Take a close look at what's inside Sagrada Familia

As you step into the central nave, you’ll be surrounded by a forest of towering stone columns that rise high into the vaulted ceiling—each one a masterpiece of engineering and symbolism. Gaudí designed these columns to resemble the trunks and branches of trees, creating the illusion that the ceiling above is a leafy canopy.

The branching design isn’t just beautiful, it’s structural genius. These columns fan out into hyperboloid vaults, reducing the need for buttresses and letting light pour in from above. Gaudí’s vision was clear: he wanted worshippers to feel like they were walking through God’s creation, not just admiring it from a distance.

Gaudí worked closely with stained glass artist Joan Vila-Grau to craft a color palette that would respond to the sun’s natural path.

On the east side, morning light filters through cool blues and greens, evoking the peace of Christ’s birth and early life. In the west, afternoon sunlight floods in through fiery reds, oranges, and yellows, reflecting the passion and sacrifice of Christ.

This thoughtful use of color turns natural light into an emotional experience. As the sun moves, so does the atmosphere, from quiet and serene in the morning, to bold and dramatic by evening.

At the center of the apse and directly above the crypt is the altar, whose ceiling is higher than the rest of the apse to accentuate its divinity. Keeping with tradition, above the altar is a canopy, also known as the Baldachin.

It has a heptagon shape, with seven edges, which represents the seven gifts of the Holy Spirit. Fifty hanging lights illuminate its rim of the canopy, and you will find grape vines and wheat that are the symbols of the Eucharist, springing  from the rims. You will also find the Prayer of Glory written on a ribbon attached around the baldachin.

Clearly visible from the Glory entrance, the Eternal Father is represented by a glowing golden triangle, framed inside a large hyperboloid-shaped dome that rises high above the presbytery—this is the area where the priests gather during Mass. Just below this dome, suspended above the main altar, you’ll see a dramatic crucifix showing Christ on the cross, hanging under a canopy of sculpted vines and wheat.

This vertical alignment—earth below, Christ in the center, and God above—reflects Gaudí’s vision of the church as a pathway between humanity and the divine.

The bronze Door of Glory was designed by the controversial sculptor Josep Maria Subirachs. A part of the unfinished Glory Façade, the Door of Glory has the Lord’s prayer inscribed on it in more than 50 different languages. The Lord’s Prayer was arranged random and in a work of coincidence, the handle of the door also has the letters “A” and “G”, referring to the initials of Antoni Gaudi, inscribed on it.

The Glory Façade, once completed, will operate as the main entrance into the Basilica.

Construction of the Basilica, as with that of most churches, would be incomplete without an instrument. In this case, the organ would be supported by 8,000 pipes, to be able to listen to the acoustics from every cranny of the Basilica.

The organ is currently a work in progress but is being constructed in a way that would allow each instrument to be played individually, as well as in harmony. The Basilica is truly paving the way for an unmatched religious experience.

Gaudí designed the ceiling using hyperboloids, ellipsoids, and star-shaped vaults—natural geometric forms that scatter and reflect light. Instead of heavy stone arches, you’ll see flower-like vaults that seem to bloom overhead, supported by branching columns that mimic tree trunks. The result? A weightless, forest-like space where light dances across every surface.

At key points, the ceilings are adorned with mosaics of glittering gold, blue, and white tiles, especially near the central nave and altar. These mosaics reflect natural light, creating the illusion of stars flickering above. As the sun moves, so do the reflections, adding a shimmering, almost living quality to the ceiling.

While most visitors are drawn to the towering stained glass walls, don’t forget to look up at the rosette windows positioned high above the façades. There are three in total, each corresponding to a major entrance, and each one is bursting with color and symbolism.

Gaudí designed these rose windows to resemble natural spirals and cosmic forms, echoing galaxies, sunbursts, and blooming flowers. Their intricate geometric patterns draw your eye to the center, just like a mandala, inviting quiet reflection.

The nave is the beating heart of the basilica. Its spacious design was intentional, Gaudí wanted visitors to feel free to move, think, and worship.

From here, you get a panoramic view of the soaring forest of columns, glowing stained glass, and vaulted ceilings. Stand in the center, spin slowly, and notice how no two views are alike, Gaudí avoided straight lines on purpose to create organic asymmetry.

Located behind the altar, the apse is where the choir and liturgical rituals unfold. It is a semi-circular structure with a dome, is generally part of a cathedral in which the altar lies. Gaudi ensured the apse of the Basilica felt light and open and designed it in a way that natural light from the outdoors would spill into it.

Seven radiating chapels are tucked behind it, each dedicated to a saint and designed to represent the seven gifts of the Holy Spirit. Don’t miss the sculpted bishop’s throne and the twisting spiral staircase Gaudí tucked discreetly into the corners.

The crypt, which houses Gaudí’s tomb, is a chapel where the masses are celebrated regularly. It is located under the apse and can be accessed by a staircase. The crypt is surmounted by a large vault that is adorned with an image of the Annunciation to Mary.

There are four chapels inside the Sagrada Familia, each with its own unique dedicatee: The Virgin of Carmel, where Gaudí is buried; Jesus Christ; the Virgin of Montserrat; and Crucified Christ, which houses Josep María Bocabella's tomb. The floor of the crypt is decorated with a Roman mosaic, representing ears of wheat and vines.The crypt is  protected by UNESCO as a World Heritage site.

On display are models, charts, and designs depicting Gaudi’s plans for construction. While a lot of his original designs were burnt or destroyed during the Spanish Civil War, the plans that were pieced together or salvaged are now open for public viewing.

While all the carvings on the walls of the Basilica were once done by hand, today the help of computers and machines have been enlisted to aid in its construction. Visitors are welcome to watch as the architects work on completing what is unfinished of Gaudi’s cathedral.