Barcelona Metropolis

Nevertheless, if there’s a golden age for applied arts and the use of such elements on the façades and in the structures of buildings, it’s Modernisme. Without a sovereign power promoting refined, rich buildings as happened in other European cities, starting in the 18^th century the newly formed bourgeoisie played this role in Barcelona. It’s not that there were no decorative elements before this period; they were used, but for more utilitarian purposes. Different materials have completely different shapes and expressions in different periods. This can be seen, for example, in the shift from forged medieval or Baroque grilles to the use of cast-iron in a Modernista house. The same happened with other construction materials such as wood or ceramics, initially used in roofing according to criteria of efficiency, and whose use evolved towards other, much more complex expressions: the chromatic combinations of the Baroque period or the flamboyant “embriagamiento” —drunkenness— of Modernisme. This can also be seen in stone; Fontbona explains that the popular expression “de pedra picada” (having firm convictions, literally ‘of carved stone’) gave buildings special authenticity. “In truth, only certain areas were made of carved stone, such as corners or window and door frames, while the rest was often covered in mortar or other materials”, he adds. Artificial stone made it possible to imitate what once had to be done by artisans. “Systems of construction and decorative elements had to do with social class. Many buildings from the 18^th and 19^th century had a stone stairway for the owners and another, much simpler, entryway for tenants. The same thing happens with ceilings and finishes: the ones on the first floor —the ‘noble’ floor— were nobler than the ones on the upper floors”, he adds.

In one chapter of the book, architect and researcher Ramon Graus notes that the “casa d’escaleta” began to be used in 18^th century, marking a radical departure from older houses with a single structural bay. This innovation included a central bay with stairs for individual access to each apartment (and a hierarchy of different ceiling heights), the substitution of pitched rooves by flat terrace rooves, and thin walls of modern ceramic brick instead of thick stone walls. Dubbed “Catalan construction”, this was a response to the increased demand for housing that went along with industrialization.

Iron and forged materials were used widely from the 13^th century onward: window latches, knockers, medieval brackets… An abundance of grilles and other elements decorated churches, where they were often used to protect cult objects. In the book, art historian Lluïsa Amenós, an expert in the study of forged work and metals, notes the influence of French models on Catalan Baroque architecture and the new life it gave to the artisans of the industrial period and the explosion of Modernisme. Something similar happened with ceramics starting at the end of the 19^th century, when their use expanded and became generalized in Modernista buildings, many of which have survived to the modern day: Sant Pau hospital by Lluís Domènech i Montaner, the recently-restored Casa Vicens by Antoni Gaudí, or Casa Amatller by Puig i Cadafalch.

This book delves into curiosities and stories about all manner of elements found in the city, such as clocks, coats of arms, bells, windows, wallpapers or gardens; a series of decorative arts that have certainly played a role in the construction of Barcelona.