A visit to friends in London and then a work project after my first Gaudí/Barcelona post at the start of this month prevented me from writing, so here’s the delayed second one.
Towards the end of our final few days in Barcelona last month having ‘grown-up’ time, me and Mrs TD alone, no little grandsons to amuse, we visited another of the houses designed by Catalan architect Antoni Gaudí. My previous post was about his final civic commission, Casa Milà; this one, Casa Vicens, was his first one.
It was built 1883-85 in the then suburban district of Gràcia as the summer house of the Vicens family. As the house’s official website says, it embodies ‘all of his sources, influences and experiences on other projects, and his own idea of a single-family home…where construction and ornamentation are integrated in such a way that one cannot be understood without the other.’
The most striking feature of the exterior and facades is his use of colourful ceramic tiles, featuring vivid yellow-orange marigolds (though some say these are Indian or Moorish yellow carnations that were found growing in the garden where the house was to be built), alternating with plain green and cream/white tiles. Here and in the interior decoration the influence is apparent of oriental style – Indian, Persian and Japanese, as well as Moorish-Hispanic details (all found together in the side of the house with its plashing fountain, slatted shitomi blinds and more colourful ornamental tiles).
Unlike most of his later undulating work with a defining reliance on curved lines, this house is built on geometric, straight-line principles. But Gaudí used all his skill to ensure that every window and balcony made maximum opportunity for the occupants to enjoy the semi-rural light, shade and fresh air. And there are a few of what were to become his trademark sinuous wrought-iron balcony railings.
Inside it’s also possible to see what was to become his main design inspiration: the natural world. So there are painted or papier-mâché flowers, fruit leaves, tendrils, palm-hearts and fronds, and plenty of birds (including a gorgeous flamingo – though I think these birds were done by other artists).
It doesn’t have the extravagant boldness and panache of his more famous later buildings, but the signs of his idiosyncratic genius are clearly apparent in this early work.