Heterotopia is a concept in human geography elaborated by philosopher Michel Foucault to describe places and spaces that function in non-hegemonic conditions.
Gaudi was inspired by architecture, nature, and religion. His organic style stems from the inspiration grown from natural forms, some of the strongest sources of this come from caves and mountains throughout Spain. He studied Islamic art and its spatial uncertainty, neo-Gothic art and oriental techniques. The Middle East, India, Japan and Persia were constant sources that he drew from, as were the ornamental and structural solutions from nazori and mudejar art. You can also see his influence from the gothic revival. He was permanently studying the past to create something new which integrated itself into society. He used the influence to form structure, shape and techniques that gave him his own unique creations to transcend predecessors with his organic learning.
Gaudi purposely aimed to place his works in the most appropriate surroundings, learning about the site and trying to naturally integrate them. He often used material common for the nearby environment such as the grey Bierzo granite in the Episcopal Palace, Astorga. His architectural framework is often sprouted from nature itself.
According to Michel Faulcoult, Heterotopias can be defined through six different principles. The first principle follows the understanding that, despite heterotopias’ being a constant throughout all cultures the societal groups, they can usually be classified through two main categories; heterotopias of deviation (such as prisons and psychiatric hospitals) and heterotopias of crisis – reserved to those who within their society and environment would be defined as in a state of crisis. In the past this could refer to pregnant women, menstruating women, the elderly, etc.
We see this principle present in Gaudi’s work in his final stage; he built the Sagrada Familia schools in 1909, for the workers children. This space would be for a small criteria of people, the children whose parents worked on to building The school was made from overlapping layers, following the traditional Catalan method, making this a very reflection of the space it is within. However, it still remains as an original space that is still highly regarded by architects today and seen as a source of inspiration due to the simplicity, strength, originality, functionality and geometric excellence.
The second principle is that as a society changes, as can the function of a heterotopia. Gaudi was a part of the Modernista movement, which was reaching its peak in the late 19th and early 20th centuries. His work during this time was largely popular due to this movement and the originality within his work. However, after his death, many of Gaudi’s works went into disrepair and were very unpopular with international critics who cited them as excessive. Within the Catalan culture came the emergence of Noucentisme, a movement stemming largely as a reaction against Modernisme and therefore even in his hometown, Gaudi’s work began to be met with criticism and disdain. However, in the 1950s, other artists such as Salvador Dali championed Gaudi’s work and he began to regain his reputation as an outstanding architect. Dali’s interest in Gaudi’s work most probably stemmed from not only the Catalan connection the two artists share, but also Gaudi’s surrealist looking creations, which were in many ways before their time.
The third principle follows the idea of the juxtaposition within one single real space of several sites, which are incompatible. Painter, Lluis Graner, commissioned Gaudi in 1904 to design the decoration of the Sala Mercè. one of the first cinemas in Barcelona; the theatre imitated a cave, inspired by the Coves del Drac (Dragon's Caves) in Mallorca. This space not only was the original space of a theatre which holds many elements foreign to each other, it was also in the imitation of something completely foreign to the notion of the theatre in that it was a cave. This holds further significance in that the surrealism of the cave building is based upon a true space within Spain. This is in many ways the ultimate demonstration of a heterotopia within architecture. The space exists as not only a reflection of someplace but also within itself lies an area with multipule juxtaposing areas
The fourth principle tells us that heterotopias are most often linked to slices in time. A heterotopia has the ability to builds over time with its place in time defining its purpose, this is relevant to Gaudi whose works have become a gallery throughout Barcelona in the modern day, from in the time of the creation where they were a sign of the times and the modern art movement. However, polarizing to this, heterotopias also have the ability to be linked to a certain time, rather than being eternal, it is simply a fleeting moment, such as a festival. Although the site remains, what made that area a heterotopia has disappeared with the people and atmosphere removed, the place no longer represents all time, more so one segment in space and time, which has given this place its identity.
The fifth principle tells us that ‘Heterotopias always presuppose a system of opening and closing that both isolates them and makes them penetrable’. This suggests that heterotopias are not freely accessible, and rite of passage is acquired through requirement or involves certain permissions or gestures. Following his design of the theatre for Graner, Gaudi designed a detached house in the Bonanova district of Barcelona, of which only the foundations and the main gate were built, with three openings: for people, vehicles and birds. The three separate openings show the segregation and exclusivity upheld by the fifth principle. Although the gates opening are comical this is one way of seeing Gaudi’s designs, without the build and reputation accompanying them, withhold the traits recognizable within Foucalts principles.
Within the final principle, Foucalts tells us that the space must have a function in relation to all the space that remains. I feel this is perfectly reflected when we look at Gaudis work in relation to the city of Barcelona. His architectural achievements within the city create a space that gives Barcelona a cultural heritage and reflects Catalan culture.
Gaudi felt a strong identification with his Catalan background and a deep appreciation and pride for his native land and heritage. He believed Mediterranean people were creative, original with a strong sense for art and design. His belief in this and love for his culture is reflected upon Barcelona creating a heterotopias’ drawn from this.
You can see Gaudi in his work and the identity, which originally reflected himself and his own interests, has become a reflection of Barcelona. When you think of the architecture present in Barcelona, your mind is automatically drawn to his work, thus showing his work to create a true collection of heterotopia - which change and adapt their meaning and purpose based upon the times in which they’re based.
Gaudi’s architecture realises a heterotopia in Barcelona as a city. His love and pride of Catalonian culture has meant that he is somebody who is able to do this. He draws from the past, touched on the future and has created a space which remains and remains as an attraction for many around the world, whether that be to admire the timeless architecture or as a form of escapism through the created areas of the city such as Park Guel.
You could say his architecture within the city has turned it into a piece of art.