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Park Güell

Updated: 04/12/2019

C/ Olot, 7
08024 Barcelona
Barcelona

Map
Geolocation

Contact

Cultural productions:
Barcelona Film Commission
(+34) 93 454 80 66
filmcommission@bcn.cat

(You can also manage the permit by filling the forms in this website)

Commercial Productions:
Medi Ambient - Parcs i Jardins
(+34) 93 256 20 34 / (+34) 93 256 20 35
permisos_masu@bcn.cat

ATTENTION! No permits are given to occupy the public space for filming or photographic session in the Monumental Core of the Park, to be in the process of restoration. (See the map on the Park Güell website).

The entrance and the porter's lodge pavilions:
The main entrance to Park Güell is on the south side, on Carrer d’Olot, from which visitors can enjoy the spectacular view of the stairway with the hypostyle room. The wall of the park is made of rustic stone topped with ceramic tiling and medallions bearing the name of Park Güell. The iron gates, designed in the shape of palm leaves shape, do not form part of the original plan, but came from Casa Vicens. To either side are the two pavilions that form the porter’s lodge. The one to the left was the one actually used as a porter’s ledge, with a waiting room and telephone booth, while the one to the right was the porter’s residence, whence the name Casa del Guarda, though it is today part of the Barcelona History Museum. Both have very beautiful roofs, built with the traditional Catalan clay tiles covered with “trencadís”, a mosaic made of tile shards.

The Dragon Stairway:
From the entrance esplanade there rises the double flights of stepsa twin flight of steps soars up, flanked by two walls with merlons that form terraces under which there open out are two grottos: the . The one to the right was used for keeping the horses and is supported by a magnificent conical central column of conical shape. The stairway is divided into three sections, along which runs the water from a fountain that fedruns, once supplied from the tank under the hypostyle room. On the first landing are some capricious shapes like goblins, while halfway up the steps is the emblem of Catalonia and further up the dragon, or salamander, covered with decorative tile-shard mosaic which has become the most popular image of the park. On the last flight of steps, sheltered under the hypostyle room, is a Greek-theatre shaped bench.

The Hypostyle Room:
The great entrance stairway leads to the Hypostyle Room, which was designed to be the market for the estate market. It is made up of 84 of striated columns inspired in the Doric order. The outermost ones slope in an undulating movement clearly contrary to the rules of classical composition, while reinforcing a perception of their structural role. The colonnade is crowned by an architrave on which the undulating bench is placed. A conduit running inside it collects the rainwater that filters down from the square, sending it on to an underground tank, which has as its overflow the stairway dragon’s mouth as its overflow. Inside the room the absence of columns in some sections creates spaces that simulate three naves, like a great church. The ceiling is formed of small domes constructed using the traditional technique of clay bricks decorated with original tile-shard mosaics made by Josep M. Jujol, one of Gaudí’s assistants.

The Greek Theatre or Nature Square:
Right at the centre of the monumental zone of Park Güell is the large esplanade which the plan documentationoriginal plans called the Greek Theatre and which has more recently been rechristened as Plaça de la Natura (Nature Square). Its original name was due to the fact that it was planned for staging large open-air shows that could be watched from the surrounding terraces. Although Gaudí always respected the orographylie of the terrainland, this large square is artificial. Part of it is dug into the rock, while the other part is held up on top of the hypostyle room. On the stairway side it is bounded by the undulating bench covered with tile-shard mosaic planned by Josep M. Jujol, acting as a balustrade, and on the mountain side by a retaining wall finished with large capitals made to look like palm trees.

The Laundry Room Portico:
On the eastern side of the Greek Theatre square there is an original iron door which leads to where there used to be the gardens of Casa Larrard, the former mansion that Güell adopted as his own house, but which has since 1931 been a school. The route, which runs at a level higher than that of the house, passes through a pine grove with the portico backing onto a retaining wall made from unworked stone. The portico adopts the shape of a great wave atop slanting columns, with a double colonnade that acts as a buttress. It is one of the finest examples of the organic architecture upheld by Gaudí. The same meaning, at once structural and aesthetic, can be appreciated in the spiral ramp which, at the end of the path, takes youvisitors down to the house, at the end of the path.

The Austria Gardens:
What we now know as the Austria Gardens was one of the zones to be used as plots in the estate. When the Park Güell was turned into a public park, however, the zone was used as a municipal plant nursery. This part of the precinct has a physiognomy completely different from look to the rest of the park, and the it got its name Austria Gardens was due to through a donation of trees from that country which took place Austria in 1977. The garden has good views, and from its centre can be seen the two houses that were built in the time of Eusebi Güell, that of’s time can be seen: the one belonging to lawyer Martí Trias i Domènech, planned by the architect Juli Batllevell, and the estate show home, by Francesc Berenguer, which was finally acquired in the end by Gaudí to live inas his home, and which is now the Gaudí House-Museum.

The Roadways, Paths and Viaducts:
Outside the monumental zone of the central part of the park, running east towards the exit from the Carretera del Carmel, there crosses exit, is the Pont de Baix, which is bridge, the first of the viaducts of the network of paths that help cope withovercome the topography and connect the various parts of the park. Gaudí planned three viaducts with a width of five metres which, snaking their way up the mountain, ledto lead carriages from the main entrance on Carrer d’Olot up to the high part of the estate, the Turó de Tres Creus (three crosses hill).Three Crosses Hill). They are known as the Pont de Baix, the Pont del Mig and the Pont de Dalt (lower, middle and high bridges), names that already appeared on the first postcards of the park. They are suspended upon a structure of sloping columns and vaults made from unhewn stones taken from the site itself. On their upper parts, the balustrades are crowned by plots with vegetation.
The other large arterial roadway in the estate is the transversal road, ten metres wide, which connects the Carretera del Carmel with the Sant Josep de la Muntanya exit, running around above the great square from above. Gaudí also planned three metre-wide paths three metres wide for people on foot and some shortcuts with steps and slopes allowing direct access to the various plots.

Authorship: MUHBA. Museu d’Història de Barcelona; Texts by Joan Roca i Albert (director of MUHBA), Mireia Freixa (professor at the University of Barcelona) and Mar Leniz (architect).