This thesis deals with the architectural thoughts and methods of Josep Maria JUJOL, one of the key figure among the architects in Catalonia district of Spain, at the beginning of the 20th century. Known as one of the closest collaborator of Antoni Gaudí, he was a remarkable man who shared the creative spirit with Gaudí. Delegated from him the decorations of <Casa Batlló>, <Parque Güell> and <Casa Milà >, he assisted Gaudí in making these masterpieces. As an independent architect, he designed many significant works and served with the Architectural School of Barcelona as a lecturer.

This thesis consists of 2 chapters in Introduction, 4 chapters in Main discourse, and a Conclusion.

In Chapter 1 of Introduction, Section 1 presents the outline of the thesis, Section 2 treats his popularity in Catalonia and in whole Spain. Section 3 addresses to all his career, and Section 4 is the conclusion of this chapter. In Chapter 2 of Introduction, Section 1 and 2 present and rearrange in a chronological order, some of the previously published articles on Jujol, that were written after his death. In Section 3, these articles are classified into several themes. So far, many articles appeared on Jujol, to start with “Necrologia” by J.F. Ràfols in　the “bulletin of Architect Association of Catalonia” <Cuadernos> right after his death, followed by <La arquitectura de Jujol> by the son of Jujol and < Gaudí, Jujol y modernismo Catalan> by C.Flores, among many other articles. However, all of these articles only dealt with Jujol’s position and influence in the movement of Catalonian Modernismo, his life and his works. No articles had ever tried to evaluate and understand the characteristics and essence of his works directly. It has to wait until the late 1980’s to start finding some new articles with totally new angle, such as depicting Jujol as one of the pioneer figure of the modern art movement and not only limiting his contributions to the mere relationship with Gaudí and the Catalonian Modernismo, or evaluating his works from a contemporary architectural design point of view, or placing Jujol’s works in relation with the natural and traditional cultural context of the Catalonia region around Tarragona especially, or even designating him as one of the successor of Structural rationalism promoted by Gaudí. These thesis allowed to break the so far made image of Jujol, and to try to better understand his true works. Yet, no studies have been made to approach Jujol’s works as a whole and individually in details, to make a comprehensive understandings of the essence, specific characteristics and architectural methods of Jujol’s works, taking details by details of particular projects. Section 4 explains the purpose and significance of this thesis. Section 5 deals with the method of the studies and locations of primary sources. Section 6 is the conclusion of this chapter.

Chapter 1 of Main discourse surveys the social background of the whole activity by Jujol. Section 1 and 2 survey the historical background, Section 3 deals with the relationship with his alma mater, Architectural School of Barcelona, and Section 5 examines the relationship with Gaudí. Section 6 is the conclusion of this chapter. In Chapter 2 of Main discourse, Jujol’s whole architectural activity period is presented, divided into the following three period. In the <1st period (1901-1908)> he performed as the collaborator of Gaudi. In the <2nd period (1908-1926)> he created many characteristic works with his unique formative sense, and the <3rd period (1926-1949)> was the years after the death of Gaudí till that of Jujol, including the International Exposition of Barcelona (1929) and Spanish Civil War (1936-1939). Chapter 2 is an exhaustive collection of Jujol’s own discourses, and offers an insight into his architectural thoughts by examining the commentaries on his own works, and comprehending the above mentioned biography written by his son. These studies make clear of three features in his architectural thoughts. First, his thought depended on the aspect of medievalism in Catalonian Modernismo. Second, he preferred the vernacular and narrative expressions depending on the village community to the cultivated ones developped by the professional builder. Third, his architectural thought belonged to the descent of Structual expressionism. As for his original drawings, Section 3 shows them divided and classified into the three above mentioned periods. Section 4 makes the conclusion that, his drawings kept consistent, quality changeless throughout his lifetime, even in the period of collaboration with Gaudí. It reveals that Jujol’s studies of patterns of flora and fauna made as early as his student age, the organic design sketches found on his drawings, or the calligraphy had direct influence on his mural decorations works and designs of handrails made of wrought iron. Throughout his whole life, the most characteristic particularity of his creative attitude and architectural method was that his drawings were not only the basis of his architectural design but also the basis for all attitude in his whole creative life. Drawing was the most important background of his architectural creation. Chapter 3 of Main discourse deals with Jujol’s major architectural works, including the collaborated works with Gaudi, classifies them into the mentioned three periods, abstracts six characteristics from these works and makes the definitions of these characteristics. Section 1 surveys the articles treating the works of Jujol. Section 2 studies the works in <1st period> and defines two characteristics: the color scheme in mural decoration of < Casa Batlló > as <Polychromatic expression>, and the collage of the discarded inferior tiles and ceramics in < Parque Güell > as <Technique of collage>. Section 3 deals with the works in <2nd period> and defines the following four characteristics of his works: the interior decoration of < Tienda Mañach > painted by himself as <Method on sketching>, the expression making the sculptural exterior appearance by the thin external wall as <Sculpture by skinning>, the method adding the balconies on the façade of <Casa Bofarull> is defined as <Spatial façade>, and the feature of the catenary arch in < Església de Vistabella> as <Characteristic of Structural expressionism>. Section 4 treats the works in <3rd period> and Section 5, as the conclusion of this chapter, deals with these six design characteristics dividing into two categories; three characteristics to define the overall composition, and three characteristics to define the architectural detail designs. It would make clear that all of these characteristics emerged continuously in all of his works, throughout his entire career. The characteristics in his works were not temporary but permanent. These were expressions of the consistent essence in his whole creative life. Judging from the above, the design characteristics of Jujol were from his various architectural expressions, and it is elucidated that these characteristics were germane to his drawings. In conclusion, this chapter makes clear that his performances of drawing organized his design characteristics into his abundant architectural expressions. Chapter 4 deals in particular with the renovation of <Casa Bofarull>, recognizing it as the most significant work of Jujol. The project outstands his other works by its scale, its duration of design work, and its character of being a design work test bed due to the long duration. The evaluation and apprehension are made taking into account the results of onsite measurement studies. Section 1 surveys the already published articles on <Casa Bofarull>, Section 2 examines his own drawings on this work and the circumstances of the renovation. In Section 3, based on the results of the studies made on his original drawings and on site, it reveals that the renovations were limited to the south façade and balcony, the surface of the wall on the north façade, the staircase and the tower above. It also makes clear that Jujol’s point of interests was also limited to these areas, after examination of Jujol’s drawing and the onsite measurement survey. In Section 4, the studies show that all of the above mentioned six characteristics of Jujol’s works were found in the details of the project. As the conclusion of this chapter, Section 5 treats <Casa Bofarull> as the panoptic work and corroborates all the mentioned design characteristics found in the representative work. At the same time, it follows from the studies on <Casa Bofarull> that these characteristics were derived from the performance of drawing throughout the whole life of Jujol. Throughout Chapter 4, the studies were made to make a comprehensive analysis of the work of Jujol, by examining the results of studies previously made, the original drawings of <Casa Bofarull>, the actual measurement survey carried out on the exisiting building in the attempt of reproducing its actual drawings and by such activity, recognizing all the design characteristics mentioned in Chapter 3 Section 5.

In Conclusion, the summary of the whole thesis is composed of the results of the studies and the digests of the conclusions of the chapters.