Whether for the lay tourist –– read our group and hundreds like us who thronged the park that day –– or students and teachers of Design, like the team from London that was right behind us, Barcelona's Park Guell makes for a fascinating tour. Their team leader was heard saying: “This park and the houses he built will teach you more about Gaudi and his style than scholarly volumes or academic tomes.” For us too, the park provided insights into the technological innovations and strikingly original style that legendary architect and designer Antoni Gaudi is celebrated for.
The amazing park is part of a World Heritage Site ‘Works of Antoni Gaudi' that includes several other highly impressive buildings scattered across Spain, constituting Gaudi's monumental legacy. Built over nearly one-and-a-half decades –– from 1900 to 1914, this garden complex on El Carmel Hill is part of Gracia district in the Catalana region.
The park is named after the man who bought this space and commissioned Gaudi's work — Count Eusebi Guell. He conceived of the place as a park-cum-high-end housing enclave for the elite since it had the twin advantages of fresh air and great views. However, the housing complex never happened, and ultimately only two houses were built –– neither designed by Gaudi. The Count moved into one existing villa after a few years. Later, Gaudi moved into the second house.
An enormous mosaic dragon at the park entrance –– which was vandalised in 2007 –– and two large buildings with striking pinnacles flanking the entrance, all by Gaudi, are the first of his work visitors get to see. Walking down the broad and dusty pathway, we saw enormous pillars, which seemed to grow out of the ground like tree-trunks, supporting the surrounding structures. We soon arrived at the house where Gaudi lived. A major draw at Park Guell, it has an interesting history.
Show-house turns residence
Built by Francesc Berenguer, it was intended originally as a show house, but no buyers came forward when it was completed, and it was put up for sale in 1904. On Count Guell's suggestion, Gaudi moved in with family in 1906, and lived there for two decades. The house currently contains original works by him, including some superbly designed furniture, and several of his collaborators. It became known as Casa Museu Gaudi or Gaudi House Museum in 1963. In 1969, the government declared it a historic artistic monument of national importance.
Further ahead is a large terrace that forms the park's focal point. Doric columns support the lower roof. It is bordered by a long and sinuous bench with stunning mosaics, which Gaudi built in the shape of a sea-serpent. Gaudi was known to be strongly influenced by natural shapes and it shows in his many works across the city, including this park where you see palm-tree-like columns along the pathways.
The multicoloured-tiled mosaics of the seats are a typical feature of Gaudi's work. The seating of this vibrant-coloured, winding bench is ergonomic, our guide told us, inviting us to sit down and see for ourselves. We were told that Gaudi, in his effort to get the perfect curvature for the bench surface, used the imprint left by a naked workman sitting on wet clay!
In this uniquely designed bench, the curves form little enclaves that enable a small group or family to sit together and have conversations. From here, one gets a great view of the Barcelona city and also of the famous Sagrada Familia Church, Gaudi's unfinished masterpiece. This serpentine bench is, not surprisingly, the most crowded and photographed area of the park.
There are colonnaded footpaths under the roadway viaduct with sloping external pillars since the vault supporting the road has a diagonal thrust. Gaudi's fondness for richly coloured tiled mosaic is well-known and the park has quite a few of these beautiful specimens on ceilings –– though the famous serpentine bench has the biggest variety. Gaudi incorporated elements from Catalan nationalism, ancient poetry and religious mysticism into the park, the guide pointed out.
Minimal intrusion
The walkway structures between the terraces and the road were built from stones quarried within the park so they are closely integrated into the landscape. Bird nests were installed in the walkways. To keep the garden ambience intact and create a tranquil atmosphere, Gaudi skilfully minimised the intrusiveness of the roads. For example, he used roadways designed as structures that jutted out from hillsides or ran on viaducts with separate footpaths in the arcades formed under these structures, we were told.
Gaudi also installed fountains and made provisions for plenty of vegetation. The trees support a variety of wildlife, we were told, such as the hummingbird hawk moths, parrots, etc., none of which we saw. They were probably put off by the touristy hordes.
