Casa Calvet.
During this time Gaudi perfect your personal style, inspired by organic forms of nature, putting into practice a series of new solutions originated in the deep structural analysis made by Gaudi formal geometry. Add that to the architect a great creative freedom and an imaginative creation ornamental. Based on some baroque works great wealth acquired structural shapes and volumes of stiffness devoid of any rational or classical premise.
On behalf of the business name Hijos de Pedro Martir Calvet, Gaudi built the Casa Calvet (1898-1899), on Calle Caspe Barcelona. The facade is of stone ashlar of Montjuic, decorated with wrought iron balconies and topped by two gables, topped with wrought iron crosses. It stresses the platform in front of the main floor, decorated with plant motifs and dining chairs mythological. the only thing that is better than and desks are both essential for the classroom In this project Gaudi use some baroque visible in the use of spiral columns, the decoration with floral themes and draft with waterfall and rooftop air planters rococo. For this work in 1900 won the award for Best Building of the Year award by the City of Barcelona.
A virtually unknown work of Gaudi is Clapes House (1899-1900), on Calle Escorial 125, Aleix Clapes commissioned painter, who sometimes collaborates with Gaudi, as in the decoration of the Palace cushions G ell and the Casa Mila. Plant has three floors, plastered walls and cast-iron balconies. Because of their lack of decoration or structural solutions ignore the original authorship Gaudi until 1976, when the planes were found signed by the architect. In 1900 reform the house of Dr. Pere Santalo, on the street Nou de la Rambla 32, works equally minor. Santalo was a friend of Gaudi, which is accompanied during his stay in Puigcerda in 1911 office chairs and was the one who suggested to do manual labor for his rheumatism.
Puerta de la Finca Miralles.
Also in 1900 design two banners: the Orpheus Feliu (Sant Feliu de Codina), made in brass, leather, cork and silk, with decorative motifs based on the martyrdom of St. Felix (a treadmill) in the music ( a pentagram and a treble clef) and the inscription ‘Orfeo Feliu,’ and the Virgin of Mercy of Reus, the pilgrimage to the residents of Barcelona Reus, which presents an image of school chairs Elizabeth Besora, Pastor at which the Virgin appeared to him in 1592, the work of Aleix Clapes and in the back, a rose and flag of Ontario. Specifically, the Shrine of Our Lady of Mercy Gaudi Reus made that same year a blueprint for reform of the main facade of the church, which did not be completed because of the Shrine Board consider it expensive. This rejection took very ill at Gaudi, letting a certain resentment towards Reus, may be the source of his later assertion Riudoms be his birthplace. Between 1900 and 1902 Gaudi’s Casa Miralles work, commissioned by the industrial Hermenegild Miralles i Angles Gaudi design only near the wall and the access door, made of masonry undulating bar stools forms with iron gate surmounted by a cross with four arms. Subsequently, the house of Mr. Miralles was the work of Domenec Sugra es collaborator architect Gaudi.
Park G ell.
The main project of Gaudi in the early twentieth century was the Parque G ell (1900-1914), new order for Eusebi G computer desk ell to build a residential development in the style of English garden cities. The project was not successful because of 60 places where the terrain is divided only sold one. Despite this, they built the park entrances and service areas, displaying all his genius Gaudi architectural and puttinginto practice many of their innovative structural solutions that will be emblematic of his style organismic and culminating in the Holy Family. Park G ell is located in the so-called Montana Pelada, in the Caramel district of Barcelona. It was a rough spot, with strong gradients that Gaudi draw with a system of viaducts built into the ground. Access to the park has two buildings, for school furniture porter and administration, surrounded by a wall of masonry and polychrome glazed ceramic. These flags are input sample of the full Gaudi, with roofs of Catalan vaults in the form of hyperbolic paraboloid. After the exhibition there is a staircase leading to upper levels, decorated with a sculptured fountains whose highlights are the dragon, that has become a symbol of the park and one of the most recognizable emblems of Gaudi. This upholstery staircase leads to hypostyle, which would have provided a market for urbanization, made with large Doric columns.