|Catalan to English translations [PRO]|
Art/Literary - Architecture / architecture
|Catalan term or phrase: Porta dels Ocells|
|All I need to know is whether this is a Door or a Gate.|
"... arribats a Comillas hem de parlar d’Antonio López y López, excels exportador del Modernisme català a Cantàbria. No deixa de ser la mateixa família [que els Güell] però en una generació anterior, ja que Eusebi Güell i Bacigalupe, primer comte de Güell, estava casat amb Isabel López Bru, filla d’Antonio López i López, primer Marquès de Comillas, Grande de España, molt relacionat amb la família reial, a qui convidava assíduament a casa seva. Precisament per a poder lluir-se en la visita a Comillas del reis el 1881, el marquès va reunir un bon grup d’arquitectes i artistes precursors del Modernisme. Antonio López, doncs, va ser el promotor de molta obra d’autors catalans a Catalunya i a Cantàbria als inicis del Modernisme.
Una segona residència aprop del mar, va ser l’encàrrec que va fer Màximo Díaz de Quijano, germà solter i bon vivant d’una cunyada d’Antonio López a Gaudí el 1883.
Dues altres obres referenciades de Gaudí a Comillas són la **Porta dels Ocells** i el quiosc o fumador de la visita reial."
|Summary of answers provided|
41 mins confidence: peer agreement (net): +2
In my opinion it can only be gate. I confess I do not know this particular work but all the other "Portas" have been translated as gates. i.e. Puerta Real (Royal Gate) Puerta Dorada (Golden Gate) etc...
I leave here a text that might be of interest to you:
GAUDI'S WORK IN BARCELONA
Antonio Gaudi y Cornet (1852-1926), the Catalan genius of architecture, was the most significant figure in Catalonia of the art movement known as Modernism. His original work can be found in various parts of Spain, as, eg, the House of the Botines family in Leon or El Capricho in Comillas or the Episcopal Palace in Astorga, but most of his work is concentrated in the city of Barcelona.
Of all the works Gaudi left to the Catalan capital, the Güell Park and Palace and Mila House reached the World Heritage List in 1984. The unfinished Church of La Sagrada Familia, which is perhaps his most significant creation, was not included in the World Heritage List.
Güell Park was conceived as a residential area with 60 plots on which individual houses were to be built with a splendid view of Barcelona and the sea in the background. Gaudi conceived the plan of the paths and walls of the park as well as of the service installations for this isolated residential complex. He developed a project with five main elements: an avenue, a boulevard, a large square, tow roads for vehicles and several footpaths. Work started in 1900 and finished after Gaudi's death. What remains outstanding in the park is the perfect, original and mutually complementary combination the artist achieved with architecture and sculpture, nature and space, colour and light.
Güell Palace, which took four years to build, was finished in 1890. It was commissioned by the Catalan philanthropist Eusebio Güell, Gaudi's main patron. In it, he uses parabolic arches with a constructive and ornamental function, mushroom-shaped and hyperbolic capitals, chimneys with abstract decoration... The building was bought by the Barcelona Council in 1944 and houses the Theatre Museum today.
Mila House, popularly called "La Pedrera" is the fourth and last of Gaudi's buildings in the Paseo de Gracia of Barcelona. It was finished in 1910 and contains flats and offices. As someone remarked very appropriately it looks like a mass of undulating stone where architecture turns into sculpture and where the original roof and chimneys, abstract and anachronistic, are especially eye-catching. Mila House was the last great civil building of Gaudi's who from that moment onwards and until his fatal accident concentrated his whole being on the construction of the Church of La Sagrada Familia.
The famous builder was not only a great architect but also a magnificent sculptor with a legacy of most daring, masterly forms of this art. Gaudi is essentially the heir of the medieval craftsmen who took their decisions at the last moment, in their workshops and while they were actually at work. He was one of the last craftsmen in history, proof of which are the original pieces of furniture which he designed for his buildings, the mosaics with which he decorated terraces and gardens and especially his extraordinary wrought-iron objects, which were one of the great specialities of the Catalan artist, such as the grilles of Güell Palace of Mila House.
His work has reached the World Heritage List not only because of his original craftsmanship, but because he signals he end of 19th century eclectic architecture and leads the way to contemporary creations, unrestrained by the past. POBLET MONASTERY The monastery was founded in 1149 by Ramón Berenguer IV. Count of Barcelona, as a gesture of thanksgiving after recovering the Prades and Ciurana mountain ranges from the Moors. Poblet was, much like the nearby Monastery of Santes Creus a favourite retreat for Aragón's royalty. Although its political importance declined in the 16C. Poblet continued to thrive and remained a monastic community for almost 700 years. It was abandoned and sacked during the War of Independence and declined further following the expropriation of church property in 1835. After almost a hundred years of solitary desolation, restoration was begun in 1940. An avenue beyond the first wall leads to the 15C Puerta Dorada (Golden Gate). From here you enter the monastery though the Puerta Real (Royal Gate), and example of 14C military architecture. Sobriety, purity of line and the large dimensions (40m x 35m) typical of Cistercian construction, characterize the magnificent cloister. The slow progression towards the Gothic style can be perceived in the sculpted stone work and the floral decorations of the capitals. The kitchen and the refectory date from the 12C while the library was completed in the 13c. The chapter hall is noted for its delicate columns and stylized capitals. The spacious Cistercian church, with its barrel-vaulted naves, was built by Alfonso II in the 12C. The Panteón Real (Royal Pantheon), built by Peter IV in 1350 for the Crown of Aragón (the Aragonese monarchs were buried here from 1196 to 1497), is the most beautiful and ornamental element in the church. In 1835 the two enormous Gothic sarcophagi were restored by the sculptor Frederic Marés. The 16C Renaissance high altarpiece is a monumental work by the artist Damià Forment. Also noteworthy is the monastery's main dormitory, measuring an impressive 87m x 10m.
|It has to be a door, as it has a window, which I saw later.|
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