Architect and Restorer 

By Ferran Garcés 

Last Monday, the 27th, marked the International Day of Conservator-Restorers. This date reminds us of one of the most distinctive aspects of Torre Bellesguard: a project that combined the construction of a new house with the restoration of the ruins of the palace of Martin I the Humane, built in 1409. 

As Josep M. Vall i Comaposada, one of the leading experts on this work, points out, the Bellesguard project gave Gaudí the opportunity to apply a particular theory, which he himself summarized as follows: 

“We practice architecture without archaeology: first and foremost, relationships between things exist in a predisposed situation; therefore, we should not copy forms but be in a position to produce them within a specific character, possessing its spirit.” (1) 

In fact, this statement was Gaudí’s response when questioned about another of his restorations, that of Palma de Mallorca Cathedral, carried out between 1903 and 1915—meaning, at the same time as Bellesguard. (2) However, Gaudí himself grouped both projects into the same category: 

“When I had to create a project within a specific traditional style, I aimed to place myself within the circumstances and characteristics of that style, and then I could create freely; this is how I made Greek in the colonnade of Park Güell’s platform, Gothic in Bellesguard and Mallorca, and Baroque in Casa Calvet.” (3) 

Unfortunately, as is often the case with Gaudí’s work, it is difficult to explore this theory in depth based on direct information from the architect himself. (4) As a result, we can only attempt to outline a few key points. 

Study and Evocation of the Past 

First, “without archaeology” does not mean without history. Gaudí was a great scholar of historical architecture, particularly Catalan Gothic. As we have seen, the first step for him was to “place myself within the circumstances and characteristics of the style.” 

Thanks to this preliminary study, Gaudí used the house commission to make references to the era of the ruins. For example, if we observe the facade illuminated by the rising sun, we see a prominent balcony offering magnificent views of the sea and the city. This is not an arbitrary feature. It is inspired by the legend of the lookout from which King Martin watched for the ship carrying news of his son in Sardinia. (5) Later, Domènec Sugrañes, a collaborator of Gaudí’s and also a native of Reus, reinforced these historical references by adding a mosaic at the entrance of the house. This mosaic depicts the aforementioned ship alongside other symbols related to the expansion of the House of Barcelona across the Mediterranean, particularly the consequences of King Martin’s death without a legitimate heir. 

Modern Restoration Criteria 

Another surprising aspect is the restoration criteria applied. If we closely examine the towers of the small castle at the entrance to the garden, we can clearly distinguish the original medieval walls from Gaudí’s reconstruction, thanks to a layer of conglomerate over the medieval section. While this method seems logical today, it was not a common practice in Gaudí’s time. 

Additionally, to preserve the ruins, the architect diverted the road leading to the Sant Gervasi cemetery, which originally passed through the middle of the site. This required expanding the project to construct a new road alongside the property. It was a challenging task because there was a ravine in this area. To overcome it, Gaudí built a viaduct, which turned out so well that it served as a precedent for the viaducts in Park Güell. 

The Past as a Model for the Present 

However, the Bellesguard project must be seen within the broader context of the Renaixença, a movement that sought to revive Catalonia’s past, much like the myth of the Phoenix. This cultural revival led to the first studies on King Martin’s residence in the palace, as well as poetry by Jacint Verdaguer—Gaudí’s friend—filled with historical allusions dedicated to Bellesguard. (See: Bellesguard, a Poetic Refuge). In both cases, the goal was not only to restore ruins but also to reclaim the national heritage associated with them. 

Notes

(1) Vall i Comaposada, Josep M. (2014), Bellesguard. From the residence of Martin the Humane to Gaudí’s tower, Duxelem Editorial, p. 105

(2) Hensebergen, Gijs van (2002) Antoni Gaudí, Debolsillo, Barcelona, pp. 170-172

(3) Puig-Boada, Isidre (1981) The Thought of Gaudí. Compilation of Texts and Comments, Col·legi d’Arquitectes de Catalunya, Barcelona, p. 109

(4) We also lack sufficient testimonies or studies on Gaudí’s relationship with Eugène Viollet-le-Duc, the main reference in architecture and restoration in the 19th and early 20th centuries. Due to space constraints, we cannot address this topic in detail. We will limit ourselves to mentioning a small anecdote that took place in 1911, two years after Gaudí completed Torre Bellesguard. It is recorded by Isidre Puig-Boada in the book cited in note 3:

“When I was recovering from Malta fever in Puigcerdà, I went to Toulouse to see the medieval restorations that Viollet had carried out at Saint Sernin and Notre-Dame du Taur. I was disappointed by the poor artistic quality of the works of the brilliant theorist: ‘Let’s go back,’ I said, ‘this man has nothing to teach us!’” (Ibid., p. 108)

(5) In Barcelona’s Plaça del Rei stands the Palau Reial Major, and its tower is popularly known as the “King Martin’s viewpoint.” However, the true viewpoint of this monarch was the window of his Bellesguard tower. For more information: Garcés, Ferran (26/06/2024), “On this day: the birth and death of a king,” on our blog.

(6) Fort i Cogul, Eufemià (1976) Gaudí and the Restoration of Poblet, Rafael Dalmau, Editor, Barcelona, p. 40.

More information about other supposed visits to places or monuments around Reus by Gaudí during his youth can be found in: Massó Carballido, Jaume (2020) “Antoni Gaudí and the Archaeology of Camp de Tarragona.” Estudis de Constantí, no. 36, pp. 95-102

(7) Vall i Comaposada, op. cit., p. 50