Architecture of Sagrada Familia | Constructing the Most Iconic Cathedral of Barcelona

Francisco de Paula del Villar

Josep Maria Bocabella, who returned after a trip from Italy in 1872 with the dreams of the intention of building a church inspired by the basilica at Loreto turned to architect Francisco de Paula del Villar to design the church. His plan doe the church followed that of a Gothic revival church. On 19 March 1882, the construction of the church began under him. He resigned on 18 March 1883, and at the time the apse crypt was completed.

Domènec Sugrañes i Gras

After Gaudí's death, his main disciple Domènec Sugrañes i Gras took over the project and faithfully undertook the work until the Spanish Civil War in 1936 halted the progress. After meeting Gaudi in 1905 during his last year at the school of architecture, the duo worked together on many of Gaudi’s works including the Bellesguard house , Casa Batlló andCasa Milà. During the 10 years that he took over the work on Sagrada, the Nativity Facade was completed.

Francesc de Paula Quintana i Vidal

After the Spanish War ended, Francesc de Paula Quintana i Vidal, who had worked with Gaudi on the Sagrada Familia, took over the project. Under his direction, the work on the Passion facade began. He was also responsible for the reorganization of the Temple Board of the Sagrada Familia. However, the most important undertaking on his part was recreating the models for the basilica that had been destroyed by anarchists during the war. Rebuilding these plaster casts was extremely integral to ensure that Gaudi’s vision was not destroyed.

Isidre Puig Boada

Born in 1890, Isidre Puig Boada first met Gaudi in 1914 while he was still a student. He had been working with Gaudi, and subsequently under Gras and Vidal, after Gaudi’s death, on the Sagrada Familia. In 1950, Boada was assigned director of this construction. He continued in this role until 1974. His works El temple de la Sagrada Família (1929), L'església de la Colònia Güell (1976) and Gaudí's thoughts (1981), also serves as a great insight into Gaudí's political and social thoughts.

Lluís Bonet i Gari

A student of the Barcelona School of Architecture, joined Isidre Puig i Boada and Francesc Quintana to continue the work on Sagrada Familia. He collaborated with them on the work on the Passion façade. Between 1974 and 1983, he took on the role of the director of the project. During this period, he returned to his roots, where Gaudí's influence was paramount. In 1982, he suffered from a heart failure, which pushed him to take a step back professionally. He, continued in his role as the director for another year.

Francesc Cardoner

Francesc de Paula Cardoner i Blanch, who graduated in 1965, worked along with Isidre Puig i Boada and Lluís Bonet i Garí in the workshops of the Sagrada Familia Expiatory Temple. Between 1983 and 1985 he took on the role of the director of the project. He was also the architect of the Gaudí House-Museum in Park Güell under the direction of Josep Maria Garrut.

Jordi Bonet i Armengol

Son of Lluís Bonet i Gari, Jordi Bonet i Armengol , took on the role of as the construction director and coordinator of the Sagrada Família from 1987 to 2012. During his time, the work on Sagrada started becoming mechanized. He introduced the use of computers into the design and construction process. In 2012, when he stepped down as the director, he took on the role of Architect Emeritus and Advisor to the Board of Trustees

Jordi Faulí i Oller

In 2012, Jordi Faulí i Oller took over as the architect of the project and is the current director architect of the Expiatory Temple of the Sagrada Familia. He joined the team of architects working on the basilica in 1990 when Armengol was the director. Under him, new technologies such as CAD, computer simulation, and 3D images were used to create a virtual plan of the temple so that the design envisioned by Gaudí could be recreated. In October 2015, Oller announced that 70% of the construction of Sagrada Familia as complete.

The Walls

The exterior walls of the Sagrada Família must support only their own weight because the vaults' weight and pressure are transmitted to the floor through interior columns. The walls are entirely penetrated by rose windows, ogives, large windows, and other openings that significantly lighten their weight.

Gaudí used hyperboloids most frequently to adopt the best technical and aesthetic solutions possible and for the sculptor to carry out his work on the musician angels and singing angels and the pediments' terminations of these walls.

The Roofs

The higher roofs in the central nave are comprised of a series of pyramids connected to each other and the large windows with some large paraboloids, culminated by lampposts with references to the Holy Family.

The roof and vault of about 25 meters are divided into four plants with small spiral staircases connecting them. The lateral naves' flat roofs allow for more oversized windows in the central nave's upper walls.