Gaudi and his eternal whims

over 4 years ago

To speak of Antoni Gaudí, is to raise the imagination to the nth power and circumvent the obsolete limits of the traditional, to embark on a journey of pleasant mediation through the fascinating oceans of fantasy. Refer, then, to his art, to that personal imprint he left behind in each and every one of his wonderful creations, certainly obliges him to recapitulate; to break the mirror of any mold in a thousand pieces, to obviate, likewise, any type of complex and give yourself the pleasure of recognizing, without the need to separate the feet from the ground, that Magic - or if you prefer it in its more technical aspect , the Goecia - after all, exists and can be applied, with all the force of its expressiveness, to such a severe discipline, as can be considered today to architecture.

Based on this, anyone would think that architecture, as conceived by Master Gaudí, is a powerful automotive force, which plays with creativity and fantasy, with the sole purpose of conceiving fascinating buildings, whose vision and contemplation , go far beyond the obsolete limits imposed by that severe Miss Rotenmeyer that, metaphorically speaking, we could consider that modern evil, which is basically functionality.

Anyone who has seen part or all of Gaudí's work will agree that he has not contemplated anything like it anywhere else in the world, and it is even possible that a word, eccentricity, comes to his lips as a sentence. And perhaps he does not lack reason, after all, if we still go beyond the limits of eccentricity, we consider the word 'caprice', if any, not with that negative and egotic charge to which we are accustomed, but rather, like that natural predisposition to get carried away by an imperative creative current, not subject to another dike, other than creativity's own pleasure.

On the other hand, it could be considered that to see one of Gaudí's buildings, is to have seen them all, a determination that would be a complete error, because just like anyone who carries, for example, a dream diary, you will see that situations change constantly , that the archetypes vary, that they camouflage themselves, that they adopt new personalities, that they adapt to the different scenarios, solving problems and offering solutions behind that apparent and impenetrable wall behind the scenes behind which they hide.

In this regard, there has been much speculation about whether Gaudí took hallucinogens, and specifically that food of the gods, which is the Amanita muscaria, since its presence occupies a relevant place in almost all of his creations. At least - limiting the inaccessible - in the most important. Who knows.

But what seems obvious, given the details, is that the fundamental archetypes of that collective unconscious promulgated by C.G. Jung, acted as revulsive and although no documents or personal diaries have been preserved that can prove it, possibly the Master was one of those happy practitioners of the 'inner apnea', able to externalize on the plane all that his dreams or incursions in the Anima Mundi suggested, in the same way that writers and poets, like Dante Alighieri, they did in their respective literary symphonies, being, perhaps, one of the most famous the 'Symphony of the Devil', by the musician Tartini.

Far from diabolical tricks, and continuing with the metaphors, this masterful Capricho de Comillas could be considered as a simple score in Gaudí's complex symphony vitae. A simple and yet great piece, endowed with the strength of its own shape and volume, whose notes, cheerful and sustained, harmonize perfectly with an elegant and harmonious ensemble, whose echoes are a reflection of a spontaneous naturalness.