One of the things I’m hoping to see when I head to Barcelona in a few weeks is the Casa Vicens, the first private home designed by the great Catalan architect Antoni Gaudí (1852-1926). It was originally built to serve as a weekend retreat for a Barcelona stockbroker, over 125 years ago. The house served as a private residence until as recently as 2014, but as of this November, it has been opened to the public as a museum.
Regular readers will recall that I previously wrote about the ongoing restoration efforts at the Casa Vicens, a house which features a dazzling variety of materials and construction methods, both inside and out. As you can imagine, there had been a lot of wear and tear on the building, as happens in any home that is actually lived in. Yet while parts of the house were altered over the years, visitors to the new museum will still be able to witness many of the extraordinary architectural and design juxtapositions which the young Gaudí was able to pull off.
From the multimedia gallery on the museum’s website, I wanted to point out a few of the amazing details of the house, which was nothing like Barcelona – or indeed the rest of the world for that matter – had ever seen before. Here we see part of the façade of the house, along with its extraordinary gate and sidewalk railing. The color scheme is a mixture of salmon, turquoise, peach, and green, while an unusual range of materials from brick and stone to tile and concrete give some hint of the extraordinary design elements that await the visitor inside. Note also the ornate yet rather modern-looking wrought iron gate, which is composed of a series of panels in the form of palm fronds.
Once inside, many of the public rooms of the house have spectacular ceilings featuring bright color schemes, which forgo tradition and subtlety in order to achieve maximum impact. For example, this detail shows that Gaudí was quite capable of creating a ceiling design reminiscent of Perpendicular Gothic, which most architects would have left white. Here however, the stucco and tile elements are executed in a cobalt blue and a chartreuse yellow-green.
Here we see one of the public rooms of the house, with another extraordinary ceiling – this time of scallop shells and roses. The walls are covered with faux marble wainscoting below, and two-tone cranberry red plasterwork of vines up above. This room gives onto a tiled loggia, where the openings are simplified forms of architectural shapes that one would expect to see in Islamic buildings.
Head upstairs to one of the bathrooms, normally one of the more utilitarian areas of a house, and the unusual juxtapositions continue. Here, the architect places modern-looking corbels and compound support beams above a Pompeian red plaster wall with arcade detailing, baby blue and white checkerboard tile wainscoting, a slim chair rail border composed of tiles decorated with quinces and leaves, and bright yellow flowers festooned across the ceiling panels. Considered individually, none of these things should go together, and yet the overall effect is that of an ancient Roman bath somewhere in Provence
Finally, up on the roof of the house, we can admire a detail which hardly anyone would have ever seen up close, even when the house was filled with guests. The maids would have come up here to perform tasks requiring sunshine and breezes, such as drying the household laundry or beating the dust out of rugs. They would have seen not only the colorful elements of the building’s façade, but also this almost Mid-Century Modern railing of flowers contained within simplified, circular vines. The delicate design belies the sturdy, wrought iron craftsmanship that went into their execution.
Now, if you find all of this too much to take, don’t worry about it. Personally, I’ve always been fascinated by this house, but I understand that it may not be to everyone’s taste. And truth be told, I wouldn’t want to live in it, myself. (Where would I hang all the paintings?)
That being said however, you certainly can’t call the Casa Vicens a boring piece of architecture or design. The young Gaudí, with his first major commission to complete, and his patron, a man who clearly didn’t fear trying something bold and original in his own home, managed to create a truly unique house, and to do so with a great deal of self-confidence and aplomb. I’m looking forward to the opportunity to finally have a wander around the place.