II. Central Part

Chapter 4 Aesthetic Characteristics in <Casa Bofarull>, a Synthesis of Jujol's Architectural Activity

As already described in Chapter 3 of the Central Part, the construction period of <Casa Bofarull> spans the greater part of Jujol's <Second Period> of architectural activity and extends even into the beginning of the <Third Period>; moreover, in terms of scale, it is one of the largest works alongside <Teatro Metropol>, and Jujol explored diverse architectural expressions in this work. In the present chapter, we regard <Casa Bofarull> as the synthesis work of Jujol's architectural activity and, continuing from Chapter 3, we aim to carry out a more detailed analysis of the aesthetic characteristics of Jujol's works; before doing so, however, we wish to confirm the position of <Casa Bofarull> in previous studies and its significance within the <Second Period>.

4.1 The Position of <Casa Bofarull> in Previous Studies and Its Significance in the <Second Period>

Published studies to date that have addressed and described <Casa Bofarull> include: "La arquitectura de J. Mª. Jujol" by the architect's son, Josep Maria Jujol i Gibert, and others 1); "Josep Maria Jujol, Arquitecto, 1879-1949" 2) and "Jujol" 3) by Ignasi de Solà-Morales and others; "Las cinco obras principales de Jujol (1913-1923)" 4) by Dennis Dollens; and "Josep Maria Jujol" 5) by Josep Llinàs.

Of these, the only one to include plans of Casa Bofarull is "Josep Maria Jujol, Arquitecto, 1879-1949" by Ignasi de Solà-Morales and others. Floor plans of Casa Bofarull are included alongside plans of other works 6), but no detailed analysis of the building based on those plans has been carried out.

Furthermore, although unpublished, a master's thesis submitted in 2004 by Josep Ramon Agustín to the School of Construction Engineering at the Polytechnic University of Catalonia is available on that university's website 7) 8). This thesis has as its principal content the preparation of architectural survey drawings of Casa Bofarull, to which is appended a construction history based on interviews and bibliographic research, together with copies of newspaper articles related to Casa Bofarull 9)23). However, the survey drawings included are limited to an approximate record of the form of Casa Bofarull and do not substantially surpass the content of the floor plan published in "Josep Maria Jujol, Arquitecto, 1879-1949" by Ignasi de Solà-Morales 10).

In his book "Jujol" 11), Ignasi de Solà-Morales classifies Jujol's works into renovation works, residential works, and structural works, and focuses his attention on the importance of renovation works within the totality of Jujol's output. In this context, Solà-Morales notes that for architects of the period, such as Domènech 12), Puig 13), and Muncunill 14), renovation works were entirely equivalent to new-build works in terms of the expression of the architect's creativity and innovation, and indicates that renovation was something that generated a completely new order through the transformation of the core of an existing building and the introduction of a new formal language. He further argues that Jujol, like other architects, attempted to construct his own singular formal world through the act of renovation 15). We propose to verify this argument of Solà-Morales regarding Jujol's design intention in <Casa Bofarull> specifically on the basis of the plans.

4.2 Jujol's Autograph Plans and Drawings for <Casa Bofarull> and the Renovation Process Carried Out by Jujol

All of the aforementioned previous studies place <Casa Bofarull> among Jujol's principal works. Its importance is evident from the duration of the construction period and its scale, and we consider the identification of concrete examples of the aesthetic characteristics of Jujol's works in <Casa Bofarull> to be indispensable to the present research.

To this end, the authors conducted a measured survey of the present state of <Casa Bofarull> between 21 and 24 February 2004, compiling the results into survey drawings 16), and subsequently, between the 27th and 28th, carried out in the archive managed by the architect's son an examination of all the autograph plans and drawings related to <Casa Bofarull> that have been confirmed to date, totalling 118 items 17). These include survey drawings made by Jujol himself of the building prior to renovation.

Regarding the renovation process carried out by Jujol, it is said that following the architectural survey of the existing stone farmhouse, work was carried out on the south side (garden side), then on the stairwell and the tower, followed by work on various details, and finally work on the north side (entrance side) 18). This is confirmed by the dates recorded on the autograph plans and drawings showing the renovation proposals 19). The two parts may also be distinguished by the fact that the existing structure prior to Jujol's renovation is of stone masonry, while the parts added through the renovation are primarily of brick.

Regarding the content of the autograph plans and drawings of <Casa Bofarull> left by Jujol, the plans and drawings are referenced with the numbering from the list of Casa Bofarull plans appearing at the end of this volume and described in detail below.

Prior to the renovation, Jujol prepared survey drawings of the existing stone farmhouse. The survey floor plans of each level are drawn for all floors — ground floor, first floor, and attic floor — but only the portion south of the stairwell is represented; the remaining northern portion does not appear at all. (Figs. 1, 2, 3)

In addition, Jujol left a short cross-section (Fig. 4) and a south-side elevation (garden side) (Fig. 5) predating the renovation. In this short cross-section as well, only the portion south of the stairwell is represented, and only the south elevation has been preserved.

It is evident that the northern portion is intentionally omitted from all survey floor plans and from the short cross-section, suggesting that while Jujol had a particular interest in the south-side elevation, at the time these drawings were made he did not attach importance to the portions left unrepresented. All of these survey drawings are drawn to the same scale, on similar paper with similar draughtsmanship, and are considered to form a series. The date September 1914 is inscribed, and following the biography written by Jujol's son, they were probably prepared in connection with the submission of proposals to the Bofarull sisters, the clients.

Apart from the preceding survey plans, Jujol also left a partial survey plan of the south-side (garden-side) gallery with more detailed dimensions recorded, suggesting that Jujol had a particular interest in the south-side (garden-side) balcony. (Figs. 6, 7)

On the other hand, Jujol also left survey drawings (Figs. 8, 9) of the north-side elevation, but here, although detailed dimensions of the openings are recorded, only a brief annotation is made regarding the plan form of the attic floor, and no other survey plans of the northern portion in plan have been confirmed to date.

From these drawings it may be inferred that Jujol had, from the outset, a particular interest in the dimensions and forms around the openings of the north-side elevation.

Jujol also left sketches of the exterior appearance of the building prior to renovation. (Figs. 10, 11, 12)

These three sketches demonstrate Jujol's interest in the exterior of this work, and it is considered that Fig. 10 corresponded to a verification of the distant view from the south front, Fig. 11 to the south balcony and the roof form, and Fig. 12 to the foreshortened view from the access side.

Among the design drawings for the renovation made by Jujol himself, first to be noted is the south-side (garden-side) elevation (Fig. 13) dated 1 September 1914. In addition, a partial ground floor plan of the south side (garden side) (Fig. 14), a partial first floor and attic floor plan of the south side (garden side) (Fig. 15), a short cross-section drawing representing only the south-side (garden-side) balcony (Fig. 16), and a longitudinal section cutting the south-side (garden-side) balcony from east to west (Fig. 17) are all preserved. As in Jujol's own pre-renovation survey drawings mentioned above, the portion north of the balcony does not appear in any of these drawings, making it clear that Jujol's principal interest was focused on the renovation of the south-side balcony. The date of 1 September 1914 is recorded on all of these drawings.

Furthermore, a north-side (entrance-side) elevation (Fig. 18) and an attic floor plan (Fig. 19) dated 1931 are preserved. There also exist two copies of the same elevation with a partial floor plan of the entrance area but without a recorded date. (Figs. 20, 21) In Fig. 19, traces of corrections relating to distortions of the plan form that Jujol apparently had not initially anticipated are discernible. A comparison between Figs. 20 and 21 also confirms that corrections relating to distortions of the plan form were made. From the foregoing analysis of the plans and drawings made by Jujol himself, it is clear that Jujol's interest was focused principally on the south side (garden side) — specifically the façade with the balcony as its central element — and on the north side (entrance side) — specifically the decoration of the façade surface. Moreover, since the drawings that appear to have been submitted to the client on 1 September 1914 were executed essentially as they stood, it may be inferred that Jujol's architectural activity was carried out with a very direct connection between plans and drawings and the built work.

Furthermore, Jujol left an aerial view (Fig. 22) dated 1914 representing the completed appearance of the work, confirming that this work was realised following almost entirely Jujol's original conception. The same applies to the three undated south-side elevations preserved separately from Fig. 13. (Fig. 23)

Two drawings related to the stairwell and the tower above it are preserved, both dated 1913, suggesting they were drawn in the same year in which Jujol received the commission. Fig. 24 calculates the height of the tower from the height of the staircase, and represents the observation room above the stairwell, the rooftop belvedere above it, and the roof form at the highest point, which is extremely similar to the realised form of the tower. In Fig. 25, although the roof form differs from the one realised, the floor structure of the observation room, the ceiling of the observation room, the angel sculpture above the roof, and similar elements resemble the realised form, confirming that Jujol carried out his initial conception from the outset of the design with almost no changes.

Jujol left many other drawings as well, but the majority are detail drawings of individual parts, and apart from those related to the service room and garage, which are separate structures, no drawings relating to the overall composition beyond those already mentioned have been confirmed. All confirmed drawings related to <Casa Bofarull>, including these, are appended at the end of this volume together with the list of drawings.

Fig. 1) Jujol's Survey Drawing of the Ground Floor Before the Renovation

Fig. 2) Ibid., Second Floor (Main Floor)

Fig. 3) Ibid., Third Floor (Attic Floor)

Fig. 4) Jujol's Cross-Section Before the Renovation

Fig. 5) Jujol's South-Side Elevation Before the Renovation

4.3 Analysis and Discussion Based on the Survey Drawings Prepared by the Authors

On the basis of the survey drawings prepared by the authors, we compare the plans and drawings left by Jujol with the realised architecture and organise the analysis and discussion under the following four points.

Fig. 6) Partial Plan of the Garden-Side Ground Floor Before the Renovation

Fig. 7) Ibid., Second Floor

Fig. 8) Survey North Elevation Before the Renovation

Fig. 9) Partial North Elevation of the Ground Floor Before the Renovation

Fig. 10) Sketch of the South Side Before the Renovation

Fig. 11) Sketch of the Southwest Side Before the Renovation

Fig. 12) Sketch of the South Side Before the Renovation

1) Analysis and Discussion of the Plan Form

Regarding the situation prior to renovation, there are no direct materials other than Jujol's plans, and apart from these we have no choice but to infer from the currently measured state.

In response to this, the authors, without relying on Jujol's own design drawings for the renovation, prepared new survey floor plans of the post-renovation state by directly measuring the actual form of Casa Bofarull and compared them with Jujol's pre-renovation floor plans.

The post-renovation floor plan configuration consists of ground floor, first floor (main floor), and second floor (attic floor). The ground floor contains the entrance hall, kitchen, sitting room, dining room, and private rooms for family members; the first floor is organised around a broad corridor-type hall with private rooms such as bedrooms; the second floor (attic) is used as a storage area 20); and penetrating through the centre of the plan across all floors is a stairwell of nearly square plan form. (End of volume: survey floor plans by the authors)

A comparison between Jujol's existing survey drawings and the authors' survey drawings shows that Jujol's survey drawings represent wall thicknesses as uniform and walls as orthogonal to one another, appearing more regular than the present state. From this it may be inferred that Jujol did not carry out a detailed measured survey of the building but rather measured it to grasp its approximate form and overall composition. Jujol's survey drawings are drawn centred on the south-side (garden-side) gallery; although the stairwell is represented, the northernmost portion does not appear, and it is considered that they were drawn with the purpose of renovating the south-side (garden-side) façade.

From the subtle distortions visible in the survey drawings prepared by the authors, it may be understood that this stone farmhouse was constructed in at least two separate phases. This is also confirmed by differences in the thickness of the exterior walls and the roof form. In the floor plan published in the Agustín thesis mentioned above, as in Jujol's own pre-renovation drawings, the plan form is represented in an extremely regular manner and wall thicknesses are drawn uniformly, and the foregoing perspective is not reflected 21). (Figs. 26-1, 2, 3; Fig. 27)

A comparison between the authors' survey drawings and Jujol's pre-renovation survey drawings shows that almost no changes were made to either the plan form or the use of the main body of the building, excluding the ground floor porch and the first floor gallery above it. On the other hand, regarding the ground floor porch and the first floor gallery, although a relationship can be discerned in part of the structure, no relationship is recognised in the plan form, including the positions of other structural elements, indicating that they were built as new additions to the existing parts 22). (Figs. 28, 29)

From the above, it may be considered that Jujol's principal interest in the renovation was the ground floor porch and first floor gallery newly built as additions to the existing building, and that the centre of his design intention lay in the contrast between the existing parts and the newly constructed parts, rather than in the overall transformation of the building.

Fig. 13) South Elevation of the Renovation Project

Fig. 14) Partial Ground Floor Plan, Renovation Project

Fig. 15) Partial Second Floor and Attic Floor Plan, Renovation Project

Fig. 16) Short Section of the Renovation Project

Fig. 17) Long Section of the Renovation Project

Fig. 18) North Elevation of the Renovation Project

Fig. 19) Attic Floor Plan, Renovation Project

Fig. 20) North Elevation and Partial Ground Floor Plan, Renovation Project

Fig. 21) North Elevation and Partial Ground Floor Plan, Renovation Project

Fig. 26-1) Ground Floor, Current Measured Survey Fig. 26-2) Second Floor (Main Floor), Current Measured Survey Fig. 26-3) Third Floor (Attic Floor), Current Measured Survey Fig. 27) Ground Floor Plan (Ground Level) by Agustín

Fig. 28) Comparison of Jujol's Ground Floor Plan Before the Renovation and Current Measured Survey Fig. 29) Comparison of Jujol's Second Floor Plan Before the Renovation and Current Measured Survey

2) Analysis and Discussion of the South-Side (Garden-Side) Elevation Form and the Section Form

A comparison between Jujol's own pre-renovation south-side elevation (Fig. 30), the south-side elevation of the renovation design (Fig. 13), and the authors' current-state survey elevation (Fig. 31) shows that the positions of the openings in the portions excluding the ground floor porch and the first floor gallery correspond, and it is confirmed from the elevations — following the floor plans — that almost no changes were made to the portions excluding the ground floor porch and the first floor gallery. It becomes clear that rather than transforming the existing wall surface, Jujol partially removed it and added a new façade to the elevation of the existing stone farmhouse, and that some opening positions in the existing parts remained after the renovation as vestiges 23). This can be observed not only in the elevation but also in the section cutting the same elevation at right angles (Fig. 4: Jujol's own pre-renovation section; Fig. 16: north-south section of the renovation design; Fig. 32: authors' current-state survey section). In the portions excluding the aforementioned ground floor porch and first floor gallery — that is, the portion under the sloped roof in the drawing — almost no changes in form are discernible before and after the renovation. From this too it is understood that in the south elevation, the renovation was concentrated on the ground floor porch and the first floor gallery. (Fig. 33: floor plan with Jujol's renovated portions differentiated by colour; Fig. 34: ibid., section)

The large arch at ground floor level and the colonnade with continuous arches at first floor level newly added by Jujol form an open composition in comparison with the main structure of the existing stone farmhouse with its masonry walls and timber beams, reflecting Jujol's design intention. (Fig. 17: longitudinal section of the gallery from Jujol's own renovation design; Fig. 35: interior view of the gallery)

Fig. 22) General Bird's-Eye View

Fig. 23) South Elevation

Fig. 24) Partial Section of the Stairwell and Tower

Fig. 25) Partial Section of the Tower and Roof of the Observation Room

Fig. 30) Jujol's South Elevation Before the Renovation Fig. 31) Current Measured South Elevation Fig. 32) Current Measured North-South Section Fig. 33) Current Measured Survey with Renovated Parts in Red (Floor Plan) Fig. 34) Ibid. (Cross-Section) Fig. 35) Interior of the Gallery

3) Analysis and Discussion of the Stairwell and Tower

A comparison between Jujol's own drawings of the stone farmhouse prior to renovation and the authors' post-renovation survey drawings shows that the tower was constructed above by utilising the structure of the existing stairwell of nearly square plan form. (Fig. 36)

Unlike the stone masonry of the existing stairwell structure, the tower newly built by Jujol is of brick masonry, as are other renovated parts. The tower consists of an upward extension of the stairwell, an observation room above it, and an exterior belvedere terrace and roof above this. However, the floor of the observation room is constructed with a singular beam arrangement consisting of six steel I-beams, each with its end supported on the midpoint of the adjacent beam, completing a full rotation around the perimeter and creating a skylight at the centre 24). As a result, it was impossible to continue the existing staircase above the observation room, so a new straight brick staircase in two flights was provided on the west exterior of the stairwell and tower, allowing access from the stairwell to the observation room and from the observation room to the exterior belvedere terrace. Like the straight staircase and the brick tower structure, this straight staircase, which is a Jujol addition, is also — as described in Chapter 3 of the Central Part — built using brick on steel beams. (Figs. 37, 38, 39)

The tower has an exterior belvedere terrace and its roof, with an angel sculpture that also functions as a weathervane fixed at the top of the roof. The roof at the top of the tower is supported not by arches or corbels but by steel beams, so the roof eave projects in an extremely slender form. The use of steel elements to achieve a form that would be difficult in masonry is identical to the structure supporting the straight staircase mentioned above. Although the roof form of the tower appears from the exterior to project horizontally from the wall surface, the preparation of survey drawings reveals that it has a thin arched section, and that the roof itself also incorporates a dome-like section 25). (Figs. 40, 41)

Thus, a comparison between the existing parts and Jujol's additions reveals that the additions have more numerous and larger openings than the existing parts, and that there are many locations where the upper portions present forms of greater visual weight than the lower portions through the use of arches and steel elements.

Fig. 36) Current Measured East-West Cross-Section Fig. 37) Current Tower Floor Plan Fig. 38) Ceiling of the Stairwell Fig. 39) Steel Structure at the Base of the Tower Exterior Staircase Fig. 40) Underside of the Tower Roof Fig. 41) Measured Survey Section of the Tower Fig. 42) North Elevation and Partial Plan (Jujol's Renovation Project)

4) Analysis and Discussion of the North-Side (Entrance-Side) Elevation Form

What must be highlighted in the north-side (entrance-side) elevation is: the stone arch opening into which the entrance door is set 26), the letters carved by Jujol above it in praise of the Virgin Mary 27), the decorative perforated opening below the existing windows at first floor level 28), and the openings perforated in the uppermost portion of the wall surface for natural lighting of the attic floor 29). (Fig. 42: Jujol's renovation design, north-side (entrance-side) elevation and partial floor plan; Fig. 43: authors' current-state north-side survey elevation; Fig. 44: photograph of the current state of the north side (entrance side))

Together with the expression achieved through the carving of the stone surface, the large entrance door with ironwork reused from agricultural implements is also characteristic. (Fig. 53)

4.4 Jujol's Expressive Intention in the Details of <Casa Bofarull>

Fig. 43) Current Measured North Elevation Fig. 44) Current Photograph of the North Side (Entrance Side)

1) The Sgraffito Decoration of the South Wall Surface and the Mural Painting on the First Floor Balcony

As may be observed in many of Jujol's principal works, the wall surface of <Casa Bofarull> is also decorated with sgraffito, and it can be confirmed that Jujol's design, which originates in his plans and drawings, has been successfully realised as an architectural work. (Figs. 45, 46, 47)

On the inner parapet wall of the first floor balcony bordered by industrial tiles, Jujol left a mural painting. This allegorical work represents the four seasons, with the Bofarull family coat of arms at the centre and the fruits harvested in each season depicted around it. It is confirmed that Jujol's own drawings have become part of his architectural work. (Fig. 48)

The realisation in architectural works of forms represented in drawings is customary, but in Jujol's case, since numerous sketch elements are involved in the construction of his architectural works, a closer than usual connection between plans and drawings and architectural works may be observed. Concrete examples of this have also been confirmed in <Casa Bofarull>.

Fig. 45) South Elevation (Detail) Fig. 46) South Elevation (Detail) Fig. 47) Wrought-Iron Grille and Sgraffito

2) The South Façade, and the Relationship Between the Stairwell and the Observation Room

On the south façade, the wall surface formed by the large arch, the colonnade, and the small continuous arches added to the existing masonry structure progressively increases the size and number of openings as it rises, culminating at the top in brick tracery. Through the effect by which these architectural elements form a membrane in front of the wall surface of the existing stone farmhouse, Jujol appears to have intended to impart lightness to the entire façade. Behind this membrane, the existing wall surface is painted in a blue colour evocative of the sky characteristic of the Mediterranean region. By placing a colour similar to the sky behind, an intention to reduce the presence of the existing wall surface and to emphasise the membrane quality of the renovated portion may be recognised, confirming a technique that employs the effect of colour for spatial expression. (Fig. 49)

The technique employing the effect of colour may also be observed in the relationship between the stairwell and the observation room above it. On the ground floor, the expression is dominated overall by a sense of heaviness, owing also to the stone masonry of the ground floor. Upon entering the stairwell and beginning to ascend the steps, the atmosphere begins to change gradually. In the general blue tone of the stairwell, the yellow light overflowing from the observation room at the very top arrives from directly above, and as one ascends, the sense of heaviness gradually dissipates. Finally, one arrives at the observation room flooded with vivid yellow light. (Figs. 38, 50)

Stepping outside from the observation room and ascending the steps, one reaches the tower, and can even climb to the very top of its roof. From there, a panoramic view of the town of Els Pallaresos and the plains spreading around it may be contemplated, and Jujol's intention of employing the effect of colour in the transformation from the enclosed spatiality of the stone farmhouse to the open spatiality of the roof terrace may be inferred. (Fig. 51)

Fig. 48) Mural Painting on the South Balcony of the Second Floor Fig. 49) Exterior View of the South Façade

3) The Expression on the Tower Roof and the Entrance Door

On the surface of the tower roof, covered with irregularly shaped tiles, plates, pots, and bottles are embedded, and in the entrance door, thick pieces of timber that appear semi-fossilised are held in place by iron fittings fashioned from agricultural implements such as ploughs and hoes — employing the technique of incorporating discarded prefabricated objects into an architectural work in a manner akin to collage. (Figs. 52, 53) It may be said that this is a technique inherited from the benches of <Parque Güell> for which Jujol was responsible under Gaudí.

Fig. 50) Interior of the Observation Room Fig. 51) Interior of the Tower Terrace Fig. 52) Tower Roof Fig. 53) Entrance Door

4) Other Expressions

On the exterior wall of the separate structure facing the alleyway that divides it from the main building, several cast-iron hooks for tethering draught horses are fixed. Many of these hooks have forms that concretely represent animals such as elephants and serpents. If the meaning Jujol intended in these designs was to model them after the lizards and serpents that shelter in the shade of the rural vegetation of Els Pallaresos, it would be easy to understand, but curiously, among them are even elephants. These are probably examples of the surrealist expressions that occasionally appear in Jujol's works. (Fig. 54)

The angel sculpture at the top of the tower, which also functions as a weathervane, commands attention as the most concrete and singular expression. This angel sculpture was created by directly moulding the face of a girl who was a neighbour at the summer villa in Tarragona where Jujol spent his summers between 1914 and 1923, and adding to it arms and legs made by Jujol himself. The sculpture has no torso; a face and limbs are attached to a long tunic made of copper sheet, creating a full-scale and lightweight sculpture. (Fig. 55)

This sculpture is a weathervane and simultaneously has a lightning rod installed at the top of the head, which is said to have proved useful on several occasions. In this way, among Jujol's works there appear many elements that seem purely decorative and formal but that in fact carry a functional meaning. The decorative railings found abundantly in Casa Bofarull would also fall into this category. Viewing the railings from the opposite perspective, while they are functionally necessary, they continue to be formal works transcending functional meaning, and it may be said that they inherit the technique of the railings of <Casa Milà> for which Jujol was responsible under Gaudí.

The fountain in the south garden pond was created by Jujol welding wrought-iron ornamentation to an iron pipe fixed to an existing pond, finishing it in a form reminiscent of a dragon. Although Jujol employed abundant decorative motifs in his works, the actual use of such concrete figurative designs is rarely seen in other works. Furthermore, similar concrete motifs may also be seen in the livestock-tethering ironwork fixed to the exterior walls. These forms were probably conceived to express the prosperity of the Bofarull family, who were farmers, and the joy of a lively and abundant rural life. (Fig. 56)

Various designs are also applied to the interior doors, but the two most particularly characteristic are the door separating the ground floor entrance hall from the corridor to the south, and the door separating the stairwell from the corridor on the first floor.

In the first door, the glass is placed so as to bend away from its surface. In this door, the glass is not present to efface its existence as something transparent, but rather asserts its presence as an alien element with an extremely smooth surface that reflects light, in contrast with the rough stone wall surfaces. (Fig. 57)

Even more distinctive in its form is the second door. Its surface is persistently decorated with cloud-shaped motifs. This also conveys Jujol's intention to disturb the smoothness of the surface and to make another apparent plane emerge upon it. (Fig. 58)

Between the entrance hall and the kitchen there is an interior window of characteristic form. This window was created to provide natural light to the interior of the kitchen, which in plan is connected to the entrance hall only at its corner. Carved through the thick masonry wall, the wall around this opening and its surroundings, originally of rough stone masonry, has acquired a new membrane over its surface through plaster applied in thick layers. By adding a membrane quality to the sculptural plasticity of the masonry structure, Jujol has created a sensuous form very different from the existing state. (Fig. 59)

Fig. 54) Iron Hooks Fig. 55) Angel Figure

Fig. 56) Water Spout Fig. 57) Entrance Vestibule Door of the Ground Floor Fig. 58) Staircase Door of the Second Floor Fig. 59) Kitchen Skylight Window

4.5 Summary

In the present chapter, we first confirmed the previous studies on <Casa Bofarull>, then clarified the position of <Casa Bofarull> in Jujol's <Second Period>, and examined the design of the overall composition and the details of <Casa Bofarull>. Through this, we confirmed that all of the aesthetic characteristics defined and organised in Chapter 3 — with the exception of <epidermal plasticity> — are present in <Casa Bofarull>, the synthesis work.

From the previous studies, Agustín's master's thesis at the Polytechnic University of Catalonia, like the present thesis, is based on a measured survey; however, from an analysis of the methods and precision of measurement, the drawing methods, and related aspects, we note that it is limited to an approximate record of the form of Casa Bofarull and does not advance with further analysis based on the drawings prepared.

From Jujol's autograph plans and drawings, we have clarified that Jujol's interest in <Casa Bofarull> was concentrated on the renovation of the south façade centred on the construction of a new balcony, the decoration around the openings of the north façade, and the stairwell and the tower newly built above it.

The same is also demonstrated by a comparison of Jujol's pre-renovation survey drawings, the design drawings for the renovation, and the current-state survey drawings prepared in the present research.

From the analysis and discussion of the south-side (garden-side) elevation form and the section form, we confirmed the technique of <façade spatialisation> defined in Chapter 2 of the Central Part. In this south elevation, it becomes clear that the building existing prior to Jujol's renovation remains almost entirely behind the balcony added by Jujol, and that the portions renovated by Jujol, such as the balcony, consist of a very open composition — a large arch at ground floor level, a colonnade at first floor level, and tracery-form arches at the upper portion — showing the existing parts through from behind, making it manifest that Jujol attached importance to the contrast between the existing parts and the renovated parts through the superimposition of visual planes.

From the analysis and discussion of the stairwell and the tower, we confirmed concrete examples of the <structural-expressionist characteristics> defined in Chapter 2 of the Central Part. In particular, the technique of developing the structural solution of the stairwell ceiling with its singular beam arrangement into architectural expression demonstrates an attitude that is not satisfied with merely achieving structural rationality but seeks to elevate it further toward the achievement of new spatial effects. It must be noted that vivid contrasting blue and yellow colours are used in the production of the spatial effect of the void above the stairwell, and that the structural rationality pursued is not limited solely to the structural-expressionist characteristics.

From the analysis and discussion of the north-side (entrance-side) elevation form, we note that although <Casa Bofarull> is a work that renovated an existing stone farmhouse, it does not exemplify <epidermal plasticity> as defined in Chapter 3 of the Central Part; however, we confirmed in the technique of excavating and carving around the openings of the existing stone portions a consciousness of attachment to the membrane.

The flat relief-type forms carved into the wall surface suggest a connection with drawing executed on paper.

From the sgraffito decoration of the south wall surface and the mural painting on the first floor balcony, we confirmed a strong connection between plans and drawings and architectural works, and confirmed concrete examples of the <draughtsmanly technique> defined in Chapter 3 of the Central Part. These have a far clearer connection with drawing than the relief-type forms mentioned above.

From the chromatic expression in the relationship between the south façade and the stairwell and the observation room, we confirmed the technique of employing the effect of colour for spatial expression, and confirmed concrete examples of the <polychromatic expression> defined in Chapter 2 of the Central Part. In particular, the colour on the south façade achieves a great effect through the superimposition of the renovated parts and the existing parts, and it may be said that it attempts to incorporate even the sky and the surrounding buildings as background into the effect of this superimposition.

In the expression on the tower roof and the entrance door, we confirmed concrete examples of the <collage technique> defined in Chapter 3 of the Central Part. It is noteworthy that three-dimensional objects such as bottles and agricultural implements are incorporated into the surface layer of the building, and that collage is established as that layer.

As described above, all of the aesthetic characteristics extracted in Chapter 3 from the entire genealogy of Jujol's works have been extracted from <Casa Bofarull>, confirming that <Casa Bofarull> is a synthesis work. We now propose to discuss the significance of those aesthetic characteristics in light of the specific details of <Casa Bofarull>, to connect the individual aesthetic characteristics with one another, and to confirm in the specific details of <Casa Bofarull> that it was the act of drawing and sketching that united them in architectural expression.

Regarding <façade spatialisation>, among those related to the overall composition described in the summary of Chapter 3, we confirmed that in <Casa Bofarull> it manifests as an expression of contrast through the superimposition of a translucent layer over the wall surface layer of the existing building. If one focuses on the decoration of the existing wall surface and the translucency of the renovated wall surface, it would be possible to reformulate these layers as a membrane.

Regarding the quality of <epidermal plasticity>, although its full realisation cannot be seen in <Casa Bofarull>, which is a renovation work, in the relief-type expressions of subtly carving the existing stone wall surface an intention may be found to create a new membrane visually separated from the stone masonry structure, and it is considered that an aspect of the quality of <epidermal plasticity> has appeared.

The <structural-expressionist characteristics> are considered to be manifested as the structural form of the stairwell ceiling and the spatial expression that takes advantage of it. Nevertheless, regarding this as well, rather than stopping at simply realising a singular structural form, spatial expression is achieved through the contrast between the blue colour of the stairwell interior and the yellow interior of the upper observation room, exploiting that form, and this is considered a typical example of <structural-expressionist characteristics> that does not stop at the pursuit of structural rationality.

In <Casa Bofarull>, which is a renovation work, among these aesthetic characteristics the quality of <façade spatialisation> is particularly prominent, but aspects of <epidermal plasticity> and <structural-expressionist characteristics> may also be confirmed.

As already described in the summary of Chapter 3, all of the aesthetic characteristics related to the overall composition manifest the expression of structure and membrane adapted to each work. However, particularly in <Casa Bofarull>, the attachment to the membrane was prominent.

In <Casa Bofarull>, with these membranes as a canvas, the aesthetic characteristics related to detailed expression described in Chapter 3 are manifested. The mural paintings directly traced and the sgraffito decorations applied are manifestations of the <draughtsmanly technique> that directly indicate Jujol's qualities as a draughtsman 30), and the <polychromatic expression> is also something applied with a brush over these membranes, deeply related to his qualities as a draughtsman. The <collage technique> is something that expresses a new depth on a plane by adhering bottles and agricultural implements to this membrane 31). Through this, the three aesthetic characteristics related to detailed expression are connected with Jujol's drawing or with composition realised on a plane, and if we understand the meaning of draughtsman in the broad sense — not limited to the meaning of one who draws on paper, but extending to all who engage in planar composition — they are connected with Jujol's talent as a draughtsman, and it may be said that they were united in architectural expression through the act of drawing and sketching continued throughout his life.

The three aesthetic characteristics related to the overall composition of architectural works, which are not directly related to his qualities as a draughtsman, if it is considered that they led to the manifestation of his talent as a draughtsman through the creation of layered compositions and the generation of smooth membranes, may also be said to be connected with Jujol's talent as a draughtsman, and to have been united in architectural expression through the act of drawing and sketching.

Regarding the <structural-expressionist characteristics>, in Jujol's own explanatory text "The First Church of Vistabella" concerning <Iglesia de Vistabella>, which in Chapter 2, Section 2 of the Central Part is considered a more complete manifestation of the <structural-expressionist characteristics>, Jujol himself emphasises that the use of catenary arches created a smooth surface that readily accepts decoration, and the fact that the colours applied with his own brush on that surface remain to the present day indicates that one aspect of the purpose of the <structural-expressionist characteristics> was related to the manifestation of his talent as a draughtsman.

Summarising the foregoing analysis, the aesthetic characteristics of Jujol's works are, in every case, connected with his talent as a draughtsman, and were united in architectural expression through the act of drawing and sketching.

Through the foregoing, we confirmed concrete examples of Jujol's aesthetic characteristics in <Casa Bofarull> and carried out a comprehensive analysis.

We also consider that we have been able to present an example of the design attitude toward renovation works common to architects of the Catalan Modernisme period, as indicated by Solà-Morales.