A English cities I like to visit, without fear of weariness or disappointment, is Barcelona, \u200b\u200bfor its architectural baggage seems to me always fascinating and worthy of commendation iterative and perpetual visits.
tacit In our meetings, where I assume the role of pretender surrendered while Barcelona has dominion and displays the beauty of its most prominent spurs, can not ever miss a carefree and leisurely stroll through the lengthy and crowded street of Las Ramblas, which connects Plaza Catalunya with the Portal de la Pau, where stands the monumental monolith with the effigy of the illustrious navigator Christopher Columbus, flying over the city \u200b\u200bas a hawk.
When it comes to alloy melting in my private emotions of delight and light snack of a bizarre substance that has a lot of magic that has a lot of calm, I am lost like a sparrow reckless labyrinthine meanders between the photogenic crowded Boqueria Market, founded in 1840.
Some emblematic buildings in this city suffer from the arrogance of a megalomaniac who looks obliquely flattery, although in its facade and a mood of indifference statism, timeless and aseptic. Is the prolific and ineffable stamp of eminent Catalan architect Antoni Gaudí (1852-1926)
Paragon unequivocal masterful legacy we find in the Paseo de Gracia, where we expect La Pedrera or Casa Mila, with his delusional facade surreal extravaganza competing in the abstract weirdness insinuating Batlló House, located at number 43 of this street and built by Gaudí between 1904 and 1906.
also highlight the amazing "dream world" of the Park Güell, concocted between 1900 and 1914, with its beautiful multi-colored benches under the auspices of the employer Eusebio Güell.
But Barcelona's face it could print his distinguished face with the image of the apotheosis of the Holy Family Basilica.
The initial project comes from the hand of the diocesan architect Francisco de Paula del Villar (1828-1901) in 1892.
Only a year later resume its work Antoni Gaudí, who would only culminated one of the towers, the facade of the Nativity and the underground crypt.
The perpetual unfinished basilica, consecrated as such by Pope Benedict XVI (11/10/1907) still have to wait three decades to see the completion of the titanic work "pharaonic" began De Paula nineteenth century. Gaudí
were 31 years old when he decided to enroll in this "mission impossible" doomed to delays and unfinished works that remain in limbo floating vagueness and irresolution.
Stresses in the Facade of the Passion, with airs of enigmatic riddle, a unique cryptogram with 16 figures which can make 310 different combinations, all of which are borne by an identical ratio: the number 33 The age of Christ when He died on the cross.
0 comments:
Post a Comment