Antoni Gaudí i Cornet ( / ɡ aʊ ˈ d i / gow- DEE , / ˈ ɡ aʊ d i / GOW -dee ; Catalan: [ənˈtɔni ɣəwˈði] ; 25 June 1852 – 10 June 1926) was a Catalan architect and designer from Spain. He is widely recognized as the most important example of Catalan Modernisme. Gaudí’s works have a unique style, with most located in Barcelona, including his most famous project, the Sagrada Família church.

Gaudí’s designs were influenced by his interests in architecture, nature, and religion. He paid close attention to every detail in his creations and used crafts such as ceramics, stained glass, wrought ironwork, and carpentry. He developed new methods for working with materials, such as trencadís, which used broken ceramic pieces.

Inspired by neo-Gothic art and techniques from the East, Gaudí became part of the Modernista movement, which was most popular during the late 1800s and early 1900s. His work eventually moved beyond mainstream Modernisme, forming a style that looked to natural shapes for inspiration. Gaudí rarely made detailed drawings, instead creating three-dimensional models and shaping details as he imagined them.

Gaudí’s work is admired worldwide and continues to be studied. His most famous project, the Sagrada Família, which is still not finished, is the most visited monument in Spain. Between 1984 and 2005, seven of his works were declared UNESCO World Heritage Sites.

Gaudí’s Catholic faith grew stronger throughout his life, and religious symbols appear in many of his works. This earned him the nickname "God’s Architect." His process to be considered for sainthood began in the Archdiocese of Barcelona in 2003. Pope Francis approved Gaudí’s declaration as Venerable in April 2025.

Life

Antoni Gaudí was born on June 25, 1852, in either Riudoms or Reus, Spain. His parents were Francesc Gaudí i Serra, a coppersmith, and Antònia Cornet i Bertran. He was the youngest of five children, and he outlived two of his siblings who lived to adulthood: Rosa and Francesc. Gaudí’s family originally came from the Auvergne region in southern France. One of his ancestors, Joan Gaudí, moved to Catalonia in the 17th century. The name "Gaudí" may have come from "Gaudy" or "Gaudin."

There is no clear record of Gaudí’s exact birthplace, leading to debate about whether he was born in Reus or Riudoms, two nearby towns in the Baix Camp district. Most of his official documents listed Reus as his birthplace, but Gaudí claimed he was born in Riudoms, his father’s village. He was baptized in the church of Sant Pere Apòstol in Reus the day after his birth, and he was named "Antoni Plàcid Guillem Gaudí i Cornet."

Gaudí loved his homeland and took pride in his Mediterranean heritage. He believed people from the Mediterranean region had a natural talent for creativity and art. He once said, "We own the image. Fantasy comes from the ghosts. Fantasy is what people in the North own. We are concrete. The image comes from the Mediterranean area." Gaudí spent time outdoors, especially during summers at his family’s home, Mas de la Calderera, where he studied nature. He joined the Centre Excursionista de Catalunya in 1879, an organization that led trips to explore Catalonia and southern France on foot or horseback.

As a young man, Gaudí had poor health, including rheumatism, which made him quiet and reserved. His health concerns and the health theories of Sebastian Kneipp led him to become a vegetarian. His strong religious faith and vegetarianism caused him to fast for long periods, which sometimes made him very sick.

Gaudí attended a nursery school run by Francesc Berenguer, whose son later became one of Gaudí’s assistants. He studied at the Piarists school in Reus, where he showed artistic talent by drawing for a group called El Arlequín. He also worked as an apprentice in a textile mill in Reus. In 1868, he moved to Barcelona to study teaching at the Convent del Carme. As a teenager, he was interested in utopian socialism and planned to restore the Poblet Monastery to turn it into a utopian community.

Between 1875 and 1878, Gaudí served in the military in Barcelona as a Military Administrator. Much of his time was spent on sick leave, allowing him to continue his studies. His poor health kept him from fighting in the Third Carlist War, which happened from 1872 to 1876. In 1876, Gaudí’s mother died at age 57, and his brother Francesc, who had just finished medical school, died at 25. During this time, Gaudí studied architecture at the Llotja School and the Barcelona Higher School of Architecture, graduating in 1878. To pay for his education, he worked as a draughtsman for several architects. He also studied French, history, economics, philosophy, and aesthetics. His grades were average, and he sometimes failed courses. When he received his degree, the school director said, "We have given this academic title either to a fool or a genius. Time will show." Gaudí joked with a friend, "They’re saying I’m an architect now."

Gaudí’s first projects included designing lampposts for the Plaça Reial in Barcelona, the unfinished Girossi newsstands, and the Cooperativa Obrera Mataronense building. He gained more attention for his work on Casa Vicens. At the Paris World’s Fair in 1878, Gaudí displayed a showcase for a glove manufacturer, which impressed Eusebi Güell, a wealthy merchant. Güell later commissioned Gaudí to build several important projects, including the Güell wine cellars, the Güell pavilions, the Palau Güell, the Park Güell, and the crypt of the Colònia Güell. Gaudí also designed "El Capricho" for Antonio López, Güell’s father-in-law.

In 1883, Gaudí was chosen to lead the construction of the Sagrada Família church in Barcelona. He redesigned the original plan to reflect his unique style. From 1915 until his death, he focused entirely on this project. Because he had many commissions, he relied on a team of professionals to help with other projects. Some of his team members later became well-known architects. In 1885, Gaudí moved to Sant Feliu de Codines to avoid a cholera outbreak in Barcelona. He lived in a house designed by Francesc Ullar, for whom he made a dinner table as a thank-you.

The 1888 World Fair in Barcelona was a major event that highlighted the Modernisme movement. Gaudí displayed a building he designed for the Transatlantic Company, which earned him a commission to restructure the Saló de Cent of the Barcelona City Council. This project was not completed. In the early 1890s, Gaudí worked on two projects outside Catalonia: the Episcopal Palace in Astorga and the Casa Botines in León. These projects increased his fame across Spain. In 1891, he traveled to Málaga and Tangiers to examine a site for a project requested by the 2nd Marquis of Comillas.

In 1899, Gaudí joined the Cercle Artístic de Sant Lluc, a Catholic artistic group, and the Lliga Espiritual de la Mare de Déu de Montserrat, a religious organization. His political views were conservative and religious, and he supported the cultural identity of the Catalan people.

At the start of the 20th century, Gaudí worked on many projects at once, showing a style inspired by nature. In 1900, he won an award for the best building of the year from the Barcelona City Council for his Casa Calvet. During the first decade of the 1900s

Personal life

Antoni Gaudí dedicated his entire life to his work as an architect and never married. He was known to be interested in only one woman, Josefa Moreu, a teacher in Mataró in 1884. However, she did not return his feelings, though his niece later claimed he did not pay attention to women. After this, Gaudí focused more on his Catholic faith. Many people described him as unfriendly or difficult, but those who knew him well said he was kind, polite, and loyal to his friends. His close friends included Eusebi Güell, a wealthy patron, and the bishop of Vic, Josep Torras i Bages, as well as writers Joan Maragall and Jacint Verdaguer, a doctor named Pere Santaló, and collaborators like Francesc Berenguer and Llorenç Matamala.

Gaudí’s appearance changed over time. As a young man, he wore expensive clothes, kept his hair and beard neatly groomed, and enjoyed fine food and theater. Later in life, he dressed simply in old, worn suits and neglected his appearance so much that people sometimes mistook him for a beggar, especially after an accident that led to his death.

Gaudí left few written records, except for official reports about his projects, letters to friends like Joan Maragall, and a few articles. Some quotes from his assistants, such as Josep Francesc Ràfols and Joan Bergós, have been preserved. The only document he wrote himself is called the Manuscrito de Reus (Reus Manuscript), created between 1873 and 1878. It was a student diary where he wrote about architecture, decoration, and his ideas, including thoughts on churches, his family home, and the design of furniture.

Gaudí supported Catalan culture but did not take part in politics. He refused to run for office, even when politicians like Francesc Cambó and Enric Prat de la Riba asked him to. His love for Catalonia focused on art, history, language, and traditions rather than politics.

Gaudí strongly believed in the Catalan language. When King Alfonso XIII visited the Sagrada Família, Gaudí spoke only Catalan to him. He also refused to speak Spanish to Prime Minister Antonio Maura, who responded in Catalan, breaking protocol in front of the king. When philosopher Miguel de Unamuno visited the Sagrada Família, poet Joan Maragall had to translate Gaudí’s Catalan tour into Spanish. Gaudí often used Catalan in public, even though it was illegal during the rule of Miguel Primo de Rivera, who tried to stop Catalan culture.

In 1920, Gaudí was beaten by police during a riot at the Floral Games, a celebration of Catalan culture. On September 11, 1924, National Day of Catalonia, he was attacked during a protest against the ban on Catalan. He was arrested by the Civil Guard while going to a church to attend a mass honoring Catalan heroes. Gaudí refused to speak Spanish and continued to use Catalan, saying, “My job requires me to pay taxes, and I do, but not to stop speaking my language.” He was released after paying 50 pesetas as bail.

Gaudí included many elements of Catalan culture in his work. He was part of the Catalan Renaissance, a movement that aimed to revive Catalan language and art. Park Güell, built for Catalan patriot Eusebi Güell, was designed to celebrate Catalan identity. It features the Catalan flag in mosaics, dragons (symbols of Catalonia), and hosted the first Catalan language congress. Casa Batlló, one of his most famous buildings, is called the “House of the Dragon” because of its connection to Georgian symbolism. The Sagrada Família has many Catalan writings, like the Lord’s Prayer in Catalan on its main doors. The Palau Güell has the Catalan coat of arms and a phoenix, a symbol of cultural rebirth. His designs for Barcelona’s Muralla de Mar included shields and names of Catalan admirals. The Torre Bellesguard, a summer palace, was restored by Gaudí and decorated with the Catalan flag and royal crown. He also planned a project to place a royal crown and a large Catalan coat of arms on El Cavall Bernat, a mountain. The Catalan flag appeared in banners for religious events and monuments, such as one for Enric Prat de la Riba. Even before becoming an architect, Gaudí studied medieval Catalan history and joined groups like the Cercle Artístic de Sant Lluc and the Associació Catalanista d'Excursions Científiques, which worked to preserve Catalan art, language, and traditions.

Style development

Antoni Gaudí spent his life studying how buildings can be made strong and beautiful. Early in his career, he was inspired by art from places like India, Persia, and Japan. He learned about these styles by reading books written by architects such as Walter Pater, John Ruskin, and William Morris. This influence can be seen in buildings like the Capricho, the Güell Palace, the Güell Pavilions, and the Casa Vicens.

As a student, Gaudí studied a large collection of photographs showing art from Egypt, India, Persia, Mayan cultures, China, and Japan. The collection also included pictures of Moorish buildings in Spain, which inspired his early designs. He studied a book called Plans, elevations, sections and details of the Alhambra by Owen Jones. From this, he borrowed ideas about how to make buildings look both strong and decorative. He especially admired how Islamic art used open spaces and walls to create a feeling of movement without closing the area completely.

The Gothic Revival, a style that became popular in the late 1800s, also influenced Gaudí. This style was promoted by French architect Eugène Viollet-le-Duc, who encouraged people to study old designs and use them in new ways. This influence can be seen in buildings like the Teresian College, the Episcopal Palace in Astorga, the Casa Botines, the Bellesguard house, and parts of the Sagrada Família.

However, Gaudí believed the Gothic style was not perfect. He thought its designs could be improved. He said:

After studying these styles, Gaudí began working in a movement called Modernisme, which was popular in Catalonia during the late 1800s. Modernisme was inspired by older architectural styles and aimed to connect Catalan culture with European trends. It focused on using art, nature, and new materials to create buildings that were both beautiful and meaningful.

Gaudí is often called the greatest architect of Catalan Modernisme, but his work was mostly inspired by geometry and nature. He studied natural shapes, like those found in mountains, caves, and forests, and tried to copy them in his buildings. For example, he used curved shapes like the hyperbolic paraboloid, the hyperboloid, the helicoid, and the cone, which he found in plants, bones, and trees. He believed that these shapes were both strong and beautiful. He said that the helicoid shape reminded him of movement, and the hyperboloid shape reminded him of light.

Gaudí also used a special type of arch called the catenary arch. He learned about this shape when he was young and saw how it was used in bridges. He was the first to use it in regular buildings. In works like the Casa Milà, the Teresian College, the crypt of the Colònia Güell, and the Sagrada Família, he used catenary arches to make his buildings stronger. These arches spread weight evenly, making the structures more stable.

Gaudí moved from simple two-dimensional shapes to more complex three-dimensional forms. This allowed him to use cheaper materials like bricks. He often built walls by laying bricks flat, as was done in traditional Catalan vaults. His most famous work, the Sagrada Família, was completed between 1910 and 1920. He designed the church’s inside to look like a forest, with tree-like columns that branch out to support the roof. He shaped the columns to resist pressure better and gave them a spiral shape, like tree trunks. This design is now known as fractal. It also divides the space into small, self-supporting parts, which makes the building strong without needing extra supports like those in Gothic churches.

Gaudí’s use of these techniques helped him create a new architectural style that was original, practical, and beautiful. He improved on the Gothic style by using hyperboloid vaults, which have a hole in the center to let in natural light. In the places where Gothic vaults had ribs, Gaudí used holes to create the illusion of a starry sky.

Gaudí also had a special way of thinking about space. He said he learned this as a child by looking at his father’s drawings of machines. Because of this, he preferred to work with models and scale copies of his buildings instead of drawing plans. He only made plans when necessary.

Another of Gaudí’s innovations was using a scale model to test his designs. For the Colònia Güell church, he built a 1:10 scale model in a shed next to the building. He used strings with small bags of birdshot hanging from them to create catenary curves. He then took pictures of the model and painted over them with gouache or pastel to create plans for the real building.

Works

Antoni Gaudí's style changed over time, but not in clear, separate stages. Each period of his work included elements from earlier times. Joan Bergós, a writer who studied Gaudí's life, identified five main periods in Gaudí's career: the early period, the Mudéjar-Morisco style (inspired by Moorish art), the Gothic style, the naturalist and expressionist style, and the organic synthesis style.

Gaudí's first works, created during his time as a student and just after, showed careful attention to detail, the use of geometric shapes, and a focus on calculations related to engineering.

During his studies, Gaudí designed several important projects, including a cemetery gate (1875), a Spanish pavilion for the 1876 Philadelphia World Fair, a building along a dock (1876), a courtyard for the Diputació de Barcelona (1876), a fountain for Plaça Catalunya in Barcelona (1877), and a university hall (1877).

Gaudí worked closely with Josep Fontserè, who did not have an architecture degree but was chosen by the city council to design the Parc de la Ciutadella between 1873 and 1882. For this project, Gaudí designed the park's entrance gate, the balustrade of the bandstand, and the water system for the fountain. He also created an artificial cave, showing his early interest in natural and organic designs.

Gaudí worked with Francisco de Paula del Villar on the apse of the Montserrat monastery, designing a niche for the image of the Black Virgin of Montserrat in 1876. Later, Gaudí took over Villar's work on the Sagrada Família. He also collaborated with Leandre Serrallach on a tram line project to Villa Arcadia in Montjuïc. With Joan Martorell, Gaudí worked on the Jesuit church on Carrer Casp, the Salesian convent on Passeig de Sant Joan, and the Villaricos church in Almería. Gaudí also designed a proposal for a new façade of Barcelona Cathedral, which was not accepted. His relationship with Martorell, whom he considered a key influence, helped Gaudí later receive the commission for the Sagrada Família.

After graduating as an architect in 1878, Gaudí's first major work was designing lampposts for Plaça Reial. He also worked on the Girossi newsstands and the Mataró Workers' Cooperative. In 1878, the city council of Barcelona asked Gaudí to design two types of lampposts: one with six arms and another with three. These were installed in public spaces and unveiled during the Mercè festival in 1879. The lampposts were made of cast iron with marble bases and featured decorations, including the caduceus of Mercury, a symbol of commerce and a representation of Barcelona.

The Girossi newsstands project, which was not completed, would have included 20 newsstands across Barcelona. Each would have had a public restroom, flower stand, glass panels for advertisements, and tools like a clock, calendar, barometer, and thermometer. Gaudí planned a structure with iron pillars, marble, and glass slabs, topped with a large iron and glass roof and a gas lighting system.

The Mataró Workers' Cooperative was Gaudí's first major project, completed between 1878 and 1882 for Salvador Pagès i Anglada. The project included a factory, worker housing, a social center, and a services building. Only the factory and services building were completed. Gaudí used catenary arches for the factory roof, a design technique developed by Philibert de l'Orme. He also used ceramic tiles for the first time in the services building. Gaudí planned the site with attention to sunlight direction and included landscaped areas. He also designed the cooperative's banner, which featured a bee, a symbol of hard work.

In May 1878, Gaudí created a display cabinet for the Esteban Comella glove factory, which was shown at the Paris World Exhibition. This work caught the attention of Eusebi Güell, who later became Gaudí's main supporter and helped fund many of his projects.

Güell's first commission for Gaudí that year was designing furniture for the pantheon chapel of the Palacio de Sobrellano in Comillas. The project was part of a larger building being constructed by Joan Martorell, Gaudí's teacher, for the Marquis of Comillas, Güell's father-in-law. Gaudí designed a chair, bench, and prayer stool. The chair had velvet upholstery and eagles and the Marquis's coat of arms. The bench featured a dragon motif, and the prayer stool had plant decorations.

In 1878, Gaudí also created plans for a theatre in Sant Gervasi de Cassoles, though the building was not completed. The next year, he designed furniture and a counter for the Gibert Pharmacy, featuring Arab-inspired marquetry. In the same year, he made five drawings for a procession honoring poet Francesc Vicent Garcia i Torres in Vallfogona de Riucorb. The designs focused on the poet and agricultural work, but the plans were not carried out due to organizational issues.

Between 1879 and 1881, Gaudí proposed decorations for the church of Sant Pacià in Sant Andreu del Palomar. His designs included a Gothic-style altar, a Byzantine-influenced monstrance, mosaics, lighting, and school furniture. The church burned down during the Tragic Week of 1909, leaving only the mosaics, likely created by Italian artist Luigi Pellerin. Gaudí also decorated the church of the Colegio de Jesús-María in Tarragona, creating an altar of white Italian marble, an antependium with alabaster columns, and choir stalls that were destroyed in 1936.

In 1880, Gaudí designed an electric lighting plan for Barcelona's Muralla de Mar seawall, which was not completed. The plan included eight large, plant-decorated streetlamps with shields and names of battles and Catalan admirals. The same year, Gaudí entered a competition for the San Sebastián social center, submitting a design that combined elements from earlier projects like the Plaça Catalunya fountain and the Provincial Council courtyard.

In 1881, Gaudí designed

Collaborators

Antoni Gaudí needed the help of many workers, including artists, architects, and skilled craftsmen, to complete his projects. He always led the work, but he let his helpers use their special talents. His ability to manage a team well was shown by how he made them work together as a group.

Some of the people who helped Gaudí were:

• Architects: Francesc Berenguer, Josep Maria Jujol, Cristòfor Cascante i Colom, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta, Joan Rubió, Domènec Sugrañes, Francesc Quintana, Isidre Puig i Boada, Lluís Bonet i Garí.
• Sculptors: Carles Mani, Joan Flotats, Llorenç Matamala, Joan Matamala, Josep Llimona.
• Painters: Ricard Opisso, Aleix Clapés, Iu Pascual, Xavier Nogués, Jaume Llongueras, Joaquín Torres García.
• Builders and team leaders: Agustí Massip, Josep Bayó i Font, Claudi Alsina i Bonafont, Josep Pardo i Casanova and his nephew Julià Bardier i Pardo.
• Skilled workers: Eudald Puntí (woodworker and metalworker), Joan Oñós (metalworker), Lluís y Josep Badia i Miarnau (metalworker), Joan Bertran (plasterer), Joan Munné (cabinetmaker), Frederic Labòria (cabinetmaker), Antoni Rigalt i Blanch (glassworker), Josep Pelegrí (glassworker), Mario Maragliano (mosaic artist), Jaume Pujol i Bausis and his son Pau Pujol i Vilà (ceramicist).

Death and legacy

On June 7, 1926, while traveling to confession in Barcelona, Antonio Gaudí was struck by a tram on Gran Via de les Corts Catalanes. He had stopped caring about his appearance and health, so he was poorly dressed and looked very thin. This made people think he was homeless and ignore him. Gaudí had no identification and was unconscious. After being taken to a hospital, he received only basic care until a chaplain from Sagrada Família found him. He died from his injuries on June 10.

Gaudí is buried at Sagrada Família. After his death, his buildings were neglected and not widely appreciated by international critics, who considered them overly complex and imaginative. In his home country, a new artistic movement called Noucentisme disliked his work and replaced the earlier Modernisme style. In 1936, during the Spanish Civil War, Gaudí’s workshop at Sagrada Família was broken into, and many of his documents, plans, and models were destroyed.

By the 1950s, Gaudí’s work began to gain attention again. Artists like Salvador Dalí and architect Josep Lluís Sert supported his legacy. In 1952, the Friends of Gaudí Association was created to promote and preserve his work. A year later, a major exhibition of his work was held in Barcelona, and a chair at the Polytechnic University of Catalonia was established to study and protect his designs. In 1957, Gaudí’s first international exhibition was held at the Museum of Modern Art in New York. In 1976, on the 50th anniversary of his death, an exhibition about Gaudí and his work was held globally by the Spanish Ministry of Foreign Affairs.

Between 1950 and 1960, international critics like George R. Collins, Nikolaus Pevsner, and Roberto Pane wrote about Gaudí’s work, raising awareness of its value. In Spain, figures like Alexandre Cirici, Juan Eduardo Cirlot, and Oriol Bohigas promoted his work. Later, Gaudí’s designs were widely admired worldwide, including in Japan, where scholars like Hiroya Tanaka, Kenji Imai, and Tokutoshi Torii published studies on his work. In 1984, UNESCO recognized several of Gaudí’s key buildings as World Heritage Sites. His style influenced modern architects such as Santiago Calatrava and Norman Foster.

A 1984 documentary titled Antonio Gaudi was made about his life. In 1998, the archbishop of Barcelona, Ricard Maria Carles, proposed that Gaudí be considered for sainthood. In 1999, composer Christopher Rouse created a guitar concerto called Concert de Gaudí, which won a Grammy in 2002. In 2008, the Gaudí Awards were created to honor the best Catalan films. An Iberia Airbus A340-642, named EC-INO, is also named after Gaudí.

Japanese artist Takehiko Inoue wrote a travel memoir titled Pepita: Takehiko Inoue Meets Gaudí, published in 2013. Since 2013, June 10 has been celebrated as World Art Nouveau Day, the anniversary of Gaudí’s death.

UNESCO has recognized several of Gaudí’s works as World Heritage Sites, including Park Güell, Palau Güell, and Casa Milà in 1984. In 2005, the Nativity façade, crypt, and apse of Sagrada Família, Casa Vicens, Casa Batlló, and the crypt of Colònia Güell were also added to the list.

A group interested in making Gaudí a saint began work in 1992. In 2003, the bishops of Catalonia officially started the process. On April 14, 2025, Pope Francis declared Gaudí venerable, recognizing his "heroic virtue" as described by the Vatican. To become a saint, Gaudí must still be beatified, a step that supporters believe will happen soon.

Spanish translations

• Bonet i Armengol, Jordi (2001). L'últim Gaudí: el modulat geomètric del Temple de la Sagrada Família (in Catalan) (2nd ed.). Barcelona: Pòrtic. ISBN 978-84-7306-727-0.
• Castellar-Gassol, Juan (1999). Gaudí, la vida d'un visionari (in Catalan). Barcelona: Edicions de 1984. ISBN 978-84-86540-54-8.
• "El mobiliario de Gaudí" [Gaudi's furniture]. Gaudiclub.com (in Spanish). Saved from the original on 26 September 2011. Accessed on 3 August 2008.
• Massó Carballido, Jaume (2013). "Gaudí's World – Gaudí and Reus." Gaudí Centre Reus. Saved from the original on 19 October 2013. Accessed on 25 July 2014.
• Tarragona, Josep María (2011). Antoni Gaudí, un arquitecto genial [Antoni Gaudí – a great architect] (in Spanish). Barcelona: Casals. ISBN 978-84-218-2430-6.