Theories of Architecture and the Search for a Modern Style

      Cerdà’s plans for the city were underpinned by his belief that, “… we lead a new way of life, functioning in a new way. Old cities are no more than an obstacle.”

      Considered in the context of nineteenth-century architecture his statement signals the distinction between an engineer and an architect.

      For the architectural community the buildings of old cities, towns, and even ruins were an important source of inspiration for architectural style, which is a second factor informing Modernisme. Two currents of thought animated responses to the history of architecture: firstly, international developments in architectural theory and practice, and secondly, the development of a modern Catalan architecture.

      Both of these formed an important foundation for Gaudí’s development as an architect. The generation of his university teachers had been important in initiating this process. Elias Rogent i Amar was an architect whose work comprised both these elements. Unlike Gaudí, Rogent had travelled widely in Europe.

      In addition to this he had studied the works of the French theorist Viollet-le-Duc, who is known for his important analysis of Gothic architecture, which concentrated not on its aesthetic appeal, but instead on the structural elements at its core.

      The academic study of style in this French theorist’s work provided a foundation for an increasingly eclectic use of architectural styles and decorative motifs. In Barcelona this eclecticism was frequently based on the use of regional Catalan styles, and often supplemented with other national Spanish styles such as the Moorish style.

      An example of this gradual eclecticism in Rogent’s work is found in the first major building added to Cerdà’s Eixample.

      In 1872, after twelve years of work, the new University of Barcelona was opened. On approaching the building there is little about the Romanesque style that declares itself as modern. However, no building from the Romanesque period exists on such a scale. The sober and ordered style places an emphasis on the horizontal plane created through the repetition of the arches on each storey. The rhythm created by the arches creates a harmonious effect and animates the imposing bare wall. The building evokes the form of a monastery: during the medieval period the monastic orders had made fundamental contributions to the establishment and the development of European universities. The choice of style is also concerned with origins. Catalonia is especially rich in Romanesque architecture and Rogent’s choice was guided by an interest in employing a national style.