← Contents

Chapter 3 Architectural Ideas and Aesthetic Characteristics in Jujol's Principal Architectural Works

3.1 Previous Research on Jujol's Architectural Works

Previous research on Jujol has already been addressed in Chapter 2 of the Introduction, but it is worth revisiting those studies that focus specifically on his architectural works.

The first publication to present Jujol's architectural works by organizing photographs and plans for each individual work was <La arquitectura de J. Mª. Jujol> (1974), written by his son. The illustrations presented by Salvador Tarragó correspond to the <Teatro Metropol (Teatro de la Asociación Obrera)>, <Torre Sant Salvador>, <Tienda Mañach>, <Torre de la Creu>, <Casa Bofarull>, <Casa Ximenis>, <Casa Negra>, <Taller Mañach>, <Iglesia de Vistabella>, <Restauración de la iglesia del Carmen>, <Casa Planells>, <Iglesia de Montferri>, <Pabellón de la Moda de la Exposición>, <Fuente conmemorativa de la Exposición>, <Restauración de la capilla del Carmen>, <Torre Serra Saüs>, and <Casa Jujol>; these works are presented in chronological order, with the exception of the last two works in Sant Joan Despí. In particular, for the principal works of the <Second Period>, such as <Torre de la Creu>, <Casa Bofarull>, <Casa Negra>, <Iglesia de Vistabella>, and <Casa Planells>, numerous illustrations are included, among them photographs taken during construction and autograph sketches and plans.

Dennis Dollens's work <Las cinco obras principales de Jujol (1913-1923)> follows upon <La arquitectura de J. Mª. Jujol>, and presents the five works of the <Second Period> — <Torre de la Creu>, <Casa Bofarull>, <Casa Negra>, <Iglesia de Vistabella>, and <Casa Planells> — as the representative architectural works of Jujol.

Other studies presenting representative architectural works of Jujol in the form of illustrated catalogues include: <Jujol> (1990) by Ignasi de Solà-Morales; the catalogue of the exhibition held in 2002, <Jujol Dissenyador>; the catalogue <El universo de Jujol> published in 1998; issue 179-180 of <Quaderns>, the bulletin of the Architects' Association of Catalonia, from 1988, entitled <El arquitecto Josep Maria Jujol 1879-1949>; and <Jujol>, a work compiled in 1992 by Josep Llinàs and Jordi Sarrà. All of these studies are limited to presenting Jujol's life and works with photographs and plans, without proceeding to analyse individual architectural works.

Jos Tomlow's article "La iglesia de Vistabella como precedente de la Iglesia de Montferri" (1995) analyses the <Iglesia de Vistabella>, but is confined to an analysis of the structural system of the parabolic arch from a structural-rationalist perspective, without including considerations of the plastic expression and decoration of the work as a whole.

The present chapter aims to organise Jujol's architectural works according to the three periods established in the preceding chapter, and to extract their aesthetic characteristics.

3.2 The Principal Architectural Works of the First Period (1901-1908) in Collaboration with Gaudí

3.2.1 <Casa Batlló>

The <Casa Batlló> was for Gaudí the work that represented a turning point in his departure from his earlier historicist style. Dennis Dollens, in his work <Las cinco obras principales de Josep Maria Jujol>, emphasises that in the <Casa Batlló> Gaudí's architecture underwent a radical reorientation with respect to his previous work: the massiveness of the Renaixença style with historical citations and manifest metaphors, as seen in the <Palau Güell (1885-89)> and the <Casa Calvet (1898-1904)>, was eclipsed, replaced by a composition in which a gently undulating facade covers a lightweight structural system. This composition was transmitted to the works of Gaudí in which Jujol participated as an assistant, such as Casa Milà and Parque Güell. Jujol would subsequently realise this composition in its purest form in his own residential work, the <Casa Planells>.

The balcony railings and the furniture of the <Casa Batlló> may be considered expressions rooted in the <Casa Calvet> within the genealogy of Gaudí's works. Dollens, affirming that it is evident that Jujol, having recently graduated from the school of architecture, was clearly very much under the influence of Gaudí, speculates that the fact that both shared a similar tendency but with different talents meant that Jujol's presence acted as a catalyst, provoking a great change in the genealogy of Gaudí's works; he expresses his full agreement with the opinion of Flores, likewise mentioned in Chapter 2 of the Introduction to the present work. 1)

Dollens goes on to note that George Collins held virtually the same opinion, and indicates that if one examines Gaudí's sketches for the chair of the <Casa Calvet> from around 1901-1902, it is possible to understand that he was approaching a naturalistic and organic methodology, but that this had not achieved clear expression until the <Casa Batlló> through his collaboration with Jujol.

The unanimous opinion of scholars of Jujol such as Dollens and of scholars of Gaudí such as Flores and Collins — who value Jujol's contribution to the changes Gaudí underwent in the <Casa Batlló> — is that giving importance to this contribution does not diminish the greatness of Gaudí, and that the latter, as with Rubió and Berenguer, welcomed the creative participation of Jujol, since Gaudí valued the stimulus provided by young architects. Dollens concludes that this capacity to bring out the best from his young collaborators was also one of the manifestations of Gaudí's genius, and repeatedly stresses that the recognition that Jujol participated in the construction of Casa Batlló and exercised a notable influence on the transformation of Gaudí's style in no way diminishes the latter's greatness.

On the other hand, as has already been noted, Professor Joan Bassegoda of the Gaudí Chair at the Royal Institute of Gaudí at the Polytechnic University of Catalonia systematically denies Jujol's participation in the <Casa Batlló>, a work that constituted the turning point in the genealogy of Gaudí's output from the Renaixença to Modernisme.

Jujol's son, in his work <La arquitectura de Jujol>, states that it was Dr Santaló 2) who introduced Jujol to Gaudí, and that the collaboration between Gaudí and Jujol on the <Casa Batlló> had begun between 1906 and the early months of 1907. He notes that Jujol undoubtedly made a great contribution especially in the decorative aspect, and that it was between 1906 and 1907 that Gaudí began to adopt a freer expression; he further affirms that even if Gaudí's works were examined in detail, arranged with rigorous chronological precision, and the relationships with all his assistants and collaborators were clarified, the result could only elevate Gaudí's fame, not reduce it. The son maintains that Gaudí was one of the first architects to understand that design is a collaborative undertaking.

The son then identifies the concrete contributions of Jujol to the <Casa Batlló>: first, the interior decoration of the ground floor, asserting that if one examines the doors of each room, it is clear that they are the work of Jujol. He likewise maintains that the entire facade of the building was also executed by Jujol on the basis of Gaudí's fundamental conception, arguing that the chromatic planning of this facade follows the tendency of chromatic planning that persisted throughout Jujol's entire life, that it bears a close relationship with the ceiling medallions of the colonnaded portico of the Parque Güell, and that it differs considerably from Gaudí's earlier geometric method of tile mosaic. The present author wishes to define this method, which exploits the effect of combining multiple colours, as <polychromatic expression>, and to examine it further in connection with Jujol's independent works.

Regarding the prayer words inscribed on the ribbon hanging from the candelabra above the communion rail of the small interior chapel, the son states that Gaudí left this entirely in Jujol's hands. The son notes that he obtained this account in 1966 from Joan Matamala, son of the then-collaborator Llorens Matamala. 3)

In the genealogy of Gaudí's works, although there were premonitory signs in the Casa Calvet, the great stylistic change in Casa Batlló was very marked, and it is an incontestable fact that almost simultaneously with this change, Jujol's participation in Gaudí's design activity began. The composition of a structural element combining rationality and expressiveness covered by a membrane of varied expression — which became the keynote of Gaudí's works from Casa Batlló onward, and more clearly from Casa Milà, where Jujol's participation is manifest — became the most prominent characteristic of Jujol's subsequent works.

Fig. 1) Casa Batlló Fig. 2) Tile Mosaic Fig. 3) Balcony Railing of Casa Milà

3.2.2 <Casa Milà>

Casa Milà is a work of Gaudí in which Jujol's participation is indisputable. Jujol participated continuously in this project and acted as Gaudí's substitute when the latter was absent, working on the cathedral of Mallorca. 4)

The elements for which Jujol was responsible in Casa Milà were the wrought-iron grilles surrounding the vestibule doors, the wrought-iron railings of the balconies on each floor, and the undulating plaster ceiling of the interior. Regarding the ceiling, it is recounted that Jujol would climb the scaffolding before the final coat was applied and trace the undulating lines directly on the ceiling with his hand, which the plasterers would then follow to form the relief and complete the finish. This anecdote offers a glimpse of the improvisational aspect of Jujol's creative activity, described in section 2.3.7 of the present chapter.

Oriol Bohigas, in his work <Arquitectura modernista>, notes that the tendency to transform the surface layer of the facade into spaces and masses that function as architecture in their own right is common to the most representative architects of Modernisme, and is particularly notable in the facades of the first and second floors of the Palau Güell and Casa Batlló; that it was the Church of the Sagrada Família that carried this to its extreme, and that what Domènech i Montaner realised in the Palau de la Música Catalana also corresponds to this, situating the works of Rubió and Jujol within the same lineage. 5)

At the same time, while he values the "baroque decoration" of the twisted and undulating wrought-iron railings and grilles executed by Jujol, Bohigas considers that the essence of Casa Milà resides in its spatiality emerging bare as an undulating mass, and that its relationship of influence with the Expressionist works of modern architecture is beyond doubt. This perspective is consistent with Dennis Dollens's view on Jujol's <Iglesia de Vistabella> and <Casa Planells>, cited in section 2.2.3 of the Introduction, and demonstrates the spatiality transmitted from Gaudí to Jujol.

Dollens, in the cited work, states with regard to Jujol's balcony railings that they not only complement the sense of undulation created by Gaudí, but evoke a different sensation; that if the undulation created by Gaudí were the expression of a calm and serene sea, Jujol's wrought-iron work would have contributed waves and light spray, and would moreover have radically transformed Gaudí's sculptural facade, converting it into a linear and abstract Laocoön 6) of violent and agitating effect; and that Jujol's design went so far as to transform the functional meaning of a railing. Dollens maintains that with these railings at Casa Milà, Jujol became part of the European avant-garde movement, and that the abstract sensation of this wrought-iron work connects with the calligraphy in which he excelled.

3.2.3 <Parque Güell>

The elements for which Jujol was responsible were the ceiling medallions of the colonnaded portico and the tile mosaic of the bench surrounding the plaza in the upper section.

This colonnaded portico, surrounded by Doric columns, was originally intended to serve as the market of this residential development, and in order to ensure sufficient space, some of the regularly disposed Doric columns were omitted; in their place, medallions finished using the traditional method of fragmented tile mosaic known as trencadís were installed on the surface of the ceiling at the points where the omitted columns would have met it. Jujol employed not only tiles used habitually as building materials, but also everyday tableware, to enhance the visual effect.

Jujol's son notes that the calligraphic patterns are clearly the work of Jujol, and records that Jujol himself told his family, when visiting the park, that this work was his. 7)

The son records the account obtained from Joan Matamala — who at that time assisted in the creative activity of Gaudí and Jujol — that Jujol asked him to collect large quantities of discarded bottles. As a result, the majority of the bottles collected by Matamala were blue, such as cosmetic flasks, and the mosaic was produced using their tonal gradations. 8) Dollens asserts that the method of reusing fragments of discarded ceramics and glass, or of tiles rejected as defective at factories, is the architectural version of the collage technique employing discarded cigarette packets or newspapers used by Picasso and Braque, and maintains that Jujol had anticipated the modern artistic movement in the field of architecture. 9) The present author wishes to define this method as the <collage technique> and to continue analysing it. As in <Casa Batlló> and <Casa Milà>, the elements for which Jujol was responsible in <Parque Güell> were also primarily concerned with surface decoration, and were works completed through the direct expression of his own hands.

Fig. 4) Bench in Parque Güell Fig. 5) Ibid., Ceiling Mosaic

3.3 The Principal Architectural Works of the Second Period (1908-1926)

3.3.1 <Teatro Metropol>

Also known as <Teatro de la Asociación Obrera>. This work was commissioned from Jujol, a native of Tarragona, by the "Asociación Obrera" — founded with the purpose of elevating the cultural, ethical, and religious consciousness of the workers of the city of Tarragona — as part of the realisation of its objectives, and was completed in 1908. The floor plan takes an irregular form, and the balconies arranged at various different levels and the open staircases, by integrating with the auditorium, create a magnificent space of dynamism and openness. The overall composition is formed by columns, beams, and steel bands with an exposed steel structure, freely combined with materials such as plaster, tile, wood, and glass. Given that this theatre was the building of a Catholic workers' association, Jujol created the general form through a decorative programme of a religious and symbolic character. The stage and the auditorium are expressed as a metaphor for the nave of a church buffeted by the waves of the sea. For this reason, ship lanterns and fishing nets hung around the parabolic proscenium arch. The ceiling of the corridor from the entrance was an inverted plastered dome supported by steel bands, whose form evoked the undulating surface of the sea. The interior space was dominated by ruled and curved surfaces, and on the columns, floor, and ceiling, various inscriptions and tile mosaic and coloured cement motifs dedicated to Christ and Mary were impressed. As the first large-scale work that Jujol realised independently, it became the first example of the characteristic composition of his architectural output: a structural element of its own character covered by a decorative membrane.

3.3.2 <Tienda Mañach> and <Fábrica Mañach>

The <Tienda Mañach> is a work of 1911 that marked a milestone in the trajectory of Jujol, who had begun to realise his own independent works in 1908, but it no longer exists. As noted in Chapter 2 of the Main Part, photographs of the interior taken at the time and a sketch of the facade by Jujol himself are currently preserved.

The interior was completely decorated, the walls and ceiling were finished in an integrated manner, and inscriptions in praise of the Virgin Mary had been freely added. These words appear scattered in the form of "Ave María" in gold, black, and muted tones, together with chained rosaries, against backgrounds of white, pale yellow, red, and purple. The chromatic planning may be said to constitute the principal theme of this architectural work. On this work, Ràfols noted that "a Greek, Mycenaean, or Minoan sensation fuses with an individual style drawn from the vegetable kingdom". 10) The colouristic expression applied directly with the brush by Jujol himself provides direct evidence of the relationship between Jujol's plans and drawings and his architectural works, and was a clear reflection of the aesthetic characteristics of the detail in his works. (Chapter 2 of the Main Part, Fig. 10) The present author wishes to define this method as the <drawing technique> and to continue analysing it.

Following this work, Mañach commissioned Jujol to design the <Fábrica Mañach> in 1916. This employed the design of colourful tiles decorating the load-bearing walls of the factory section, and the bold form of "eleven small domes evoking the helmets of medieval warriors" in the sections added in the extension resulting from changes to the project. (Fig. 6, Fig. 7)

Fig. 6) Exterior at the Time of Construction Fig. 7) Cross-Section and Roof Plan Fig. 8) Torre de la Creu Fig. 9) Floor Plans of the Various Levels of Torre de la Creu

3.3.3 <Torre de la Creu>

3.3.3.1 Background to the Work

The <Torre de la Creu> is a two-family dwelling constructed in 1913 in Sant Joan Despí, on the outskirts of Barcelona, and was the summer residence of Jujol's aunt, Mrs Josefina Romeu Gibert.

3.3.3.2 Architectural Description of the <Torre de la Creu>

The <Torre de la Creu> is formed by the union of five cylindrical volumes. Of these, the three wider ones are arranged in parallel at the same height, while the remaining two cylinders project at different heights above them. These two cylinders house the stairwells and provide access from them to the dwelling to which they belong. At roof level, above these five cylinders, two further, narrower cylinders are placed, containing the staircase that leads from the attic above the main stairwell to the watchtower. At the top of the seven cylinders, domes of different sizes, forms, and proportions are placed, conferring a continuous dynamism upon the architectural ensemble.

Three characteristic expressive features of the <Torre de la Creu> are enumerated below.

1) Domes at the top of the cylinders and the watchtower. The domes display varied shading and are clad in fragments of glass in shades of blue and green. These were the most abundant colours among the offcuts discarded by the glass factory of the period. It is said that Jujol obtained them from the glass factory. The second-highest watchtower is dedicated to Saint Joseph, the patron saint of the owner of the house, and the tallest is dedicated to the Virgin Mary. Jesus, for his part, was symbolised by the cross placed at the top of the highest dome.

2) Dining room with oriel window. The oriel window and dining room situated at the rear — as seen from the street-facing front facade — have a floor plan in the form of a wide cylinder. In the oriel window, instead of walls, slender iron columns are arranged in a circular form to receive the vertical loads of the cylinder itself, and a glazed surface is projected outward. (Fig. 10) The effect of the glass screen softens the cylindrical line of the principal building and adds lightness and slenderness to the mass. (Fig. 11)

The iron columns forming this oriel window have a finish simulating rolled ribbons, and at the top these form a bow. One of the ribbons hangs down and wraps around the body of the column, revealing Jujol's freedom in the treatment of detail. (Fig. 12)

3) Bedrooms and bathroom. Each dwelling has five bedrooms and a small bathroom on the second floor, and the two bathrooms are arranged adjacent to each other on either side of the party wall between the dwellings, ventilated by a small air duct concealed within the party wall.

Fig. 10) Interior of the Tribune Fig. 11) Exterior of the Tribune Fig. 12) Upper Part of the Iron Pillars Fig. 13) Catalan Vault Fig. 14) Glazed Surface and Staircase Fig. 15) Upper Part of the Chimney

3.3.3.3 The Five Cylindrical Volumes Composing the <Torre de la Creu>

The straight wall dividing the interior space longitudinally into two creates two nearly symmetrical dwellings. The waiting room, living room, corridor, and first-floor bathroom are housed in the first cylinder, the staircase in the second, and the dining room in the third, each belonging to its respective dwelling.

On the facade, openings of various forms are made, such as balconies and windows of different sizes. Some windows are oval, but there are also rectangular, blind, circular, and other forms. In the watchtower, there is a large horizontal-format opening.

In order to bring light into the stairwell, Jujol opened apertures in the outer wall of the cylinder, but there are sections where the spiral staircase passes through these apertures. This was made possible by the adoption of the Catalan vault, which supports the spiral staircase independently, structurally separating the cylinder and the glass surface of the staircase — an innovative solution for the period. (Fig. 13, Fig. 14)

The attic beneath the three domes is a spacious, curved room, from which climbing a few steps gives access to the flat roof surrounding the domes; Jujol designed this flat roof as a terrace with benches, so that — in keeping with a summer residence — visitors could rest and enjoy a panoramic view of the Baix Llobregat plain. Also worthy of mention are the two chimneys rising on separate bases above each dome, which break once and then transform into free volumes. The upper section takes the form of a sharp, tapered helmet. (Fig. 15)

In the <Torre de la Creu>, the sculptural expression based on a membrane structurally separated from the supporting element was confirmed, achieved through the characteristic floor plan form and roof form, and the projected glazed surface of the dining room. The present author wishes to define this sculptural expression with the appearance of papier-mâché as <epidermal plasticity> and to continue analysing it.

3.3.4 <Casa Bofarull>

3.3.4.1 Architectural Description of the <Casa Bofarull>

In the summer of 1913, while spending a few days at the home of relatives in La Secuita, in the province of Tarragona, Jujol met the sisters Dolors Bofarull and Pepita Bofarull, and received a commission to renovate a traditional stone farmhouse in Els Pallaresos, a nearby village. Jujol carried out an on-site inspection and an architectural survey of the existing structure that same summer, began the design in November of that year, and submitted the first proposal in September 1914. 11) This is also confirmed by the dates appearing on the measured surveys drawn by Jujol's own hand preserved in the archive managed by the architect's son. 12)

The traditional stone farmhouse of Spain and Catalonia is generally referred to as a <masia>, and this traditional stone house was also of that type: it was a large-scale complex formed by the main house, an adjacent storehouse, and a separate outbuilding separated by an alleyway that included agricultural working space. Having received the commission, Jujol first carried out the measured survey of the existing masia and then proceeded with the design and construction work, transforming it into the architectural work Casa Bofarull, with three storeys — ground floor (first floor), principal floor (second floor), and attic floor — above which rises a tower with a belvedere.

3.3.4.2 Overall Composition and Description of the Parts of the <Casa Bofarull>

The principal section of the existing masia has a three-nave floor plan and belongs, in the typological classification of the masia, to the basilical typology. 13)

The floor-by-floor distribution consists of the ground floor, the first floor (principal floor), and the second floor (attic). The ground floor contains the entrance vestibule — large enough to accommodate a carriage — the kitchen, the sitting room, the dining room, and the study, among others; on the south side there is a porch supported by a large arch designed by Jujol. The first floor is organised around a gallery in the form of a wide corridor and a vestibule, with individual rooms for family members; in the north extension there are service quarters, and on the south side a colonnade balcony designed by Jujol and a salon extending westward from it. The second floor (attic) was used primarily as a storage floor, and within it an elevated water tank was installed for the water supply. (Fig. 16)

At the centre of the building's floor plan stands a stairwell of nearly square plan that passes vertically through all floors. Above this stairwell rises the new tower added by Jujol. (Fig. 17) The tower consists of an interior belvedere — referred to as a mirador — and an open exterior balcony at its upper section; there is also a roof accessible by staircase, and this roof is surrounded by a wrought-iron railing. And at the top of the roof an angel figure is installed. (Fig. 18)

The characteristic elements of the <Casa Bofarull> are enumerated and briefly described below. A more detailed analysis and discussion will be presented in Chapter 4.

1) South facade (garden side). The first intervention was the renovation of the portico and the gallery on the garden side. Comparison between the elevation survey before the renovation carried out by Jujol himself and the survey of the current state allows one to affirm that Jujol's renovation consisted not so much in modifying the existing walls as in removing the greater part of them and adding a new facade to the elevation of the existing masia. This new facade has a composition of great interest from both the expressive and the structural point of view. Jujol's intention becomes more clearly understandable when compared with the portico and gallery of the existing masia, which had a conventional composition. (Fig. 19)

The large arch at ground floor level and the continuous columns and arches at first floor level present an extremely open composition in comparison with the main structure of the masonry masia with its walls and timber beams.

This large plane formed by Jujol's large arch, the continuation of columns and small arches above it, and the brick tracery above this, constitutes a new mask or screen added to the heavy body of the existing masia. The blue colour of the wall at the back of the columns is clearly intentional in its approximation to the colour of the sky, and it may be said that the intention is that, by evoking visual openness, this plane should be perceived as a membrane detached from the mass of the existing masonry body.

Furthermore, the corridor projecting beyond the outer wall at the base of the columns adds a further thin layer in front of the planarity of the aforementioned screen, creating even greater depth and lightness. (Fig. 20)

Fig. 16) South Façade (Garden Side) Fig. 17) Exterior of the Tower Fig. 18) Angel Figure

2) North facade (entrance side). On the north facade (entrance side), particularly notable are the inscription in praise of the Virgin Mary engraved by Jujol above the lintel of the opening framing the entrance door, the decorative perforated opening below the existing first-floor window, and the aperture for the illumination of the attic floor perforated in the upper section of the wall. Jujol exploited the size and position of the existing openings and decorated them to give this north facade an accent comparable to the arch above the entrance door. (Fig. 21)

What Jujol did on this facade was an expression through excavation. This ancient masonry exterior wall, by being perforated and carved, may be said to recover the mass that it originally possessed. It may also be considered that through this act of excavation, the intention was that the masonry exterior wall should be perceived as a new surface. A surface is perceived as such only through the existence of its edge, and the tension of that surface depends on the sharpness of the edge. On this surface, although massiveness and plasticity are the dominant tones, there exists a tension that makes one conscious of the existence of the surface, as can be seen in the sharp edges that convey a sense of surface tension. (Fig. 22)

Fig. 19) Elevation of Jujol's Renovation Project Fig. 20) View of the West Balcony from Below

3) Stairwell. In the stairwell that passes vertically through the centre of this architectural work, and in the sequence of spaces continuing toward the interior belvedere of the tower, the exterior balcony at the top of the tower, and the roof, the combined effect of colour, light and shadow, and decorative details creates a dramatic effect moving from the darkness of the enclosed space of the ground floor to the luminosity of the open space of the roof terrace. The stairwell, whose walls are painted blue, receives light penetrating from the central skylight in the ceiling, and the luminosity increases as one ascends to the upper floors. (Fig. 23)

The stairwell and the upper belvedere are not directly connected by the staircase mentioned above, but rather through another direct staircase placed alongside it. The tower is constructed by resting the loads on the perimeter walls of the stairwell, and this direct staircase is supported by a new steel beam added by Jujol alongside the stairwell. (Fig. 24)

Fig. 21) North Façade (Entrance Side) Fig. 22) Opening Above the Entrance Fig. 23) Upper Part of the Stairwell Fig. 24) Added Steel Beam Fig. 25) Interior of the Belvedere

4) Belvedere. The floor of the belvedere installed in the tower merits attention from a structural point of view. Six I-section steel beams, each end resting on the midpoint of the adjacent beam and this relationship closing in a circle, permitted the construction of a floor with a hexagonal opening at the centre. This floor composition with its slender steel and central opening clearly gives an impression of greater lightness compared with the rest of the masonry body, and it may be considered that it was intended to anticipate the spatial quality of the more open belvedere on the upper floor.

The interior of the belvedere is entirely painted in vivid yellow on walls, joinery, and frames, in contrast with the blue of the interior wall of the stairwell. In the ceiling above the central opening of the floor there is a skylight that introduces light from the roof balcony, and it may be surmised that Jujol intended to unite through light the sequence of spaces continuing vertically from the tower down to the stairwell. (Fig. 25)

5) Terrace at the top of the tower and roof, and the angel figure on the roof. At the top of the tower, situated nearly at the centre of the building's floor plan, there is an exterior terrace with its roof, and at the top of the roof an angel figure serves as a weathervane. The interior belvedere of the tower and the roof balcony are connected by an exterior staircase situated above the direct staircase linking the stairwell with the belvedere.

The floor plan of the terrace is nearly square, and at the centre of each face of the wall a large opening that widens toward the top is made, with the walls taking the form of an L-shape at the four corners to support the roof. On the exterior of these L-shaped walls, decoration is applied through changes in the manner of laying the bricks. (Fig. 26)

In the central openings of each face of the wall there are wrought-iron railings, and at the top of these openings a steel beam receives the roof loads, with tie rods transmitting those loads to the aforementioned L-shaped walls. (Fig. 27)

Thus, on the roof balcony a greater number of oblique linear forms appears than on the lower floors. These, combined with the increase in the surface area of the openings, generate a sense of instability contrary to the expression of stability typical of masonry architecture.

The roof balcony and the roof are connected by an iron staircase. This staircase is formed by a central I-section steel beam from which the steps project on both sides. (Fig. 28) From the midpoint of the beam, round bars extend toward both ends of the steps, serving as bracing. This staircase provides access to the roof.

On the roof there is a wrought-iron railing of a highly characteristic form. The open form at the top in comparison with the lower section visually conveys the lightness of having separated from the masonry body. On the surface of the roof clad in irregular tiles, plates, pitchers, and bottles are embedded at various points. The intention is to give diversity to the reflected light through sunlight, thereby creating new depth and texture; it may also be said that it constitutes an attempt at membrane-isation in the optical sense. (Fig. 29)

When the overall composition of the south facade and the tower is observed, it can also be seen that as one ascends, the use of brick tracery laid diagonally increases, and along with this, the presence of wrought-iron forms that appear to be detached from the masonry body increases. The combined effect of all these elements expresses, it may be considered, the lightness of an attempt to transcend the limits of masonry construction.

Fig. 26) Upper Exterior Wall of the Tower Fig. 27) Interior of the Observation Terrace Fig. 28) Ibid., Staircase Fig. 29) Tower, Roof

3.3.4.3 Conclusion on the <Casa Bofarull>

Oriol Bohigas, in his work <Arquitectura modernista>, notes that the tendency to transform the surface layer of the facade into spaces and masses that function as architecture in their own right is common to the most representative architects of Modernisme. 14) In the <Casa Bofarull>, particularly in the south facade (garden side), Jujol's renovation has created a spatial layer entirely independent of the existing structure, which may be considered a clear example of what Bohigas asserts. The present author wishes to define this feature, which is especially prominent in the <Casa Bofarull>, as <facade spatialisation> and, paying attention to the presence or absence of this feature in other works as well, to advance the analysis.

The <Casa Bofarull> is, together with the <Teatro Metropol>, one of the largest-scale works of Jujol's <Second Period>, and given that its construction extended from 1914 to 1931, it spans the greater part of the <Second Period> up to the beginning of the <Third Period>. Furthermore, as has become clear in the foregoing analysis, Jujol tested various modes of expression in this work. With this in mind, the present author wishes to devote an additional chapter to the <Casa Bofarull> for a more detailed analysis.

3.3.5 <Casa Negra>

3.3.5.1 Background to the Work

The <Casa Negra> is a work in which a manor house in Sant Joan Despí, on the outskirts of Barcelona, was extended and renovated between 1915 and 1926. The project proposal was submitted to the client in 1914, the construction work began in 1915 and continued until 1926, when the interior chapel was completed — approximately eleven years in total. The renovation work began first, followed by the extension work including the attic, and finally the various decorations were carried out. The <Casa Negra> is articulated as a whole in a Baroque style and, as a result, became an architecture of complete stylistic unity. Special emphasis was placed on the principal facade, the dining room, and also the staircase and the chapel. Jujol himself took up brushes and filled the walls and ceilings of the facade, the dining room, the staircase, the chapel, and other spaces with vegetable motifs.

3.3.5.2 Architectural Description of the <Casa Negra>

The floor plan of the building follows the form of the existing house, approximating a parallelogram in its rectangular figure. The ground floor contains reserve dependencies such as storerooms, the principal floor has a dining room, sitting room, oriel window, chapel, and bedrooms, and the added third floor is the attic. The central staircase connects the different floors. The front of the principal floor is a leafy garden, and along the street fence there was a pergola of portico-like appearance with parabolic arches.

Three characteristic aesthetic expressions of the <Casa Negra> are enumerated below.

1) Chapel with elliptical dome. In the chapel, an elliptical dome resting on pendentives covers the room. The exuberant Baroque richness of the altar is translated into a dense decoration of interwoven motifs with colours, which unfolds across the entire dome. Decorations in blue and gold are also applied around the windows providing illumination. The entrance door of the chapel has an original form: it is finished with upholstery, with decorative tacks and a small door in the form of a saw-tooth edge.

2) Stairwell and its ceiling. In the dining room on the second floor there is a staircase of bold composition giving access to the attic. The staircase is protected by a wooden railing of very simple composition, the space between the railing and the steps is supported by cross-shaped balusters arranged diagonally, and the contrast between the wood and the glazed tiles of the steps gives a clean and innovative impression.

The ceiling above the staircase is supported by a very characteristic structure. It is sustained by eight radially extending beams, and at the centre of the ceiling one beam supports the next, closing this relationship in a circle, so that all the beams support one another mutually. This is a structure similar to that which can also be seen in the ceiling of Casa Bofarull. (Fig. 30) The walls and ceiling of this stairwell are painted primarily in a deep blue like the floor of the sea, and garlands of white vegetable motifs spiral around the figures of angels at the top of the eight white lines framing the beams.

3) Facade of the <Casa Negra>. The principal facade of the <Casa Negra> is memorable for the curved cornice line evoking clouds massed at the crest of a mountain, on which irregularly arranged medallions are engraved against a background of clouds with the Latin inscription "Ave gratia plena Dominus tecum" (Hail Mary, full of grace), addressing passers-by much as the <Casa Milà> does. This principal facade was conceived as the altar wall of the Virgin, reinforced by the monogram of Mary at the top of the cornice and by the figure of Mary painted on the glass of the central oriel window. And clouds swirling in the wind, with billowing clouds framing the wall openings like white petals. And at the centre of this principal facade there projects, like the prow of a ship or an architecturally elaborated vessel, an oriel window with two slender curved wrought-iron columns as insect legs hanging from the earth. On either side, the terraces with iron railings and benches at both ends add yet further lightness. The cornice mouldings and the stucco at the base, in contrast with the Surrealist expression of the ensemble, reveal the delicacy and care of the architect who created the ceiling of <Casa Milà>. (Fig. 31)

The sculpture of the nest with chicks at the top of the oriel window, the composition of the trapezoidal-inverted window openings, the round windows, and the vegetable motifs branded on the timber panels oriented toward the interior are like the overflow toward the exterior of the dense forms and the profusion of colours in the interior of the <Casa Negra>. The generous volumetry of this facade, the horizontal of the cornice of the existing house, and the white stucco striving to eliminate the weight of the thick existing walls; but above all, it is the lightness of the oriel window inserted into this facade that must have concentrated Jujol's greatest efforts. In the <Casa Bofarull>, a light expression is achieved by adding to the heavy existing brick exterior wall a stucco membrane with slender columns and, further forward, a lightweight balcony; a similar technique is also observed in the <Casa Negra>, revealing a typical model of Jujol's <facade spatialisation>. (Fig. 32)

Fig. 30) Ceiling of the Stairwell Fig. 31) Tribune Fig. 32) General View of the Façade

3.3.6 <Iglesia de Vistabella>

3.3.6.1 Background to the Work

The <Iglesia de Vistabella> is a work constructed as a parish church in Vistabella, in the province of Tarragona. Jujol spent a few days in La Secuita during the summer of 1917 and there received the commission to design the <Iglesia de Vistabella> from Mr Mallafré, the landowner. On the day after receiving the commission, it is recounted that Jujol inserted a chain into a rectangular wooden board, allowed it to hang downward, and, forming several catenary curves, explained the general conception of the church and its structural approach.

3.3.6.2 Architectural Description of the <Iglesia de Vistabella>

Seven characteristic aesthetic features are enumerated below to describe the architecture of the church.

1) Floor plan. The floor plan of this church is conceived so as to insert a Greek-cross church floor plan in the diagonal direction of a square floor plan, with the aim of constructing a steeple at the centre of said floor plan. First, as a brick wall forming the exterior shell, the largest square is formed. (To be precise, there is an extension of one bay in the diagonal direction to the right toward the altar.) At the centre of the large square a smaller square is formed, which constitutes the outer boundary of the vaulted ceiling of the tower section. Within this square, two arches cross to support the upper section of the tower, and these two arches cross at an angle of 60 degrees to adapt to the regular hexagonal floor plan of the belfry in the upper section of the tower. On the four sides of the central arch there are four groups of smaller crossed arches. This geometric combination forms the complex floor plan of the <Iglesia de Vistabella>. (Fig. 33, 34, 35, 36)

Jujol's son writes the following in his work: "This church boldly departs from established traditional styles, but does so in order to devote to a religious space the achievements of modern design without sacrificing the dignity of the interior space, and to give the design a structure appropriate to the space. The articulation of the nave, the dome, the belfry, and other parts that were traditionally considered distinct architectural components are integrated here as a single architectural unit." 15)

2) Catenary arch structure. This church is built directly on the exposed rock at the surface as its foundation. It has at its centre a tower with two large crossed parabolic arches, and around it four vaults each composed of a combination of two arches, forming the structural skeleton.

3) Tile vault and double roof. The vault of the tower section is constructed by superimposing layers of thin brick with the intention of reducing weight and thermal effect. Furthermore, the roof around the tower is double: the upper layer is clad in stone and the lower is constructed with a brick vault. Between the two there is an air chamber that protects against temperature changes and the penetration of rainwater.

4) Separation between structure and membrane. What characterises this project is that the vaults are not constructed as load-bearing vaults receiving loads on their surface, but rather a linear structural element of catenary arches is first constructed, and between those catenary arches vaults are stretched that function as membranes separating the exterior from the interior. The structural separation generates smooth vault surfaces in the interior that are readily receptive to decoration, and on those wall and ceiling surfaces Jujol deployed his full talent without restriction to apply decorations.

5) Mechanical composition of the tower section. The thin brick vault constituting the central section of the tower receives the loads from the four groups of crossed arches around it. At the same time, the crossing of the central parabolic arches receives only the loads from the crown of the tower and does not bear the loads of the vaults. By being structurally separated from the arches, the vault becomes thin and smooth, but the church as a whole, combined with the complex floor plan, is structurally complex. (Fig. 37)

In the lower section of the building, these two structural systems counterbalance each other at the lower arches of the four pillars in the interior of the church through the horizontal forces that are generated. Furthermore, the horizontal forces toward the exterior of the building from these four groups of crossed arches are absorbed by the thick perimeter walls.

It is considered that the crossing of the large arches contained in the vault of the tower section also serves the function of preventing the vault from deforming under horizontal forces such as wind, together with the effect of the linear steeple in its upper section. (Fig. 38)

Jos Tomlow, the German structural engineer known for having participated in the works to complete Jujol's unfinished work, the <Iglesia de Montferri>, notes — based on interviews he conducted in 1990 with elderly residents of the village of Vistabella — that the tower of the <Iglesia de Vistabella> suffered a collapse due to strong winds during construction, and that it was rebuilt after a design modification. (Fig. 39) For this reason, Tomlow notes that the response to wind pressure on the vault was one of the intentions given to the form of the steeple in the upper section of the arches, and that this idea was taken from Gothic architecture. 16)

6) Relationship between the tower arches and the upper steeple. Tomlow also notes that the height of the triangular steeple is almost double the height of the arch. With this, it can be seen that the straight line of the tie rods forming the steeple is the tangent of the parabola at the arch's point of support. (Fig. 40) 17)

It is recounted that Jujol initially explained his conception of the form of the <Iglesia de Vistabella> by showing the catenary curve formed when a chain fixed at both ends is suspended, but in practice he advanced the design by approximating the catenary curve to a parabola. By making the straight line of the tie rods the tangent, it appears that the intention was to make the direction of thrust from the steeple coincide with the direction of the arch's own thrust, so as not to apply bending moments to the arch. With this, the steeple performs the function of resisting the horizontal forces acting on the vault, without those forces acting on the arch.

Fig. 33) Floor Plan Fig. 34) Roof Plan Fig. 35) Floor Plan Diagram Fig. 36) Roof Plan Diagram Fig. 37) Cross-Section Fig. 38) Exterior of the Tower Fig. 39) Initial Proposal Fig. 40) Parabola and Tangent Lines

3.3.6.3 On the Design Based on the Inverted Funicular Model

As indicated at the outset, it is recounted that Jujol used a simple inverted funicular model as the starting point for conceiving the form of this church. The inverted funicular model is a technique that forms the catenary curve by allowing the intermediate section of a chain or rope fixed at both upper ends to hang freely, such that this form represents the state in which almost no bending moment acts and the chain itself is subjected only to tensile forces; by considering that form inverted, the form of the catenary arch is modelled — a type of arch structure in which no bending moment is produced.

The first large-scale example of design employing the inverted funicular model was the experimental model of the Church of the Colonia Güell by A. Gaudí. The fabrication of this model is believed to have taken place between approximately 1898 and 1908, and this period coincides exactly with the period during which Jujol was a student at the Barcelona School of Architecture. Isidro Puig Boada, author of "La iglesia de la Colonia Güell" 18), reports that Jaume Bayó, who at that time taught the subject "Resistance of Materials" 19) at the Barcelona School of Architecture, used the word "equilibrium (mechanical)" 20) in his lectures, and notes that this word has its origin in the work of the American John Millington, "Elements of Civil Engineering" (Spanish version: "Elementos de arquitectura") 21), informing that this book was catalogued as a reference book in the library of the Barcelona School of Architecture. It is likewise noted that the catenary arch was also mentioned in the work "Théorie et pratique de l'art de bâtir" 22) by the French rationalist Rondelet, and that this too was catalogued in the library of the Barcelona School of Architecture.

Jujol attended Bayó's lectures in the second year ("Hydraulics") and the third year ("Machines and Motors"). Jujol took the subject "Resistance of Materials" in the academic year 1901-1902, but in that year the subject was taught by Joan Torras Guardiola and Josep Puig i Cadafalch. Joan Torras Guardiola also addressed the theory of the German scholar Scheffler in the subject "Applied Mechanics", which Jujol likewise attended. 23)

3.3.6.4 The Construction Process

Jujol wrote the following about this work: "The inhabitants of the village lent their labour directly to the construction work. The days of work with their own hands, or pushing manual wheelbarrows, gave the inhabitants of Vistabella the reputation of being pious and united people. The owner of Mas de Mercader, situated at nearly the same altitude as the site close to the works, donated to us large quantities of stones of the size we needed. Stacking them was simple work." 24)

The flat limestone slabs that were readily found in the vineyards and that were habitually used to build agricultural walls and sheds were transported to the site by the villagers and used as bricks. The use of these limestone slabs considerably reduced the cost of walls, arches, skylights, drainage channels and gargoyles, lintels over small spaces, etc. Thus, as construction advanced with the assistance of voluntary labour from the villagers, its influence was not limited to the reduction of construction costs, but also had a positive effect on the plastic expression of this church. The stones extracted from the vineyards by the hands of the local inhabitants and transported to the site can now be seen as protrusions on the upper sections of the arches and walls. Jujol personally advanced the interior decoration with a brush alongside the painter Ramon Farré, and during that process it is recounted that the children of the village helped him. The children who assisted with Jujol's work during the construction maintained a strong attachment to this church even after reaching adulthood. It may be considered that the construction of the church also had a positive effect on the formation of the community.

3.3.6.5 Conclusion on the <Iglesia de Vistabella>

The work <Iglesia de Vistabella> of Jujol's Second Period has been presented and three features have been clarified.

The first is that this work is a work that pursued structural rationality. This can be seen in the use of parabolic arches, the reduction of vault weight through the use of thin brick, and the measures against temperature changes and rainwater penetration through the double roof. A characteristic common with other works of the Second Period is also observed, in that the structure and the membrane are separated and the membrane section is decorated in an exuberant manner. The present author wishes to define the feature of connecting the pursuit of structural rationality with architectural expression as <structural-expressionist characteristics>.

The second is that it was demonstrated that this work was conceived with a clear plastic and structural intention on Jujol's part, and that in it each architectural component does not exist independently but is assembled in mutual relation, and that the characteristic features of the works of Jujol's Second Period — the articulation between structure and membrane and the exuberant decoration of the membrane section — are consistent in this work as well.

The third is that this work was completed through construction with the participation of the local residents. As can be seen from the foregoing account, this work is one in which Jujol's original conception was realised almost without change, but beyond that, the present author considers that the <Iglesia de Vistabella> is elevated to a work of theoretical architectural content because Jujol became conscious of the very act of building by the peasants — who constructed agricultural walls and sheds, and even their own dwellings, through their agricultural labour — and integrated it into the work in a similar manner.

Fig. 41) High Altar

3.3.7 <Casa Planells>

3.3.7.1 Background and Architectural Description of the <Casa Planells>

Casa Planells is a residential building whose construction began in 1923, on the Passeig de la Diagonal in Barcelona.

Before commencing construction, Jujol prepared three proposals. The first proposal, submitted on 31 December 1922, was a residential project with a garden on the facade. On the ground floor a medical consulting room was installed and the opening of a surgery was envisaged. Three further floors were added above the ground floor, along with an attic. Subsequently, Planells sold half of the plot, and on the remaining land a single-family dwelling for Planells himself was designed as the second proposal.

Subsequently, in view of the deterioration of Planells's economic situation, a third proposal was drawn up as a project change, which became the definitive proposal, although the construction works remained incomplete. In this proposal, the building consisted of a ground floor intended for commercial premises, a second floor as a dwelling, a third floor as a large duplex dwelling for Planells, and the fourth, fifth, and sixth floors as rental duplex dwellings, with an attic above; but in practice the construction was halted upon reaching the fourth duplex floor, and subsequently, without Jujol's involvement, a fifth floor without a duplex and an attic floor were added.

The building is constructed by filling the framework of concrete columns and slabs with parapet using plastered brick walls. In the parapet of each slab, ventilation grilles are made that allow ventilation even when the upper window shutters are closed — an innovative idea for the period. In the preserved drawings, the trace of Jujol's hand studying the undulating form of the floor plan can be seen. (Fig. 42) The characteristic plasticity of the concrete structure and the membrane projecting from it is also, as in the <Torre de la Creu>, an example of <epidermal plasticity>. (Fig. 43)

3.3.7.2 Different Debates on the <Casa Planells>

In the original proposal drawn up by Jujol, the building was conceived as an altar to the Virgin Mary, which is related to the conception of the <Casa Negra>. Furthermore, the building was to have decorations added to the curved and projected walls — like the facade of Gaudí's Casa Milà in which Jujol participated — but due to the deterioration of the client's economic situation, the decorations were never added. On this, Jujol's son says of this work: "Elegant decoration adorns the principal residential spaces. The spiral ceramic display case cut from the confessional room, and the columns with the decorative bow capital embracing the cast-iron column that supports the central axis of the house in the oriel window. Jujol finally designed a seven-storey building. First the ground floor, then the mezzanine, then the principal floor, and above that three more floors, and at the top the attic. The attic was planned as a studio for the client's brother, a painter. This attic with rectangular windows had an elegant cross at the top and a dome above the oriel window, and had also installed the Virgin's monogram. These added a joyful expression to the building. However, regrettably, what remained as Jujol's work was only up to two floors above the principal floor. Quite some time later, without consulting Jujol, the upper floor and roof that became a terrace were constructed, and the oriel window and other details planned were also never built, remaining as a half-finished and incomplete work of Jujol." At the same time, he also mentions that Flores evaluated this work in 1965 as the most important of Jujol's works. 25)

Jan Molema raises doubts about the exclusive attention paid to the surface richness of the works of Gaudí and Jujol, and notes that the urban planning and building regulations of the time also applied to their works and that they complied with them, as is natural. At that time, the maximum buildable height on this plot on the Passeig de la Diagonal was 22 m. 26) Jujol, rather than placing more floors within the maximum height, distributed this height among the planned number of dwellings and added a partial low-ceiling mezzanine floor to each dwelling. As a result, the living room obtained a great ceiling height, and a magnificent space full of natural light was realised. Molema notes that this spatiality is different from what can be seen in Le Corbusier's Unité d'Habitation or Ginzburg's Narkomfin Building, and raises the doubt that Flores does not mention that this collective dwelling by Jujol is very close to the innovative architecture of the mid-1920s. The executed proposal departs greatly from the religiosity of the original proposal dedicated to the Virgin Mary, and Molema maintains that one can read in the composition of the concrete structure and the membrane boldly projecting from it the will of Jujol to participate in the modern architecture movement. Flores also suggests that, while it is true that Casa Planells acquired its current appearance for economic reasons, it may at the same time also have been influenced by the arrival of the wave of modernisation in Barcelona. This work began with design conditions similar to those of Casa Milà, but as it progressed toward the construction of the upper floors, it acquired an increasingly modern appearance: the open reinforced concrete structure and the membrane projecting from it. Flores notes that the modernity of this work can also be seen in the complete correspondence between interior and exterior, in the restrained use of colour, materials, and forms, and in the spatiality extending horizontally; and he affirms that in the floors added after Jujol disengaged from the work no such spatiality can be recognised, maintaining that an intention on Jujol's part to approach modern architecture may also have existed. 27)

Josep Llinàs also notes as very interesting the temporal coincidence with Expressionist architecture outside Spain, and at the same time records the words of Josep A. Coderch 28), one of Jujol's last students, expressing the sympathy that modern Catalan architects feel toward their predecessor Jujol: "I have respect for Gaudí, but more than that, what I have is respect for Jujol. Of course, perhaps this is because I knew Jujol personally, but at the same time it is also because I believe that Jujol created works far more wonderful than Gaudí." 29)

Casa Planells, whatever the reasons, was constructed without decorations, and as a result became, with a clear image, an architecture in harmony with the contemporary modern architecture movement. This gave the modern Catalan architects who followed him the respect and confidence that Jujol, a disciple of Gaudí and their immediate predecessor, was one of the pioneers in opening the path of modern architecture, and this legacy was transmitted to contemporary Catalan architects. It may be said that Jujol played an important role as a generational link in the architectural current running from the Renaixença to Modernisme and to the modern and contemporary era.

Fig. 42) Casa Planells Fig. 43) Exterior of Casa Planells

3.4 The Principal Architectural Works of the Third Period (1926-1949)

3.4.1 <Pabellón de la Moda de la Exposición Universal de Barcelona>

In 1926 preparations began for the Barcelona International Exhibition. The designs for each pavilion were commissioned from the professors of the Barcelona School of Architecture.

At that time, Barcelona was experiencing a period of commercial and economic prosperity that would reach its zenith at the Universal Exhibition of 1929. At a meeting held on 17 August 1926, Francesc de Paula Nebot, a professor at the Barcelona School of Architecture and a member of the Exhibition's executive committee, decided to commission Jujol and Andreu Calzada to design and supervise the construction works of the Pavilion of Education, Hygiene, and Social Organisation. The design conditions were changed shortly afterwards to Labour Pavilion, and it was finally completed as the Fashion Pavilion. The design period granted to Jujol was only forty days, and he was required to adopt the Classicist style in order to harmonise with the design of the other pavilions. Given also that the budget was limited, it was not completed as a work with the details characteristic of Jujol, but the adoption of the Classicist style also corresponded to Jujol's own wishes, as his son notes. 30)

Jujol published an explanatory text in the journal <El Imán>, which is one of the rare instances in which Jujol himself writes about his design intentions. 31)

This building was destroyed by the bombardments during the Spanish Civil War and the subsequent abandonment, was demolished after the war, and no longer exists.

Fig. 44) Exterior of the Fashion Pavilion of the Universal Exposition

3.4.2 <Fuente monumental de la Plaza de España>

A fountain constructed in the Plaza de España, the entrance to the exhibition grounds, to commemorate the Barcelona International Exhibition held in 1929. Jujol, who had just returned from an inspection of classical architecture in Italy during his honeymoon journey, was invited by Jaume Bayó, a professor at the Barcelona School of Architecture and a member of the Exhibition's architecture committee, to participate in the invitational competition. Although within the architecture committee there were voices of concern about Jujol's characteristic architectural expression, Jujol submitted a proposal based on the Classicist style that allayed those concerns and finally won the competition, being entrusted with the execution project. According to the testimony of Francesc de Paula Nebot 32), Jujol's proposal was "the only one with spirituality", and all the other proposals lacked something. 33)

Jujol left a written explanatory text on the design of this fountain. 34) This text describes how the basic form of this fountain, based on an equilateral triangle, responds to the axes of the three major avenues intersecting at the plaza, and also addresses the thinking behind this commemorative architecture inspired by the architecture of ancient Rome.

Dollens, in the epilogue to his work <Las cinco obras principales de Jujol>, writes the following: "This fountain is covered with many decorations like other works of Jujol, but if previously Jujol was an outstanding architect as a collagiste, here Jujol has fallen to being a mere collector, and the spirituality and enthusiasm seen in earlier works have been replaced by cultural romanticism and servile nationalism"; thus he harshly criticises this work and does not include it among Jujol's principal works. Furthermore, Dollens notes that although this work was restored for the 1992 Olympic Games, the surrounding urban context has changed enormously, so the connection with the urban context to which Jujol devoted so much effort no longer makes sense today.

Dollens notes that Jujol travelled to Italy just before beginning the design of this work, and that before this there is no such monumentality of ancient Roman style and Baroque details as are observed in this fountain, unless one goes back to the academic exercises of his student years; he affirms that had Jujol approached this important urban work with his habitual expression — that is, the characteristic expression of his <Second Period> — it would have been evaluated as a more important work.

Dollens, who devoted unreserved praise to the works of Jujol's <Second Period>, writes the following about the Classicist works of the <Third Period>: "Why did Franco's regime not discover Jujol? Especially the commemorative fountain would have been a perfect portfolio work. However, perhaps the problem was that this architect had expressed his feelings for Catalonia strongly in the past. In the post-civil-war period, having been a Catalanist in the past would be sufficient reason to be excluded from the work controlled from Madrid. In all probability, the fact that he belonged to neither of the two sides during the Second Republic and the civil war generated, quietly but surely, a negative attitude toward him. On the other hand, the fact that there were patrons who saw in this fountain and the Fashion Pavilion a lack of architectural quality must also have been a factor distancing him from the forefront of the era. And as a result, under a cruel fate, they abandoned Jujol." He sets this down in writing with these harsh words.

Also in the collected works compiled in 1990 by Solà-Morales, this commemorative fountain is mentioned only briefly in describing Jujol's curriculum vitae; similarly, in the collected works of Josep Llinàs published in 1992 and in <El universo de Jujol> of 1998, it is not presented as a principal work either. The <commemorative fountain of the Universal Exhibition> is probably the most widely known of Jujol's works among the citizens of Barcelona, and the low esteem in which architects and architecture critics hold this work is considered one of the obstacles to a just evaluation of Jujol.

On the other hand, Solà-Morales, in the special issue of the journal <Quaderns> dedicated to Jujol 35), notes that Jujol occupies a position not accommodated to the mainstream of twentieth-century architecture, that he produced works based on a personal method that could be described as anomalous in this century, and maintains that his works cannot be understood entirely within the parameters of modern architecture. He then affirms: "Every culture is constructed through a system that follows its own conventions, and for this reason classical architecture is constructed on the basis of imitation and regularity, and modern architecture is constructed on the basis of new technologies and internal requirements. Furthermore, every culture has what might be called a system of censorship, and architectural works likewise cannot transcend the limits imposed upon them without taking into account aesthetic and social reality." With this he notes that Jujol's works could be no exception. Solà-Morales points out that the "spirit of the age" pointing toward a perfect, progressive, and universal future in the modern and contemporary era, and the functionality that modern architecture itself carries within it, were factors that kept many of the century's masterpieces within a single stereotype, and maintains that it is outside the limits of the spatial concept that defines the spirit of the age that important values and meanings of space exist. Therefore, Jujol's works should not be understood as merely heterodox works in comparison with architectural works that adopted modern architecture in a conventional manner, but rather should be understood as works that, through their excessive expression, were attempting to transcend the limits of established modernity.

It is considered that Jujol's works should not be judged by paying attention solely to the aesthetic characteristics of his works, and that this "commemorative fountain" must also be evaluated taking into account the full temporal and spatial context of the city of Barcelona: the harmony with other facilities unified in the Classicist style, and the conditions of being a historical monument of the city. Regarding the Classicist design adopted by Jujol for the historical monument, although it was a design condition given in advance, Dollens's criticism cannot be considered entirely unjust. However, Jujol's Classicism, as he expressed it by engraving on the base of the fountain "S.P.Q.B., that is, Senatus Populusque Barcinonensis (The Senate and the People of Barcelona)" 36) following the model of ancient Rome,

was a manifestation of the love for Catalonia as the land of origin of the culture and civilisation of the Iberian Peninsula from ancient Rome, and it may be categorically affirmed that it shares no common root with the Spanish nationalism centred on Castile and Madrid. (Fig. 46)

Fig. 45) Current State of the Monumental Fountain Fig. 46) Pedestal of the Monumental Fountain and Jujol

3.4.3 <Iglesia de Montferri>

3.4.3.1 Background to the Work

This is a church projected in the village of Montferri, situated in the Tarragona plain, which remained unfinished during Jujol's lifetime. Also known as the Church of Montserrat or Sanctuary of Montserrat, Sanctuary of Montferri, it was projected as a church dedicated to the Virgin of Montserrat, the sacred mountain of Catalonia. It was promoted by the local priest, Father Daniel Maria Vives, and the construction works were carried out with the voluntary participation of the local residents. Construction began in 1926, but was interrupted in 1935 due to lack of funds.

Josep Llinàs notes regarding this work that its construction was initiated in the period when Jujol was carrying out his creative activity with the greatest energy, and was interrupted together with the end of that period. 37) This period already belongs to Jujol's <Third Period>, and during the same period he also realised the two aforementioned Classicist works, which differ from his earlier tendencies. The existence of the <Iglesia de Montferri> allows one to affirm that the change in the aesthetic characteristics of Jujol's <Third Period> is limited to the two major Classicist works of the Barcelona International Exhibition and does not encompass the totality of his aesthetic characteristics.

Construction work began in November 1926, and the villagers are recounted to have worked with enthusiasm. Only two masons, a father and son, were contracted, and under the direction of Father Vives, the villagers assisted them in shifts. Since the budget that the poor village of Montferri could raise was limited, the only materials that could be acquired were Portland cement and sand. The villagers went to collect coal slag discarded at the railway station some 4 km away, and mixed it as coarse aggregate with sand and cement to make concrete blocks of 10 cm × 15 cm × 30 cm, which they used as the material for all the arches, walls, and vaults. As in the <Iglesia de Vistabella>, the catenary arch was the principal structure, and the exterior appearance with numerous domes was intended to emulate the mountains of Montserrat. 38)

In recent years, with the cooperation of volunteer architects, the local residents resumed construction, and the church was completed substantially in accordance with Jujol's original design.

3.4.3.2 Architectural Description of the <Iglesia de Montferri>

The church was built on a hill with exposed rock, and the design attempted to integrate with the topography, for example by incorporating into the project a natural cave where an image of the Virgin had been kept since ancient times.

The structure making extensive use of the catenary arch follows the genealogy of the <Iglesia de Vistabella>, but unlike the latter, whose exterior is formed with thick walls, the composition of arches and vaults constructed on columns rising in rows is more open.

The floor plan form, which approximately follows a modified hexagon, has greater freedom than the <Iglesia de Vistabella>, which is based on a square, and the structural planning that reinforces the perimeter with numerous small-scale catenary arches allowed the realisation at the centre of a large column-free space, above which the bold composition of a steeple was planned.

At the centre of the church and in the upper section of the main altar, a prominent vault with a principal structure of catenary arches is formed, superimposed on the peripheral vaults, and the overall composition with central steeple demonstrates the <structural-expressionist characteristics> common with the <Iglesia de Vistabella>.

From the foregoing, it may be said that the <Iglesia de Montferri> was a project that aimed to further develop the composition of catenary arches and vaults already realised in the <Iglesia de Vistabella>, achieving greater freedom in the floor plan form and greater openness of space.

Fig. 47) Jujol's Floor Plan Fig. 48) Ibid., Elevation

3.5 Summary

In Chapter 3, Jujol's principal architectural works were organised in chronological order, divided into the three aforementioned periods; the background and overview of each work were described first, and then considerations were added paying attention to the characteristics of each work.

In the analysis of the works of the <First Period>, it was noted that the elements for which Jujol was responsible — such as the tile mosaic of the facade of <Casa Batlló>, the wrought-iron balcony railings of <Casa Milà>, the tile mosaic ceiling medallions of the colonnaded portico of <Parque Güell>, and the tile mosaic of the bench of the same — were primarily concerned with surface decoration, and from accounts such as that of Joan Matamala regarding the <Casa Batlló> and the bench of <Parque Güell>, and that of Father Sagristà regarding the Palma Cathedral mentioned in Chapter 1 of the present section, it was noted that Jujol's contribution was not limited to conceiving the plastic expression, but was completed through direct expression by his own hands. As has been noted above, the works decorated by Jujol's hand were recognised by Gaudí himself as Jujol's works and have survived to the present. In the analysis of the works of the <Second Period>, likewise, having described the background and overview, it was noted that Jujol's principal works inherit the genealogy of the principal works of Gaudí in which he participated — <Casa Batlló>, <Casa Milà>, and <Parque Güell> — and possess the composition of a structural element with rationality and expressiveness covered by a membrane of varied expression. From this, it was noted that in the renovation works of traditional stone farmhouses such as <Casa Negra> and <Casa Bofarull>, the expression is centred principally on the membrane; that in <Torre de la Creu> and <Iglesia de Vistabella>, the composition of a structural element with rationality and expressiveness covered by a membrane of varied expression is realised directly; that in <Torre de la Creu> a characteristic sculptural structural form of Jujol is employed, and in <Iglesia de Vistabella> a structural-expressionist form inherited from Gaudí; and that in <Casa Planells> no surface decoration is applied and the characteristic form appears directly through the curved membrane covering the structural element.

In the analysis of the works of the <Third Period>, the major problem was how to understand the fact that the principal works of this period are of greater scale compared with those of other periods, require a greater engagement with the city, and are stylistically based on the Classicist style. Regarding the <Fuente monumental de la Plaza de España> and the <Pabellón de la Moda>, Jujol left written explanatory texts, but in them there is no expression of Jujol's positive intention to choose the Classicist style, and it is therefore considered appropriate to understand that he followed the policy of the Exhibition committee. In that case, what reflects Jujol's design intentions is rather the overall composition, and in the written explanatory texts themselves, importance should be given to the fact that Jujol deepened his expression with his traditional sculptural forms in the urban context: in the <Fountain> the composition based on axes derived from the intersecting avenues, and in the <Pavilion> the composition that aimed for the same effect as the Colonnade of Saint Peter's in Rome. At the same time, the fact that he travelled to Italy just before the design, and the fact of engraving on the base of the <Fountain> an inscription in the manner of ancient Rome, allow one to intuit that he had a nostalgia for ancient Rome, and it is considered that his Classicism was a manifestation of the love for Catalonia as the land of origin of civilisation traceable to ancient Rome, and that it is markedly differentiated from the Spanish nationalism centred on Castile and Madrid. On the other hand, in the <Third Period>, the construction of the <Iglesia de Montferri> — which has Jujol's characteristic expression of structural-expressionist forms and epidermal decoration — continued, and it was analysed that the Classicism of the <Fountain> and the <Pavilion> did not represent an essential change in Jujol's aesthetic characteristics.

Throughout Chapter 3, the aesthetic characteristics of Jujol were extracted from each work and defined by name. From <Casa Batlló> the <polychromatic expression> was extracted; from <Parque Güell> the <collage technique>; from <Tienda Mañach> the <drawing technique>; from <Torre de la Creu> the <epidermal plasticity>; from <Casa Bofarull> the <facade spatialisation>; and from <Iglesia de Vistabella> the <structural-expressionist characteristics>. These characteristics were defined and it was confirmed that they also recur in other works. <Casa Batlló> and <Parque Güell> are works of Gaudí in which Jujol participated only as a collaborator. However, given that the aesthetic characteristics manifested in these two works also recur in Jujol's subsequent independent architectural works, by extracting and defining the aesthetic characteristics of these two works and then confirming that those aesthetic characteristics manifest in Jujol's later works, it is considered that it was possible to confirm that the fruits of Jujol's participation in Gaudí's works were maintained in continuity in Jujol's own works as well.

Of the six aesthetic characteristics extracted in this chapter, three were classified as characteristics related to the overall composition of the works: <facade spatialisation>, <epidermal plasticity>, and <structural-expressionist characteristics>; and three as characteristics related to detailed expression: <drawing technique>, <polychromatic expression>, and <collage technique>. These characteristics have been noted fragmentarily in previous studies. The present author therefore wishes to confirm how each technique has been treated in previous research and how it has been manifested in each work, and, on the basis of all this, to analyse the significance of these characteristics in Jujol's architectural activity.

3.5.1 Three Aesthetic Characteristics Related to the Overall Composition of the Architectural Works

1) Facade spatialisation. This is a characteristic frequently observed in Jujol's renovation works. Bohigas, in his work <Arquitectura modernista>, notes that the tendency to transform the surface layer of the facade into spaces and masses that function as architecture in their own right is common to the architects of Modernisme, and it may be said that the characteristic of <facade spatialisation> corresponds to this tendency.

In the <Casa Negra>, the entire facade receives the significance of an altar dedicated to the Virgin Mary and, while the cornice line of the existing masia is maintained, the facade receives multiple strata of membrane and meaning. This membrane-isation is concretised in a more explicit manner as spatiality through the sgraffito applied to the facade wall and the projecting oriel window. In the south facade (garden side) of the <Casa Bofarull>, it was confirmed that Jujol's renovation created a spatial layer entirely independent of the existing masia, and that the architectural expression is realised through the contrast with the existing part perceived through that spatial layer. The methods employed in these expressions — tile mosaic, sgraffito, and wrought-iron work — bear an evident relationship with his drawings and calligraphy.

2) Epidermal plasticity. In residential works such as <Torre de la Creu> and <Casa Planells>, the sculptural expression based on the papier-mâché-like membrane-isation of the wall structurally separated from the supporting element was confirmed. Dollens pays attention to this use of deformed surfaces separated from the structural element and maintains that Jujol had, at the beginning of the twentieth century, anticipated the attempts at plastic forms with curved membranes that, thanks to the development of computer technology, have become an important theme in the present day. 39) The aesthetic characteristic of <epidermal plasticity> is aligned with this observation by Dollens. In the present work, its concrete examples were confirmed in the characteristic floor plan form and roof form of <Torre de la Creu>, the membrane of the projected glazed surface of the dining room made possible by the use of independent iron columns separated from the wall, and the curved exterior surface of <Casa Planells>.

In particular, the elevation of <Casa Planells>, devoid of decoration, inherits the tradition of Catalan Modernisme while simultaneously possessing sufficient modernity, and it was confirmed that this undulating floor plan form was derived from the lines of his drawings.

3) Structural-expressionist characteristics. Jos Tomlow, in his work "La iglesia de Vistabella como precedente de la iglesia de Montferri" 40), situates Jujol within the structural rationalist genealogy connecting with Gaudí and analyses the structural characteristics and originality of the <Iglesia de Vistabella>; however, given that it is clear, from the content of Jujol's own written text on the <Iglesia de Vistabella> 41), that the structural rationalist method was a means for achieving aesthetic objectives, in the present work the aesthetic characteristics confirmed in the <Iglesia de Vistabella> are defined as <structural-expressionist characteristics>.

The structural Expressionism inherited from Gaudí that is observed in the <Iglesia de Vistabella> and the unfinished <Iglesia de Montferri> departs from the <Iglesia de Vistabella>, whose exterior is formed with thick walls, and in the <Iglesia de Montferri> develops toward a composition of arches and vaults constructed on a series of columns, seeking a more open spatiality. With this, it is considered that the intention of approaching a contemporary spatial expression was also able to be clarified. It should be noted that the form of the catenary arches in these works was not derived from drawings, but — as is demonstrated by the fact that in the <Iglesia de Vistabella> the form was presented through an improvised model with a chain — it may be said to have been conceived with the same improvisational quality as the drawings.

The three aesthetic characteristics related to the overall composition of the architectural works have thus been confirmed. Ignasi de Solà-Morales classified Jujol's principal architectural works into renovation works, residential works, and church works 42), and the three aforementioned characteristics are observed in a characteristic manner in each of these categories of works. It may be said that the expression of structure and membrane appeared in a manner adapted to each individual work.

Furthermore, of these three characteristics, regarding <epidermal plasticity>, as Dollens also notes in section 2.2 of this chapter, by being able to identify the relationship of the use of deformed surfaces separated from the structural element with the attempts at plastic forms with curved membranes based on computer technology in the present day, it may be said to be a characteristic with a contemporary significance that extends beyond the realm of Catalan Modernisme. The <structural-expressionist characteristics> present arguments about the relationship between structural rationality and spatial expression, arguments that also retain significance in the present day. With this, it is considered that it was possible to demonstrate not only the architectural current of the Modernisme period and the subsequent period, but also arguments that continue into the present.

3.5.2 Three Aesthetic Characteristics Related to the Detailed Expression of the Architectural Works

1) Drawing technique. As was also noted in Chapter 2 of the Main Part, Vincenç Lichterin, in the essay <Jujol pintor-arquitecto> 43), affirms that Jujol is an architect with a very explicit influence of painting, and that the wrought-iron and ceramic collages, stained glass windows, and other plastic elements in his works are a direct application of the techniques of calligraphy, collage, and other graphic arts in which he excelled. The characteristic of the <drawing technique> is aligned with this assertion. S. Tarragó also notes in the preface to "La arquitectura de J. Mª. Jujol" 44) that the basis of Jujol's expression was his talent as a draughtsman.

The sgraffito — which draws motifs by scraping the surface of the final layer of plaster — was the technique of expression through which Jujol, consistently renowned as an outstanding draughtsman from the time of his entry into the Barcelona School of Architecture, could demonstrate his ability most directly. From the drawing and sketching exercises of the first year of the specialist course through to the collaboration with Gallissà and Font, and through to the expression in <Casa Negra> and <Casa Bofarull> in later years, his descriptive expression using vegetable motifs and similar subjects was consistent throughout and was an expression characteristic of Jujol not influenced by other architects; this was confirmed by tracing his architectural works throughout his entire life, beginning with the exercises of his student years, and jointly verifying the plans and drawings alongside the architectural works, thus clarifying that Jujol's characteristic as a draughtsman and his architectural expression have an extremely close relationship. Furthermore, not only in sgraffito, but in Jujol's architectural works there are many instances of colouring applied directly by himself with a brush, such as the mural on the south balcony of the second floor of <Casa Bofarull>, the colouring of the staircase ceiling of <Casa Negra>, the colouring of the interior walls of <Iglesia de Vistabella>, and others, the drawing itself forming part of the architectural work.

2) Polychromatic expression. Jujol's son notes that the facade of <Casa Batlló> follows the tendency of chromatic planning that persisted throughout Jujol's entire life and that it bears a close relationship with the ceiling medallions of the colonnaded portico of <Parque Güell>. 45) As regards later works, accounts also survive of the expression in which Jujol himself directly took up brushes to apply colour in Gaudí's work at the <Cathedral of Palma de Mallorca> 46), and the <polychromatic expression> demonstrates this aesthetic characteristic of Jujol.

Thus, Jujol's polychromatic expression consists, in the first instance, of the colouring applied directly by himself with brushes to the architectural works. Furthermore, Jujol directly took up brushes to apply colour in many works — which is also, like the sgraffito technique, a technique that depends on Jujol's innate drawing ability, and in which Jujol's ability as a draughtsman was manifested in both form and colour. Moreover, the technique of fragmented tile mosaic was also adopted as a method of polychromatic expression. It was also confirmed that this polychromatic expression has a close relationship with Jujol's characteristic as a draughtsman, as does the sgraffito technique.

3) Collage technique. As has already been noted, Lichterin affirms that the collage technique in Jujol's works is a direct application of the methods of the graphic arts in which he excelled. 47)

The collage technique making extensive use of defective tiles derived from the traditional Catalan technique of trencadís, as well as discarded ceramics and glass bottles, continued from the benches and medallions of Parque Güell through to <Casa Bofarull>. This collage technique developed even further to encompass the reuse of old agricultural implements, as can be seen in the main entrance door of <Casa Bofarull>. And in this method, there are many similarities with the self-build activity of rural communities since ancient times, while it has also been noted that it was a precursor to the later Dadaists and Surrealists.

As has been noted above, the three aesthetic characteristics related to Jujol's detailed expression have a more direct relationship with drawings. The ability as a draughtsman was expressed directly in the architecture through the colouring applied directly with paint by himself, the trencadís technique or the tiles coloured by himself, and the collage technique, and it was demonstrated that the movement of the hand that drew the plans and drawings of the work was transformed directly into the architectural work.

In studies of Gaudí and Catalan Modernisme to date, Gaudí's plans and drawings, the principal architect, and the majority of models were lost in the Spanish Civil War, leaving gaps in the primary sources related to the genesis of Gaudí's works and in the analysis and consideration based upon them. The analysis of the primary sources of Jujol, who participated directly in Gaudí's architectural activity, and the concrete consideration of the methods of architectural expression based thereon have the potential to compensate for the aforementioned gaps and to contribute to a consideration that is not limited to conceptual verification. Also from this point of view, it is considered that research into Jujol's detailed expression is significant.

3.5.3 General Characteristics of Jujol's Architectural Activity

The obsession with the membrane, whose germ can be observed in the expression of <Casa Batlló> in collaboration with Gaudí, emerged in a more concrete form as architectural expression with the construction of <Torre de la Creu>; it then developed as a more mature method for deploying his new expression in contrast with the existing structure in renovation works such as <Casa Negra> and <Casa Bofarull>; and in <Iglesia de Vistabella> it materialised in an expression that challenges the limits of masonry architecture, inflated and taut as if expanding from the arch. It was confirmed, from the surviving accounts and sketches left by Jujol himself, that the structure of <Iglesia de Vistabella> and the unfinished <Iglesia de Montferri> possesses the structural-expressionist aspect inherited from Gaudí's works employing the inverted funicular model. In the choice of this structural form, it can be seen clearly, from the written explanatory text left by Jujol himself on the <Iglesia de Vistabella>, that the pursuit of structural rationality or the conversion of the structure itself into spatial expression was not his primary objective, but rather the realisation of smooth wall surfaces for carrying out the various expressions already mentioned. In the realisation of these smooth vault surfaces, the technique of the tile vault — the traditional Catalan technique of thin brick vaulting — played an important role. Furthermore, the singular expression with brick or stone in the details of <Casa Bofarull> and <Iglesia de Vistabella> was clearly derived from the self-build construction methods of the peasants, and especially in <Iglesia de Vistabella>, built with the great assistance of voluntary labour from the villagers, the very living activity of the countryside has been materialised as an architectural work.

His architectural activity began under the influence of Catalan Modernisme, but in the three aesthetic characteristics related to the overall composition of the works, a development unique to Jujol can be seen in all of them. And it was clarified that his drawings played an important role in that process of development.

As regards the aesthetic characteristics in the detailed expression, as has already been noted, the direct relationship with the drawings is more evident.

From the foregoing, it may be concluded that at the basis of Jujol's architectural activity lies his characteristic as a draughtsman. This is something consistent throughout the entire period of his activity from his entry into the Barcelona School of Architecture, and did not change even after, through collaboration with architects such as Gaudí, he commenced his activity as an independent architect.

In many works such as <Casa Bofarull> and <Iglesia de Vistabella>, the overall image drawn at the beginning of the planning has been realised almost as conceived. As regards the detailed expression as well, the plans and drawings in which the dimensions of the details are not inscribed have been realised almost as drawn, and these sought to directly convey the actual appearance of the volumes — which include many surfaces and curves — through the lines traced by Jujol's own hand.

Taking as a foundation Jujol's innate characteristic as a draughtsman, the <facade spatialisation> realised under the influence of Catalan Modernisme, the <epidermal plasticity> arising from the curved and projected walls structurally separated from the structure, the <structural-expressionist characteristics> inherited from Gaudí, and the <drawing technique>, the <polychromatic expression>, and the <collage technique> — which were materialised as expressions in which Jujol developed in his own unique manner the traditional Catalan architectural techniques of sgraffito, trencadís, and tile vaulting, based on his obsession with the membrane — all were synthesised and achieved an original development through the act of drawing continued without interruption, and it is evident that through this process the aesthetic characteristics of Jujol's works were formed.

Figures

The figures are reproduced in the order in which they are cited in the text.

Fig. 1–3

Fig. 4–5

Fig. 6–9

Fig. 10–15

Fig. 16–18

Fig. 19–20

Fig. 21–25

Fig. 26–29

Fig. 30–32

Fig. 33–40

Fig. 41

Fig. 42–43

Fig. 44

Fig. 45–46

Fig. 47–48