Güell crypt: controversy regarding restoration

The year of Gaudì, in other words the 150th anniversary of the birth of the Catalan maestro, wouldn’t be complete without some controversy regarding the restoration of his work. Controversy that comes up regularly, every time anyone touches one of Gaudì’s buildings.

It has already happened with the Park Güell (with criticism regarding the kind of ceramics used for the perimeter wall), the Pedrera (rumours of an auditorium to be built underground) and of course, the Sagrada Familia (the finishing of which is forever under discussion). Today, attention is set on the restoration of the Güell crypt, built in 1914 (completed however only in 1969 by the architect Joan Bassegoda) for the church of the Güell colony at Santa Maria de Cervelló, a few kilometres from Barcelona.

Around fifty Spanish intellectuals, artists and architects – including Antoni Tàpies, Ricardo Bofill, Carme Pinós and Benedetta Tagliabue – have described the restoration as “presumptuous” and “arrogant”. And, putting together their signatures in a kind of manifesto, have requested that it be brought back to its original state.

The architect responsible for the work, Josep Lluís Gonzales, has defended himself maintaining that the work was both necessary and urgent (“there were leaks all over the place” he explained, “so the building was in serious danger”). He also described his approach to the intervention – to leave the new parts distinct and recognisable from the existing, attempting to use suitable materials in keeping with the original.

The part which has provoked scandal and most angered those against the project is an enormous monolith situated at the entrance to the building, with the date in which work began (1914) and that of the recent restoration, followed by the word “Amen”.

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