Sagrada Familia Architecture | Constructing the Most Iconic Cathedral of Barcelona

Francisco de Paula del Villar

In 1872, Josep Maria Bocabella, inspired by the basilica at Loreto after a trip to Italy, harbored dreams of constructing a church. He enlisted the architect Francisco de Paula del Villar to design a Gothic revival church. Construction commenced on March 19, 1882, under Villar's direction, but he resigned a year later, on March 18, 1883. By that time, the apse crypt had been completed.

Domènec Sugrañes i Gras

Following Gaudí's passing, his primary disciple, Domènec Sugrañes i Gras, assumed responsibility for the project and diligently continued the work until the outbreak of the Spanish Civil War in 1936 brought the progress to a halt. 

Sugrañes had first met Gaudi in 1905, during his final year at the school of architecture, and the two collaborated on several of Gaudi’s projects, including the Bellesguard house, Casa Batlló and Casa Milà. Over the course of the 10 years during which Sugrañes led the efforts on Sagrada, the Nativity Facade was successfully completed.

Francesc de Paula Quintana i Vidal

Following the conclusion of the Spanish War, Francesc de Paula Quintana i Vidal, a collaborator with Gaudi on the Sagrada Familia, assumed control of the project. Under his guidance, the construction of the Passion facade commenced.

Additionally, Quintana played a pivotal role in restructuring the Temple Board of the Sagrada Familia.

However, his most crucial task involved the reconstruction of models for the basilica that had been vandalized by anarchists during the war. The recreation of these plaster casts was integral to ensure Gaudi's vision for Sagrada Familia 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, Gras and Vidal, on the Sagrada Familia. In 1950, Boada was appointed 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, he joined Isidre Puig i Boada and Francesc Quintana to continue the work on Sagrada Familia. He collaborated with them to work on the Passion façade. From 1974 to 1983, he assumed the position of project director. During this timeframe, he revisited his architectural roots, deeply influenced by Gaudí's style. In 1982, he experienced heart failure, prompting a professional step back. 

Nonetheless, he continued in his role as director for an additional 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 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 and technology 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 was complete.

The Spires

The architectural design of the basilica incorporates eighteen spires, symbolically representing the Twelve Apostles, the Four Evangelists, the Virgin Mary, and Jesus Christ in ascending order. As of 2010, eight spires have been constructed, with four gracing the Nativity façade and four adorning the Passion façade.

The central spire dedicated to Jesus Christ will be crowned with a monumental cross, while the four smaller spires will feature sculptures depicting the traditional symbols of the Evangelists—a bull (Saint Luke), a winged man (Saint Matthew), an eagle (Saint John), and a lion (Saint Mark). Upon completion, the Sagrada Família is poised to become the tallest church building in the world, a testament to its awe-inspiring design and symbolism.

The Walls

In the construction of the Sagrada Família, the external walls bear the sole responsibility of supporting their own weight, as the weight and pressure from the vaults are transferred to the floor through internal columns. 

These walls feature numerous openings such as rose windows, ogives, and large windows, that  serve to significantly reduce the overall weight of the walls.

Antoni Gaudí employed hyperboloids extensively, aiming to implement the most effective technical and aesthetic solutions. This choice allowed sculptors to craft intricate details, including depictions of musician angels, singing angels, and the terminations of the pediments on these walls.

The Roofs

The elevated roofs of the central nave feature a succession of interconnected pyramids, linked to both each other and the expansive windows by sizable paraboloids. These structures are topped with lampposts that incorporate references to the Holy Family.

The roof and vault, reaching approximately 25 meters, are organized into four levels, each connected by small spiral staircases. Meanwhile, the flat roofs of the lateral naves are designed to accommodate larger windows in the upper walls of the central nave.

 This architectural configuration not only provides structural support but also enhances the aesthetic appeal of the Sagrada Família's roofscape