{"id":157663,"date":"2025-08-07T12:11:55","date_gmt":"2025-08-07T10:11:55","guid":{"rendered":"https:\/\/bellesguardgaudi.com\/?p=157663"},"modified":"2025-08-08T09:05:35","modified_gmt":"2025-08-08T07:05:35","slug":"la-casa-pairal-gaudis-ideal-home","status":"publish","type":"post","link":"https:\/\/bellesguardgaudi.com\/en\/la-casa-pairal-gaudis-ideal-home\/","title":{"rendered":"\u201cLa casa Pairal\u201d, Gaud\u00ed\u2019s ideal home.\u00a0"},"content":{"rendered":"

By Ferran Garc\u00e9s\u00a0<\/em>
\n\"\"
\n On August 10, 1870, that is, exactly one hundred and fifty-five years ago today, a young Gaud\u00ed wrote: \u201cOrnamentation, in order to be interesting, must represent objects that remind us of poetic ideas that constitute motifs. Motifs are historical, legendary, action-based, emblematic, fabulous, regarding man and his life, actions and passion. And, as for nature, they may represent the animal and plant kingdoms and topography\u201d (1)<\/span>
\n \u00a0<\/span>
\n This phrase is part of the so-called \u201cReus Manuscript,\u201d a diary written between 1870, the year Gaud\u00ed entered the School of Architecture, and 1878, the year he obtained his architect\u2019s degree. During that student period, Gaud\u00ed also wrote other texts\u2014few in number. In all of them, he repeated the idea with which we opened this article, making clear from the beginning what would become one of the most representative traits of his art: functionality and poetry. For example, in a text explaining the candelabras of Pla\u00e7a Reial, one of his first commissions, he said: \u201cin the streets, austere comfort is not enough; art must dress them,\u201d citing the ornamentation of public places in Athens and Rome as examples (2)<\/span>
\n \u00a0<\/span>
\n However, of all those youthful writings, the most interesting is perhaps the one titled La casa pairal<\/em>, intended to describe Gaud\u00ed\u2019s ideal home, by Gaud\u00ed himself. Since the original has no date, it\u2019s difficult to specify when it was written, although it seems certain it was sometime during the drafting of The Reus Manuscript<\/em> (3). Below we reproduce some of the most relevant aspects of this text.<\/span>
\n \u00a0<\/span>
\nOwnership and rental, countryside and city<\/span><\/b>
\n \u00a0<\/span>
\n The following points are original phrases by Gaud\u00ed himself (4). In the photo, you can read them in his own handwriting.<\/span><\/p>\n

The house is the small nation of the family<\/span>
\n The family, like the nation, has history, foreign relations, changes of government, etc.<\/span>
\n The independent family has its own house; the one that isn\u2019t, lives in a rented house.<\/span>
\n The owned house is the native country; the rented one is the country of emigration. That\u2019s why the owned house is everyone\u2019s ideal.<\/span>
\n The family home has been given the name \u201ccasa pairal.\u201d With this name, who doesn\u2019t recall some beautiful example in the countryside or the city? The spirit of profit and changes in consumption have made most of the \u201ccasas pairals\u201d disappear from our city; those that remain are in such an oppressed and insufficient situation that it will eventually end them.<\/span>
\n The need for the \u201ccasa pairal\u201d is not just of a specific time or family\u2014it is a need for everyone and always.<\/span><\/p><\/blockquote>\n

\"\" \u00a0<\/span>
\nFunctionality and poetry<\/span><\/b>
\n \u00a0<\/span>
\n Next, Gaud\u00ed describes in detail the different sections of an ideal house, with more or less \u201cpredictable\u201d details, such as the orientation of rooms based on lighting needs in summer and winter. At the end, however, he specifies a detail that reminds us of the initial phrase of this article, written\u2014let\u2019s remember\u2014on a day like today, one hundred and fifty-five years ago:<\/span>
\n \u00a0<\/span>
\n \u201cThere are represented family memories, historical deeds, local legends, the delicate conceptions of our poets, the spectacles and scenes of Mother Nature, everything that has meaning and value. In a word: from children to children.\u201d<\/span>
\n \u00a0<\/span><\/p>\n

The end of La casa pairal<\/em> goes like tthis;<\/p>\n

In short, the house he imagines has two purposes: first, through its hygienic conditions, to produce strong and robust beings (those who grow and develop in it), and second, through artistic conditions, to endow them, as far as possible, with our proverbial strength of character.<\/span>
\n \u00a0<\/span>
\n In a word, to make the children born there true children of the \u201ccasa pairal.\u201d<\/span>
\n \u00a0<\/span>
\nTorre Bellesguard, an example of functionality and poetry<\/span><\/b>
\n \u00a0<\/span>
\n Torre Bellesguard is a good example of Gaud\u00ed\u2019s youthful ideal. On one hand, its first owners, the Figueras family, had more than one child and shared the architect\u2019s ideals. For example, they were all part of the Sant Llu\u00e7 Artistic Circle, a center frequented by other friends and collaborators of Gaud\u00ed such as the Llimona brothers and Joan Rubi\u00f3 (see: Jaume Figueras<\/a>)<\/span> \u00a0\u00a0<\/span>
\n On the other hand, the house is full of practical details, such as rainproof systems (see: slate, double roof, and drains<\/a>), and at the same time, poetic ornamentation, combining both \u201clocal legends\u201d and \u201cscenes of Mother Nature,\u201d as recommended by the young Gaud\u00ed (see: the legends of Bellesguard<\/a>).<\/span> \u00a0<\/span>
\n With this goal in mind, Gaud\u00ed not only built the house but also restored the ruins of the old palace that stood on the estate (see: Architect and restorer<\/a>). In the lobby window, light, religious symbolism, and gnomonics\u2014the science behind sundials and light effects in ancient temples\u2014are even combined (see: the joy of light<\/a>)<\/span><\/p>\n

Orphanage and Maternity<\/span><\/b><\/p>\n

Even more curious. Let\u2019s remember that young Gaud\u00ed is constantly talking about children\u2014strong and characterful children. Well, he couldn\u2019t have known, but a decade after his death, during the Spanish Civil War, Torre Bellesguard became an orphanage<\/a>, a place where a group of boys and girls could take refuge far from the combat zone. Moreover, after the war, the Guilera<\/a> family, the second owners of the house, turned Torre Bellesguard into a maternity hospital, where a large number of children were born (see: the children of Bellesguard<\/a> and Born at Bellesguard<\/a>).<\/span><\/p>\n

Now we know what Gaud\u00ed\u2019s ideal house was like\u2014at least when he was young and still had an uncertain future ahead. Unfortunately, fate meant that this promising student never formed a family or raised his own children. Even more curious, many of the houses where Gaud\u00ed lived in Barcelona were rented or belonged to a relative, such as a maternal aunt. Moreover, none of them were in the modernist style. Finally, when he bought one, at over fifty years old, it was the work of another architect. Only during the last eight months of his life did Gaud\u00ed live in a place designed by himself\u2014but it wasn\u2019t a house, it was the workshop of the Sagrada Fam\u00edlia.<\/span>
\n \u00a0<\/span>
\n We\u2019ll talk more about all this next Friday.<\/span>\u00a0<\/span><\/p>\n

Notes\u00a0<\/strong><\/p>\n

(1) Puig-Boada, Isidre (1981) Gaudi <\/em><\/span>Pensamiento. Compilaci\u00f3n de textos y comentarios.<\/em><\/span>\u00a0<\/em><\/span>G<\/span>Publications of the College of Architects of Catalonia, Barcelona, p. 28.<\/span>\u00a0<\/span><\/p>\n

There is a more recent and uptodated publication: Mercader, Laura (2002) Antoni Gaud\u00ed. Escritos y documentos., <\/em><\/span>Acantilado, Barcelona.<\/span><\/p>\n

From The Reus Manuscript<\/em>, there is also a deluxe edition: Editor (2024), Gaud\u00ed, Reus Manuscript, Hartley & Marks Publishers Ltd.<\/span><\/p>\n

(2) Ibid., p. 18. The official name of this writing, as it was submitted to the Barcelona City Council, is: \u201cCandelabrum \u2013 Descriptive Notes on the Group Candelabra Project, for Squares and Boulevards of the City of Barcelona.\u201d<\/span>\u00a0<\/span><\/p>\n

(3) Ibid., p. 10 (search for letter E)<\/span>\u00a0<\/span><\/p>\n

(4)Ibid., pp. 73\u201375<\/span>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

By Ferran Garc\u00e9s\u00a0 On August 10, 1870, that is, exactly one hundred and fifty-five years ago today, a young Gaud\u00ed wrote: \u201cOrnamentation, in order to be interesting, must represent objects that remind us of poetic ideas that constitute motifs. Motifs are historical, legendary, action-based, emblematic, fabulous, regarding man and his life, actions and passion. And, […]<\/p>\n","protected":false},"author":6,"featured_media":157652,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[],"class_list":["post-157663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-did-you-know"],"acf":[],"yoast_head":"\n\u201cLa casa Pairal\u201d, Gaud\u00ed\u2019s ideal home.\u00a0 - Obra Modernista de Antoni Gaud\u00ed en Barcelona | Torre Bellesguard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bellesguardgaudi.com\/en\/la-casa-pairal-gaudis-ideal-home\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cLa casa Pairal\u201d, Gaud\u00ed\u2019s ideal home.\u00a0 - Obra Modernista de Antoni Gaud\u00ed en Barcelona | Torre Bellesguard\" \/>\n<meta property=\"og:description\" content=\"By Ferran Garc\u00e9s\u00a0 On August 10, 1870, that is, exactly one hundred and fifty-five years ago today, a young Gaud\u00ed wrote: \u201cOrnamentation, in order to be interesting, must represent objects that remind us of poetic ideas that constitute motifs. 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