front facade facing Carrer de les Carolines, are lined with horizontal roles of ceramic tiles decorated with French marigolds that can also be seen on the floors in the interior of the house. These marigolds grew on the grounds of the estate, are an example of how Gaudí derived much of inspiration from his love of nature.
The cast iron railings with their plant motifs and iron palm leaves that form the gates to the house are other ways that Gaudí incorporated nature into his work. Plants that had to be destroyed for the construction of the building, such as the marigolds or the palm trees, were incorporated into the details of the building.
Casa Milà, popularly known as La Pedrera, is another example of Gaudí modern architecture whose design based on the ocean with its curved edges and seaweed motifs is another example of nature serving as his inspiration.
From the second floor up, these tiles switch to vertical and the floral pattern on them is replaced with green and white tiles. Elegant cherub like figures sit on the edge of the small balcony that faces the street. He paid particular attention to each and every detail, such as creating ridged edges to the corners of the building to avoid the austere appearance of classical architecture.
Casa Vicens was a private residence until 2014. After being purchased by MoraBanc, a major restoration was conducted and it was opened to the public as a museum in November 2017.
Today, Claire Fontaine and TheGrandma have enjoyed with the Majorcan community in Barcelona, which has celebrated Sant Antoni, a traditional and popular festival in the island.
Barcelona is formed by ten districts and more than 70 neighbourhoods.
One of the most active neighbourhoods is Gràcia,where people usually occupy squares and streets to celebrate cultural events.
Before visiting Gràcia, The Grandma has studied a new lesson of her Elementary LanguagePractice manual (Vocabulary 8).
The Sant Antoni bonfire festival held in Gràcia is actually a Mallorcantradition that has been brought to this Barcelona neighbourhood. It consists mainly of some exhibitions of popular culture from the Principality and Mallorca performed, for example, by capgrossos, xeremiers, castellers and diables -groups of big-headed figures, pipers, human-tower builders and firework-toting devils. Even though this tradition has been imported, it is now firmly established in the Gràcia neighbourhood and local people treat it as their own.
Three days of events and activities kick off at the Centre Artesà Tradicionàrius with Mallorcan folk songs and a chance to taste some of the typical food you can eat on the island. The centre holds a dance and concert with groups from Mallorca as a warm-up for the celebrations the following day.
Preparing the dinner in Plaça del Diamant, Gràcia
Because on Saturday evening there is a big cercavila and correfoc –a musical procession and fire run–staged by popular culture groups from sa Pobla and Gràcia, plus the odd guest sometimes. This procession is accompanied by the festival organisers from the district town hall to Plaça de la Virreina, where they light a bigbonfire for a night of fire-roasted sausages, folk dances and folk songs with a Mallorcan label. The festival is held in honour of St Anthony who, according to tradition, is the patron saint of animals, especially hoofed animals. Legend has it that he was a great friend of animals and, when he saw one that was injured, he took care of it.
The Feast of St Anthony is held on 17 January, the day he died. However, the Mallorca festival is copied in Gràcia on the last weekend in January, because the popular culture groups from Sa Pobla –the caparrots, the dimonisd’Albopàs and the xeremiers (pipers)– can come over then.
Antoni Torrens, a Sa Pobla resident who received the Barcelona Medal of Honour in 1997, suggested building a bonfire like those in Mallorca in Plaça de Diamant in 1992 so his sons, who were studying in Barcelona, could enjoy this revetlla mallorquina, a festival-eve celebration from the island.
Since then, more streets have joined in each year with their own bonfires, more of the local popular culture groups have got involved and the festival has developed into what it is today.
Have you ever wandered among bonfires in the streets of Barcelona in the midst of winter? Have you ever eaten sausages cooked over an open fire in the middle of a square? If you haven't and you'd like to tick that off your list of things to do in your lifetime, don't miss the Sa Pobla a Gràcia celebration.
Enjoying a Mallorcan dinner
Sa Pobla is a small town in Mallorca, where, every year for the feast day of Saint Anthony, they put on an ancestral and traditional party with bonfires, xeremiers who play types of flutes and bagpipes, plus ximbombes (friction drums), wandering poetryrecitals and singers of traditional folk songs.
In 1993 the tradition made its way to the streets and squares of Barcelona's Gràcia neighbourhood, and ever since, the party has been a reason for natives of Mallorca, Menorca and Eivissa, and other Balearic islanders to come together and celebrate, whether they're just visiting or live in Barcelona.
With traditional dancing, food, music, and yes, bonfires called foguerons in the middle of the street, get ready to join one of the most traditional festivals in Mallorca, without leaving Barcelona.
Although Saint Anthony's feast day is January 17, the Gràcia bonfires are lit the last weekend of the month so that groups from Sa Pobla come from Mallorca over to Barcelona for the celebration. This year the big day is last Saturday of January. Things kick off at noon with a session of folk music in the Lesseps, Estrella, Llibertat and Abaceria markets, with Mallorcan xeremiers and glossadors. At night activities get underway when the groups all meet up in Plaça de la Vila for traditional dances that lead into the parade, which sets out for Plaça de la Virreina. There, the bonfires are lit and the party really gets started.
If you're interested in more, before the big day there are plenty of related activities on as well. At the Centre Artesà Tradicionàrius (C.A.T.) bar, there is a tasting of Mallorcan products, brought to you by Glosadors de les Illes and Cor de Carxofa. The show is shared among three centres in Gràcia: the C.A.T., La Violeta de Gràcia and the Orfeó Gracienc.
There will be a traditional Mallorcan dance, ball de bot, by a historic group from the Islands, S'Estol des Gerricó and it possible to take a class to learn the most traditional Mallorcan dances, and then put them into practice in the square.
The Centre Artesà Tradicionàrius (CAT) is a space located in the district of Gràcia in Barcelona and specially designed to preserve and promote traditional music. The melodies, harmonies and rhythms that make a lot of pieces of the time when there were no electronic devices for listening to music are the stars of this popular area of Gracia.
In his thirty years, the CAT has played a key role in the recovery of traditional music. Every year, numerous musicians, singers, dancers and spectators still contribute to, and enjoy.
The CAT offers regularly concerts, dances and jam sessions and exchanges between soloists and groups. In addition, there are workshops learning instruments (diatonic accordion, percussion, violin or flute) and dance. Although preferred hosts are from traditional Catalan music, there are bands and soloists accommodate from other musical traditions: Basque Country, Galiza, Castile, Andalusia, Aquitaine, Occitania, Italy, Ireland, Greece...
The CAT celebrates its 30th anniversary with a special concert: Saba de Terrer. This title was extracted from a Maria Antònia Salvà's poem by Maria del Mar Bonet, the Mallorcan singer who has offered an unforgettable concert with Joan Amèric from Alzira (Valencian Country) and Kepa Junkera from Bilbao (Basque Country) and his trikitixa.
Claire Fontaine and The Grandma have had the opportunity to assist to this concert and enjoy it. Two hours of the best tradicional music performanced by a great group of musicians: Jordi Gaspar, Vicens Solsona, Tobal Rentero and Antonio Sánchez who have accompanied one of the most incredible voices of the Mediterranean lands: Maria del Mar Bonet.
Claire Fontaine & The Grandma at Tradicionàrius
Maria del Mar Bonet (Mallorca, 1947) studied ceramics in the school of arts, but eventually decided to dedicate herself to music. She arrived in Barcelona in 1967, where she began to sing with the group Els Setze Jutges. She published many music albums in Catalan, in spite of the ban on the Catalan language and its music during Francisco Franco's dictatorship.
After the dictatorship, she continued her career becoming one of the most acclaimed voices of the Mediterranean culture and being a cultural reference.
During this 2017, Maria del Mar Bonet is celebrating her 50 years of career and she's offering interesting concerts like Saba de Terrer, the concert which has offered tonight in the CAT.
Balearic, Catalan, Valencian and Basque songs like tonades, boleros, mateixes, romances, jotes, sons and traditional and popular songs which has becoming national anthems like La Balanguera have been performed in the scenery of the CAT to celebrate its 30 years of existence.
It has been a special night for The Grandma, who was born in Andorra, but whose ancestors were from Andalusia, Aragon, Catalonia and Mallorca. A beautiful night to remember that culture persists since the moment that the population adopts it, respects it and promotes it with proud.
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