{"id":242,"date":"2026-06-10T04:17:30","date_gmt":"2026-06-10T04:17:30","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=242"},"modified":"2026-06-10T04:17:30","modified_gmt":"2026-06-10T04:17:30","slug":"the-indignity-of-gaudi-lego","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=242","title":{"rendered":"The indignity of Gaud\u00ed Lego"},"content":{"rendered":"
\n

When asked why his masterpiece, the Sagrada Fam\u00edlia church in Barcelona, was taking so long to complete, the architect Antoni Gaud\u00ed is said to have replied, \u201cmy client can wait\u201d. That client, of course, was God. Today, on the hundredth anniversary of Gaud\u00ed\u2019s death \u2014 and more than 140 years after the first stone of the immense church was laid \u2014 the wait is finally over. Numerous successors have worked to bring the building to completion, with its wealth of ornament, color and strange, mesmerizing forms. Now Pope Leo XIV will bless Gaud\u00ed\u2019s greatest creation.<\/p>\n

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Yet this milestone comes with a bitter note. It is an achievement to have finished Gaud\u00ed\u2019s great church, but we surely could not come up with anything like this today. It is simultaneously a work of soaring artistic ambition and a monument to the powers of mystical inspiration, neither of which seem very abundant in our banal and unimaginative culture. Commenting on the challenge that Gaud\u00ed poses to the blandness of modern architecture, the designer Thomas Heatherwick said that his own plan to put a \u201cslight curve\u201d along the top of a window caused a colleague to remark, \u201cWow, you\u2019re brave\u201d. The Sagrada Fam\u00edlia is the antithesis to comfortable mediocrity, to the fleeting trend, and to algorithmic thinking. In November, Lego will release a 12,000-piece model of the church, its largest ever set. This is a charming tribute in its own way, but together with the rising numbers of \u201cAfols\u201d \u2014 adult fans of Lego \u2014 it makes for an unfortunate symbol of the meagerness of our cultural aspirations by comparison with those of the original.<\/p>\n

What inspired the Sagrada Fam\u00edlia, and what animates its every detail, is the intense spiritual devotion of its designer: to the Catholic faith, to the project of Catalan nationalism, and to the vocation of architecture. In the panoply of houses, churches, parks, and pavilions that Gaud\u00ed designed, these convictions provide a framework for an inexhaustible individuality. There are living artists of passion and profundity, but to behold Gaud\u00ed\u2019s creations at large in Barcelona is to realize the extent to which we have cordoned-off genuine artistic and spiritual expression from the daily round of life, much as we confine sickness to hospitals. <\/p>\n

During the Sixties, the philosopher Paul Ricoeur described the ambivalent effects of what he called \u201cthe phenomenon of universalisation\u201d. For all that the world has benefited from the spread of science, technology, and modern forms of governance and commerce, the cost has been a \u201csubtle destruction\u201d of the \u201ccreative nucleus of great civilisations and great cultures\u201d. Throughout the world, Ricoeur observed, \u201cone finds the same bad movie, the same slot machines, the same plastic or aluminum atrocities, the same twisting of language by propaganda\u201d, such that \u201cit seems as if mankind, by approaching en masse <\/i>a basic consumer culture, were also stopped en masse <\/i>at a subcultural level\u201d. The implied contrast is between cultures of the past, which had depth and distinctiveness, and those of a homogenous modernity; but the tantalizing prospect manifest in Gaud\u00ed is of a civilization that is both modern and rich in beauty and myth.<\/p>\n

The irony of Gaud\u00ed\u2019s legacy is that his genius is exalted by a world he would have abhorred. He was, at least from the midpoint of his life, every bit the otherworldly eccentric that one hopes a great artist to be: deeply conservative in his views (though defiant against the rule of Catalonia from Madrid), exuberantly original in his work, stubborn and fanatical in his temperament. He became so obsessed with self-denial and mortification that his physical comforts amounted to, as one biographer puts it, \u201csleeping in a cot with the windows open and eating nuts and lettuce dipped in milk\u201d. During Lent in 1894, in the midst of a spiritual crisis, he fasted almost to death. When he was fatally injured by a tram in 1926, his bedraggled appearance led to him being mistaken for a tramp and taken to a pauper\u2019s hospital. He died there after refusing to be transferred to a private clinic.<\/p>\n

Yet Gaud\u00ed\u2019s buildings, reduced like Nefertiti or the Mona Lisa to the status of t-shirt and keyring-fodder, have helped to turn the city he saw as the sacred heart of the Catalan nation into a tourist trap. The Sagrada Fam\u00edlia, initially funded by the donations of the devout, was brought to completion with the revenues of the tourist industry.<\/p>\n

Gaud\u00ed\u2019s popularity shows that there is no shortage of people capable of appreciating great art; but that appreciation takes place within a culture of mass consumption which struggles to support creative expression of such richness and nonconformity. However deeply we feel the power of his work, as soon as we turn away we are back in a cultural universe centered on TikTok. Mark Burry, an architect who has been central to the completion of the Sagrada Fam\u00edlia, has argued that Gaud\u00ed\u2019s supple organic shapes anticipate Parametricism, a 21st-century computer-based school of architecture whose most famous practitioner was Zaha Hadid. It is a revealing parallel. Impressive though they are, Hadid\u2019s buildings are pure spectacle and ambiance, anonymous expressions of engineering prowess to be plopped anywhere that can afford them. They possess none of the personality or conviction which radiates from Gaud\u00ed\u2019s work.<\/p>\n

Gaud\u00ed\u2019s career offers some clues as to the sources of our predicament. One is patronage. Many of Gaud\u00ed\u2019s greatest achievements \u2014 such as the Casa Batll\u00f3 and the Casa Mil\u00e0, houses of stunning boldness built in the early 20th century \u2014 were funded by the Catalan bourgeoisie with the proceeds of the region\u2019s buoyant industrial capitalism. Of special importance was Gaud\u00ed\u2019s relationship with the textile magnate Eusebi G\u00fcell, who discovered the architect as a young man and bankrolled him lavishly over a period of 40 years. Back then, great art was provided for by great inequality; so why have the enormous fortunes of our era not yielded such fruit?<\/p>\n

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The answer is that, as during the Italian Renaissance, a climate of patriotism and civic pride in Gaud\u00ed\u2019s Barcelona motivated the wealthy to channel their craving for status into the Renaixen\u00e7a<\/i>, a movement for Catalan rebirth. The super rich today, by contrast, tend to conceive of themselves as a caste apart, floating free from any particular context aboard their exquisitely designed yachts, seeking recognition largely from one another. They pour money into corporate architecture for elite institutions, or, at the behest of professional advisors, into a closeted art world which has come to function as another source of financial assets. Perhaps we should count ourselves lucky that they do not venture further: those who have committed themselves to public life, such as Donald Trump or Elon Musk, do so as proud philistines, purveyors of kitsch hotels and anime memes.<\/p>\n

Patronage is partly responsible for another important aspect of Gaud\u00ed\u2019s career: he had time and space to mature. By contrast with most of those who enter the cultural arena today, he did not experience a crushing pressure to be constantly relevant, up-to-date, and engaging with the world. No one demanded that he have a personal story to sell. In fact, he wrote down scarcely anything at all, and since he lived for most of his adult life with only his father and his niece, most of the words attributed to him are hearsay. His mature work is incredibly daring, even shocking, but it is not mere novelty or gesture. Instead, it is the product of a long gestation in which Gaud\u00ed consolidated various influences into a unique style. Tracing his development, you can see him experiment with Neo-Gothic, baroque, Art Nouveau, and the Mud\u00e9jar<\/i> style of Islamic craftsmen in Spain. Since he was working on the Sagrada Fam\u00edlia for most of his career, all of these elements are present in that church, synthesized under the guiding principle of his aesthetics: reverence for a natural world in which there is a bounty of colors and forms, but no straight lines or right-angles.<\/p>\n

In this way, Gaud\u00ed demonstrates the irreplaceable value of unmediated human skill. Growing up in a family of copper-smiths, and coming under the early influence of the English Arts and Crafts movement, Gaud\u00ed marked his architecture with a close attention to materials, craftsmanship, and experimental modeling. Much of the lavish detail in his works owes to the artisans who provided their tiles, masonry, stained-glass windows, carpentry and ironwork, the latter being most wonderfully manifest in the seaweed-like balcony railings at the Casa Mil\u00e0.<\/p>\n

Today, however, I hear from design teachers that students have become \u201cmaterial agnostic\u201d: accustomed to working with software, the physical and aesthetic qualities of materials are an afterthought. Even if it is possible to replicate Gaud\u00ed\u2019s arches and vaults with engineering programs today, the hours which he and his team spent painstakingly modeling these structures were an indispensable part of their creative development. The uniqueness of Gaudi\u2019s buildings reflects his improvisational approach, starting out with a rough idea and working through problems as they arose.<\/p>\n

Of course, we cannot reduce Gaud\u00ed\u2019s achievements to these practical factors, as though creating the conditions for artistic genius were itself an engineering problem. There is a deeper cultural dimension. Gaud\u00ed lived and worked at a time of radical feeling in Europe, taking radical in its true sense of being concerned with roots. It is no coincidence that so much of the modern culture we call great came from the century after 1850, whether it be the novels of Dostoyevsky and Joyce, the philosophy of Nietzsche and Freud, the poetry of Eliot and Yeats, or the paintings of Monet and Picasso. This was an age when the foundations of modern society and culture were being contested: a time of class warfare, of national independence struggles, of religion\u2019s rearguard battle against secularism, and of philosophical reckoning with the pillars of Western thought going back to Athens and Jerusalem. This sense of playing for the highest stakes \u2014 of determining what the character of the modern world could be \u2014 generated nuclear levels of cultural energy on which the arts thrived.<\/p>\n

For all its personal and regional distinctiveness, Gaud\u00ed\u2019s architecture resonates with this time of conflict. He was a partisan in a battle for the future of Catalonia, taking the side of a mystical, Catholic reaction against the rise of liberalism and a workers\u2019 movement inspired by anti-clerical anarchism. This was more than a culture war. The village he helped to design for Eusebi G\u00fcell\u2019s factory workers, featuring a church crypt that is one of his most impressive works, was part of a project to relocate the business away from the dangers of insurrection in Barcelona. When that insurrection duly came during the \u201ctragic week\u201d of 1909, the rebels dumped the corpses of disinterred nuns outside the gates of G\u00fcell\u2019s mansion, also designed by Gaud\u00ed. It tends to be discreetly overlooked today, but the Sagrada Fam\u00edlia was conceived as an expiatory temple; that is, an offering to God to atone for the sins of modern Barcelona.<\/p>\n

We too think of ourselves as living at a time of radicalism, and there is no denying the strength of feeling that bubbles away in our societies today. Yet the \u201cuniversalization\u201d which Ricoeur diagnosed remains in place: the circuits of money, commodities and media continue to exert their flattening pressure on the world\u2019s cultures, even as the human interactions they encompass become more fractious. Given the horrors that unfolded in the 20th century, we shouldn\u2019t rush to restart conflicts that penetrate to the very roots of our world. But we probably won\u2019t see the likes of Gaud\u00ed again. <\/p>\n

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When asked why his masterpiece, the Sagrada Fam\u00edlia church in Barcelona, was taking so long to complete, the architect Antoni Gaud\u00ed is said to have replied, \u201cmy client can wait\u201d. That client, of course, was God. 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