Gaudi in Cantabria

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Like so many other examples that have occurred throughout history, Antonio Gaudí's may also be another of those surprising cases of people who, regardless of the specific scope of their activities and in view of their open mind and ideas Innovative, they seem ahead of their time, earning recognition for their extraordinary work, many years after their death.

It is, perhaps, nowadays, when we have another perspective of things and, above all, of Art and Architecture, when we are really surprised and recognize, with absolute surrender, the work of this architect, who, although he was one of the main exponents of the so-called Reinaixença or Catalan Renaissance, did not have, in life, recognition, especially among his professional colleagues, for his grandiose creative vision, where he sought, in that fantastic natural geometry, the basic concepts that would contain, in essence, the fundamental organization chart of his architectural vision, to the point of making his brand or personal imprint unmistakable.

Actually, the architectural models of Antonio Gaudí outside the territorial scope of Catalonia are counted and possibly, due to this detail, not only his vision is so decisive, but also constitutes, without any doubt, a value that revalues, even more, if possible, the cultural and artistic aspect of the place where it stands.

This is the case of Comillas, whose attractive picturesqueness is inextricably linked to one of Antonio Gaudí's most emblematic and, at the same time, most disconcerting buildings: the one, which, located a short distance from the Old Town, bears, and not by chance, the curious name of El Capricho.

When we talk about Capricho, we are talking about a modernist-style mansion, conceived, in essence, as a true whim, in whose constitution, all those details, both geometric and natural, that characterize, in some way, all great creations can be appreciated. of Gaudi.

Its history, like the history of any human being, is still picturesque and contains a series of decisive events, which, in some way, constitute the foundations of a utility, not always in accordance with the primitive intentions of its conception. .

It was carried out, in a really short period, as is the one from 1883 to 1885, under the idea of Gaudí, although supervised by his assistant, Cristóbal Cascante, at the request and cost, as a vacation palace, of Máximo Díaz de Quijano, one of those curious characters, so common in Spain at that time, which were called 'Indians': people who emigrated to America, where, in some cases, they made a considerable fortune, returning later to their cities of origin, where they had the custom to build formidable mansions, to bear witness to their luck and opulence.

Located in what was once a magnificent chestnut forest -the chestnut, especially in northern Spain, was one of the many trees considered sacred by the ancient Celts- and unlike other buildings, in this architectural marvel, Gaudí He maintained, as always, great respect, using native materials, a detail that, after all, is still merely anecdotal, since it is obvious that his architecture is very different from the rest.

This, in addition, is felt inside, since having the opportunity to visit the interior of one of its buildings, entails, in some way, even metaphorically, the impression of entering, like the famous Alice, in a tiny but charming world of wonders, where everything is done based on a specific idea, such as, for example, the distribution of space based on the paths of the sun, the inclusion, inside the house, of a magnificent greenhouse -detail, which used to be a constant in the palaces of the time - the use of the fantastic spiral geometry, for the stairs to the upper floors and in particular, those complicated geometric details, which made the framework of the roofs, a world as fantastic as the keys that determined the setting of the pilasters in the great Gothic cathedrals.

Externally, we also find ourselves again with the typical fantasies of Gaudí's constructions, where the perseverance between the geometric and the natural, forms strange associations, not exempt, in any way, from a spectacular beauty and where we find ourselves, not only those solar references of some of the metopes and the corbels contained, both in the porticoed entrances of the palace, as in its capitals and metopes, but also, others, of a natural nature, such as the sunflowers and the acanthus -symbol, not only of immortality, but also peace, in the sense of harmony- all of them, revolving around a hexagonal plant, imitating the cells of bees.

As anecdotal data and ending, returning to the reference of the modern history of this unique building, add that it passed through various hands and uses, such as a restaurant, until, in 2009, it became a museum permanently. .

NOTICE: Both the text and the photographs that accompany it, as well as the video that illustrates it, are my exclusive intellectual property and, therefore, are subject to my Copyright.

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Apenas vi estas fotos, recordé haber leído sobre Gaudí y haber observado esta casa, llena de arte, donde las flores, los girasoles estaban presentes. Que bonito lugar, es mágico.

Un gran abrazo 🤗 @juancar347 , que nos sigas llenando de arte través de tus hermosas fotografías.

Hola, @marpa. Gaudí fue un auténtico genio y esta casa, es uno de esos pocos ejemplos, de su arte y arquitectura que te puedes encontrar fuera del ámbito territorial de Cataluña. Verla aquí, en Cantabria, a escasa distancia de sus playas y ese mar, el Cantábrico, mezclando creatividad y naturaleza a partes iguales, desde luego que se puede decir que es algo mágico, sobre todo, porque no deja a nadie indiferente y hace de su visita algo inolvidable y espectacular. Tanto por fuera, donde se adivinan esas marcas personales de Gaudí (las geometrías solares, los girasoles, las referencias naturales y sobre todo, las setas amanitas de sus torreones), como por dentro, significan, metafóricamente hablando, entrar y vivir una verdadera fantasía. Muchas gracias por saber apreciarlo y valorar mis fotografías. Un fuerte abrazo.

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¡Hola, querido @juancar347! Bellísima arquitectura (caprichosa sin duda 😁). Gracias por alegrarme el día con estos colores y todos los girasoles. Me encantó el tour en tu canal. Un abrazo inmenso ❤️

Gaudí es único, mi estimada @marlyncabrera. Cuanto más conozco y llevo años haciéndolo, más me fascina. De hecho, todos y cada uno de sus hitos arquitectónicos son inimitables: llevan su fantasía como marca personal indisociable de su persona. Por eso, la gran mayoría de sus biógrafos dudan acerca de sus verdaderas convicciones espirituales, viendo en él, no sólo a un devoto cristiano, sino también a un compañero masón e incluso, como se ha llegado a decir, un heredero moderno de la vieja sabiduría templaria. En fin, cada uno es muy libre de opinar como mejor le parezca, pero lo que no deja lugar a dudas es de que Gaudí, no sólo fue un genio, precursor de esa unión entre arquitectura y entorno, que, por desgracia, ni siquiera se respeta hoy día. Agradezco mucho tu visita, incluido mi humilde canal, que, como verás, es una pequeña reseña de mi deleitación con los viejos Caminos de mi tierra. Un fuerte abrazo.

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After going through so many transformations , it still has that charm , I watched parts of the video , I hope other people will see it too , I have few followers , but I hope they stop to watch

It is true, despite the use to which it has been put throughout its history, it retains its original charm and that is always important, especially because, from the 1960s onwards, it was declared an Asset of Cultural Interest. and under that protection, the modifications had to be very careful and not affect the whole. The followers, after all, are the least of it: what is worth talking about and making the places known, so that others can benefit from their beauty. Thank you very much for your comment, for your attention and best regards.

I did not know this work of Gaudi. For me his style was somehow fairytale. Thanks for sharing these photos. !BEER

In general, all of Gaudí's work refers, in some way, to that collective unconscious, where, as you say, the fairy or fairy world is always present. In that sense, you should see Gaudí's Episcopal Palace (today, Museum of the Roads), located in Astorga: at first glance, it would seem like something out of one of Walt Disney's stories. Thank you very much for your appreciation and best regards.

thank you for this further clarification on Gaudì's works !LUV

My pleasure, friend