When (or if) it is finalÂly finÂished in 2026, a full 100 years after its archiÂtect Antoni GaudĂ’s death, the BasilÂiÂca de la SagraÂda FamilÂia will be the largest church in the world — makÂing it, on the one hand, a disÂtinctÂly 19th cenÂtuÂry pheÂnomÂeÂnon much like othÂer strucÂtures designed in the late 1800s. The BrookÂlyn Bridge, for instance, became the longest susÂpenÂsion bridge in the world in 1883, the same year GaudĂ took over the SagraÂda FamilÂia project; the EifÂfel TowÂer took the honÂor of tallest strucÂture in the world when it opened six years latÂer. Biggest was in the briefs for major indusÂtriÂal buildÂing projects of the age.
Most othÂer monÂuÂmenÂtal conÂstrucÂtion projects of the time, howÂevÂer, excelled in one catÂeÂgoÂry GaudĂ rejectÂed: speed. While the BrookÂlyn Bridge took 14 years to build, cost many lives, includÂing its chief architect’s, and sufÂfered sevÂerÂal setÂbacks, its conÂstrucÂtion was still quite a conÂtrast to the medieval archiÂtecÂture from which its designs drew. Prague’s 14th cenÂtuÂry Charles Bridge took 45 years to finÂish. Half a cenÂtuÂry was stanÂdard for gothÂic catheÂdrals in the MidÂdle Ages. (Notre-Dame was under conÂstrucÂtion for hunÂdreds of years.) Their origÂiÂnal archiÂtects hardÂly ever lived to see their projects to comÂpleÂtion.
GaudĂ’s enorÂmous modÂernist catheÂdral was as much a perÂsonÂal labor of love as a gift to Barcelona, but unlike his conÂtemÂpoÂraries, he had no perÂsonÂal need to see it done. He was “unfazed by its glacial progress,” notes Atlas ObscuÂra. The archiÂtect himÂself said, “There is no reaÂson to regret that I canÂnot finÂish the church. I will grow old but othÂers will come after me. What must always be conÂserved is the spirÂit of the work, but its life has to depend on the genÂerÂaÂtions it is handÂed down to and with whom it lives and is incarÂnatÂed.”
PerÂhaps even GaudĂ could not have foreÂseen SagraÂda FamilÂia would take over 130 years, its cranes and scafÂfoldÂing domÂiÂnatÂing the city’s skyÂline, decade after decade. A few things — the SpanÂish CivÂil War, inevitable fundÂing issues — got in the way. But it’s also the case that SagraÂda FamilÂia is unlike anyÂthing else ever built. Gaudà “found much of his inspiÂraÂtion and meanÂing in archiÂtecÂture,” the Real EngiÂneerÂing video above notes, “by folÂlowÂing the patÂterns of nature, using the beauÂty that he saw as a gift from God as the ultiÂmate blueÂprint to the world.”
Learn above what sets SagraÂda FamilÂia apart — its creÂator was not only a masÂter archiÂtect and artist, he was also a masÂter engiÂneer who underÂstood how the strange, organÂic shapes of his designs “impactÂed the strucÂturÂal integriÂty of the buildÂing. Rather than fight against the laws of nature, he worked with them.” And nature, we know, likes to take its time.
RelatÂed ConÂtent:
A VirÂtuÂal Time-Lapse RecreÂation of the BuildÂing of Notre Dame (1160)
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness