这座教堂位于圣科洛马-德塞尔韦略镇，建在一座雄伟的工业中心内。1890年，一家大型纺织工厂的工程开工，它属于高迪的主要赞助人桂尔。桂尔先生建造克罗尼亚桂尔村的目的是希望远离城市，因为在那里，工会运动正愈演愈烈，工人们的住宅在工厂周围建起，将他们聚集到同一区域，形成了一个社会经济生活融为一体的个性社区。桂尔希望赋予这个工业村自己的特点，如建造文化、体育设施和一个小礼堂——当时他并未想到要建一座教堂。工业村聚集的人越来越多，小礼拜堂规模显得过小，桂尔决定委托高迪建一座新的教堂，以容纳所有的居民。然而，桂尔一点也没想到高迪会提交这样一份冷静、严肃和彻底的规划。这座建筑的目的是让桂尔村有一个作礼拜的场所，可以与桂尔村工人的非传统风格住宅相融，并与它附近的森林和山坡融为一体。
虽然人们经常称之为“桂尔地下教堂”，但其实这座教堂并没有一处在地下，因为所有的窗户都面向街道。它其实指的是未完工的教堂下部中殿，这点可以从门廊一侧的台阶看出来，虽然这些台阶并不通向任何地方，但如果能完工的话，它们将通往教堂的上半部分。1909年，工程开工已过了10年，教堂的第一块石头已放置到位，建筑队虽不断受到阻挠，但还是继续建造。直到桂尔先生遇上许多经济问题，桂尔地下教堂的建造才终于瘫痪了。1915年，该教堂受到祝圣时，才建造了“地下”部分，也就是这座教堂和门廊的下部。可惜，我们并不能得知教堂完工时的大致样貌，因为高迪的草图上只有一个非常笼统的设计思路，而且他在工程期间不停地对其加以修改。
教堂的下部铺设了布满繁星的多角形地板，上方有一个巨大的中央拱顶，由四根玄武岩凿制的石柱支撑。圣坛所在的回廊里特设加泰罗尼亚拱顶，采用的砖石源自桂尔在格拉夫附近的一座采石场。室内风格非常朴素单一，只有巨大的花瓣形或蝶翅形窗户是彩色的。这些迷人的彩色玻璃是Josep M. Jujol的杰作，使日光透进来，柔和地驱走室内的黑暗。桂尔地下教堂的内部看起来更像一个天然洞穴，而不像出自凡人之手的建筑。这样的效果是通过暗色调的地板和墙壁实现的，这种色调令人联想到森林由于落叶或树影造成的阴影。墙壁上间或被一小片从窗户射进来的彩色光照亮。教堂的顶楼按照原计划，应该粉刷成蓝色、金色和白色，象征着树木上方的太阳和天空。为了锦上添花，塔楼应盖以白色圆顶，意指这座城镇的名字（科洛马在加泰罗尼亚语中意为白鸽）。凭借这一系列的象征寓意，高迪希望让在场者看到从地狱之底的黑暗到教堂金色、白色和蓝色的辉煌上部的救赎道路。
除了高迪在桂尔地下教堂设计的自然风格外，入口门廊也反映出了对自然的致敬，通向楼上的楼梯弯曲的形态好似松树的枝干，据说高迪曾这样说：“一座阶梯可在短时内造成，一棵松树却需要很久来生长。”入口门廊处的柱子犹如松树林的延伸，不仅是质感，还有它们各不相同的形态，。由此更使这座建筑与周围的自然环境融为一体，浑然天成。高迪还在门廊中添加了基督教元素，他用马赛克拼花工艺加入了一些鱼、希腊字母α和Ω、十字架以及希腊字母中基督的字母组合。
这座建筑的最特别之处莫过于它的结构。它是通过一个学习模型设计的，叫做“立体定向模型或多索道式模型”，高迪就是根据这个模型计算出了未来的教堂结构。一个1:10的教堂模型被挂在4.5米多高的地方，从天花板的两点用细线固定，悬重是几袋弹珠。这样高迪就可以在空中划一条相反的弧线，他花了很多时间拍照，然后把他计划的未来拱顶画在图纸上，形成了教堂的轮廓。这位现代主义天才通过“两把尺子和一串弹珠构造一座建筑”的方法，在桂尔村所利用重力和压力知识，加上他自己的灵感和经验，将一个实验性的独特结构变为现实，这一建筑方案也被运用在了圣家堂。
桂尔地下教堂于1990年被宣布为高级文化历史景点，2005年被联合国教科文组织纳入世界文化遗产，这无疑证实了高迪在作品中体现出来的建筑天分，成为了一个创新型建筑的典范，具有定义未来历史的表现力和冒险性。
纺织业危机开始后，桂尔村陷入了衰退，而这里的活动在1973年停止。桂尔村的土地和设施都渐渐由公共机构收购。
Cripta de la Colonia Güell
This church is part of an ambitious industrial complex, in the town of Santa Coloma de Cervello (Barcelona). A large textile factory that Eusebi Güell, the great patron of Gaudí, launched in 1890. Mr. Güell´s goal with Colonia Güell was he wanted to be away from the city, where trade union movement was growing and build workers’ houses beside the factory and integrate them into the same property, resulting in a village with its own personality that join social and economic life. As a distinctive feature of this colony, Güell wanted to give it cultural and sports facilities and, although initially not regarding building a church, a small existing chapel was used. When this chapel became too small for the growing population of the colony, Güell decided to instruct Gaudí to build a new church that could accommodate all the inhabitants. However, little did Güell imagine that Gaudí would make a proposal as sober, stern and radical. The architecture was based on the task of making Güell a place of worship, that harmonized with the unconventional architecture of the workers homes in Güell´s Colony, and with the nearby forest and the slope of the hill where it would be projected.
Although it is commonly called “Crypt Güell” actually there is none of the church that goes underground, since all the windows are facing the street. It is therefore the lower nave of the church, which remained unfinished, as reflected in the side porch stairs, that although currently do not lead anywhere, if the project had been completed, they would allow access to the upper part of the church. In 1909, ten years after the project began and the first stone of the church was put in place, they continued to build despite constant interruptions. Until various economic problems stalked Mr. Güell and the construction of the Güell´s Crypt was paralyzed. In 1915, when the tempo was consecrated, they had only built the “crypt” or lower part of the church and the porch. Unfortunately we cannot get an idea of how the church would be if it had been completed, because in the sketches of his work Gaudí had only presented a general idea and he frequently changed and matured his ideas during construction.
The lower church, the starry polygonal floor, features a large central dome and it is supported by four hewn basalt columns. The ambulatory, where the altar is located, has the Catalan vaults on columns of brick and stone, from a quarry owned by Güell in the region near Garraf. A very rustic and monochrome interior that is only interrupted by the colours of the large windows that are in the shape of flower petals or butterfly wings. This is the evocative and colourful stained glass work of Josep M. Jujol and it allows light to enter, very subdue into the dark interior. The inside of Güell´s Crypt seems more like a natural grotto than a construction of the fruit of human hands. This effect is achieved by having dark colours on the floor and walls that evoke the darkness of the woods, either by fallen leaves or by the shadow cast by the trees. Walls are interrupted by small polychromatic clearings of light, that would be represented by the windows. In the church on the top floor, the idea was that it was to be painted blue, gold and white, symbolizing the sun and sky above the trees. To set it all off nicely, the towers would be topped with white doves, alluding to the name of the town (Coloma = dove in Catalan). With this complete symbology, Gaudí shows the attendees the way of salvation from the darkness of hell at the bottom, to the golden, white and blue glory of the upper part of the church.
Apart from the natural look that Gaudí reflected in Güell´s Crypt, respect is also perceived by nature from the entrance porch, with stairs to the upper floor diverted to respect the presence of pine that, sources say Gaudí said “a ladder is made in a short time, but a pine take a long time to grow.” Merging this work with its wooded setting is complete, harmonious presence, complete with porch columns at the entrance that visually seem like an extension of the nearby pine forest, not only for the texture but also because each column is different one from another just like trees are in nature. Gaudí did not forget the incorporation of Christian elements in the porch by the trencadís technique, some fish, the alpha and omega, the crosses and the monograms of Christ in Greek (XP) were ordered to be included.
One of the most characteristic features of this construction is undoubtedly its structure. A way that comes from a study model that retains, called “stereotactic model or polifunicular model” by which Gaudí calculated the structure of the future church. A model of the church at 1:10 that grew to more than 4.5 meters high and hung by string from the ceiling by two points and the suspending weights were bags of pellets. In this way he could draw an inverted bow in the air and Gaudí spent time photographing and he then put his drawings of the future arches onto paper, forming the profile of the church. Again the modernist genius, whose rule was “with two rulers and a ball of string all the architecture is generated”, demonstrated in Güell´s colony’s own physical knowledge of gravity and pressure, along with his intuition and experience, helped to create a unique structure which was formed as an “experiment” of architectural solutions that were then also incorporated into the Sagrada Familia.
Güell´s Crypt was declared of high Cultural-Historical Interest in 1990 and incorporated in 2005 as a World Heritage by UNESCO, highlighting without a shadow of a doubt the constructive and poetic talent that Gaudí made clear in this work, becoming an example of original architecture, expressive and risky that defined much of its subsequent history.
Güell´s Colony, went into decline when the crisis began in the textile industry, bringing a halt to its activity in 1973. Gradually the various land and equipment of Güell´s Colony were sold to public institutions.
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