← Contents

I. Introduction

Chapter 1 Introduction p.1

1.1 Overview of the study

1.2 The recognition of Jujol in Spain and Catalonia

1.3 The life of Jujol

1.4 Summary

Chapter 2 Findings and problems of previous research, and objective of the present study p.8

2.1 Studies on Jujol situated within Catalan Modernisme, from the 1950s to the first half of the 1980s

2.1.1 On the obituary article "Jujol" by Josep F. Ràfols (1950)

2.1.2 On the article "Architectural guide to Jujol" (1972) and the study "Gaudí, Jujol y el Modernismo catalán" (1982) by Carlos Flores

2.1.3 On the study "La arquitectura de J. Mª. Jujol" (1974) by the architect's son

2.1.4 On the "Prologue" by Salvador Tarragó in the study "La arquitectura de J. Mª. Jujol" (1974)

2.1.5 Other studies on Jujol between 1950 and the first half of the 1980s

2.2 Studies on Jujol from the second half of the 1980s onwards

2.2.1 Studies on Jujol relating to the landscape and traditional construction techniques of Catalonia, initiated by the work "Jujol en Sant Joan Despí" (1987) by Montserrat Duran

2.2.2 Studies on Jujol relating to modern artistic movements, initiated by the work "Jujol" (1990) by Ignasi de Solà-Morales

2.2.3 Studies on Jujol relating to contemporary architecture, initiated by the work "Las cinco obras principales de Jujol (1913–1923)" (1994) by Dennis Dollens

2.2.4 The article "La iglesia de Vistabella como precedente de la iglesia de Montferri" (1995) by Jos Tomlow, from a structural rationalist perspective

2.2.5 The article by Aldo van Eyck (1996), which suggests new possibilities for the contemporary evaluation of Jujol

2.2.6 Other studies on Jujol from the second half of the 1980s onwards

2.3 Synthesis of the arguments in previous research

2.4 Objective and significance of the present study

2.5 Research methodology and location of primary sources

2.6 Summary

II. Main Part

Chapter 1 Architectural currents in Catalonia from the early nineteenth century to the Spanish Civil War, and Jujol p.22

1.1 Introduction

1.2 Overview of the modern history of Catalonia

1.3 The Barcelona School of Architecture

1.3.1 Background

1.3.2 The founding of the Barcelona School of Architecture

1.3.2.1 The period of the Catalan Renaixença

1.3.2.2 From neoclassicism to eclecticism

1.3.2.3 The architectural thought of Rogent and Domènech

1.3.2.4 From eclecticism to Modernisme

1.3.2.5 The decline of Modernisme and Noucentisme

1.4 Jujol and the Barcelona School of Architecture

1.4.1 The situation in Barcelona at the time and academic work at the School of Architecture

1.4.2 The collaboration with Antoni Maria Gallissà

1.5 The collaboration between Gaudí and Jujol, and their mutual influences

1.5.1 The general perception of Gaudí and Catalan Modernisme

1.5.2 Gaudí's position within Catalan architectural currents and the significance of studies on Jujol

1.5.3 On the years in which the collaboration between Gaudí and Jujol began

1.5.4 Jujol's participation in the <Casa Batlló>

1.5.5 The shared creative attitude between Gaudí and Jujol

1.6 Summary

Chapter 2 Architectural ideas and aesthetic characteristics in the writings and plans and drawings of Jujol p.41

2.1 Three periods in Jujol's architectural activity

2.2 Inventory and classification of Jujol's writings

2.3 Jujol's autograph plans and drawings

2.3.1 Previous research on Jujol's autograph plans and drawings

2.3.2 The significance of Jujol's autograph plans and drawings

2.3.3 Plans and drawings of the First Period (1901–1908)

2.3.3.1 Plans and drawings from the early years at the Barcelona School of Architecture

2.3.3.2 Floor plan and section of the <Capilla votiva a Santa Eulalia>

2.3.3.3 Elevation of the graduation project "Establecimiento balneario"

2.3.3.4 Plans and drawings as collaborator of Gallissà, Font, and Gaudí

2.3.3.5 Conclusion on the plans and drawings of the <First Period>

2.3.4 Plans and drawings of the Second Period (1908–1926)

2.3.4.1 The 1912 perspective and the 1913 elevation related to the <Torre de la Creu>

2.3.4.2 Sketches, croquis, and details of the <Casa Bofarull>

2.3.4.3 Plans and drawings related to the <Iglesia de Vistabella>

2.3.4.4 Conclusion on the plans and drawings of the <Second Period>

2.3.5 Plans and drawings of the Third Period (1926–1949)

2.3.5.1 Site plans of the <Fuente monumental de la Plaza de España> and the <Pabellón de la Moda de la Exposición Internacional>

2.3.5.2 Perspective sketches of the <Fuente monumental de la Plaza de España>

2.3.5.3 Conclusion on the plans and drawings of the <Third Period>

2.3.6 Drawings of everyday life

2.3.7 The significance of improvisation in Jujol's creative practice

2.4 Summary

Chapter 3 Architectural ideas and aesthetic characteristics in Jujol's principal architectural works p.65

3.1 Previous research on Jujol's architectural works

3.2 The principal architectural works of the First Period (1901–1908) in collaboration with Gaudí

3.2.1 <Casa Batlló>

3.2.2 <Casa Milà>

3.2.3 <Parque Güell>

3.3 The principal architectural works of the Second Period (1908–1926)

3.3.1 <Teatro Metropol>

3.3.2 <Tienda Mañach> and <Fábrica Mañach>

3.3.3 <Torre de la Creu>

3.3.3.1 Background of the work

3.3.3.2 Architectural description of the <Torre de la Creu>

3.3.3.3 The five cylindrical volumes composing the <Torre de la Creu>

3.3.4 <Casa Bofarull>

3.3.4.1 Architectural description of the <Casa Bofarull>

3.3.4.2 Overall composition and description of the parts of the <Casa Bofarull>

3.3.4.3 Conclusion on the <Casa Bofarull>

3.3.5 <Casa Negra>

3.3.5.1 Background of the work

3.3.5.2 Architectural description of the <Casa Negra>

3.3.6 <Iglesia de Vistabella>

3.3.6.1 Background of the work

3.3.6.2 Architectural description of the <Iglesia de Vistabella>

3.3.6.3 On the design based on the inverted funicular model

3.3.6.4 The construction process

3.3.6.5 Conclusion on the <Iglesia de Vistabella>

3.3.7 <Casa Planells>

3.3.7.1 Background and architectural description of the <Casa Planells>

3.3.7.2 Different debates concerning the <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>

3.4.2 <Fuente monumental de la Plaza de España>

3.4.3 <Iglesia de Montferri>

3.4.3.1 Background of the work

3.4.3.2 Architectural description of the <Iglesia de Montferri>

3.5 Summary

3.5.1 Three aesthetic characteristics in the overall composition of the architectural works

3.5.2 Three aesthetic characteristics in the detailed expression of the architectural works

3.5.3 Overall characteristics of Jujol's architectural activity

Chapter 4 Aesthetic characteristics in the <Casa Bofarull>, a synthesis of Jujol's architectural activity p.105

4.1 The position of the <Casa Bofarull> in previous studies and its significance within the <Second Period>

4.2 Jujol's autograph plans and drawings of the <Casa Bofarull> and the renovation process carried out by Jujol

4.3 Analysis and examination through the measured survey plans produced by the authors

4.4 Jujol's expressive intention in the details of the <Casa Bofarull>

4.5 Summary

III. Conclusion p.128

Appendices

1. Measured survey plans of the <Casa Bofarull>

2. List of Jujol's plans and drawings of the <Casa Bofarull> and the <Iglesia de Vistabella>

3. Jujol's plans and drawings of the <Casa Bofarull>

4. List of bibliographic references

5. List of Jujol's own writings (as compiled by the Biblioteca Pública de Tarragona)

6. Complete text of Jujol's own writings cited in the present study

7. Chronology of Jujol