Perhaps The classicism not allowed out of the black, brown and burgundy. But what would have happened without those, who went further and broke barriers (Pablo Picasso, Salvador Dali, Antonio Gaudi and many others). Try using different colored shoes. Malvern Model from Edward Green in suede indigo blue.

Quizás nuestro clasicismo no permite salir del negro, marrón y burdeos. Pero que habría pasado sin aquellos que fueron mas allá y rompieron barreras (Pablo Picasso, Salvador Dali, Antonio Gaudi y tantos otros). Prueba a utilizar zapatos con distintos colores. Modelo Malvern de Edward Green en ante azul añil.


La Sagrada Família in Barcelona, the magnum opus of Catalan architect  Antonio Gaudí (1852 – 1926), is a world-famous Unesco Heritage site.
even at it’s still incomplete state
The construction of the basilica commenced in 1882 and it is not expected to be completed until 2028. In fact this is several centuries faster than expected, but the use of computer-aided design has accelerated the construction of the building. Gaudí himself once remarked: “My client is not in a hurry”.

People focus on the elaborate exterior but when I visited, I was blown away by the interior and most specifically by the curvaceous ceiling.

The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. Gaudí designed the columns to resemble trees and their branches.

Films Seen in 2013:
#131. Antonio Gaudi (1985, Teshigahara)

Putting another layer of artistic endeavor between us and the fantastical undulating work of Antonio Gaudi, Teshigahara’s near-wordless documentary is like a poetic context; the gift of heightened consideration. The way his work is shot runs the gamut, from close-ups where detail is abstracted to far away in order to place his creations within the context of Barcelona. What about this angle; or this angle? How to best extrapolate the ever-changing notions of his shapes and constructs? The camera considers his work from every angle, caresses the curves and even considers the world outside as his buildings would hypothetically see them as sentient beings, thereby treating them as such.