{"id":10821,"date":"2023-07-15T16:15:41","date_gmt":"2023-07-15T15:15:41","guid":{"rendered":"https:\/\/nanoo.travel\/?p=10321"},"modified":"2025-11-02T16:17:23","modified_gmt":"2025-11-02T15:17:23","slug":"casa-batllo","status":"publish","type":"post","link":"https:\/\/nanoo.travel\/en\/casa-batllo\/","title":{"rendered":"Casa Batll\u00f3 | A must-see visit to Gaud\u00ed’s masterpiece in Barcelona"},"content":{"rendered":"\n

Located on the famous Paseo de Gracia(Passeig de Gr\u00e0cia<\/em>) in the heart of Barcelona, Casa Batll\u00f3 is one of the city’s most emblematic attractions. The house is the work of the famous Catalan architect Antoni Gaud\u00ed, considered one of the most important exponents of the Modernist movement in Spain.<\/p>\n\n

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Casa Batll\u00f3 in a nutshell<\/h2>\n\n

The Apple of Discord<\/h3>\n\n

As early as the 1860s, the Paseo de Gracia was laid out as the main thoroughfare linking Barcelona to the “Villa de Gracia”, now a city district in its own right. Lined with houses with gardens and a few private mansions, Paseo de Gracia began as a pedestrian promenade in the 19th<\/sup> century, before becoming an avenue for cars in the 20th<\/sup> century. Gradually, the bourgeoisie replaced single-storey houses with multi-storey buildings, making Paseo de Gracia<\/strong> the main residential center for Barcelona’s upper middle class<\/strong>.<\/p>\n\n

The buildings at numbers 43 (Casa Batll\u00f3) and 45 were originally built in 1877 by Emilio Sala Cortes, one of Gaud\u00ed’s architectural teachers. Like the rest of the buildings on the block of houses from 35 to 45, these are conventional buildings in the traditional eclectic style of the late 19th<\/sup> century. <\/p>\n\n

In 1900, architect Josep Puig i Cadafalch <\/strong>designed Casa Amatller<\/strong> at number 41. Famous for its gabled roof and coat-of-arms sculptures, the building features a neo-Gothic facade with Flemish-style influences. In 1902, architect Llu\u00eds Dom\u00e8nech i Montaner<\/strong> transformed Casa Lle\u00f3 Morera<\/strong> at number 35. With facades adorned with mosaics and sculptures and richly decorated balconies, this building is another fine example of Catalan Modernist architecture. <\/p>\n\n

\"Casa<\/a>
Casa Lle\u00f3 Morera – 35 Paseo de Gracia, Barcelona<\/figcaption><\/figure>\n\n

The proximity of these modernist buildings, each representing a distinct architectural style, sparked debate and rivalry among the architects of the day. The block of houses was nicknamed“The Apple of Discord<\/strong>“.<\/p>\n\n

\"Casa<\/a>
Casa Amatller & Casa Batll\u00f3 – 41 and 43 Paseo de Gracia, Barcelona<\/figcaption><\/figure>\n\n

Genesis of the project<\/h3>\n\n

In 1903, Josep Batll\u00f3 i Casanovas<\/strong>, a wealthy textile industrialist, acquired the house at 43 Passeig de Gr\u00e0cia<\/strong>.<\/p>\n\n

At the time, the Batll\u00f3 family had already entrusted the construction of several buildings to the architect Josep Vilaseca i Casanovas. To stand out from the crowd, Josep Batll\u00f3 called on Antoni Gaud\u00ed<\/strong>, winner of the first annual artistic building competition with the Casa Calvet.<\/p>\n\n

Batll\u00f3 initially asked Gaud\u00ed<\/strong> to demolish and rebuild the entire building, but Gaud\u00ed rejected the idea in<\/strong> favor of a complete renovation<\/strong>. From 1904 to 1906, the architect transformed the fa\u00e7ade, reorganized the interior spaces, added two floors and completely remodeled the attic and terrace. Profoundly transformed, the building rose from a height of 21 meters to 32 meters and from a surface area of 3100m2<\/sup> to 4300m2<\/sup>.<\/p>\n\n

\"Origin<\/a>
Casa Batll\u00f3 – original building and renovated building<\/figcaption><\/figure>\n\n

In 1906, the municipal authorities had serious doubts about the project, and cited a building permit that had not been issued as a reason for halting work on the almost-completed site. Far from stopping the work, Batll\u00f3 instead applied for a permit to rent out the apartments, which was not granted until 1913. <\/p>\n\n

The building was almost finished when Batll\u00f3 received a visit from an associate, Pere Mil\u00e0<\/strong>. The latter was planning to build a private mansion and, following his visit, decided to entrust Gaud\u00ed with the construction of the Casa Mil\u00e0<\/strong>.<\/p>\n\n

Recent history of Casa Batll\u00f3<\/h3>\n\n

Casa Batll\u00f3 ceased to belong to the Batll\u00f3 family<\/strong> in the 1950s. Subsequently, the Casa became home to various companies and individuals, before being bought and restored in the 1990s by the Bernat family<\/strong>, who still own the building.<\/p>\n\n

In 1995, the family opened the house to the public<\/strong> and offered the space for events. Since 2002, the International Year of Gaud\u00ed, Casa Batll\u00f3 has also been the venue for cultural visits.<\/p>\n\n

Casa Batll\u00f3 is now a UNESCO World Heritage<\/strong> Site.<\/p>\n\n

Visit Casa Batll\u00f3<\/h2>\n\n

Main facade<\/h3>\n\n

To design the Casa Batll\u00f3 fa\u00e7ade, Gaud\u00ed drew up a few plans, but based them primarily on a plaster model<\/strong>, which he modelled until he achieved the undulating, sinuous shapes characteristic of his architectural style. <\/p>\n\n

On the ground and second floors, or \u00c9tage Noble, the fa\u00e7ade incorporates a structure of slender columns in Montju\u00efc sandstone<\/strong>, adorned with floral elements typical of Modernism. The curved, bony forms of these pillars evoke theappearance of human bones<\/strong>, bringing an organic and unusual touch to Casa Batll\u00f3, also nicknamed the“House of Bones<\/strong>“. <\/p>\n\n

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\"Facade<\/a><\/figure>\n\n\n\n
\"Facade<\/a><\/figure>\n
Bone-shaped sandstone columns – Casa Batll\u00f3, Barcelona<\/figcaption><\/figure>\n\n

The balcony<\/strong> railings, made of cast iron<\/strong> in a single piece, <\/strong>are shaped like masks <\/strong>, reminiscent of skulls or human faces<\/strong>.<\/p>\n\n

Gaud\u00ed entrusted the forging of the balconies and railings to the brothers Llu\u00eds and Josep Badia i Miarnau, who were also responsible for the doors of the Palacio G\u00fcell and the balconies of the Casa Mil\u00e0.<\/p>\n\n

\"Facade<\/a>
Mask balconies – Casa Batll\u00f3, Barcelona<\/figcaption><\/figure>\n\n

Gaud\u00ed adds a dynamic touch to the building’s exterior by covering the fa\u00e7ade with a trencadis whose blue and green tones are reminiscent of natural coral<\/strong>.<\/p>\n\n

Typical of Catalan Modernist architecture, trencadis is a type of mosaic based on ceramic chips<\/strong>, which Gaud\u00ed was the first to use to cover curved surfaces where full ceramic tiles could not be laid.<\/p>\n\n

\"Facade<\/a>
Facade of Casa Batll\u00f3, Barcelona<\/figcaption><\/figure>\n\n

Flat roof<\/h3>\n\n

Gaud\u00ed designed the Casa Batll\u00f3 roof in a functional manner. It takes account of rainwater run-off, the building’s natural ventilation and the space available to create a terrace that is both aesthetically pleasing and practical<\/strong>, offering breathtaking views<\/strong> over Barcelona. <\/p>\n\n

\u279c<\/strong> Don’t hesitate to sit down for a few minutes at one of the tables in the rooftop bar to enjoy the panoramic views…<\/p>\n\n

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\"View<\/a><\/figure>\n\n\n\n
\"Bar<\/a><\/figure>\n\n\n\n
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\"View<\/a><\/figure>\n<\/figure>\n\n

Slightly set back from the street, the roof is a sort of ridge made of colored ceramics<\/strong>, whose scale-like shape evokes the back of an animal<\/strong>, giving rise to numerous interpretations. At the top of the tower, a four-pointed cross<\/strong> indicates the four cardinal points.<\/p>\n\n

\"Casa<\/a>
Casa Batll\u00f3 roof, Barcelona<\/figcaption><\/figure>\n\n

The roof terrace is a rectangular space divided at its center by the dormer windows of the interior patios. At the front, water tanks<\/strong>, essential at a time when running water lacked sufficient pressure to provide the required conditions of comfort, are concealed in a large room that coincides with the upper part of the fa\u00e7ade.<\/p>\n\n

Specially designed to prevent air from flowing back, several chimneys, grouped together like mushrooms<\/strong>, are covered with fragments of glass and polychrome trencad\u00eds with floral motifs. Each smoke outlet is covered by a pyramid-shaped hood whose steep slope allows rainwater to run off.<\/p>\n\n

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Inside Casa Batll\u00f3<\/h3>\n\n

The interior of Casa Batll\u00f3 mirrors its exterior: a blend of aesthetics and functionality<\/strong>. From the entrance hall to the attic, Gaud\u00ed collaborated with the best craftsmen of the time, intervening at every level to leave nothing to chance.<\/p>\n\n

The building is designed as a high-end home<\/strong>, with the lower two floors occupied by Josep Batll\u00f3<\/strong> and his family, while the upper floors are rented out asapartments<\/strong>.<\/p>\n\n

Entrance hall <\/h4>\n\n

On the first floor, a community lobby<\/strong> is decorated with a ceramic banister in blue and white. A little further on is themodernist elevator<\/strong> serving all the rental floors.<\/p>\n\n

On the left, an imposing wrought-iron gate leads to the Batll\u00f3 family’s private hall<\/strong>. The corrugated walls are at one with the ceiling, which features two large skylights decorated with hexagonal glass<\/strong>, allowing light in like a beehive.<\/p>\n\n

\"Casa<\/a><\/figure>\n\n

The curved shapes of the partitions, doors and windows evoke the interior of a boat, while at the far end of the vestibule, a majestic oak staircase draws the spine of a giant monster in its cave. The underwater atmosphere is reminiscent of the fantasy world of Jules Verne<\/strong>, very much in vogue at the time.<\/p>\n\n

\"Casa<\/a>
Casa Batll\u00f3 entrance hall<\/figcaption><\/figure>\n\n

Noble floor<\/h4>\n\n

At the top of the staircase, a service room gives access to the various rooms on theNoble Floor<\/strong>, a true symbol of the bourgeois lifestyle of the period, whose walls all feature a characteristic crackling pattern<\/strong>, achieved using a lime stucco technique<\/strong> of varying hues. <\/p>\n\n

\"Central<\/a>
Cracked ceiling in the central lounge of the Noble Floor – Casa Batll\u00f3<\/figcaption><\/figure>\n\n

Long concealed under several layers of paint, the original coating on the walls of the \u00c9tage Noble has now been brought to light again, following a major restoration project<\/strong> that has underlined the exceptional nature of the work carried out at the time.<\/p>\n\n

In Josep Batll\u00f3’s study<\/strong>, which features a mushroom-shaped fireplace<\/strong> and large, organically-shaped oak doors<\/strong>, the incisions in the stucco have been filled in with gold leaf<\/strong>, giving the room an even richer, more surprising allure. <\/p>\n\n

\"Josep<\/a>
Detail of the walls and doors of Josep Batll\u00f3’s office<\/figcaption><\/figure>\n\n

Then there’s the central lounge<\/strong>, on the main fa\u00e7ade, with its large,<\/strong> sinuous glass roof<\/strong> that lets you see while being seen. At its center, sash windows slide out via counterweights concealed at the ends, revealing a Paseo de Gracia free of visual obstructions. On either side, the central living room communicates with smaller, more intimate lounges. The huge oak doors separating the rooms can be fully opened to form a single reception area.<\/p>\n\n

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Windows in the central and side salons of Casa Batll\u00f3<\/figcaption><\/figure>\n\n

Sinuous and curved, the raised false ceiling takes the form of an impressive giant spiral<\/strong>, which some interpret as the movement of water in a water vortex, others as a galaxy or a heliocentric representation.<\/p>\n\n

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\"Central<\/a><\/figure>\n<\/figure>\n\n

Outdoor patio<\/h4>\n\n

Opposite the central living room, the Batll\u00f3s’ private dining room<\/strong> overlooks the rear fa\u00e7ade of the Casa. Here, no whirlpool on the ceiling, but the reproduction of splashes formed on the surface of water by a falling drop. <\/p>\n\n

From the dining room, access to the outdoor patio<\/strong> is via two large skylights that illuminate the basement. On either side, intricately curved grilles protect the windows.<\/p>\n\n

At the far end of the terrace area, an undulating wall conceals the property from view. Decorated with parabolic trencadis<\/strong>, this wall echoes the shape of the arches in the attic. Jutting out from the wall, planters<\/strong> made from the same ceramic discs as the main facade give the impression of a suspended garden.<\/p>\n\n

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Elevator and interior patios <\/h4>\n\n

A central stairwell<\/strong> and a modernist elevator<\/strong>, still functional, serve the rental floors. <\/p>\n\n

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Casa Batll\u00f3 stairwell and elevator<\/figcaption><\/figure>\n\n

To achieve better ventilation<\/strong> and a balanced distribution of light<\/strong> throughout the building, Gaud\u00ed created two interior patios<\/strong> on either side of the stairwell. <\/p>\n\n

In the same vein, Gaud\u00ed combined engineering and decoration<\/strong> when he installed larger windows on the lower floors and varied the shades of ceramic tiles from dark blue at the top to light blue at the bottom, achieving a more even distribution of light throughout the building.<\/p>\n\n

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Interior patios at Casa Batll\u00f3<\/figcaption><\/figure>\n\n

Attic<\/h4>\n\n

On the top floor, the attic<\/strong> accommodates outbuildings and utility rooms<\/strong> (laundry, storage) formerly reserved for the tenants of the building’s various apartments. Here, Gaud\u00ed uses one of his key techniques to support the roof: the catenary arch.<\/p>\n\n

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\"Attic<\/a><\/figure>\n\n\n\n
\"Attic<\/a><\/figure>\n
Attic of Casa Batll\u00f3<\/figcaption><\/figure>\n\n

Resembling the rib cage of an animal, sixty catenary arches<\/strong> are distributed in two corridors along the interior patios. They form lateral spaces that regulate light. Characterized by the simplicity of their forms andthe omnipresence of light<\/strong>, the attics are one of the most unusual spaces in Casa Batll\u00f3. <\/p>\n\n

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\"Attic<\/a><\/figure>\n\n\n\n
\"Attic<\/a><\/figure>\n\n\n\n
\"Attic<\/a><\/figure>\n
Attic of Casa Batll\u00f3<\/figcaption><\/figure>\n\n

Interpretation of the work <\/h3>\n\n

Gaud\u00ed never explained his work, which has given rise to many interpretations. <\/p>\n\n

The legend of Sant Jordi<\/em> <\/h4>\n\n

Gaud\u00ed was a devout Catholic. For many, Casa Batll\u00f3 is a representation of the legend of Sant Jordi<\/em><\/strong> (Saint George), according to which Saint George, patron saint of Catalonia, cuts down the dragon with his sword to save the princess and the population from the animal’s fury.<\/p>\n\n

According to this interpretation, the fa\u00e7ade’s crowning glory<\/strong> would represent the dragon’s back<\/strong>, with ceramic tiles as scales and a small opening in the roof as an eye, struck down by Saint George’s sword<\/strong>, whose pommel would be symbolized by the four-pointed cross at the top of the turret. Inside the building, the great hall with its catenary arches<\/strong> would represent the dragon’s rib cage<\/strong>, and thewooden staircase<\/strong> in the entrance hall would be its tail<\/strong>. On the main fa\u00e7ade, the skull-shaped<\/strong> masks and bone-shaped columns are reminiscent of the victims’ bones<\/strong>, while the flower-shaped balcony<\/strong> is that of the princess<\/strong>. <\/p>\n\n

Water landscape<\/h4>\n\n