1 00:00:00,740 --> 00:00:04,240 (dramatic music) 2 00:00:04,240 --> 00:00:07,100 Started in 1883, 3 00:00:07,100 --> 00:00:10,830 the Sagrada Familia is an architectural exception. 4 00:00:10,830 --> 00:00:12,860 Much like the cathedrals of the middle ages 5 00:00:12,860 --> 00:00:16,273 that took countless years or even centuries to build. 6 00:00:18,020 --> 00:00:20,450 Pursuing the immense and crazy dream 7 00:00:20,450 --> 00:00:24,943 of an architectural genius, Antoni Gaudi. 8 00:00:26,790 --> 00:00:30,440 From its initial sketches to its current construction, 9 00:00:30,440 --> 00:00:33,950 the history of this Basilica recounts the obstinate quest 10 00:00:33,950 --> 00:00:35,440 to fully realize a work 11 00:00:35,440 --> 00:00:37,423 that defies the laws of architecture. 12 00:00:39,540 --> 00:00:42,330 Partially built while it's creator was alive, 13 00:00:42,330 --> 00:00:45,590 the Sagrada Familia has become an artistic and technical 14 00:00:45,590 --> 00:00:48,440 adventure for several generations of architects 15 00:00:48,440 --> 00:00:49,910 from around the world, 16 00:00:49,910 --> 00:00:52,443 some dedicating their entire lives to it. 17 00:00:54,430 --> 00:00:55,960 An even more difficult challenge 18 00:00:55,960 --> 00:00:57,490 because the torments of history 19 00:00:57,490 --> 00:00:59,770 partially destroyed the plans and models 20 00:00:59,770 --> 00:01:02,343 of this brilliant creator after his death. 21 00:01:05,150 --> 00:01:07,460 How have his successors continued 22 00:01:07,460 --> 00:01:10,400 and enhanced his work despite the obstacles? 23 00:01:10,400 --> 00:01:12,410 What architectural secrets, 24 00:01:12,410 --> 00:01:15,893 what artistic prowess has the Sagrada Familia revealed 25 00:01:15,893 --> 00:01:19,163 during its 150 years of construction? 26 00:01:23,662 --> 00:01:26,245 {\an8}(gentle music) 27 00:02:06,560 --> 00:02:10,663 {\an8}Barcelona, the Catalan capital in the Northeast of Spain. 28 00:02:15,480 --> 00:02:18,030 Today at the Sagrada Familia, 29 00:02:18,030 --> 00:02:20,120 the builders are working on the completion 30 00:02:20,120 --> 00:02:22,640 and the crowning of one of the 18 towers, 31 00:02:22,640 --> 00:02:25,963 each nearing 138 meters high. 32 00:02:27,420 --> 00:02:29,840 However, the ongoing construction 33 00:02:29,840 --> 00:02:32,963 has not kept the building from acquiring worldwide renown. 34 00:02:35,230 --> 00:02:37,470 That's one of its particularities, 35 00:02:37,470 --> 00:02:40,713 becoming a legend even before it's fully built. 36 00:02:42,640 --> 00:02:45,470 Visited by 5 million tourists each year, 37 00:02:45,470 --> 00:02:48,823 it has become the symbol of the city of Barcelona itself. 38 00:02:49,830 --> 00:02:53,510 Mixing nature's creations and Christian symbolism, 39 00:02:53,510 --> 00:02:56,523 its three facades tell the story of Jesus' life. 40 00:02:58,930 --> 00:03:03,050 The nativity facade built entirely under Gaudi's supervision 41 00:03:03,050 --> 00:03:07,053 has already been classified as a World Heritage Site. 42 00:03:09,560 --> 00:03:12,750 The interior resembles an immense forest of columns 43 00:03:12,750 --> 00:03:16,303 looking like giant plants that grew before turning to stone. 44 00:03:22,241 --> 00:03:23,840 What was the initial inspiration 45 00:03:23,840 --> 00:03:25,493 for this incredible monument? 46 00:03:30,860 --> 00:03:33,490 The Sagrada Familia is an extraordinary building. 47 00:03:33,490 --> 00:03:36,783 I mean, Gaudi had developed some new building systems. 48 00:03:37,650 --> 00:03:40,630 {\an8}He was somebody who had an extraordinary capacity 49 00:03:40,630 --> 00:03:44,350 {\an8}to play right at the edge, not only of the scientific, 50 00:03:44,350 --> 00:03:45,883 but also of taste. 51 00:03:50,810 --> 00:03:53,870 We have to remember that this is the 19th century, 52 00:03:53,870 --> 00:03:55,220 that there's no computers. 53 00:03:55,220 --> 00:03:57,430 Sagrada Familia is certainly an enigma. 54 00:03:57,430 --> 00:04:00,110 It's taken maybe 120 years 55 00:04:00,110 --> 00:04:01,960 for people to begin to understand it. 56 00:04:05,030 --> 00:04:05,863 Gaudi knew that 57 00:04:05,863 --> 00:04:07,313 he wouldn't finish the monument. 58 00:04:08,160 --> 00:04:11,320 So he made sure to transmit his ideas through drawings 59 00:04:11,320 --> 00:04:13,253 and most importantly models. 60 00:04:14,170 --> 00:04:16,610 Damaged over time and often enigmatic, 61 00:04:16,610 --> 00:04:19,523 today's architects are still trying to decipher them. 62 00:04:23,320 --> 00:04:25,560 To understand the true motivations 63 00:04:25,560 --> 00:04:28,470 behind this huge architectural challenge, 64 00:04:28,470 --> 00:04:31,353 one needs to go back to the origins of the project. 65 00:04:35,530 --> 00:04:40,530 Its story began in 1881 when the very philanthropic 66 00:04:40,830 --> 00:04:43,020 Josep Bocabella and and his group, 67 00:04:43,020 --> 00:04:46,170 the Followers of St. Joseph decided to construct 68 00:04:46,170 --> 00:04:50,723 a temple of atonement, completely financed by charity. 69 00:04:51,950 --> 00:04:53,880 Built to honor the holy family 70 00:04:53,880 --> 00:04:56,310 and christened the Sagrada Familia, 71 00:04:56,310 --> 00:04:59,930 it was meant to redeem the sins of the city of Barcelona 72 00:04:59,930 --> 00:05:02,263 corrupted by the industrial revolution. 73 00:05:07,840 --> 00:05:11,483 The association bought land in an undeveloped area. 74 00:05:14,820 --> 00:05:17,240 The project was entrusted to an architect 75 00:05:17,240 --> 00:05:19,623 who quit several months after the work began. 76 00:05:20,540 --> 00:05:23,780 One of his assistants, who was only 31 at the time, 77 00:05:23,780 --> 00:05:25,323 took over the construction. 78 00:05:26,170 --> 00:05:28,143 His name was Antoni Gaudi. 79 00:05:29,330 --> 00:05:31,880 This young architect had worked on the extension 80 00:05:31,880 --> 00:05:34,200 of one of the major spiritual and cultural sites 81 00:05:34,200 --> 00:05:38,050 in Catalonia, the Monastery of Montserrat, 82 00:05:38,050 --> 00:05:41,710 located 50 kilometers north of Barcelona. 83 00:05:41,710 --> 00:05:44,700 Here in the heart of these magical mountains, 84 00:05:44,700 --> 00:05:46,430 Gaudi found some of the inspiration 85 00:05:46,430 --> 00:05:47,873 of his future great work. 86 00:05:52,720 --> 00:05:54,490 The fantastic peaks of Montserrat 87 00:05:54,490 --> 00:05:57,233 inspired the Sagrada Familia's slender silhouette. 88 00:06:02,560 --> 00:06:04,960 He wanted his church to be a mountain, 89 00:06:04,960 --> 00:06:07,653 a timeless landmark in the Catalan landscape. 90 00:06:10,930 --> 00:06:13,270 Gaudi wasn't an unknown. 91 00:06:13,270 --> 00:06:14,860 He had already proven the depth 92 00:06:14,860 --> 00:06:17,430 of his architectural knowledge, his creativity 93 00:06:17,430 --> 00:06:19,723 and his skill at mixing different styles. 94 00:06:23,880 --> 00:06:26,530 This was especially apparent in the Casa Vicens, 95 00:06:26,530 --> 00:06:29,370 Gaudi's first major project in Barcelona, 96 00:06:29,370 --> 00:06:31,260 which shows the multiple influences 97 00:06:31,260 --> 00:06:33,853 of the young architect, then only 28. 98 00:06:35,080 --> 00:06:37,630 It looks like a free and joyful patchwork 99 00:06:37,630 --> 00:06:41,730 of shapes and patterns imported from various cultures. 100 00:06:41,730 --> 00:06:43,230 Like these arcades, 101 00:06:43,230 --> 00:06:47,230 drawn from Muslim traditions and Japanese louvers. 102 00:06:47,230 --> 00:06:49,210 Everything is in thoughtful harmony 103 00:06:49,210 --> 00:06:50,783 with the surrounding landscape. 104 00:06:55,130 --> 00:06:59,320 Boldly combining naturalism, modernism and Orientalism, 105 00:06:59,320 --> 00:07:01,750 Gaudi used a vast architectural language 106 00:07:01,750 --> 00:07:04,053 that reveals how his imagination worked. 107 00:07:07,960 --> 00:07:10,060 According to Juan Jose Lahuerta, 108 00:07:10,060 --> 00:07:12,140 Director of the Gaudi Chair, 109 00:07:12,140 --> 00:07:15,240 to understand the source of Gaudi's inspiration. 110 00:07:15,240 --> 00:07:18,850 You need to look at the works the young architect studied, 111 00:07:18,850 --> 00:07:20,880 even if it means breaking the myth 112 00:07:20,880 --> 00:07:23,379 of the self-taught genius. 113 00:07:23,379 --> 00:07:25,610 (man speaking Spanish) 114 00:07:25,610 --> 00:07:28,530 The truth is that Gaudi traveled very little. 115 00:07:28,530 --> 00:07:31,763 {\an8}He wasn't very motivated to go see monuments in person. 116 00:07:33,220 --> 00:07:36,223 {\an8}Because of this I think he's extremely modern. 117 00:07:37,100 --> 00:07:39,010 Because he's interested in knowing about 118 00:07:39,010 --> 00:07:42,543 the world's architecture, but only through pictures. 119 00:07:44,152 --> 00:07:45,440 The pyramids of Egypt, 120 00:07:45,440 --> 00:07:48,073 Indian, Japanese, Chinese architecture. 121 00:07:50,170 --> 00:07:52,160 These are the images that Gaudi looked at 122 00:07:52,160 --> 00:07:53,310 while he was at school. 123 00:07:55,948 --> 00:07:58,620 And you could see all of this without thinking about 124 00:07:58,620 --> 00:08:01,680 the huge distance between any two pictures 125 00:08:01,680 --> 00:08:03,513 of completely different periods. 126 00:08:07,306 --> 00:08:10,560 And so all of these images accumulated 127 00:08:10,560 --> 00:08:13,850 until his original architecture emerged. 128 00:08:13,850 --> 00:08:17,893 Collage is a fundamental technique in Gaudi's architecture. 129 00:08:21,690 --> 00:08:23,180 And yet the architecture 130 00:08:23,180 --> 00:08:25,186 that truly inspired him throughout his life, 131 00:08:25,186 --> 00:08:28,033 is nature in all its forms. 132 00:08:28,900 --> 00:08:32,173 In fact, this fascination came from his childhood. 133 00:08:36,890 --> 00:08:39,610 Suffering from rheumatism,young Antonio 134 00:08:39,610 --> 00:08:41,460 didn't play much with other children. 135 00:08:42,980 --> 00:08:45,530 In the village of Riudoms where his father worked 136 00:08:45,530 --> 00:08:48,933 as a boiler maker, Gaudi loved to observe nature. 137 00:08:50,150 --> 00:08:53,830 In doing so, he developed both an analytical 138 00:08:53,830 --> 00:08:56,060 and artistic viewpoint that became 139 00:08:56,060 --> 00:08:58,373 a large component of his architecture. 140 00:09:01,550 --> 00:09:04,340 These references to nature became especially important 141 00:09:04,340 --> 00:09:07,630 in his design, starting in the 1900s. 142 00:09:07,630 --> 00:09:09,320 In particular, in the mansions 143 00:09:09,320 --> 00:09:11,653 of some of Barcelona's richest families. 144 00:09:19,200 --> 00:09:23,120 Here, nature is transformed and fantasized, 145 00:09:23,120 --> 00:09:25,010 evoking the landscapes of his youth 146 00:09:25,010 --> 00:09:28,192 where he often returned to rest and reconnect 147 00:09:28,192 --> 00:09:30,573 to the source of his inspiration. 148 00:09:36,030 --> 00:09:39,070 Here he was inspired by the strange shapes 149 00:09:39,070 --> 00:09:41,280 sculpted by the wind and the rain 150 00:09:41,280 --> 00:09:43,063 in the red mountain sandstone. 151 00:09:51,920 --> 00:09:53,800 These similarities and resonances 152 00:09:53,800 --> 00:09:56,513 are found in the architect's most famous works. 153 00:09:59,890 --> 00:10:04,840 As here at the Casa Mila, nicknamed La Pedrera 154 00:10:04,840 --> 00:10:06,283 or the stone quarry. 155 00:10:11,900 --> 00:10:15,550 It's facade looks like a giant sculpture carved in stone, 156 00:10:15,550 --> 00:10:18,570 like a fortress guarded by the chimney warriors 157 00:10:18,570 --> 00:10:21,363 that later inspired the Star Wars creators. 158 00:10:26,820 --> 00:10:28,600 Silhouettes found in the outlines 159 00:10:28,600 --> 00:10:31,043 of his dear Catalan mountainsides. 160 00:10:37,350 --> 00:10:40,450 Gaudi's genius and inspiration run throughout a city 161 00:10:40,450 --> 00:10:43,083 that grew rapidly after 1860. 162 00:10:47,450 --> 00:10:51,493 Faced with a massive rural exodus, the city had to expand. 163 00:10:52,710 --> 00:10:56,043 It's the Eixample, which means extension in Catalan. 164 00:10:57,330 --> 00:10:59,790 These new neighborhoods extended the old city 165 00:10:59,790 --> 00:11:01,393 perfectly geometrically. 166 00:11:03,800 --> 00:11:06,843 Very modern and rational urban planning for the time. 167 00:11:12,710 --> 00:11:15,720 Gaudi brought his most fantastic creations to life 168 00:11:15,720 --> 00:11:18,943 within the context of this city's total metamorphosis. 169 00:11:20,920 --> 00:11:23,080 A city where this gigantic church 170 00:11:23,080 --> 00:11:24,913 gradually took shape in his mind. 171 00:11:27,060 --> 00:11:29,750 To understand the monument's evolution 172 00:11:29,750 --> 00:11:32,763 one must dive into the albums of the Sagrada Familia. 173 00:11:35,840 --> 00:11:37,600 Published in Gaudi's time, 174 00:11:37,600 --> 00:11:40,073 they describe the construction as it advanced. 175 00:11:50,538 --> 00:11:54,050 In April, 1917, the public discovered an image 176 00:11:54,050 --> 00:11:56,700 of the entire project for the first time. 177 00:11:56,700 --> 00:11:58,690 It was a shock. 178 00:11:58,690 --> 00:12:02,770 {\an8}So we've got here a beautiful feel of, 179 00:12:02,770 --> 00:12:05,260 {\an8}I would say the extravagance of the building. 180 00:12:05,260 --> 00:12:06,560 Then we have something very unusual, 181 00:12:06,560 --> 00:12:07,910 the central tower going up 182 00:12:07,910 --> 00:12:10,530 with these four big towers coming off it, 183 00:12:10,530 --> 00:12:13,270 which will become like spiral staircases 184 00:12:13,270 --> 00:12:15,810 up towards the heavens as well. 185 00:12:15,810 --> 00:12:17,960 This feels a kind of utopia, 186 00:12:17,960 --> 00:12:20,943 but of course it's a utopia which is now being realized. 187 00:12:23,860 --> 00:12:26,220 Gaudi knew that he would never see the end of the cathedral. 188 00:12:26,220 --> 00:12:27,670 It was impossible. 189 00:12:27,670 --> 00:12:30,940 What he wants to leave is one part finished. 190 00:12:30,940 --> 00:12:34,270 So he just takes one facade, the Nativity Facade, 191 00:12:34,270 --> 00:12:36,280 and just goes straight up. 192 00:12:36,280 --> 00:12:38,130 And that took him, 193 00:12:38,130 --> 00:12:41,010 probably about the last 30 years of his life. 194 00:12:41,010 --> 00:12:44,937 I mean, there's a wonderful photo somewhere in here. 195 00:12:44,937 --> 00:12:45,770 Oh here it is. 196 00:12:46,640 --> 00:12:50,610 This is what he saw when he died or just before he died. 197 00:12:50,610 --> 00:12:52,310 So that forever and a day, 198 00:12:52,310 --> 00:12:54,333 we know what actually Gaudi wanted. 199 00:12:58,690 --> 00:13:00,090 He wanted a narrative. 200 00:13:00,090 --> 00:13:02,523 It had to be after all, a Bible in stone. 201 00:13:10,110 --> 00:13:12,940 Following Gaudi's death in 1926, 202 00:13:12,940 --> 00:13:16,070 building continued according to his wishes. 203 00:13:16,070 --> 00:13:19,690 Even if the main facade wasn't embraced by everyone, 204 00:13:19,690 --> 00:13:21,543 just like all of Gaudi's work. 205 00:13:23,860 --> 00:13:26,640 The modernism that it embodied was harshly criticized 206 00:13:26,640 --> 00:13:28,590 by some of the movements that followed. 207 00:13:31,900 --> 00:13:34,840 It was caricatured in newspapers. 208 00:13:34,840 --> 00:13:38,510 Fortunately Gaudi had his disciples, 209 00:13:38,510 --> 00:13:42,090 notably Domenec Sugranes i Gras, 210 00:13:42,090 --> 00:13:44,760 who worked with him for nearly 30 years, 211 00:13:44,760 --> 00:13:49,320 continuing his work until civil war tore the country apart. 212 00:13:49,320 --> 00:13:54,320 (gunshots banging) (people yelling) 213 00:13:54,540 --> 00:13:58,480 In 1936, nationalists supported by the Church, 214 00:13:58,480 --> 00:14:01,613 fought Republicans who were attacking religious monuments. 215 00:14:08,940 --> 00:14:12,760 Fortunately, the Sagrada Familia was spared, 216 00:14:12,760 --> 00:14:15,973 but Gaudi's workshop next to the building burned. 217 00:14:18,300 --> 00:14:20,473 This workshop was a kind of grotto, 218 00:14:23,260 --> 00:14:26,390 a creative refuge where Gaudi experimented, 219 00:14:26,390 --> 00:14:30,123 drew, designed plans and models for his great work. 220 00:14:33,480 --> 00:14:36,633 Including the extremely precious model of the nave. 221 00:14:43,190 --> 00:14:44,780 Without these elements, 222 00:14:44,780 --> 00:14:47,680 how to continue building the Sagrada Familia 223 00:14:47,680 --> 00:14:50,510 according to its creator's intentions? 224 00:14:50,510 --> 00:14:52,780 How to understand how he worked 225 00:14:52,780 --> 00:14:54,823 and the secrets of his innovations? 226 00:14:57,060 --> 00:14:59,833 The project was completely orphaned at this point. 227 00:15:03,230 --> 00:15:06,323 For his successors, the challenge has been complex. 228 00:15:08,400 --> 00:15:10,880 In order to build the Sagrada Familia, 229 00:15:10,880 --> 00:15:14,123 they had to first reconstruct Gaudi's plaster models. 230 00:15:17,000 --> 00:15:19,890 When construction resumed in the 1950s, 231 00:15:19,890 --> 00:15:22,160 the first step was dealing with this fragmented 232 00:15:22,160 --> 00:15:25,773 documentation, this giant puzzle to recreate. 233 00:15:27,650 --> 00:15:31,610 Nearly 10,000 pieces of Gaudi's original models 234 00:15:31,610 --> 00:15:35,560 had to be identified one by one, before reassembling 235 00:15:35,560 --> 00:15:38,083 and reintegrating them into the whole project. 236 00:15:50,790 --> 00:15:53,170 Today, the process of recreation 237 00:15:53,170 --> 00:15:55,113 is done using virtual models. 238 00:15:56,010 --> 00:15:59,460 This allows them to create the missing pieces on the screen, 239 00:15:59,460 --> 00:16:02,783 and then to make extremely accurate models of the monument. 240 00:16:07,690 --> 00:16:10,260 Like in Gaudi's time, the Sagrada Familia 241 00:16:10,260 --> 00:16:12,963 comes to life in the workshop before construction. 242 00:16:17,709 --> 00:16:20,530 (man speaking Spanish) 243 00:16:20,530 --> 00:16:23,730 Gaudi was looking for verticality, 244 00:16:23,730 --> 00:16:26,548 slenderness, lightness. 245 00:16:26,548 --> 00:16:28,423 Which would also bring light. 246 00:16:30,140 --> 00:16:33,290 He wanted the light to enter through all of the facades 247 00:16:33,290 --> 00:16:35,140 and through the vaults and the naves. 248 00:16:36,860 --> 00:16:41,028 {\an8}He also wanted the tower structures and the interior 249 00:16:41,028 --> 00:16:46,028 {\an8}to move upwards and to get the feeling of being elevated 250 00:16:46,690 --> 00:16:48,503 and of spiritual elevation too. 251 00:16:50,430 --> 00:16:53,460 And yet it doesn't need exterior buttresses. 252 00:16:53,460 --> 00:16:55,740 These are improvements on the Gothic style, 253 00:16:55,740 --> 00:16:56,983 as Gaudi himself said. 254 00:17:00,528 --> 00:17:03,050 Gaudi understood perfectly 255 00:17:03,050 --> 00:17:05,730 the mysteries of Gothic architecture. 256 00:17:05,730 --> 00:17:08,470 He had even restored the Palma de Mallorca Cathedral 257 00:17:08,470 --> 00:17:10,973 in the Balearic islands in 1904. 258 00:17:12,050 --> 00:17:15,130 But for him, buttresses were like crutches, 259 00:17:15,130 --> 00:17:17,800 supporting a defective body. 260 00:17:17,800 --> 00:17:21,430 He wanted to build as big, as high, 261 00:17:21,430 --> 00:17:24,363 but without this technique that he considered imperfect. 262 00:17:26,340 --> 00:17:29,350 And so what is the secret of the Sagrada Familia, 263 00:17:29,350 --> 00:17:32,790 whose nave peaks at nearly 70 meters high, 264 00:17:32,790 --> 00:17:35,133 and which is supported by nary a crutch? 265 00:17:39,230 --> 00:17:42,320 The answer lies in one of Gaudi's lesser known works 266 00:17:42,320 --> 00:17:44,003 on the outskirts of Barcelona. 267 00:17:50,900 --> 00:17:53,220 There you'll find a small, unusual church 268 00:17:53,220 --> 00:17:56,743 where Gaudi experimented with a new architectural technique. 269 00:18:02,679 --> 00:18:05,170 (man speaks in Spanish) 270 00:18:05,170 --> 00:18:08,570 {\an8}Here, all of the columns are slanted 271 00:18:08,570 --> 00:18:10,910 {\an8}because they follow the direction of the force 272 00:18:10,910 --> 00:18:14,013 {\an8}of the load that they have to support from above. 273 00:18:15,378 --> 00:18:17,893 It's a self-supporting structure. 274 00:18:19,240 --> 00:18:23,703 Thanks to parabolic shapes and catenary arches. 275 00:18:29,160 --> 00:18:31,313 How do catenary arches work? 276 00:18:32,310 --> 00:18:35,293 Imagine a hanging chain with weights added to it. 277 00:18:36,700 --> 00:18:38,490 The loads are placed along the chain 278 00:18:38,490 --> 00:18:41,560 to create a natural arch shape. 279 00:18:41,560 --> 00:18:44,740 When this shape is inverted and built in brick, 280 00:18:44,740 --> 00:18:46,463 the arch is self-supporting. 281 00:18:50,996 --> 00:18:53,290 Gaudi invented a way 282 00:18:53,290 --> 00:18:56,793 to do the numerical calculations of the structure. 283 00:18:59,330 --> 00:19:02,830 He used a model with strings at the end of which 284 00:19:02,830 --> 00:19:04,963 hung small sacks of lead pellets, 285 00:19:05,960 --> 00:19:08,730 whose weight was proportional to the load 286 00:19:08,730 --> 00:19:11,153 the vault's arch had to support. 287 00:19:14,790 --> 00:19:17,510 Using this method, Gaudi constructed 288 00:19:17,510 --> 00:19:20,223 the entire structure of his church upside down. 289 00:19:21,830 --> 00:19:23,800 The model looked like a strange suspension 290 00:19:23,800 --> 00:19:25,100 of small ropes and weights 291 00:19:25,100 --> 00:19:27,450 that reproduced the system of force 292 00:19:27,450 --> 00:19:30,150 and determined the correct inclination of the columns. 293 00:19:31,980 --> 00:19:33,920 Once turned right side up, 294 00:19:33,920 --> 00:19:37,810 it reveals an edifice capable of rising to over 40 meters 295 00:19:37,810 --> 00:19:40,463 without the support of abutments or buttresses. 296 00:19:49,750 --> 00:19:52,480 Gaudi conceived the columns of the Sagrada Familia 297 00:19:52,480 --> 00:19:54,173 following the same principle. 298 00:19:55,200 --> 00:19:58,690 He created a gigantic model on a one to 10 scale, 299 00:19:58,690 --> 00:20:01,640 which was in the workshop that burned during the civil war. 300 00:20:06,350 --> 00:20:08,990 This model restored and completed 301 00:20:08,990 --> 00:20:11,330 in the second half of the 20th century 302 00:20:11,330 --> 00:20:14,553 helped architects construct the Sagrada Familia's naves. 303 00:20:21,700 --> 00:20:25,570 Beginning in 1997, it took nearly 15 years 304 00:20:25,570 --> 00:20:27,570 to construct the main parts of the nave. 305 00:20:30,260 --> 00:20:34,110 It became clear very quickly, how complex the shapes were 306 00:20:34,110 --> 00:20:36,760 that Gaudi had imagined, tucked away in his workshop. 307 00:20:37,910 --> 00:20:40,860 These strange conglomerations of surfaces 308 00:20:40,860 --> 00:20:42,600 proved simply inconceivable 309 00:20:42,600 --> 00:20:44,573 for the software programs of the time. 310 00:20:46,400 --> 00:20:49,560 So they called upon Mark Burry, 311 00:20:49,560 --> 00:20:52,180 an Australian architect and researcher, 312 00:20:52,180 --> 00:20:54,683 to decipher the nave's complex geometry. 313 00:20:57,590 --> 00:20:59,350 Astonishing thing that Gaudi pulled off 314 00:20:59,350 --> 00:21:04,350 {\an8}was finding a way to get these surfaces described. 315 00:21:05,240 --> 00:21:07,210 {\an8}Trouble was he didn't actually explain 316 00:21:07,210 --> 00:21:10,220 how we were to put this into practice. 317 00:21:10,220 --> 00:21:12,220 So I was sort of in charge of finding 318 00:21:12,220 --> 00:21:15,700 the best technology available 319 00:21:15,700 --> 00:21:18,550 around the world for just playing with the geometry. 320 00:21:18,550 --> 00:21:21,680 And none of the architectural software packages 321 00:21:21,680 --> 00:21:23,650 were of any use at all. 322 00:21:23,650 --> 00:21:27,010 And that's why we ended up going to look at other designers 323 00:21:27,010 --> 00:21:30,500 like aircraft designers and boat designers, 324 00:21:30,500 --> 00:21:33,150 and then thus taking parts of the building, 325 00:21:33,150 --> 00:21:35,070 which Gaudi himself had resolved, 326 00:21:35,070 --> 00:21:37,080 even though the models were smashed 327 00:21:37,080 --> 00:21:39,023 and then reverse engineered them. 328 00:21:41,160 --> 00:21:44,380 One by one, Mark Burry managed to extract 329 00:21:44,380 --> 00:21:45,730 the basic shapes that make up 330 00:21:45,730 --> 00:21:47,573 Gaudi's architectural alphabet. 331 00:21:51,720 --> 00:21:55,540 So in this you're seeing all three doubly-ruled surfaces. 332 00:21:55,540 --> 00:21:57,890 The hyperboloid revolution of one sheet, 333 00:21:57,890 --> 00:22:02,360 the hyperbolic parabaloid and the triangular plane, 334 00:22:02,360 --> 00:22:06,610 and the entire nave has been formulated 335 00:22:06,610 --> 00:22:08,143 using that combination. 336 00:22:12,030 --> 00:22:14,250 Today, held up by a forest 337 00:22:14,250 --> 00:22:16,906 of tree-like columns, the main nave displays 338 00:22:16,906 --> 00:22:19,163 45 meter high vaults, 339 00:22:20,820 --> 00:22:23,830 towering above the transept at 60 meters 340 00:22:23,830 --> 00:22:26,403 and reaching 75 meters at the apse. 341 00:22:28,780 --> 00:22:32,570 And all of this without exterior buttresses, 342 00:22:32,570 --> 00:22:34,813 the only building like it in the world. 343 00:22:36,120 --> 00:22:39,003 Gaudi's crazy dream has come true. 344 00:22:40,830 --> 00:22:43,040 We don't know how he would've proceeded technically 345 00:22:43,040 --> 00:22:44,253 to reach this result. 346 00:22:45,110 --> 00:22:47,230 However, we do know that he had imagined 347 00:22:47,230 --> 00:22:49,080 these never-before-seen shapes 348 00:22:49,080 --> 00:22:51,803 for both structural and aesthetic reasons. 349 00:22:56,300 --> 00:22:58,830 In the end, time has been on the side 350 00:22:58,830 --> 00:23:02,340 of this extravagant Sagrada Familia project. 351 00:23:02,340 --> 00:23:06,090 Today's technology will also allow the master's workshop 352 00:23:06,090 --> 00:23:08,350 to be virtually reconstructed, 353 00:23:08,350 --> 00:23:12,750 just as it was before fire destroyed it in 1936. 354 00:23:12,750 --> 00:23:14,380 For Juan Jose Lahuerta, 355 00:23:14,380 --> 00:23:16,620 the Director of the Gaudi chair at the Polytechnic 356 00:23:16,620 --> 00:23:21,143 University of Barcelona, it will be another dream come true. 357 00:23:26,746 --> 00:23:30,420 Hubert Nodex specializes in virtual reality architecture, 358 00:23:30,420 --> 00:23:33,180 together with his colleague, Madelein Faure, 359 00:23:33,180 --> 00:23:36,240 they've created a 3D model of this workspace 360 00:23:36,240 --> 00:23:38,853 with all its details and unusual objects. 361 00:23:43,400 --> 00:23:46,900 It is now possible to visit Gaudi's studio as he left it 362 00:23:46,900 --> 00:23:49,653 before his death almost a century ago. 363 00:23:56,210 --> 00:23:58,473 Wow, it's really spectacular. 364 00:24:00,650 --> 00:24:02,000 You feel like you're there. 365 00:24:03,902 --> 00:24:06,992 It's true that his workshop didn't look like 366 00:24:06,992 --> 00:24:09,423 a typical architect's office. 367 00:24:10,440 --> 00:24:12,950 On the contrary, what we see in Gaudi's workspace 368 00:24:12,950 --> 00:24:17,460 is a grotto packed with all kinds of materials. 369 00:24:17,460 --> 00:24:19,600 His process was to work with his hands, 370 00:24:19,600 --> 00:24:22,373 mixing materials, finding new ones. 371 00:24:23,620 --> 00:24:25,700 {\an8}This is similar to a handyman's work 372 00:24:25,700 --> 00:24:28,723 {\an8}who can always find what he needs for the project at hand. 373 00:24:30,660 --> 00:24:33,040 In his mind, there was no difference 374 00:24:33,040 --> 00:24:35,013 between structure and ornament. 375 00:24:36,000 --> 00:24:38,540 No difference between materials. 376 00:24:38,540 --> 00:24:40,610 Architecture can only be understood 377 00:24:40,610 --> 00:24:42,660 as the convergence of all these elements. 378 00:24:48,160 --> 00:24:49,600 It's in this melting pot 379 00:24:49,600 --> 00:24:51,930 of shapes and materials that Gaudi 380 00:24:51,930 --> 00:24:53,943 designed the facade of the nativity. 381 00:24:54,950 --> 00:24:57,933 And firstly, thanks to his plaster models. 382 00:25:34,910 --> 00:25:38,270 Started in 1893, the facade presents 383 00:25:38,270 --> 00:25:41,410 a unique group of sculptures that the artist designed 384 00:25:41,410 --> 00:25:44,430 at the same time as the church's plans, 385 00:25:44,430 --> 00:25:48,363 as an ode to the flora and fauna of the Mediterranean. 386 00:25:59,380 --> 00:26:01,993 In this luxurious decor, Gaudi developed the story 387 00:26:01,993 --> 00:26:04,813 of the birth and the childhood of Christ. 388 00:26:09,600 --> 00:26:12,270 He wanted the positions and the emotions of the figures 389 00:26:12,270 --> 00:26:14,133 to be as realistic as possible. 390 00:26:24,340 --> 00:26:27,350 To achieve this he used casts, 391 00:26:27,350 --> 00:26:29,333 some of which still exist today. 392 00:26:31,860 --> 00:26:35,090 Especially brought from storage for an exhibition, 393 00:26:35,090 --> 00:26:36,883 they show his working methods. 394 00:26:40,740 --> 00:26:43,623 The most diverse creatures came out of his workshop. 395 00:26:44,520 --> 00:26:47,240 A process that sculptor Llorenc Matamala 396 00:26:47,240 --> 00:26:49,780 who created the works in stone from these casts 397 00:26:49,780 --> 00:26:50,903 loved to speak about. 398 00:27:39,710 --> 00:27:41,850 For both animals and humans, 399 00:27:41,850 --> 00:27:44,253 Gaudi was in search of natural authenticity. 400 00:27:49,790 --> 00:27:52,110 For each of his sculptures 401 00:27:52,110 --> 00:27:53,610 he searched for the individual 402 00:27:53,610 --> 00:27:55,653 who could give it an authentic face. 403 00:28:06,769 --> 00:28:09,390 (woman speaks in Spanish) 404 00:28:09,390 --> 00:28:11,150 Here we have a small collection 405 00:28:11,150 --> 00:28:14,210 of photographs, of people who posed as models 406 00:28:14,210 --> 00:28:16,563 for the Sagrada Familia sculptures. 407 00:28:18,008 --> 00:28:23,008 {\an8}Photography began to play a role early in Gaudi's career. 408 00:28:27,630 --> 00:28:30,470 What's curious about these pictures 409 00:28:30,470 --> 00:28:31,710 is that in certain cases, 410 00:28:31,710 --> 00:28:33,670 we even know the identity of the people 411 00:28:33,670 --> 00:28:36,253 who posed for the Sagrada Familia sculptors. 412 00:28:38,760 --> 00:28:41,660 For example, who was this man? 413 00:28:41,660 --> 00:28:43,270 in this case, it's Mr. Columbus, 414 00:28:43,270 --> 00:28:45,853 who posed for the figure of the apostle Barnabas. 415 00:29:01,158 --> 00:29:02,910 The little summaries on the back, 416 00:29:02,910 --> 00:29:05,733 tell us that often these were passers by. 417 00:29:07,310 --> 00:29:09,510 For instance, here's a beggar, 418 00:29:09,510 --> 00:29:11,710 a vagrant who posed for sculpture models 419 00:29:11,710 --> 00:29:13,313 in exchange for a bit of money. 420 00:29:17,650 --> 00:29:21,650 And this one here is one of the most important models 421 00:29:21,650 --> 00:29:24,413 because he posed for the figure of St. Joseph. 422 00:29:25,925 --> 00:29:30,100 It says his name was Jose Riarre and coincidentally, 423 00:29:30,100 --> 00:29:32,393 he was a carpenter just like Joseph. 424 00:29:47,310 --> 00:29:49,480 Gaudi pursued this quest for authenticity 425 00:29:49,480 --> 00:29:51,343 in even the smallest details. 426 00:29:52,580 --> 00:29:55,430 For instance, when he discovered that the model 427 00:29:55,430 --> 00:29:58,220 for the warrior of king Herod had six toes, 428 00:29:58,220 --> 00:30:00,903 he insisted that it be represented faithfully. 429 00:30:02,390 --> 00:30:05,940 For him, this anomaly signified evil, 430 00:30:05,940 --> 00:30:08,610 the monstrosity of king Herod ordering 431 00:30:08,610 --> 00:30:10,813 the massacre of Bethlehem's children. 432 00:30:48,480 --> 00:30:51,460 Constantly seeking natural body positions, 433 00:30:51,460 --> 00:30:53,613 he hung skeletons in his workshop. 434 00:30:56,530 --> 00:30:58,750 He photographed his models in front of mirrors 435 00:30:58,750 --> 00:31:00,473 to see multiple points of view. 436 00:31:02,650 --> 00:31:05,980 He even went so far as to hoist his plaster experiments 437 00:31:05,980 --> 00:31:09,510 onto the Facade of the Nativity in order to judge 438 00:31:09,510 --> 00:31:12,623 how the perspective distorted them so he could rectify them. 439 00:31:19,660 --> 00:31:23,060 The end result, a bountiful, life-like 440 00:31:23,060 --> 00:31:24,863 and nearly complete tableau. 441 00:31:29,190 --> 00:31:33,170 In fact, when Gaudi died, there were still a few statues 442 00:31:33,170 --> 00:31:34,703 and these three doors missing. 443 00:31:35,630 --> 00:31:37,773 So how to complete the work coherently? 444 00:31:43,860 --> 00:31:46,493 A Japanese sculptor took on this challenge. 445 00:31:49,140 --> 00:31:52,870 Fascinated by the monument, Itsuro Sotoo 446 00:31:52,870 --> 00:31:55,383 began working on it in 1978. 447 00:31:56,270 --> 00:31:59,890 First, he devoted himself to creating the missing statues, 448 00:31:59,890 --> 00:32:02,273 according to Gaudi's process and spirit. 449 00:32:08,330 --> 00:32:11,703 These are the musician angels above the central doorway. 450 00:32:13,837 --> 00:32:16,040 (man speaking Japanese) 451 00:32:16,040 --> 00:32:18,560 {\an8}It's hard to really understand Gaudi. 452 00:32:18,560 --> 00:32:19,393 {\an8}But I tried. 453 00:32:20,781 --> 00:32:23,040 {\an8}Like Gaudi, I searched for models. 454 00:32:23,040 --> 00:32:25,003 I used the same methods. 455 00:32:32,120 --> 00:32:35,760 For example, the angel with the violin 456 00:32:35,760 --> 00:32:37,733 really had an angelic face. 457 00:32:42,130 --> 00:32:44,613 This is the model for the angel with the harp. 458 00:32:48,290 --> 00:32:50,440 We really had a tough time finding someone. 459 00:32:53,270 --> 00:32:54,370 To gain better insight 460 00:32:54,370 --> 00:32:57,170 into the inspiration that guided Gaudi, 461 00:32:57,170 --> 00:33:00,313 Itsuro Sotoo went so far as to convert to Catholicism. 462 00:33:02,470 --> 00:33:03,850 All of the things that I have done 463 00:33:03,850 --> 00:33:06,340 over the last 42 years at the Sagrada Familia 464 00:33:06,340 --> 00:33:09,623 have been like a recurring first encounter with Gaudi. 465 00:33:10,620 --> 00:33:12,670 Each sculpture that I have created 466 00:33:12,670 --> 00:33:14,620 has made me discover things about Gaudi 467 00:33:14,620 --> 00:33:16,370 and brought me a bit closer to him. 468 00:33:26,820 --> 00:33:30,490 In the early 2000s, Itsuro Sotoo was entrusted 469 00:33:30,490 --> 00:33:33,440 with creating the three large doors of the Nativity Facade. 470 00:33:36,200 --> 00:33:38,060 This time, it wasn't about completing 471 00:33:38,060 --> 00:33:39,910 a pre-existing process, 472 00:33:39,910 --> 00:33:42,653 but rather extending the work within a new creation. 473 00:33:43,540 --> 00:33:47,400 It became a tribute to nature, that's completely personal, 474 00:33:47,400 --> 00:33:49,713 but perfectly faithful to Gaudi's thinking. 475 00:33:54,250 --> 00:33:55,907 I can't wait to see it. 476 00:33:57,269 --> 00:33:58,852 We're almost there. 477 00:33:59,812 --> 00:34:03,130 Assisted by fellow sculptor, Shiho Takei, 478 00:34:03,130 --> 00:34:04,660 the artist first models a bed 479 00:34:04,660 --> 00:34:06,410 of intertwined leaves in the earth. 480 00:34:11,130 --> 00:34:13,650 It's a long and meticulous process, 481 00:34:13,650 --> 00:34:16,560 allowing the realization of a plaster cast, 482 00:34:16,560 --> 00:34:19,110 which will then be used to cast the door in bronze. 483 00:34:25,720 --> 00:34:27,290 One finished. 484 00:34:27,290 --> 00:34:29,793 Well, there are a few details to fix. 485 00:34:32,560 --> 00:34:33,393 But it's good. 486 00:34:39,380 --> 00:34:40,890 The installation of the doors 487 00:34:40,890 --> 00:34:44,330 in 2014 and 2015 marks the end 488 00:34:44,330 --> 00:34:46,433 of the Nativity Facade's construction. 489 00:34:47,980 --> 00:34:51,743 The operation takes place at night before visitors arrive. 490 00:35:10,220 --> 00:35:13,470 Imagined as large seven meter panels, 491 00:35:13,470 --> 00:35:16,773 the doors root the Basilica in luxurious nature. 492 00:35:32,120 --> 00:35:34,530 In the West, nature is tamed 493 00:35:34,530 --> 00:35:36,253 for the benefit of civilization. 494 00:35:37,340 --> 00:35:39,023 It's considered a resource. 495 00:35:40,320 --> 00:35:42,713 In the East, especially Japan, 496 00:35:43,621 --> 00:35:48,621 we live with tsunamis, earthquakes, volcanic eruptions. 497 00:35:51,630 --> 00:35:53,513 These are not things we can control. 498 00:35:57,882 --> 00:36:01,403 Gaudi never went to Asia, let alone Japan. 499 00:36:02,846 --> 00:36:06,490 And yet his way of thinking is very similar 500 00:36:06,490 --> 00:36:09,803 to Japanese thinking in terms of nature. 501 00:36:27,280 --> 00:36:30,160 Thanks to the work of his Japanese disciple, 502 00:36:30,160 --> 00:36:32,440 the Nativity Facade was able to be completed 503 00:36:32,440 --> 00:36:33,973 in the spirit of its creator. 504 00:36:42,031 --> 00:36:43,700 But what about the two other facades 505 00:36:43,700 --> 00:36:46,003 that complete the story of Jesus' life? 506 00:36:46,960 --> 00:36:50,030 The information that Gaudi left on this is scarce, 507 00:36:50,030 --> 00:36:53,753 opening the door to interpretation, but also to controversy, 508 00:36:57,230 --> 00:36:58,930 The Passion Facade was created 509 00:36:58,930 --> 00:37:00,663 based on a photo of the model. 510 00:37:01,530 --> 00:37:03,940 It showed the placement of a certain number of statues 511 00:37:03,940 --> 00:37:05,733 meant to show Jesus's death. 512 00:37:09,240 --> 00:37:11,610 But they still needed to find a sculptor 513 00:37:11,610 --> 00:37:14,260 able to interpret such a manifesto 514 00:37:14,260 --> 00:37:17,023 and accepting the risk of continuing Gaudi's work. 515 00:37:20,780 --> 00:37:24,970 In 1986, a Catalan sculptor was called upon. 516 00:37:24,970 --> 00:37:26,680 Josep Maria Subirachs 517 00:37:26,680 --> 00:37:29,113 devoted 20 years of his life to the project. 518 00:37:31,731 --> 00:37:34,560 {\an8}This represents a new period 519 00:37:34,560 --> 00:37:36,733 {\an8}in the history of the Sagrada Familia. 520 00:37:38,350 --> 00:37:40,570 It's the first time that an artist is commissioned 521 00:37:40,570 --> 00:37:43,883 without forcing them to imitate Gaudi's work exactly. 522 00:37:44,870 --> 00:37:46,770 I was granted total freedom 523 00:37:46,770 --> 00:37:49,413 so that my work could be totally personal. 524 00:38:02,620 --> 00:38:05,110 The hundred or sculptures he created 525 00:38:05,110 --> 00:38:07,600 are imbued with expressionism, 526 00:38:07,600 --> 00:38:10,350 far from Gaudi's prized naturalism. 527 00:38:10,350 --> 00:38:12,183 And this created a controversy. 528 00:38:15,600 --> 00:38:18,160 Detractors spoke of betrayal, 529 00:38:18,160 --> 00:38:20,400 maintaining that he should have respected the style 530 00:38:20,400 --> 00:38:22,783 of the only facade made by the master. 531 00:38:24,540 --> 00:38:27,990 Defenders retorted that Subirachs perfectly expressed 532 00:38:27,990 --> 00:38:29,680 the pain and violence 533 00:38:29,680 --> 00:38:32,033 that filled the last two days of Christ's life. 534 00:38:33,270 --> 00:38:35,260 Old conflicts resurfaced, 535 00:38:35,260 --> 00:38:38,140 and showed just how passionate people are 536 00:38:38,140 --> 00:38:39,763 about the Sagrada Familia. 537 00:38:44,090 --> 00:38:45,590 What would Gaudi have thought? 538 00:38:49,520 --> 00:38:52,270 Conversations related by his friend and architect 539 00:38:52,270 --> 00:38:55,813 Juan Bergos give a partial response to this question. 540 00:39:56,273 --> 00:39:58,600 Wishing his work to endure, 541 00:39:58,600 --> 00:40:01,470 like the cathedrals from the middle ages, 542 00:40:01,470 --> 00:40:05,620 Gaudi implicitly granted artistic license to his successors 543 00:40:05,620 --> 00:40:08,320 who are now dealing with the completion of the towers. 544 00:40:13,410 --> 00:40:15,829 Of the 18 towers Gaudi planned, 545 00:40:15,829 --> 00:40:18,053 10 are still under construction. 546 00:40:18,980 --> 00:40:22,940 Most notably the four towers of the Evangelists, 547 00:40:22,940 --> 00:40:24,620 the tower of the Virgin Mary 548 00:40:24,620 --> 00:40:26,560 and the central tower of Jesus Christ 549 00:40:26,560 --> 00:40:29,253 with a height of nearly 170 meters. 550 00:40:30,320 --> 00:40:33,360 For Gaudi, defying the laws of gravity 551 00:40:33,360 --> 00:40:35,493 was an integral part of his project. 552 00:40:39,750 --> 00:40:43,240 This battalion of towers is like a group of sentinels 553 00:40:43,240 --> 00:40:45,033 standing guard in the sky. 554 00:40:46,440 --> 00:40:49,130 Very conscious of breaking a height record, 555 00:40:49,130 --> 00:40:52,200 more than anything, Gaudi wanted his construction 556 00:40:52,200 --> 00:40:55,730 to be a great vessel, capable of atoning for the sins 557 00:40:55,730 --> 00:40:58,683 of a city plagued by the demon of violence. 558 00:41:00,930 --> 00:41:05,890 In 1909, an extremely destructive popular uprising 559 00:41:05,890 --> 00:41:08,710 convinced Gaudi to devote himself exclusively 560 00:41:08,710 --> 00:41:10,623 to his great redemptive church. 561 00:41:12,060 --> 00:41:14,210 Over the entire week of what was known as 562 00:41:14,210 --> 00:41:17,080 the Tragic Week, the Setmana Tragica, 563 00:41:17,080 --> 00:41:19,720 more than 40 monasteries are burnt down. 564 00:41:19,720 --> 00:41:23,130 There's desecration of nuns tombs, 565 00:41:23,130 --> 00:41:26,940 bodies taken out into the street and danced with, skeletons. 566 00:41:26,940 --> 00:41:29,140 It's just total mayhem. 567 00:41:29,140 --> 00:41:32,120 And Gaudi is up on the hill where he lives, 568 00:41:32,120 --> 00:41:34,470 looking down on this city on fire. 569 00:41:34,470 --> 00:41:38,950 And this for Gaudi of course, was in a sense, 570 00:41:38,950 --> 00:41:41,270 the reason why the Sagrada Familia 571 00:41:41,270 --> 00:41:44,283 should exist in the first place, was to pay for the sins. 572 00:41:47,280 --> 00:41:48,920 From that point on, 573 00:41:48,920 --> 00:41:52,000 the Sagrada Familia took on its full meaning 574 00:41:52,000 --> 00:41:55,583 and for its creator truly became an expiatory temple. 575 00:41:58,160 --> 00:42:01,540 Its towers stand above the rooftops of the city 576 00:42:01,540 --> 00:42:04,013 to defend the church against anti clericalism. 577 00:42:10,480 --> 00:42:13,763 The events of the Tragic Week profoundly affected Gaudi. 578 00:42:18,210 --> 00:42:21,193 After this, he turned down all other projects. 579 00:42:24,340 --> 00:42:26,683 The Sagrada Familia became his calling. 580 00:42:30,599 --> 00:42:32,989 My best friends are dead. 581 00:42:32,989 --> 00:42:36,613 I have neither family, nor clients, nor fortune, nothing. 582 00:42:38,837 --> 00:42:41,223 So I can devote myself entirely to the temple. 583 00:42:43,550 --> 00:42:47,023 In 1914, the first world war broke out. 584 00:42:48,130 --> 00:42:50,500 While Barcelona was in a neutral zone, 585 00:42:50,500 --> 00:42:54,040 it was struggling with a deep economic recession. 586 00:42:54,040 --> 00:42:55,303 There was no more money. 587 00:42:57,870 --> 00:42:59,830 Gaudi was forced to go door to door 588 00:42:59,830 --> 00:43:01,483 to finance the construction. 589 00:43:02,430 --> 00:43:05,120 The Sagrada Familia was re-christened 590 00:43:05,120 --> 00:43:06,793 the Cathedral of the Poor. 591 00:43:11,361 --> 00:43:12,800 Gaudi devoted the rest of his life, 592 00:43:12,800 --> 00:43:16,100 {\an8}especially his last 12 years, to the conception of the most 593 00:43:16,100 --> 00:43:18,840 {\an8}important and representative parts of the whole project 594 00:43:18,840 --> 00:43:21,540 by making large plaster models. 595 00:43:21,540 --> 00:43:23,640 However, he only sketched the central towers 596 00:43:23,640 --> 00:43:25,483 in the general plans of the work. 597 00:43:28,880 --> 00:43:31,870 Strangely enough, Gaudi left few indications 598 00:43:31,870 --> 00:43:34,323 about the most spectacular part of the monument: 599 00:43:35,250 --> 00:43:38,563 Six towers with enigmatic shapes and decorations. 600 00:43:40,020 --> 00:43:43,053 So where to find the information needed to construct them? 601 00:43:44,050 --> 00:43:47,563 A small, seemingly minor edifice provided the answer. 602 00:43:52,890 --> 00:43:55,270 Gaudi designed a very important element, 603 00:43:55,270 --> 00:43:57,360 which is the sacristy. 604 00:43:57,360 --> 00:44:00,779 The sacristy is a 40-meter-high parabolic dome, 605 00:44:00,779 --> 00:44:05,150 of which, following a great deal of work and reflection, 606 00:44:05,150 --> 00:44:08,713 Gaudi left us a one to 25 scale model. 607 00:44:17,100 --> 00:44:19,270 A few years before his death, 608 00:44:19,270 --> 00:44:21,140 Gaudi made a model of the sacristy 609 00:44:21,140 --> 00:44:22,963 that he considered satisfactory. 610 00:44:27,947 --> 00:44:30,570 A century later, it would become essential 611 00:44:30,570 --> 00:44:33,343 to finalizing the work on the Sagrada Familia. 612 00:44:38,920 --> 00:44:41,390 Gaudi conceived the Sacristy's dome, 613 00:44:41,390 --> 00:44:44,500 which would be the model for the central towers, 614 00:44:44,500 --> 00:44:48,563 as a set of 12 paraboloids that come together in one point. 615 00:44:50,540 --> 00:44:51,930 The paraboloid is a shape 616 00:44:51,930 --> 00:44:54,380 that no one had ever used before in architecture. 617 00:44:57,560 --> 00:45:00,510 We modified the three measurements in the sacristy 618 00:45:00,510 --> 00:45:02,920 to design the central towers. 619 00:45:02,920 --> 00:45:06,800 Its diameter, the number of sides and then the height, 620 00:45:06,800 --> 00:45:08,200 according to the dimensions 621 00:45:08,200 --> 00:45:10,493 that Gaudi had defined in his sketches. 622 00:45:16,040 --> 00:45:17,220 The comparison works 623 00:45:17,220 --> 00:45:20,463 and allows architects to begin modeling the large towers. 624 00:45:24,090 --> 00:45:28,103 New and strange shapes begin to cover computer screens. 625 00:45:29,060 --> 00:45:30,300 They force the contractors 626 00:45:30,300 --> 00:45:32,623 to completely change their way of building. 627 00:45:42,450 --> 00:45:45,020 They need to adapt to the very unique design 628 00:45:45,020 --> 00:45:47,560 Gaudi conceived a century earlier, 629 00:45:47,560 --> 00:45:49,763 and to accelerate the tower assembly. 630 00:46:00,580 --> 00:46:02,180 {\an8}We're finishing the top of the tower, 631 00:46:02,180 --> 00:46:04,270 {\an8}which will be crowned with a large star 632 00:46:04,270 --> 00:46:05,910 made of glass and steel. 633 00:46:05,910 --> 00:46:08,640 The whole organization is focused on this challenge, 634 00:46:08,640 --> 00:46:11,190 which is one of the most important in recent years. 635 00:46:26,130 --> 00:46:28,650 Before placing the ultimate jewel, 636 00:46:28,650 --> 00:46:30,540 the top of the Virgin Mary's tower 637 00:46:30,540 --> 00:46:32,653 is covered with colorful mosaic tile. 638 00:46:36,310 --> 00:46:39,650 A decorative technique that Gaudi used abundantly 639 00:46:39,650 --> 00:46:41,273 in many of his creations. 640 00:46:43,300 --> 00:46:45,950 Nonetheless, for his Basilica, 641 00:46:45,950 --> 00:46:48,233 Gaudi decided to use it sparingly. 642 00:46:50,450 --> 00:46:53,373 Mosaic colors are reserved for the tops. 643 00:47:00,550 --> 00:47:02,440 This burst of mosaics 644 00:47:02,440 --> 00:47:05,803 will be what sailors first see as they near Barcelona. 645 00:47:08,260 --> 00:47:09,653 What a radiant welcome. 646 00:47:18,240 --> 00:47:21,150 Completely devoted to his masterpiece, 647 00:47:21,150 --> 00:47:25,150 at the end of his life Gaudi's mood darkened, 648 00:47:25,150 --> 00:47:26,883 and he closed himself off. 649 00:47:28,040 --> 00:47:30,973 He rarely left his workshop as it had a bed. 650 00:47:32,020 --> 00:47:33,870 Most of his friends were dead, 651 00:47:33,870 --> 00:47:35,743 including the sculptor Matamala. 652 00:47:37,020 --> 00:47:41,423 Little by little, Gaudi became consumed by mysticism. 653 00:47:43,986 --> 00:47:47,930 On June 7th, 1926, like every other day, 654 00:47:47,930 --> 00:47:51,123 he walked to the San Felipe Neri Church to confess. 655 00:48:03,540 --> 00:48:07,458 But unfortunately two blocks down, he crosses the road. 656 00:48:07,458 --> 00:48:11,883 One of the trams doesn't stop and runs him over. 657 00:48:12,830 --> 00:48:16,580 Gaudi of course, by this time was incredibly ascetic. 658 00:48:16,580 --> 00:48:20,640 He had hollowed out cheeks and he looked actually, 659 00:48:20,640 --> 00:48:22,610 more like a tramp than anything else. 660 00:48:22,610 --> 00:48:26,730 And two taxis stopped, looked at him 661 00:48:26,730 --> 00:48:28,560 and refused to take him on. 662 00:48:28,560 --> 00:48:31,880 And then somebody actually did help him 663 00:48:31,880 --> 00:48:33,080 and got him to hospital. 664 00:48:38,350 --> 00:48:41,720 When he was finally identified several days later, 665 00:48:41,720 --> 00:48:43,540 it was too late. 666 00:48:43,540 --> 00:48:46,623 A brain hemorrhage had taken his life at the age of 74. 667 00:48:48,420 --> 00:48:51,753 His burial was like a state funeral in Catalonia, 668 00:48:52,900 --> 00:48:55,260 the sheer size of his funeral procession 669 00:48:55,260 --> 00:48:56,713 attested to his fame. 670 00:48:58,010 --> 00:49:01,733 He was finally recognized by all levels of society. 671 00:49:03,410 --> 00:49:06,559 Papal permission to bury him in Sagrada Familia's crypt 672 00:49:06,559 --> 00:49:08,226 was easily obtained. 673 00:49:25,012 --> 00:49:28,020 The Sagrada Familia will no doubt soon finish 674 00:49:28,020 --> 00:49:29,873 its slow and spectacular growth. 675 00:49:34,910 --> 00:49:37,000 But it promises to challenge its builders 676 00:49:37,000 --> 00:49:38,263 until the very end. 677 00:49:41,450 --> 00:49:43,990 Gaudi imagined placing a giant lighted star 678 00:49:43,990 --> 00:49:48,590 atop the tower of the Virgin Mary, that's 138 meters high. 679 00:50:02,230 --> 00:50:07,230 And finally here she is, illuminated just as Gaudi wished. 680 00:50:09,810 --> 00:50:13,110 In a few years, the central Jesus Christ tower 681 00:50:13,110 --> 00:50:14,343 will rise above it. 682 00:50:15,330 --> 00:50:18,370 At night, the entire building will be majestic, 683 00:50:18,370 --> 00:50:20,063 just as Gaudi imagined it. 684 00:50:23,282 --> 00:50:25,780 At the top, we'll place spotlights 685 00:50:25,780 --> 00:50:27,870 that will radiate just like the sun 686 00:50:27,870 --> 00:50:29,963 gives off natural light from the sky. 687 00:50:32,600 --> 00:50:34,890 At night, and on religious holidays, 688 00:50:34,890 --> 00:50:38,240 the spotlights will lavishly illuminate the temple 689 00:50:38,240 --> 00:50:40,763 and will be the city's most beautiful adornment. 690 00:50:43,020 --> 00:50:45,780 The Sagrada Familia has taken time, 691 00:50:45,780 --> 00:50:47,920 The time of cathedrals, 692 00:50:47,920 --> 00:50:50,680 to transform the fantastic vision of its creator 693 00:50:50,680 --> 00:50:52,303 into a collective achievement. 694 00:50:54,090 --> 00:50:56,290 The nine towers plus the Facade of Glory 695 00:50:56,290 --> 00:50:58,593 should be completed in the coming years. 696 00:51:00,450 --> 00:51:03,550 If Gaudi could see his completed masterpiece 697 00:51:03,550 --> 00:51:05,460 in the near future, 698 00:51:05,460 --> 00:51:07,703 he would most certainly not feel betrayed, 699 00:51:08,660 --> 00:51:11,596 but rather satisfied to have been the driving vision 700 00:51:11,596 --> 00:51:16,053 of such a creation for over 100 years.