In 1882, the construction of the Temple of the Exalted Family began.  Its initiator, Josep Bucabella, entrusted the service to the designer Francisco de Paula del Villard, whom Antoni Gaudi took over in 1883.  From this factor, the structure of the cathedral, which absorbed the building solutions that were tested and started in other plans of the architect, combined to the very grave of Gaudi.  The Temple of the Exalted Family, given to the chapel of the Atonement, which was more densely called "the cathedral of the poor," promised to be erected solely with money from donations.  This principle has been preserved until the present day.  The device itself lasts after the sketches that Gaudí discarded.

 The construction of the cathedral continues to this day.

 Behind the grave of Gaudí in 1926, the device continued under the guidance of his assistants, but was postponed due to the loss of many original drawings during the Particular Struggle in Spain (1936-39).  After the resumption of the initial intent, plowing was renewed in 1954, however, discussions do not subside after the pretext of the veracity of perestroika.

 The chapel is of a basilical type, a line in the sense of a Latin cross, with five naves in the main borough and a three-nave transept.

 The lack of land delivered near the device (a quarter of the Ensanche site) forced Gaudi in the highest step to proportionally utilize the space, from what the hell the sack happened to be thrown out after the boundaries of the temple.

 At the present stage of construction services, it is now possible to imagine how gigantic the completed temple will be.  Of the belfry towers, the highest, symbolizing Christ, will reach a height of 170 meters.  It will be girded again by four towers that convey evangelists.  The next tower, given to the Mother of God, will be erected over the apse, and to the eight existing bell towers (on the facades of the Birth and Thrust of Christ), four will be added again for the general facade (the facade of Glory), in total twelve, after the number of the apostles.

 The manner of the Exalted Family temple dates back to the Gothic, but was built on the basis of rectilinear geometry.  It is here in the creation that you can find your longest presentation of information and construction experiment of Gaudí.  , embodied in structures based on a paraboloid, the method of generating tree-like columns of the central nave, supporting hyperbolic vaults, and in the internal adaptation of side windows that transmit and distribute light.

 The exemplary Gaudí was wanted in the northeast corner of the site.  Otsyudov, he headed the construction and worked on the project, archival materials were immediately saved.  Here he produced large-scale models, tested various geometric solutions, experimented with beautiful color, configuration and sound, designed objects of divine utensils, saved all the materials of the project, and in the last months of his life he was already asleep.

 In 1936, the model burned down and most of the design materials disappeared, which, incidentally, was not able to suspend the construction, which continues to this day.

 Temple structure

 Wire modifications.  Gaudí disposed of the modifications with a wire frame, on which he applied a canvas with weights impregnated with gypsum mortar.  Sometimes the alabaster hardened, the sensitive parts of the structure were visible, which needed to be strengthened.

 Leaking forms.   The memory of the extraordinary fluidity of the configurations was achieved by the most accurate and accurate calculations and analysis of the qualities of materials.  The intent of a professional was often instituted elementary in the version of the drawing, and its establishment was asked by the search for certain construction solutions.

 Bell towers.   The dynamism and face of the facade is enhanced by the decoration of the pommels, topped with multi-colored ceramics and sculptural images.  This "pompom" is a trifle of the top of the tower of the western transept, symbolizing the episcopal miter, ring and staff.

 Personalities for the Gates of Confession and on the facade of the Birth were made from photographs and casts from sitters.  In an effort to maximize realism, sitters were constantly sought out on the streets of Barcelona.

 The building regulation of the nave made it possible to avoid the construction of external buttresses.  Gaudí believed that the buttresses obstruct the illumination of the exterior and distort the image of the building.

 Columns of the nave.  In order to relax the collateral thrust, the tilt of the nave columns is exceptionally enlarged, and the upper section of the columns is widened.

 Facade of the Nativity.  This is the only façade prepared during Gaudí's life.  The service of architects is distinguished by traditionalism.

 The gate of mercy.  The portals of the Nativity façade embody the mannerisms of Vera.  Faith and Mercy.  To the left, through the portal of Mercy, is the gate of Hope, and to the right - the gate of Faith.

 Basic forms.   The columns inside the nave take on the weight of the building.  Their tree-like pattern responds to the flow of fruitful forces.

 Translated by Ustemirova Alina