He designs three and six-armed public lampposts crowned by a winged helmet, a symbol of the commercial power that Barcelona had attained and still had at that time. The lamps were gas-powered and stand in Plaça Reial and in Pla del Palau to this day.

The cabinet was shown at the World’s Fair in Paris that year, where it was admired by the industrialist Eusebi Güell i Bacigalupi. So surprised was he at the quality of the display case that he wished to meet its designer and so began the relationship between him and the architect.

The furnishings consisted of an easy chair with a high back, a prie-dieu and a pew. The pieces were made by the carpentry workshop of Eudald Puntí (Barcelona) around 1880, when the chapel was ready for use. The furnishings, which still survive, feature plant themes in the ogival style and depictions of animals.

The design consisted of a sign, two exterior display cases, a marquetry counter and a wooden bench. The establishment was demolished a few years later.

Following completion of his designs for the co-op’s flag (1873), the recreational club (1878) and housing for the workers (1878), Gaudi continued to work on other projects, such as the weighbridge and porter’s lodge (1883), the society’s standard (1884) and the decoration of a room for a cultural festival (1885). His most notable work here, however, was the Bleaching Room (1883), a large room where the bleach boilers and washing vats were held and the cotton was left to drip dry. The building was extremely simple in its design, with 13 slender yet solid parabolic arches, made of small lengths of wood joined together using bolts. These arches enabled Gaudi to create a large open space of almost 600 square metres without the need for internal partitions or structural systems such as columns or pillars.

Casa Vicens presents strong medieval and Arabic influences in most of its rooms, such as the famous smoking room. One aspect worthy of note is Gaudi’s early use of industrial production methods in, for example, the tiles and the iron railings in the form of a palmetto.

This building bears a clear Eastern influence, especially in the tower that is reminiscent of a minaret. The exterior of the building is notable for the use of stone in the lower part and of exposed brick decorated with bands of glazed tiles depicting sunflowers. Impressive in appearance, the work marked a step forward in Gaudi’s search for a distinctive style of his own.

Gaudi designed a church with the floor plan of a basilica with a nave and four aisles and a transept with three aisles, resulting in a Latin cross floor plan. The basilica has three monumental facades that represent the three most important moments in the life of Jesus: His Nativity, Passion and Glory. The building will be crowned by 18 towers reaching between 100 and 170 metres high: twelve towers will represent the apostles, four the Evangelists and two, the highest of all, will be dedicated to Mary and to Jesus. Sagrada Família was officially consecrated as a Catholic basilica in 2010.

The use that for the first time made of the ceramic trencadís for the coating of the towers of access, and the spectacular grate of wrought iron in the form of dragon of the carriage door. This figure represents the guardian dragon of the Garden of Hesperides defeated by Hercules, in an episode that Jacint Verdaguer tells the poem L'Atlàntida.

Another notable feature is the stables in the basement, reached by helicoidal ramps, and the rooftop. Here Gaudi broke dramatically with tradition, presenting the chimneys and ventilation towers as sculptural elements faced with trencadís. He repeated this type of rooftop on Casa Batllo and Casa Mila (La Pedrera).

Following the bishop’s death, disputes arose between the architect, the canons and the Diocesan Board, and Gaudi resigned, leaving the work unfinished.

This pavilion was used to display the products and services of the maritime shipping company Companyia Transatlàntica, owned by Antonio López, the Marquis of Comillas. The pavilion was the same one that Adolfo García Cabezas had constructed in 1887 for the Maritime Exposition in Cadiz. Gaudi refurbished it and put it to new use. He dramatically altered its exterior appearance, adding four lofty towers, redoing its portico and adding a number of masts. The pavilion was demolished in the 1960s when the Passeig Marítim in Barcelona was built.

The building has four levels and has three corridors that run lengthways, the central one of which serves to let light enter and as a passage along which people can circulate. A notable feature in the school is the use of parabolic arches in the central part, the two lateral parts and the various circulation spaces. Other elements worthy of interest are the windows and the entrance porch, which is closed by a wrought-iron grille.

The building has a trapezoid floor plan. Its external appearance calls to mind a medieval castle, though the interior is that of a functional, mixedconstruction property with load-bearing walls in the apartments and iron pillars in the commercial areas.

The winery consists of two buildings, the porter’s lodge and the cellars. In the cellars, the eye is drawn to the use of the parabolic arch, which defines its pyramidal shape.

Notable features include the use of ruled geometry and the variety and provenance of the many and varied materials used and re-used by Gaudi in this early phase of the church: the textures and colours of basalt and limestone, brick, slag, ceramic, glass and wrought iron are combined to ensure the building blends in with its surroundings.

The standard is 1.75 metres high and bears a cross and a large disc, both made of cork with brass appliqués. Strips of leather with small bells hang from the cross, and pine cones from the circle.

Above the hall, a large esplanade was laid out, with a bench with undulating profile built all around its edge. The bench was constructed of prefabricated concrete pieces faced with ceramic trencadís. The floor of this upper square rests on a series of spherical caps (hemispheres). Hidden below the floor of the square, they collect the rainwater and channel it through pipes inside the columns down into an underground cistern. The overflow pipe for the excess water in the cistern ends in the mouth of the famous dragon on the staircase that greets people as they enter the park.

He saw this First Mystery, which represents the Resurrection of Christ, as the resurrection of Catalonia. Gaudi proposed to extend the cave where the image of Our Lady of Montserrat was found and to create a large square there.

Notable features are the slender spire in one of the corners and the interior construction solutions, the attics and the parapet walk around all four facades, which he was also to use later in his design for Casa Batlló and La Pedrera.

Gaudi’s proposal was not pursued because the church’s administrative board regarded it as too ambitious.

Only a small section has survived of the 36-metre-long wall, topped by railings made of sheet metal. In contrast, the large door in the form of an inverse lobed horseshoe arch covered by a canopy and crowned by a cross has been preserved intact. The owner of the estate was his friend Hermenegild Miralles i Anglès, the printer who had more than once loaned his enormous printing presses to the architect so that he could use them to test the resistance of the stone columns he employed in some of his works.

The many artists and craftsmen who also worked on this project included the Fratelli Tosso and the Società Musiva Veneziana, from Venice, Michael Thonet, from Vienna, and the Catalans Eusebi Arnau, Pere Falqués, Josep Puig, Manuel Ballarín, Antoni Bordalba, Octavi Domènech, Masriera i Campins and E. Saumell. Gaudi contributed the wood panelling and the varnished pressboard used to face some of the walls, such as those in the Arab Room. The slabs were supplied by the company of Hermenegild Miralles, for whose estate Gaudi was then constructing the entrance and perimeter wall. In 1902, the Bar Torino was awarded the prize for the best establishment of the year by Barcelona City Council. Even so, it was later demolished and the site was occupied by the Joieria Roca (1934), designed by Josep Lluís Sert i López and Josep Torres Clavé.

The work consisted of moving the choir to a new position in the cathedral, opening the Chapel of the Trinity, installing new thrones, opening the large Gothic windows, fitting stained glass windows, installing a baldachin, decorating the building with paintings and furnituremaking.

The building had an entrance lobby, a waiting room and an auditorium decorated as if it were a cave.

The building was formed by two walls (the façade and roof), one of which incorporated a semi-circular double staircase up to the entrance. Part of the original structure was later demolished when it was converted into a hostel for children’s holiday camps. In the same town, Gaudi designed gardens for the textile manufacturer Joan Artigas i Alart.

The standard consisted of a dark green flag (1.7 x 2.5 metres) bearing the coat of arms of the city and the image of St. Eligius, the guild’s patron saint. The standard was burnt at the start of the Spanish Civil War (1936).

The architect was commissioned by two Americans familiar with his work and did several drawings for a large hotel, which was never built.

This was an extremely cheap and quickly built project. The roof is made of sun-dried brick and follows the geometrical and structural logic of ruled surfaces. The result is maximum strength while using minimum materials.

Antoni Gaudi designed two lampposts of different heights in the shape of an obelisk, which were built using basalt and wrought-iron appliqués. The bishop of the diocese of Vic, Josep Torras i Bages, a great friend of his, unveiled them on 7 September 1910. They were demolished around 1924.