Sagrada Família

The idea for the Sagrada Família originated from José María Bocabella, a bookseller and founder of the Spiritual Association of Devotees of St. Joseph. Upon visiting the Vatican in 1872, Bocabella was inspired to construct a church modeled after the basilica at Loreto. The church's apse crypt was initiated on March 19, 1882, during the festival of St. Joseph, through donations and under the guidance of architect Francisco de Paula del Villar. However, Villar resigned a year later, and Antoni Gaudí took over the project, introducing radical changes to the design. Although Gaudí commenced work on the church in 1883, he wasn't appointed as the Architect Director until 1884.

Gaudí reportedly commented on the extended construction period by stating that his client was not in a hurry. When he passed away in 1926, the basilica was only 15 to 25 percent complete. Following Gaudí's death, his chief disciple, Domènec Sugrañes i Gras, took over the project until the outbreak of the Spanish Civil War in 1936. The conflict resulted in the destruction of portions of the unfinished basilica, as well as Gaudí's models and workshop, by Catalan anarchists. To rebuild the structure, reconstructed versions of the burned plans and modern adaptations were used. Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Gari, and Francesc Cardoner have continued the work. Carles Buïgas designed the illumination, and Jordi Bonet i Armengol, the son of Lluís Bonet, was the director until 2012. In the 1980s, Armengol began incorporating computers into the design and construction process.

The Sagrada Família has undergone significant construction in recent years. In 2000, the central nave vaulting was completed, and work then focused on constructing the transept vaults and apse. The Sagrada Família Schools building was also relocated to the southern corner of the site in 2002 and now houses an exhibition. Since 2006, efforts have been concentrated on constructing the main steeple of Jesus Christ and the southern enclosure of the central nave, which will become the Glory façade.

Advancements in computer-aided design technology have allowed stone to be shaped off-site by a CNC milling machine, which has replaced the traditional hand-carving methods of the 20th century. However, some Catalan architects have advocated for halting construction since 2008, in order to respect Gaudí's original designs which were partially destroyed but have been partially reconstructed in recent years.

In 2013, AVE high-speed trains began passing near the Sagrada Família through a tunnel that runs beneath the center of Barcelona. The tunnel's construction, which began in 2010, was controversial as some Sagrada Família engineers and architects disagreed with the Ministry of Public Works of Spain's claim that the project posed no risk to the church. The Board of the Sagrada Família and the neighborhood association AVE pel Litoral led a campaign against this route for the AVE, but it was ultimately unsuccessful. The tunnel was completed in October 2010, and service through it was inaugurated on 8 January 2013. The track in the tunnel utilizes a system by Edilon Sedra, which embeds the rails in an elastic material to dampen vibrations, and to date, no damage to the Sagrada Família has been reported.

In 2010, an organ was installed in the main nave of the unfinished basilica, allowing it to be used for liturgies. The church was consecrated by Pope Benedict XVI in November of the same year, with more than 6,500 people in attendance and another 50,000 watching from outside. The project's architect was later taken over by Jordi Faulí i Oller, with Mark Burry serving as Executive Architect and Researcher. The basilica's structure was reported to be 70% complete in 2015, and its six steeples were expected to be raised by 2026, which marks the centennial of Gaudí's death. However, it is estimated that the decorative elements will not be complete until 2030 or 2032. The annual construction budget of €25 million is funded by visitor entrance fees of €15 to €20. An international mass is celebrated every Sunday and holy day of obligation at the basilica, and visitors are welcome to pray in the chapel of the Blessed Sacrament and Penitence. In 2018, the necessary stone for the construction was found in a quarry in England.

A small fire ignited in the sacristy on 19 April 2011, leading to the evacuation of tourists and construction workers. The blaze caused damage to the sacristy and took 45 minutes to control.

As a result of the COVID-19 pandemic in Spain, construction on the basilica ceased temporarily, and the site was closed on 11 March 2020. This marked the first time since the Spanish Civil War that construction had stopped. The Gaudí House Museum in Park Güell also closed during this period. The basilica reopened on 4 July 2020, initially only to key workers.

On 29 November 2021, a 7 m (23 ft) illuminated crystal star with twelve points was installed on one of the main towers of the basilica, dedicated to the Virgin Mary. However, plans to construct a large stairway leading to the basilica's main entrance, which remained unfinished at the time, raised concerns as it may require the demolition of three city blocks, along with the homes of 1,000 individuals and several businesses.

Plan

Though not a cathedral, the Sagrada Família was designed to be comparably large and has a ground-plan reminiscent of Spanish cathedrals like Burgos, León, and Seville. Its structure, typical of Catalan and European Gothic cathedrals, boasts a complex array of parts, including double aisles, an ambulatory with seven apsidal chapels, numerous steeples, and three portals with distinct structures and ornamentation. Unlike other Spanish cathedrals, the Sagrada Família features a covered passage forming a rectangle around the church and passing through each portal's narthex. However, this plan merely hints at Gaudí's design's complexity and deviation from traditional church architecture, with few straight lines and no right angles.

Spires

As of 2022, eleven out of eighteen spires have been built in accordance with Gaudí's original design for the Sagrada Família. The spires represent the Twelve Apostles, the Virgin Mary, the four Evangelists, and Jesus Christ, with the tallest spire being dedicated to Jesus Christ. The central spire is intended to be surmounted by a giant cross, and the spires of the Evangelists are to be topped with sculptures of their respective symbols.

Newly discovered drawings signed by Gaudí indicate that the spire of the Virgin Mary was meant to be shorter than those of the evangelists, and this design will be followed during construction. The lower spires are topped with symbols of the Eucharist and plans call for tubular bells to be placed within the spires, driven by the wind to create an appropriate acoustic atmosphere.

Once completed, the Sagrada Família will become the tallest church building in the world, surpassing Ulm Minster by 11 metres.

Façades

Three grand façades make up the Church, with the Nativity façade facing East, the Passion façade to the West, and the unfinished Glory façade facing South. The Nativity façade, completed before work ceased in 1935, shows the strongest influence of Gaudí. The Passion façade, constructed from Gaudí's 1917 design, features stark and anguished figures, including Christ on the Cross, designed by Josep Maria Subirachs. The largest of the three, the Glory façade, began construction in 2002 and will portray various scenes, including Hell and Purgatory, as well as the seven deadly sins and seven heavenly virtues, depicting one's ascent to God.

Nativity Façade

The Nativity façade of the Sagrada Familia, built between 1893 and 1936, was the first to be completed and is dedicated to the birth of Jesus. The façade showcases Gaudí's naturalistic style, featuring sculptures that are intricately arranged and adorned with scenes and symbols from nature. The three porticos are separated by two large columns, with a turtle or tortoise at the base of each, representing the land and sea, and symbolizing time as something unchangeable. Two chameleons on either side of the façade represent change. The façade faces the rising sun to the northeast, representing the birth of Christ, and is divided into three porticos representing Hope, Faith, and Charity. The Tree of Life rises above the door of Jesus in the portico of Charity, and four steeples dedicated to Saints complete the façade.

Originally, Gaudí planned to paint every statue and figure on the façade, in a range of colors, to bring them to life. He chose the Nativity façade to embody the structure and decoration of the entire church, as an artistic and architectural example for others to follow. This façade was also chosen to be the first to begin construction, as it was the most accessible and attractive to the public. Gaudí believed that if he had started with the Passion façade, which he intended to be hard and bare, people would have withdrawn at the sight of it. Some of the sculptures were destroyed during the Spanish Civil War and were reconstructed by Japanese artist Etsuro Sotoo.

Passion Façade

Unlike the ornate Nativity Façade, the Passion Façade is stark and minimalistic, featuring bare stone and harsh, straight lines that resemble a skeleton's bones. It is dedicated to the suffering of Christ during his crucifixion and intended to represent humanity's sins. Construction began in 1954, following Gaudí's plans, and was completed in 1976. Sculptors led by Josep Maria Subirachs started work on the façade's various scenes in 1987. Their goal was to create a rigid, angular form that would provoke a dramatic effect and inspire fear in onlookers, using chiaroscuro to emphasize the severity of Christ's sacrifice.

The Passion Façade faces the setting sun, symbolizing Christ's death. Six large, inclined columns support it, resembling strained muscles. A pyramidal pediment made up of eighteen bone-shaped columns and culminating in a large cross with a crown of thorns sits atop the façade. The four steeples are dedicated to apostles, and there are three porticos representing the theological virtues.

The scenes on the façade depict the stations of the cross and are divided into three levels. The lowest level shows events from Jesus' last night, while the middle level portrays Calvary and the third and final level depicts Christ's death, burial, and resurrection. A bronze figure symbolizing the Ascension of Jesus connects the steeples of Saint Bartholomew and Saint Thomas. The façade also features a magic square based on the one in the 1514 print Melencolia I, with one number in each row and column reduced by one so they add up to 33 instead of 34.

Glory Façade

Construction of the principal façade of the Sagrada Familia, the Glory Façade, began in 2002 and it will offer access to the central nave. Dedicated to the Celestial Glory of Jesus, it represents the road to God, including Death, Final Judgment, and Glory, while Hell is reserved for those who deviate from God's will. Although Gaudí knew he would not live long enough to see the façade completed, he made a model that was later demolished in 1936. Fragments of the original model were used to develop the design for the façade, which may require the partial demolition of the block with buildings across the Carrer de Mallorca, with a decision to be proposed in May 2023.

The Glory Portico will be accessed by a large staircase leading over an underground passage built over Carrer de Mallorca, decorated with representations of Hell and vice. The portico will have seven columns dedicated to gifts of the Holy Spirit, with representations of the seven deadly sins at the base and the seven heavenly virtues at the top. This façade will have five doors corresponding to the five naves of the temple, with the central one having a triple entrance, making a total of seven doors representing the sacraments. The central doors feature the words of the Our Father inscribed in fifty different languages and the handles are the initials of Antoni Gaudí within the phrase "lead us not into temptation."

Geometric details

Gaudi's unique architectural style drew inspiration from nature rather than other artists or architects. The intricate decoration on the Nativity façade features elements of Art Nouveau, while the geometric tops on the steeples resemble Cubism. Though not typical of his style, Gaudi also incorporated hyperboloid structures into some parts of the façade, including the pelican scene and the cypress tree. In his later designs, ruled surfaces were prominent in the nave's vaults and windows, as well as the Passion Façade.

Symbolism

The decoration of the church incorporates liturgical words and themes throughout. The steeples display words like "Hosanna", "Excelsis", and "Sanctus". The Passion façade's great doors feature excerpts from the Passion of Jesus in various languages. The Glory façade will exhibit the Apostles' Creed and the Lord's Prayer in Catalan and other languages. The three entrances correspond to the virtues of Faith, Hope, and Love and parts of Christ's life. The Nativity façade represents his birth, the Glory façade his glory period, and the Passion façade his suffering. Additionally, sections of the church will represent concepts like saints, virtues, sins, and regions.

The church design features a Latin cross layout with five aisles and a transept with three aisles. The central nave vaults soar to 45 meters (148 feet), while the side nave vaults reach 30 meters (98 feet). The columns are spaced 7.5 meters (25 feet) apart, with the exception of those in the apse, which deviate from the grid due to the foundation on which they rest. As a result, a section of columns in the ambulatory creates a horseshoe pattern. The crossing is supported by four central porphyry columns, with a great hyperboloid and two rings of twelve hyperboloids currently under construction. The central vault reaches 60 meters (200 feet), while the apse is topped by a hyperboloid vault that reaches 75 meters (246 feet).

The interior columns are a unique design by Gaudí, with ever-changing surfaces resulting from the intersection of various geometric forms. For instance, a square base evolves into an octagon, then a sixteen-sided form, and ultimately to a circle as the column rises. The ornamentation throughout the church is comprehensive, with abstract shapes combining smooth curves and jagged points. Even details like the iron railings for balconies and stairways are full of curvaceous elaboration. Gaps in the apse floor allow a view of the crypt below, adding to the overall sense of awe-inspiring beauty.

Organ

The Blancafort Orgueners de Montserrat organ builders installed an organ with 26 stops (1,492 pipes) on two manuals and a pedalboard in the chancel in 2010. However, due to the church's vast size and challenging acoustics, several more organs will be added at different locations within the building. These organs will have their own individual consoles and can be played independently, but also simultaneously from a single mobile console. When fully completed, the organ will have a total of 8,000 pipes.

Geometric details

In the 1960s, art historian Nikolaus Pevsner described Gaudí's buildings as growing "like sugar loaves and anthills" and questioned the use of broken pottery as ornamentation, but praised the design's vitality and audacity. Reviews of the Sagrada Família have been mixed, with architects such as Louis Sullivan and Walter Gropius expressing admiration for its technical perfection and creative architecture. However, author George Orwell, critic James A. Michener, and historian Gerald Brenan criticized the building's appearance, calling it hideous, strange-looking, vulgar, and pretentious. Despite this, the Sagrada Família has become a symbol of Barcelona and attracts millions of visitors each year.

The building, along with six other Gaudí structures in Barcelona, is a UNESCO World Heritage Site, recognized for its exceptional creative contribution to architecture and building technology, and for anticipating and influencing many modern construction techniques. However, only the Crypt and Nativity Façade are included in the inscription.

The Nave, Crypt, Museum, Shop, and the Passion and Nativity steeples are accessible to visitors. However, to enter either of the steeples, visitors must make a reservation and purchase a ticket in advance. Access to the steeples is only possible by lift, followed by a short walk to the bridge between the steeples. Descending from the steeples requires navigating a very narrow spiral staircase with over 300 steps, and visitors with medical conditions are advised to proceed with caution.

Online ticket purchases have been available since June 2017. In August 2010, visitors could purchase an entry code either at Servicaixa ATM kiosks (part of CaixaBank) or online. During peak season (May to October), it is not uncommon for entrance reservations to have delays of up to a few days.

The Sagrada Família construction has been funded solely by private patrons since its initial stages, without any support from government or official church sources. To finance the ongoing work, the revenue generated from tourist ticket sales is utilized, while private donations are also welcomed through the Friends of the Sagrada Família program. In 2009, the construction budget amounted to €18 million.

In October 2018, the Sagrada Família trustees agreed to pay €36 million to the city authorities for a building permit after 136 years of unlicensed construction. The majority of the payment would be used to enhance access between the church and the Barcelona Metro. Finally, on 7 June 2019, the permit was granted by the city.