聖家堂
聖家宗座聖殿暨贖罪殿（加泰隆尼亞語：Basílica i Temple Expiatori de la Sagrada Família），一般簡稱為聖家堂（Sagrada Família），是位於西班牙加泰隆尼亞首府巴塞隆納的一座未完工的天主教教堂，由安東尼·高第設計，其高聳與獨特的建築設計，使得該教堂成為巴塞隆納最為人所知的觀光景點。
聖家堂從1882年開始修建，因為是贖罪教堂，資金的來源主要靠個人捐款，捐款的多少直接影響到工程進度的快慢，所以至今還未完工，是世界上唯一尚未完工就被列為世界遺產的建築物。雖然該教堂並非主教座堂，但教宗本篤十六世於2010年11月7日造訪此教堂時將其冊封為宗座聖殿。
建造歷史
聖家堂的建築風格屬於巴塞隆納當地的「加泰隆尼亞現代主義」（Modernisme català；屬於新藝術運動，與20世紀初的現代主義並不相同），1882年動工時，由Josep Maria Bocabella領導Asociación Espiritual de Devotos de San José宗教團體出資，由建築師Francesc de Paula del Villar開始興建。一年後，建築師Francesc de Paula del Villar因設計的教堂成本太高，和宗教團體意見不合，辭職而去，才由年僅31歲的安東尼·高第接手。
高第接手後，地下聖壇已在建造中，無法修改設計圖，所以他按照第一任建築師Francesc de Paula del Villar的設計圖建完地下聖壇，然後把整個教堂重新設計，把Francesc de Paula del Villar原先設計的新哥德式教堂改為加泰隆尼亞現代主義建築。高第一生中43年的心血都花在這個教堂的設計上，1925年後還乾脆搬到教堂的工地去住，全心全意設計教堂，直到高第1926年被電車擦撞死亡為止，他一直不斷研究教堂的結構設計，去世時留下了許多寶貴的資料、設計稿和模型，但是在西班牙內戰時被無政府主義者燒毀，而工程也停頓到1954年才再次動工。過程中，有人疑問為何此教堂的建造如此漫長且久未完工，高第說：「我的客戶並不急」。他所說的客戶，其實指的是「天主」。
這個教堂的設計帶有強烈的自然色彩，高第以很多動植物的形態為藍本來設計教堂，更以《聖經》中的各個場景在整個建築中如同圖畫一樣逐幅展現，使這個教堂成為每個來訪者都可以讀到的一本天主教探題。
這個教堂有東、西、南三個立面：「誕生立面」（Façana del Naixement，位於東側）、「受難立面」（Façana de la Passió，位於西側）和「榮耀立面」（Façana de la Glòria，位於南側，尚未完工）。每個立面各建有四座鐘塔，共計十二座，分別代表耶穌的十二宗徒。除此之外，建築的中央另有六座高塔，其中四座代表聖經四福音書的作者——馬太（瑪竇）、馬可（馬爾谷）、路加以及約翰（若望），一座代表聖母瑪利亞，一座代表耶穌基督。所以整個聖家堂的設計當中總共將建造十八座高塔。代表十二宗徒的十二座高塔的高度介於98.4公尺到117公尺，代表福音書作者的四座高塔為120公尺，代表聖母瑪利亞的高塔為120公尺，代表耶穌基督的高塔則為170公尺。
大部分的設計都未在高第生前真正建成，高第於1926年離世。地下聖堂建於1889 - 1892年，「誕生立面」建於1892 - 1930年，「受難立面」建於1954 - 1977年，偏殿和中殿建於1978 - 2000年，「榮耀立面」還在建造當中，教堂中間的六座高塔還沒開始建造。
現在已建好的部份，可以參觀的是「誕生立面」和「受難立面」。「誕生立面」以基督的誕生為題，牆上的雕塑展現了由童貞瑪利亞懷胎到基督成長的故事，因是歡迎慶祝基督誕生，以歡喜愉悅的雕塑為主。「受難立面」以基督的死亡為題，高第為了表現受難的痛苦，設計了有稜有角的現代線條，雕刻家蘇比拉克斯（Josep Maria Subirachs i Sitjar）按照高第留下的圖稿刻出了由最後的晚餐到基督被釘十架，到基督升天的故事。
從高第以後，現在的建築師Jordi fauli已是第四代了，目前，三個立面已建好「誕生立面」和「受難立面」，十八座高塔已建好「誕生立面」的四座鐘塔和「受難立面」的四座鐘塔，還差十座高塔，整個建築完成了將近50%，預計要在2026年完工。
Sagrada Família
The Basílica i Temple Expiatori de la Sagrada Família (Catalan pronunciation: [səˈɣɾaðə fəˈmili.ə]; Spanish: Basílica y Templo Expiatorio de la Sagrada Familia; English: Basilica and Expiatory Church of the Holy Family) is a large unfinished Roman Catholic church in Barcelona, designed by Catalan architect Antoni Gaudí (1852–1926). Gaudí's work on the building is part of a UNESCO World Heritage Site,[6] and in November 2010 Pope Benedict XVI consecrated and proclaimed it a minor basilica, as distinct from a cathedral, which must be the seat of a bishop.
In 1882, construction of Sagrada Família started under architect Francisco de Paula del Villar. In 1883, when Villar resigned, Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the crypt. At the time of his death at age 73 in 1926, when he was run down by a tram, less than a quarter of the project was complete.
Relying solely on private donations, Sagrada Familia's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, revolutionaries set light to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans, drawings and plaster models, which led to 16 years work to piece together the fragments of the master model. Construction resumed to intermittent progress in the 1950s. Since commencing construction in 1882, advancements in technologies such as computer aided design and computerised numerical control (CNC) have enabled faster progress and construction passed the midpoint in 2010. However, some of the project's greatest challenges remain, including the construction of ten more spires, each symbolising an important Biblical figure in the New Testament. It is anticipated that the building can be completed by 2026—the centenary of Gaudí's death.
The basilica has a long history of dividing the citizens of Barcelona: over the initial possibility it might compete with Barcelona's cathedral, over Gaudí's design itself, over the possibility that work after Gaudí's death disregarded his design, and the 2007 proposal to build a tunnel of Spain's high-speed rail link to France which could disturb its stability. Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art", and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".
高迪的聖家堂：天才還是愚人之作？
喬納森·格蘭斯（Jonathan Glancey）
在聖家族大教堂（Sagrada Família，以下簡稱聖家堂）漫長的建造過程中，高迪曾說過這樣的話：「我的客戶（上帝）並不著急」。高迪相信上帝有世界上所有的時間，因此這位雄心勃勃的加泰羅尼亞建築師並不急於完成聖家族大教堂的建設。
聖家堂常常被誤認為是巴塞羅那的大教堂，這座雄偉壯觀的大教堂的建設資金完全倚靠私人捐助和每年250萬遊客的門票收入，目前看來很難在2026年之前完工。
考慮到聖家堂的建設最初始於1882年，很顯然這個建築並不能靠一位狂熱的教徒建築師憑一己之力完成，它的建設必須依賴幾代篤定執著的建築師和愛好者的熱情和心血。
當聖家堂的建築最終完工時，它的高度將達到560尺（170米），將成為世界上最高的教堂，高高矗立在加泰羅尼亞首府巴塞羅那。它同時也是一個外形最為奇特，規模如此宏大而又最受爭議的宗教祈禱禮拜場所。
從外形上看，這座建築就好像一個巨大的石制白蟻巢，一片巨大的菜地，一個世界上最邪惡的巫婆烘焙的薑餅屋，或者一片令人毛骨悚人的森林。這座氣勢恢宏的建築在一戰之後初現形態，從那時起，其設計理念就使無數建築師，評論家和歷史學家困惑而不得其解。
喬治·奧威爾（George Orwell）將之稱作「世界上最猙獰的建築之一」，他甚至期望它在西班牙內戰期間被破壞。薩爾瓦多·達利（Salvador Dalí）認為它有一種「令人生畏和可以玩味之美」，認為這個建築應該用玻璃房保護起來。現代主義建築學派的倡導人和奠基人之一，公立包豪斯（Bauhaus）學校的創辦人瓦爾特·格羅皮烏斯（Walter Gropius）則對聖家堂精湛的工藝大加讚嘆。美國建築師，「摩天大樓之父」路易斯·沙利文（Louis Sullivan）高度評價了聖家族大教堂，稱其為「用石頭寓意了精神」。
給遊客下的套？
這座教堂的石頭拱頂於2010年完成，高150尺（45.7米），建築設計繁複令人眼花繚亂，教宗本篤十六世（Pope Benedict XVI）當時造訪此教堂並將其冊封為宗座聖殿。關於教堂的討論再次被燃起。
努埃爾·維森特（Manuel Vicent），馬德里每日國家報的專欄作家認為，「聖家堂之美就在於建築尚未完成這一事實，人們可以自由發揮想像力品味這一建築天才的瘋狂的夢想，而現在聖家堂的建設依靠門票的收入將可能按時完工，最終當整個建築完成的時候，裏面恐怕就只剩下日本遊客了」。
巴塞羅那市顧問委員會成員，建築師安瑞科·瑪西普（Enric Massip）則譴責聖家堂為「一個缺乏靈魂的人為抬高的空間。」
這些形狀的靈感來源於大自然，經演繹形成了廊柱，拱頂的設計和交叉的的幾何結構，支撐起了聖家堂獨特的造型。當你抬頭看聖家堂中殿的內部拱頂時，是否像在一片茂密的森林中，陽光透過樹葉灑下大地？這正是高迪設計的初衷，高迪說他的設計均「來自於大自然這本偉大的書」。而他的「教科書」就是他所熱愛探索的山川與洞穴。
事實上，1980年，當馬克·博裏(Mark Burry)，一個23歲的新西蘭人來到巴塞羅那，並參與試圖將聖家堂剩餘建築模型拼湊在一起時，他根本無法搞清其內在的幾何學原理，直到比塞塔貨幣掉落，他才明白高迪的設計靈感來源於山上的岩層，才意識到高迪的卓越的數學想像原來根植於各種自然現象。
博裏後來成為聖家堂的執行總建築師，墨爾本皇家理工大學在空間設計和計算機編程方面首屈一指的專家。博裏將航空航天行業的技巧進行了發展和演繹，設計出了參數化模型技術，完整再現了高迪的設計。在建築師喬迪·法利（Jordi Faulí I Oller I）的帶領下，博裏加快了建造過程，使用計算機設備直接對石頭進行切割。令博裏和他的團隊自愧不如的是，高迪僅僅是倚靠直覺，在頭腦中就能設計出如此複雜的三維數學模型。
建築史上的奇蹟？
高迪所遺留下來的手稿和模型甚少，在西班牙內戰期間，聖家堂遭到了加泰羅尼亞無政府主義者的洗劫，高迪真跡大都遭到了破壞。但是破壞者們卻保持了高迪墓的完好。因為，無政府主義者們雖然對佛朗哥將軍（General Franco）和天主教會懷恨在心，但他們心理非常清楚，無論任何階層和政治信仰的人都將高迪視為一個聖人。
1926年6月7日的下午，高迪完成當天的工作從聖家堂到市中心的教堂做禮拜，被一輛電車撞倒，當時他衣衫破舊，司機以為是流浪漢，拒絕將這個衣衫襤褸的人送到市醫院，路人後來把他送到了聖十字醫院，之後大家才發現流浪漢竟是高迪，要把他送往更好的地方安置，而高迪拒絕了，他說「這就是我的地方」。三天之後高迪去世了，巴塞羅那萬人空巷，全城的人都出來為他送葬。
人們今天或許很難理解設計出聖家堂的那種篤定的宗教情感。建造這座教堂的想法是由宗教書書商朱塞佩·瑪麗亞·博卡貝裏亞（Josep Maria Bocabella）提出的。在一次朝聖之旅中，博卡貝裏亞在意大利參觀了那裏的洛雷托神社，這個教堂據稱是大天使加百列向聖母瑪利亞現身傳訊的地方。傳說天使將聖母陳列室運往了意大利，在13世紀免遭褻瀆。
人們今天或許很難理解設計出聖家堂的那種篤定的宗教情感。建造這座教堂的想法是由宗教書書商朱塞佩·瑪麗亞·博卡貝裏亞（Josep Maria Bocabella）提出的。在一次朝聖之旅中，博卡貝裏亞在意大利參觀了那裏的洛雷托神社，這個教堂據稱是大天使加百列向聖母瑪利亞現身傳訊的地方。傳說天使將聖母陳列室運往了意大利，在13世紀免遭褻瀆。
博卡貝裏亞是聖徒約瑟夫崇敬會（Associació de Devots de Sant Josep）的創始人，該會的會員買下了聖家堂的地，慷慨解囊資助聖家堂的建造。在鼎盛時期，聖徒約瑟夫的信眾已經達到了600,000人的規模。如果信念可以移山，那麼也可以促成高迪的教堂的建成。如今，「安東尼·高迪受宣福禮協會」現在正在極力爭取這位建築師被封聖。
完工後，聖家堂將擁有不下18個尖頂，其中8個已經建成。其中12個尖頂代表耶穌的使徒，4個代表四大福音書的作者（馬太，馬可，路加和約翰）(Matthew, Mark, Luke and John)，一個是聖母瑪利亞(Blessed Virgin Mary)，還有最高的一尊代表基督救世主(Christ the Saviour)。
對於清教徒、或者喜歡直線和極簡風格的人而言，這座建築可能難以欣賞。然而其卓絕的技藝以及充滿想像力的造型在過去的一個世紀裏為一大批世界上最優秀的工程師和建築師的設計提供了靈感，比如奧斯卡·尼梅耶（Oscar Niemeyer）、費雷·奧托（Frei Otto）和皮爾·路易吉·內爾維（Pier Luigi Nervi）。在未來的數年間，聖家堂將為世世代代的後人提供想像力，而它的建築者必將以聖人安東尼·高迪之名聞名於世。
Gaudí’s La Sagrada Família: Genius or folly?
By Jonathan Glancey
“My client is in no hurry”. Antoni Gaudí believed that God had all the time in the world, so there was no need to rush the completion of the Catalan architect’s most ambitious work, the Sagrada Família. Often mistaken for Barcelona’s cathedral, the breathtaking Basilica and Expiatory Temple of the Holy Family, paid for entirely by private donations and sales of tickets to the 2.5 million people who visit it each year, is unlikely to be finished before 2026. Given that construction began in 1882, this is clearly the work not just of a singular and devoutly religious architect, but of several determined generations of dedicated professionals and enthusiasts.
When the final stone is set in place, the Sagrada Família will be the world’s tallest church, soaring 560-ft (170-m) above the Catalan capital. It will also be the strangest looking and possibly the most controversial place of worship ever built on such an epic scale. Looking for all the world like a cluster of gigantic stone termites’ nest, a colossal vegetable patch, a gingerbread house baked by the wickedest witch of all or perhaps a petrified forest, this hugely ambitious church has confounded architects, critics and historians ever since its unprecedented shape became apparent soon after World War I.
George Orwell said it was “one of the most hideous buildings in the world” and rather hoped it would be destroyed during the Spanish Civil War. Salvador Dalí spoke of its “terrifying and edible beauty”, saying it should be kept under a glass dome. Walter Gropius, master of right-angled architecture and founder of the Bauhaus, praised its technical perfection. Louis Sullivan, the great American architect, and “father of skyscrapers”, described it as “spirit symbolised in stone.”
Tourist trap?
When the mind-numbingly complex stone vault over the 150-ft (45.7-m) high nave was completed in 2010 and the basilica consecrated by Pope Benedict XVI, the debate reignited. According to Manuel Vicent, a columnist for the Madrid daily El Pais, “The only saving grace of the Temple of the Sagrada Família was the fact that it was unfinished, the dream of a genius driven crazy by mystic reveries. Now it will completed with the money of tourism, and when its walls are finally enclosed, there will be no one inside but Japanese tourists.”
The architect Enric Massip, a member of the Advisory Committee to the City of Barcelona, denounced the basilica as “an artificially inflated space lacking in soul.”
George Orwell called the Sagrada Familia 'one of the most hideous buildings in the world' (Getty)
Intriguingly, Massip founded his own architectural studio in 1990 “with the goal to create a leading and innovative practice at the edge of architectural thinking”. Without spelling it out – he rarely wrote thoughts down, and drew precious little – this is very much what Antoni Gaudí had done when he developed a form of radical architecture that, in many ways, was far ahead of its time.
Those who take against the Sagrada Família do so largely because they refuse to see beyond its richly decorated and apparently arbitrary forms. Scratch the surface, though, and this mind-bending building proves to be a tour-de-force of highly sophisticated mathematics and advanced structural engineering. Gaudí based his designs on the complex forms we know today (or ought to know) as helicoids, hyperboloids and hyperbolic paraboloids. These are forms abstracted from nature and then translated into the design of the columns, vaults and intersecting geometric elements of the structure of the Sagrada Família. Look up at the vault crowning the interior of the basilica’s nave. Does this resemble a dense forest of trees with sunlight shining through it? Gaudí hoped you might see it like this. Everything he designed, he said, “comes from the Great Book of Nature”. His ‘textbooks’ were the mountains and caves he loved to explore.
In fact when Mark Burry, a 23-year-old New Zealander came to Barcelona in 1980, and became involved in trying to piece the fragments of Gaudí’s remaining architectural models of the Sagrada Família together, he was unable to make sense of their unfamiliar and demanding geometry until the peseta dropped and he understood that it was in the rock formations of mountains, among other natural phenomena, that Gaudí’s exceptional mathematical imagination had been rooted.
Burry went on to become both the executive architect of the Sagrada Família and a leading light in spatial design and computer programming at RMIT University, Melbourne. Devising parametric computer modelling techniques, adapted from the aerospace industry, Burry has been able to complete Gaudí’s designs. Working under Jordi Faulí I Oller I, director of works in Barcelona, he has even sped up the construction process by having stones cut by computer-driven machinery. What Burry and his associates in Barcelona find so very humbling is that Gaudí was able to work out such complex three-dimensional mathematical models in his mind’s-eye, using intuition alone.
Architectural miracle?
What few models and sketches there were by Gaudí’s hand were mostly destroyed by Catalan anarchists when they assaulted the Sagrada Família during the Spanish Civil War. They did, however, leave the architect’s tomb intact. For, whatever their grudge against General Franco and the Catholic Church, they knew full well that Gaudí was considered a saint by people of all classes and political beliefs. On 7 June 1926 Gaudí had been struck down by a tram at the intersection of Barcelona’s Carrer de Bailén and the Gran Via. Taxi drivers refused to take a man they mistook for a beggar to the city hospital. Local people took the wafer thin and ragged old man to the pauper’s hospital instead. When he was discovered there, Gaudí refused to be moved. “My place is here”, he said. Thousands lined the streets for his funeral.
Construction began in 1882 and will not be completed before 2026 (Hulton Archive/Getty Images)
It is difficult today to understand the upswell of religious feeling that had given rise to the Sagrada Família. The idea had come to Josep Maria Bocabella, a printer of religious books after a visit to Italy where he made a pilgrimage to the Shrine of Loreto, the church housing what is alleged to be the house in which the Archangel Gabriel appeared to the Blessed Virgin Mary. The house had been flown to Italy, it was said, by angels to save it from desecration in the 13th Century. Bocabella founded the Associació de Devots de Sant Josep which bought the land for the Sagrada Família and paid for the work. At its peak, these devotees of St Joseph, Mary’s husband, numbered 600,000. If faith could move mountains, it could build Gaudí’s basilica. The Association for the Beatification of Antoni Gaudí now campaigns for the architect to be made a saint.
When complete, the basilica will boast no fewer than eighteen spires – eight have been built so far 12 representing Christ’s apostles, four the evangelists (Matthew, Mark, Luke and John), one the Blessed Virgin Mary and the tallest, Christ the Saviour.
It may be difficult for puritan eyes, or those with a decided preference for straight lines and minimalist aesthetics to look at, and yet this utterly brilliant feat of imaginative construction has inspired designs by some of the world’s finest engineers and architects over the past century, Oscar Niemeyer, Frei Otto and Pier Luigi Nervi among them. It will continue to haunt the imagination of generations to come for whom its architect may well come to be known, officially, as Saint Antoni Gaudí.
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