Lluís Domènech i Montaner

Lluís Domènech i Montaner () (December 21, 1850 – December 27, 1923) was a Spanish Catalan architect who was highly influential on Modernisme català, the Catalan Art Nouveau / Jugendstil movement. He was also a Catalan politician.

Born in Barcelona, he initially studied physics and natural sciences, but soon switched to architecture. He was registered as an architect in Barcelona in 1873. He also held a 45-year tenure as a professor and director at the Escola d'Arquitectura, Barcelona's school of architecture, and wrote extensively on architecture in essays, technical books and articles in newspapers and journals.

His most famous buildings, the Hospital de Sant Pau and Palau de la Música Catalana in Barcelona, have been collectively designated as a UNESCO World Heritage Site.

As an architect, 45-year professor of architecture and prolific writer on architecture, Domènech i Montaner played an important role in defining the Modernisme arquitectonic (Art Nouveau / Jugendstil in architecture) in Catalonia. This style has become internationally renowned, mainly due to the work of Antoni Gaudí. Domènech i Montaner's article "En busca d'una arquitectura nacional" (In search of a national architecture), published 1878 in the journal La Renaixença, reflected the way architects at that time sought to build structures that reflected the Catalan character.

His buildings displayed a mixture between rationalism and fabulous ornamentation inspired by Spanish-Arabic architecture, and followed the curvilinear design typical of Art Nouveau. In the El castell dels 3 dragons restaurant in Barcelona (built for the World's Fair in 1888), now the Zoological Museum, he applied very advanced solutions (a visible iron structure and ceramics). He later developed this style further in other buildings, such as the Palau de la Música Catalana in Barcelona (1908), where he made extensive use of mosaic, ceramics and stained glass, the Hospital de Sant Pau in Barcelona, and the Institut Pere Mata in Reus.

Domènech i Montaner's work evolved towards more open structures and lighter materials, evident in the Palau de la Música Catalana. Other architects, like Gaudí, tended to move in the opposite direction.

Domènech i Montaner also played a prominent role in the Catalan autonomist movement. He was a member of the La Jove Catalunya and El Centre Català and later chaired the Lliga de Catalunya (1888) (Catalonian League) and the Unió Catalanista (1892) (Catalonian Union). He was one of the organisers of the commission that approved the Bases de Manresa, a list of demands for Catalan autonomy. He was a member of the Centre Nacional Català (1889) and Lliga Regionalista (1901), and was one of the four parliamentarians who won the so-called "candidature of the four presidents" in 1901. Though re-elected in 1903, he abandoned politics in 1904 to devote himself fully to archeological and architectural research.

He died at Barcelona in 1923.

Education and teaching career

Born in Carrer Avinyó in Barcelona, he was the second son of Pere Domènech i Saló, a prestigious publisher and book-binder, and Maria Montaner i Vila, a member of a prosperous family from Canet de Mar, where Domènech i Montaner spent much time in his home/office, now converted into a museum. After having studied physics and mathematics, he studied as an architect in Barcelona and at the school of architecture of the Real Academia de Bellas Artes de San Fernando in Madrid, from where he graduated on 13 December 1873. His teaching career lasted 45 years, and he exercised a considerable influence on what was to become Modernisme in Catalonia. With his colleague Antoni Maria Gallissà he subsequently set up a workshop for advanced work on the decorative arts applied to architecture.

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Architectural works

Domènech i Montaner's buildings combine structural rationality with extraordingary ornamentation inspired by Hispano-Arabic architectural tradition and by the curves typical of Modernisme. They were in the architectural vanguard at the time, with the use of structural steel and the total utilization of exposed brickwork, and incorporated a profusion of mosaics, ceramics and stained glass, arranged in exquisite harmony.

As director of the School of Architecture he promoted a style that was adopted by many of his pupils. Puig i Cadafalch regarded him as "a man of a certain period and of a certain artistic school, who was a sounding-board for developments in other countries, adapting them to his own character in an innovative way".

As the years went by, unlike many Modernista architects, Domènech i Montaner's buildings tended to become lighter, reducing the amount of structural material but retaining ornamentation as a primary element.

Pre-Modernista period

No sooner had Domènech graduated than he set out on a tour of Europe in the company of Josep Vilaseca, and was attracted by Prussian architecture. This, as well as Vilaseca's personality, had an influence on his subsequent work.

This influence can be seen in a number of Domènech's works from before 1878 (the year when he published his manifesto En busca d'una arquitectura nacional): the Clavé family tomb and the Casa Montaner in the Ronda Universitat, as well as a project for the provincial education institutions that was never built. These works can be regarded as pre-Modernista.

The building for the Editorial Montaner i Simón (1879–1885)was in fact his first work after the manifesto and it employs Mudejar decorative solutions while not abandoning Germanic influence and symbolism. Ramon Montaner i Vila, who also had him build his town house in Barcelona, the Palau Ramon Montaner, and remodel the Castell de Santa Florentina, his residence in Canet de Mar.

Modernisme

Domènech received a number commissions associated with the Exposición Universal de Barcelona (1888), thanks to his close friendship with Elies Rogent, director of the School of Architecture and of the works for the Exposition. He was a member of the Mining Committee and the architect in charge of the improvement works on the Parc de la Ciutadella. He also refurbished the Barcelona City Hall to accommodate the royal family during the event. The best-known of these works are undoubtedly the construction of the Hotel Internacional, which no longer exists, but which was put up in a record time of 53 days, and the cafe-restaurant known as the Castell dels Tres Dragons (now the Museu de Zoologia de Barcelona), the building that best expresses these new trends and is considered to mark the beginning of the Modernista period. The use of exposed chamfered brickwork and the use of exposed structural ironwork gives the building an industrial look, solid and compact on the lower levels but agile and transparent above, with its pierced parapets crowned by a pinnacle. The interior is an open space with two arches that support a stepped, symmetrical roof. Domènech incorporated the best of the applied arts and ornamental solutions that became permanent, such as the florid crowns of the capitals. Ceramics from the Pujol i Bausis factory were used, with designs by Antoni M. Gallissà, Josep Llimona, J.A. Pellicer and Alexandre de Riquer. There were also stained glass windows by Antoni Rigalt i Blanch, but these have now perished. The use of these techniques on the Montaner i Simón building inspired Hendrik Petrus Berlage when he designed the Amsterdam bourse.

Subsequently, he designed private residences such as the Casa Navàs i Rull in Reus; the Casa Lleó Morera, the Casa Thomas in Barcelona and the Casa Solà Morales in Olot. In all of these he adopted an integral approach to modernisme, with an intensive use of the applied arts, particularly sculpture, mosaic and stained glass.

The major works

At the height of his professional career, Domènech i Montaner took on his largest and most complex works, the ones for which he is most widely recognized. His work on these projects overlapped in time, and he was able to take advantage of the experience gained on each one. Much of the knowledge gained and many of the technical innovations employed on the Expo restaurant (the Castell dels Tres Dragons, now the geology museum) were later used in the design and construction of the Palau de la Música, and the avant-garde conceptes applied in the Institut Pere Mata were later adopted and improved on at the Hospital de Sant Pau.

The Palau de la Música Catalana and the Hospital de Sant Pau both won awards in the annual architectural competition organized by the Barcelona City Council, in 1905 and 1913 respectively. More recently UNESCO has declared them to be World Heritage.

Institut Pere Mata

Before the 19th century came to an end, at the height of modernisme, Domènech built the Institut Pere Mata, an institution for the mentally ill in Reus (1897–1919). It is an example of architecture at the service of people, without neglecting the purely aesthetic aspect. It was begun with the support of Pau Font de Rubinat, and marked an advance in the provision of medical services, at a time when there was growing support for a social approach to health. It consists of isolated pavilions organized along internal "streets", catering for all treatment needs. Domènech deploys an ornamental language in which nature helps lighten the spirit as it penetrates into all the rooms by way of the stained glass, ceramics and mosaics. A year later, he was to use the knowledge gained at the Institut for the medically-innovative design of the Hospital de Sant Pau.

Palau de la Música Catalana

Domènech used very advanced structural solutions in this work, including laminated sections, a steel frame stabilized by a system of buttresses and perimetral vaults of Gothic inspiration and large walls of glass.

This building is a paradigm of Domènech's work: the control of the interior space and the light by mans of the double facade, the stylistic unity of all the applied arts—sculpture, mosaic, stained glass and wrought ironwork,.

Hospital de Sant Pau

The hospital project was informed by the growing concern at the time about health in the big cities. Domènech studied various solutions that had been used around Europe (Hospital Lariboisière in Paris, St.Thomas's in London, Brugmann in Laeken, Belgium and the military hospital in Toul, France), and devised a totally innovative solution based on isolated pavilions linked by underground passages. With the combination of the Catalan vault and steel structures like those employed at the Tres Dragons and the Palau, large, clear spaces were made possible. The sobriety of the brickwork so typical of Domènech's work is tempered by the warmth of the Montjuïc stone, as is also the case in the Palau de la Música, with sculptures by Pau Gargallo and Francesc Madurell i Torres.

Writings

Domènech contributed to the leading Catalan publications: La Renaixença, Lo Catalanista, Revista de Catalunya, El Diluvio and La Veu de Catalunya. In 1904, after falling out with Francesc Cambó, he ceased to contribute to La Veu de Catalunya and founded the weekly El Poble Català. He was also the author of many books, some technical works (Historia general del arte: arquitectura, 1886; Iluminación solar de los edificios, 1877) and some political and social essays ("La política tradicional d'Espanya", 1898; "Estudis polítics", 1905, "Conservació de la personalitat de Catalunya", 1912, "La Política tradicional d'Espanya: com pot salvar-se'n Catalunya", 1919).

In an article entitled “En busca de una arquitectura nacional” (In search of a national architecture), published on 28 February 1878 in La Renaixença, he set forth the guiding principles for a modern, national architecture for Catalonia.

He was also active as a publisher. He was editor of the Biblioteca Artes y Letras, published by Editorial Domènech, the family firm, for which he also designed many book-covers, and which included the works of the country’s best writers and translations of the most important European authors of the time. Between 1886 and 1897, the Editorial Montaner i Simón published under his direction the monumental Historia General del Arte. Domènech also illustrated the first part, and it was continued by Josep Puig i Cadafalch.

In company with his friends Antoni M. Gallissà and Josep Font i Gumà and with members of the Centre Excursionista de Catalunya, he visited Romanesque churches in several parts of Catalonia; in 1904, those of Pallars, Ribagorça and Cerdanya; in 1905, those of Ripollès, Gironès, Vallespir, Rosselló and Vall d'Aran; and finally, in 1906 he visited the churches of Empordà, whose style he dubbed First Romanesque. In this way Domènech collected material for his work on Romanesque architecture, and he provided the School of Architecture with an important photographic archive.

Political activity

Domènech became involved in politics at an early age, and in 1870 he helped to set up the Jove Catalunya foundation and the Centre Català, from which he separated in 1887. He joined the Lliga de Catalunya, of which he became president in 1888, and in 1891 he founded the Unió Catalanista, of which he was the first president in 1892, with Enric Prat de la Riba as secretary. That same year he chaired the assembly that drew up the Bases de Manresa, a document that laid the foundations for the return of the historic rights acknowledged by the Catalan constitutions.

He pursued a policy of collaboration with Polavieja, who defended regionalist demands. He was also one of the signatories of the Manifest a la reina regent of 1898. The following year he joined the Centre Nacional Català which, on 25 April 1901, merged with the Unió Regionalista, constituting the Lliga Regionalista. The Lliga was made up of sectors of the middle class who were disappointed with the policies of Polavieja and mobilized by the Tancament de Caixes; it stood for a Catalonia that would be free, strong and autonomous.

Domènech's commitment to the defence of national identity was confirmed when he stood for the legislative elections of 19 May 1901, with the candidature known as the "quatre presidents" (four presidents). He was reelected in 1903, but he could not agree with the behaviour of Cambó during the visit by king Alfonso XIII to Barcelona in 1904. It is thought that he was the author of an anonymous article which appeared on 14 April 1904 in the journal "Joventut". The author of the article accused the Barcelona city councillors of weakness in defending Catalan demands before the king. He left the Lliga Regionalista and founded the weekly "El Poble Català", around which he organized Esquerra Catalana. Being socially conservative, however, he gradually distanced himself from it and devoted himself to archaeological and historical research, producing Centcelles. Baptisteri i celler: memòria de la primitiva església metropolitana de Tarragona (1921), Història i arquitectura del monestir de Poblet (1925), La iniquitat de Casp i la fi del Comtat d'Urgell (1930) and Ensenyes nacionals de Catalunya (1936). The last three of these were published posthumously with the assistance of his son Fèlix Domènech i Roura.

His political activities and his research led him to be elected three times as president of the Ateneu Barcelonès (1898, 1911 and 1913). In 1881 he was the "mantenidor" of the Jocs Florals, and in 1895 he presided them. He became a member of what is now known as the Reial Acadèmia Catalana de Belles Arts de Sant Jordi (1901) and entered the Acadèmia de Bones Lletres in 1921. |Cemetery of Poble Nou, pantheon 65 |Designed by Josep Vilaseca and commissioned by public subscription, Domènech designed the fence surrounding the monument. |Ok | |- |1885 |Editorial Montaner i Simón |carrer Aragó |His first work commissioned in the Modernisme period of his uncle Ramon de Montaner i Vila. The facade combines the use of brick with iron of clear Germanic direction. |Ok | |- |1888 |Hotel Internacional(Within the 1888 Universal Exposition of Barcelona) |Passeig de Colom (actual Moll de la Fusta) |It was built on land reclaimed from the sea in the new passeig de Colom, in front of the building of the Capitania General. The hotel, designed by Domènech i Montaner, was built in record time of 53 days. Had plant and four floors of 150m. to 35m. and occupied a plot of 5,000 square meters. With capacity for 2,000 guests in 600 rooms and 30 apartments for large families, was conceived as a temporary facility to the visitors. | It was demolished after the completion of the Exposition. | |- |1888 |Castell dels Tres Dragons(Within the 1888 Barcelona Universal Exhibition) |Parc de la Ciutadella |Is a reference building where combines for the first time since the brick and iron with laminated ceramic decoration. It was later renovated by Domènech for himself like the Museum of History. Since 1920, houses the Museum of Zoology. |Ok | |- |1891-1896 |Palau Ramon Montaner |C/Mallorca, 278 |Designed by Josep Domènech i Estapà commissioned by the industrial Ramon Montaner (of editorial Montaner i Simon), a disagreement broke the contract and Domènech i Montaner, nephew of the owner, he ending. |Ok | |- |1898 |Casa Thomas |C/Mallorca, 293 |Designed and commissioned by the industrialist Joseph Thomas, the building features a façade with neo-Gothic signs. Originally the building consisted of ground dedicated to lithography workshop and first floor, where the owner had the property. |Ok | |- |1902 |Casa Lleó Morera |Passeig de Gràcia, 35 |Reform of the former casa Rocamora of the year 1864. It contains a rich ornamentation, the work of artists: Lluís Brú i Salelles in mosaics, Antoni Serra i Fiter in ceramics, Antoni Rigalt i Blanch in the windows, Gaspar Homar i Mezquida and Josep Pey i Farriol furniture and joinery and Eusebi Arnau i Mascort sculptures. |Ok | |- |1902 |Fonda Espanya |C/Sant Pau, 9 |Reform of the ground floor of a building in mid-19th century. Stresses the decor of the dining room with ceramic banisters and woodwork with sea motifs and engravings at the top, the bar has undergone further changes, although the fire out, the work of Eusebi Arnau i Mascort made ​​of alabaster. |Ok | |- |1902 |Reform to Casa de l'Ardiaca |C/Santa Llúcia, 1 |When the medieval house is occupied by Law School of Barcelona, Domènech was commissioned to decorate the house. Mailbox of Casa de l'Ardiaca. |Ok | |- |1902 |Casa Lamadrid |C/Girona, 113 |The facade, flat and narrow, with a rich decorative work of Domènech. Highlights of the balconies on the first floor, with almost circular slab floor, metal railings of the other openings and decorative items and ceramic in facings plans. The horizontal stripes of different color from the other households help to offset the height of the set, which ends with a roof railing and a central element (which contains the date of construction of the building) of goticitzants features. |Ok | |- |1905-1908 !style="background:#ccccff;"|Palau de la Música Catalana |C/Sant Pere més Alt, 11-13 |Auditorium commissioned by the Catalan Choral Society, is considered the highest expression of modernisme. Since 1997 is World Heritage Site |Very good | |- |1905-1930 !style="background:#ccccff;"|Hospital de Sant Pau |C/Sant Antoni Maria Claret, 167 |Project of 1901 by installing a solar equivalent of nine blocks of the Eixample, a series of individual pavilions, surrounded by gardens and linked by basements. The works began in 1905 and in 1911 inaugurated a first group of buildings which represent the current domenequià synthesis of modernisme, with a wealth of decorative elements of stone, iron and ceramics. Domènech's son, Pere Domènech i Roura, was responsible, from the 1914, the continuation of the works, with simple designs and coordinates of eclecticism. The 1930 moved all services of the old hospital de la Santa Creu in Raval. From 1997 is World Heritage Site. |Ok | |- |1911 |Casa Fuster | Passeig. de Gràcia, 132Jardinets de Gràcia |Construction of neo Gothic touch, with three walls of white marble and a solution of the main corner, with a cylindrical body forming stands, typical of Domènech. The building is constructed with glass, marble, slate... and is topped by a strange attic of french touch very unusual in the Modernisme architecture. At the time was considered the most expensive building in Barcelona because of the materials used. It is now a hotel. |Very good | |- |}

Canet de Mar

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|- |1884-1885 |Ateneu de Canet de Mar |Riera Sant Domènec, 1A |The building, built over an old house was the headquarters of various political and cultural associations of the population. Building of moderate lines with wrought iron railings, abundant reddish graffiti and a rosette with stained glasses in the center. Stresses the corner with the dome and the lightning of the dragon forge. |Very good | |- |1881-1912 |Reforms to the Castle of Santa Florentina |Riera del Pinar s/n |This is a castle, possibly of Roman origin, when it would have been a centre of agricultural production. In the 11th century became fortified house, on the 16th the strong house was enlarged with the addition of defense items. At the late 19th century,Ramon Montaner i Vila uncle of Domenech, wanted to adapt the building to the tastes of the time. The architect gave a mediaeval touch to the castle with the introduction of parts of the monastery del Tallat. He also built the crypt where was buried Florentina Malató, wife of Ramon Montaner, who died in 1900. It is listed as BCIN since 1949. |Very good | |- |1892 |Casa Roura Ca la Bianga |Riera Sant Domènec, 1 |Commissioned in 1889 as a residence for Jacint de Capmany and Paquita Roura, brothers of the architect shortly after the Exposition. The house is notable for being, along with Castell dels Tres Dragons, the first building showing to the view the brick, iron and complete it with ceramic. The materials came from the workshop of craftsmen that Domènech was set in the Castell dels Tres Dragons until 1891. |Very good | |- |1902 |Creu de Pedracastell |Walk of the Cross |In 1901 Pope Leo XIII called the people to erect crosses to conmemorate the new century. The 1902 lifted a cross designed by Lluís Domènech i Montaner and promoted by Marià Serra. It fell in 1926 due to a strong wind rose and a copy made ​​by Pere Domènech. During the war it was destroyed. The actual cross is of 1954. |Disappeared | |- |1905 |Reform to Masia Rocosa |Chamfer rivers Gavarra and Buscarons |The house is originally of the 16th-and 17th and Domènech used of study. Just before them is the Casa Domènech i Montaner, forming in both a combination of traditional and modernist elements. |Very good | |- |1910 |Pantheon Domènech i Montaner |Municipal Cemetery |Commissioned to Domènech by Ricard de Capmany and Júlia Montaner. From 1915 was transferred to Domènech to bury his son there, Ricard Domènech (1892-1915). While Lluís Domènech also said he wanted to be left buried at his death, in 1923 in full dictatorship of Primo de Rivera - the family decided to stand in a niche in the cemetery of Sant Gervasi in Barcelona. Currently in the pantheon of Canet rests there, in addition to his sons Ricard Domènech and Pere Domènech, and his wife Maria Roura. Pantheon of a sobriety virtually rationalist highlighting the sculpture of Josep Llimona although it was damaged during the war. |Ok | |- |1912 |Pantheon Fountain-Montaner family |Municipal Cemetery |While many authors attribute to his son Pere Domènech i Roura, the documentary fund of Lluís Domènech i Montaner listed the project as a work of Lluís Domènech. It is a building flanked by four statues very schematic representing the four evangelists: John, Mark, Luke and Matthew, work by sculptor Pau Gargallo. This central body is crowned by a dome covered in decorative ceramics with predominance of white and yellow. The mosaics draw plant and floral motifs and the dome is supported by an octagonal base, wiath a columns that leave between then each space for interior lighting. |Ok | |- |1918 |Casa Domènech i Montaner |Chamfer rivers Gavarra and Buscarons |Domènech take an old house to build this building between 1918 and 1920. The outer level is a mixture of styles, as alternate medieval elements with other more moderns. Regarded as the last modernist work of Lluís Domènech i Montaner, is now the House museum Domènech i Montaner. |Very Good | |- |}

Comillas

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l'Espluga de Francolí

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Esplugues de Llobregat

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Olot

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Palma

{| bgcolor="#f7f8ff" cellpadding="4" cellspacing="0" border="1" style="font-size: 95%; border: #cccccc solid 1px; border-collapse: collapse;" !width="5%" style="background:#ffce5d;" |Year !width="15%" style="background:#ffce5d;" |Name !width="15%" style="background:#ffce5d;" |Location !width="45%" style="background:#ffce5d;" |Description !width="5%" style="background:#ffce5d;" |Condition !width="15%" style="background:#ffce5d;" |Image |----- |- |1903 |Grand Hotel |Plaça. Weyler, 3 |Building of bill similar to the Casa Lleó Morera. Its currently the headquarters of La Caixa |Ok | |- |}

Reus

{| bgcolor="#f7f8ff" cellpadding="4" cellspacing="0" border="1" style="font-size: 95%; border: #cccccc solid 1px; border-collapse: collapse;" !width="5%" style="background:#ffce5d;" |Year !width="15%" style="background:#ffce5d;" |Name !width="15%" style="background:#ffce5d;" |Location !width="45%" style="background:#ffce5d;" |Description !width="5%" style="background:#ffce5d;" |Condition !width="15%" style="background:#ffce5d;" |Image |----- |- |1900 |Casa Rull |C/ Sant Joan 27 |On the upper floor, is interesting the ornamental work, with windows of gothic inspiration, the coat of the owner Pere Rull - and battlements which crown the building. Its currently the headquarters of the Municipal Institute of Cultural Action. |Ok | |- |1901 |Casa Navàs |Plaça Mercadal, 5 |Designed and decorated as a continous complex developing a communicative speech tailored to its owner. The work of the artisans is the most complete of the work of Domènech. |Very Good | |- |1911 |Casa Gasull |C/ Sant Joan 29 |Noucentistes ideas of simplicity and purity of lines are observed in the simplifications of the pillars, balusters and capitals. This change of language has been identified as a possible involvement of his son in the design of the work. |Ok | |- |1912 |Institut Pere Mata |Ctra. de l'Institut Pere Mata, 1 |Psychiatric hospital which is currently still retains the original function. The technical character of the project adapts to an urban distribution of buildings in independent areas. Has an interesting mix of materials: stone, brick, ceramic and mosaic. |Very good | |- |}

Tarragona

{| bgcolor="#f7f8ff" cellpadding="4" cellspacing="0" border="1" style="font-size: 95%; border: #cccccc solid 1px; border-collapse: collapse;" !width="5%" style="background:#ffce5d;" |Year !width="15%" style="background:#ffce5d;" |Name !width="15%" style="background:#ffce5d;" |Location !width="45%" style="background:#ffce5d;" |Description !width="5%" style="background:#ffce5d;" |Condition !width="15%" style="background:#ffce5d;" |Image |----- |- |1906 |Mausoleum of Jaume I |City Hall of TarragonaPlaça Ajuntament |Commissioned by the Comissió de Monuments de Tarragona in 1906 to house the remains of James I of Aragon, it was not done in life of Lluís Domènech and it finished his son, Pere Domènech . This delay and changes of opinion respect to the remains of James I made that ​​the mausoleum is not located on this site until 1992. Never has the remains of James I. |Good | |- |}

Other works

In Barcelona:

* Casa Maria Montaner in the round Universitat 4, was a building owned by his mother that architect reformed. Currently disappeared.

* Torre Simon, in Gràcia. It was the mansion of Josep Simon, member of Ramon de Montaner of the editorial Montaner i Simon. Currently, the space much modified and expanded, occupies the School Corma.

* Housing in carrer Trafalgar 54, which has been refurbished.

*

In Canet de Mar:

* Nau industrial Jover, Serra i Cia. (1899-1900) disappeared.

* Unfinished pantheon of the family Montaner-Malató (1899).

* Creu de Terme of l'Aubó (1908) partially disappeared.

*

In Santander.

* Pantheon of Marquis of Satrústegui.

Sources

"Lluís Domènech i Montaner", Fundació Antoni Tàpies

The Wikipedia and the Wikipedia were used as sources for this article.

References

External links

Category:1850 births Category:1923 deaths Category:Barcelona politicians Category:Catalan architects Category:Spanish architects Category:Modernisme architects Category:Art Nouveau architects