10 Lessons from Barcelona, Manuel de Sola-Morales, p.306-308
“Residents’ and visitors’ memory of the city will always be
associated with an awareness of the planned space. But it is the form of its
physical grid as a mental image, the evidence of its imperturbable permanence
that allows us to experience this idea and this awareness.”
During our walk throughout Barcelona’s Eixample, the one
thing present during the entire time was Cerda. Every time you cut a chamfered
corner, the architectural responsiveness of the buildings shows great respect
and adherence towards his very specific planning for the city. In few other
cities do you feel such tension between a city’s architecture and its planning;
the personality of the Eixample is characterized by calculated interactions
between the two. Cerda’s octagonal module becomes a very visible game for
architects building around its rules, and how they are maintained or broken
defines the identity of the city’s spaces. Nowhere is this more apparent than
the block courtyards. Walking into these spaces revealed more rebellious
interpretations of the grid than is present on its exterior. While some couryards,
such as the Passatge Permanyer or Jardins de Rector Oliveras maintain a
completely open and regular entry and courtyard in what closely resembles
Cerda’s intentions, others such as the Casa Elizade gardens more freely
interpret their purpose. In said example, the entry is fashioned into a multi-height,
Neo-Classical entrance containing an art gallery that uses the space for public
video installations. Yet, where the entry path ends so does the consistency, as
you are pushed out from classical proportioning into a patchwork courtyard of
balconies and a couple of awnings. Yet despite the schizophrenic progression of
spaces from exterior to interior, the block is consistent in its language to
the rest of the Eixample, and so reminds and encourages us to draw comparisons
not only to Cerda’s original plan, but also to its other architectural
inhabitants.
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