The façade of the passion,

death and resurrection of Christ

While the Nativity façade celebrates the joy of Jesus’ birth,
the Passion façade remembers the last days of his life.
So, it isn’t happy; it allows us to feel his pain.

The façade on Carrer de Sardenya is the pain and sacrifice of the passion and
dedicated to the passion, death and death of Jesus Christ, and by extension
resurrection of Jesus. For its location, that of all humanity. Gaudí left a drawing
it is also known as the western façade. that describes this façade in great detail,
In a theological sense, it is considered explicitly indicating that it should be
the façade of redemption. The Nativity “harsh and cruel, as if made of bones”
façade, on the other end of the transept, and even noted that some may find it
represents incarnation, theologically. “too extravagant”. The architect wanted
The Passion façade has the same struc- it to inspire “fear”, and to do so he said
ture as the Nativity façade (a narthex he would use plenty of “chiaroscuro,
and four bell towers, the latter devoted recesses and protrusions, all of which
to the apostles James the Less, Bart- gives it a gloomy effect.” He also said:
holomew, Thomas and Philip, completed “What’s more, I’m willing to sacrifice the
in 1977) but, unlike the Nativity façade building itself, to break arches, cut down
that exalts the joy of life, this façade is in columns, in order to give people an idea
essence dramatic because it expresses of how bloody the sacrifice is.”

Drawing from 1911

in which Gaudí laid
out what the portal
on this façade
should look like
(original drawing).

View of the whole Passion façade.

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 2

Structure of the façade
Like the Nativity façade, the Passion façade has three portals and
four bell towers. They differ, however, in that the Passion façade
has a pediment. The lower narthex represents the passion of
Christ and the upper narthex, his resurrection.

According to the project Gaudí began group showing the Empty Tomb in trav- Two important elements, although they
to design in 1911, the façade portal has ertine and Floresta stone by sculptor are not visible from outside the Temple,
a great narthex held up by six columns Francesc Fajula can be seen between are the quarry and the garden. They
Bartholomew Thomas
that slant inwards and towards the the two central columns. In this sculp- occupy the space just behind Jesus’
centre, on top of which there is a pedi- ture group, an angel sits on the round tomb and in front of the window. The
ment or second narthex that includes James stone that covered the entrance to the quarry represents the place
Philip
a gallery. This second narthex, in turn, the Less tomb, announcing the resurrection to where the tomb was dug.
is supported by eighteen columns, nine Mary Magdalene, Mary, the mother of The garden, representing
on either side, which in groups of three James, and Salome. The open space the one that was next to
rest on each of the six columns on the in the Empty Tomb contrasts with the the tomb according to the
lower narthex. These eighteen columns, colourful stained-glass window of the Gospel, is planted with
also slightly slanted inwards and to the Resurrection, designed by stained-glass Mediterranean vegetation.
centre, hold up a cornice. The lower artist Joan Vila-Grau. Above the prisms, This is a quiet space, set
narthex has three doors into the Basilica following Gaudí’s designs, there is a aside for contemplation
and features scenes of the Passion and cornice or crest made of cubes and and prayer. From here, the
death of Jesus Christ. The upper narthex, paraboloids, ascending up towards the Cross of Glory, stained
however, shows the prophets and patri- centre. Here there is also an acroterion, glass window of the Resur-
archs addressing the resurrected Jesus, made up of a cross created using the rection and, even, the resur-
who is present here in the sculpture double twist geometry (see “double twist rected Christ are visible.
group of the Empty Tomb and the central column” in booklet 9) in tensioned stone.
stained-glass window on the façade. The The cross is 7.5 metres tall (7.5 is the The lower narthex
shape of all the columns on the portal of model used as the geometric base of Inside the lower narthex on
this façade is reminiscent of huge tree the floor plan and height of the whole the Passion façade, as if
trunks, which flare out at the bottom, for Temple - see booklet 9), 4.25 metres a huge altarpiece, there are representa-
greater stability, and at the top, to better wide and weighs 18 tonnes. At the foot tions of the events Jesus experienced on
support the weight above them. of the cross, there are three angels Holy Thursday, Friday and Saturday. The
Door of Door of Door of Door of sculpted in Italian travertine by Lau Feliu. scenes were created by sculptor Josep
Gethsemane the Gospel the Gospel the crowning
The pediment gallery The sculpture group, given its shape, Maria Subirachs between 1986 and
of Matthew of John with thorns
The pediment gallery is covered by a helps further elevate the façade towards 2010, using his own language of sharp
series of hexagonal prisms supported, the cross. Each of the hexagonal prisms edges and exaggerated volumes, with
at one end, on the columns (evocative of has one letter from the Latin phrase great expressiveness.
bones) and at the other, on a wall adja- “Iesus Nazarenus, Rex Iudaeorum”,
cent to the towers. The wall, however, meaning “Jesus the Nazarene, King of
is not at the centre of the narthex so the Jews”. On either side of the crest,
that, from the street, the sculpture there is an acroterion alluding to the The hexagonal
Lion of Judah on the mountain end and prisms covering the
to Isaac’s sacrificial Lamb, on the sea
pediment gallery
end. The acroterions are also the work of
Lau Feliu, who sculpted them in granite
are inscribed with
from the French region of Tarn, just like the phrase “Iesus
the cross and pediment. Nazarenus, Rex
Close-up of the Iudaeorum”.
base of the column,
reminiscent of
a tree trunk.
INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 3
STRUCTURE OF THE FAÇADE

19
Symbolism of the façade 8 Jesus falls before the three 12 Christ crucified, with Mary, John
Marys (Virgin Mary, Mary of and Mary Magdalene kneeling at
1 The Last Supper. Jesus and the Clopas and Mary Magdalene) the foot of the cross. The cross is
apostles seated around a table for and Simon of Cyrene helps made up of laminated steel pieces
18
the first celebration of the Eucharist. Jesus lift the cross. placed horizontally, and the Christ
2 Arrest of Jesus. A group of armed 9 Jesus consoles the women of hangs on an incline so it can be
men go in search of Jesus. Peter Jerusalem, while an Evangelist seen head-on from below.
cuts off the right ear of the high (who Subirachs gave Gaudí’s 13 The descent from the cross
priest’s servant. 17 face) watches on. The soldiers and the entombment.
3 Betrayal of Judas. Judas hugs behind them wear helmets 14 The quarry (not visible
21
Jesus and kisses him. inspired by the chimneys at from outside).
22
4 The flagellation. It expresses Jesus’ La Pedrera. 15 The Empty Tomb.
suffering and solitude, betrayed by 10 Longinus on a horse, with the 16 The stained-glass window
Judas and denied by Peter. lance thrust into Jesus’ side. of the Resurrection.
20 23
5 Peter’s denial. Peter hides from 11 Soldiers throwing dice to win 17 Cross and angels.
the women and denies that he is 16 Jesus’ tunic. 18 Holy Spirit.
a disciple of Jesus three times. 14 19 The ascension of Jesus.
6 The Ecce Homo (behold the man). 20 James the Less.
15
Pilate takes Jesus to the Jews to 21 Bartholomew.
decide his future. 22 Thomas.
7 The judgement of Pilate. Pontius 25 25
23 Philip.
24 26
Pilate washes his hands, while his 24 The Lion of Judah.
wife Procula leaves because she 25 The patriarchs and prophets.
believes they are condemning a 26 The sacrificial Lamb of Isaac.
just man. 12

11 13

10
8

3 7
1 5 6
2 4

Door of Door of Door of Door of

Gethsemane the Gospel the Gospel the crowning
of Matthew of John with thorns

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 4

Symbolic meaning
We have already said that everything at the
Sagrada Família has meaning. And on the Passion
façade, all the architectural and decorative
elements have an evangelical meaning.

The lower narthex

The passion of the Christ is presented on
the façade in a chronological journey that
begins at the bottom left of the façade
and carries on upwards in an S-shaped
path. In making this work, sculptor Subi-
rachs was extra careful in integrating the
sculpture groups into the architecture.
The figures, in travertine and sandstone
from La Floresta, feature hard, severe
lines, at times Brutalist and at others
soft, expressing the course, even gloomy The pediment gallery
effect that Gaudí wanted to represent the The gallery on the upper pediment,
pain of the Passion and death. to the Gospels, was torn in two when located behind the eighteen columns,
Above the group of the Crucifixion, like Jesus died. This eliminated the separa- symbolises the path or steps taken
a baldachin, Subirachs placed bronze tion between the holy place and the rest by the patriarchs and prophets to the
plaques to represent the veil at the of the tabernacle, opening this section resurrected Christ (represented here
temple of Jerusalem that, according up to everyone. by the sculpture group of the Empty
Tomb and the stained-glass window
of the Resurrection), which is why the
name of these individuals sent by God
to announce the coming of Jesus are
inscribed on the back wall. Next to the
quarry that, as we’ve said, is located
behind the sculpture group of the Empty
Tomb, there is a garden where vegeta-
tion grows, symbolising life after death.
At the centre of the pediment, a cross Additionally, on either side of the pedi-
rises up expressing victory over death, ment there is a sculpture representing
with three angels at the foot of the the symbols of Jesus Christ from the
cross praising it. Old Testament: on one side, the Lion of
Judah, and on the other, Isaac’s sacrificial
Lamb. The first symbolises Christ who,
with his strength, overcame death and the
The magnitude of second, Jesus sacrificing himself for the
the Sagrada Família sins of man. And further up, on top of the
narthex and above the central window on
makes it impossible to
the façade, we find the Holy Spirit, repre-
take in all the details sented by a dove, and a bit higher, on the
bridge that connects the two central bell
is why it is important towers, a figure in gilded bronze of Jesus’
to explain them. ascension, also by Subirachs.

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 5

The doors on the Passion façade Some bits of bronze in the
narration of the passion of
The strength of the sculpture groups on the Passion façade Christ have been polished
contrasts with the austerity of the bronze doors, despite being to highlight particularly
created by the same artist, who consciously chose this option. meaningful words or phrases.

The three portals on the façade that On the left, the door particularly meaningful words or phrases, On top, the second of
lead into the Basilica have double-leaf of Gethsemane, and like Pontius Pilate’s question: “And what the doors of the central
on the right, one of portal, the door of the
bronze doors, also by Subirachs. The the two doors of the
is the truth?”. Gospel of John, and
central doorway has two doors, with ten central portal, the The north door, on the left-hand side, above it, a close-up.
thousand letters in relief spelling out door of the Gospel represents the garden of Gethsemane On the right, the door
of Matthew. of the crowning with
fragments of the Passion narrative from with Jesus praying while the apostles
thorns and below it, two
the Gospel of Matthew, on the left door, sleep. The south door, on the right-hand close-ups of this door.
and from the Gospel of John, on the side, is dedicated to the crown of thorns
right door. Some bits of bronze in the and when Jesus was taken before Pilate
narration have been polished to highlight and Herod.

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 6

The cloister Sacristy
Both on the Nativity façade and on The Sagrada Família will have two sacristies, on
the Passion façade, the sections of the either side of the apse. The first to be built is the
cloister are dedicated to the Virgin Mary. one on the western façade, which is already in use.

The space for the Basilica sacristy itself On 8 November 2015, on the fifth View from above of
the western sacristy
(surrounded on two sides by the cloister) anniversary of the consecration of the
and inside of the
has been fitted with an oak and glass Basilica, Cardinal Lluís Martínez Sistach, sacristy showing
structure that, with rhomboidal windows, then Archbishop of Barcelona, blessed the wardrobes for
encloses the space while still letting the sacristy, which was then used vestments and
liturgical items.
light in and a view in from the cloister. for the first time for this purpose.
The sacristies are used to store the
objects needed for mass and for priests
to prepare for liturgical celebrations. For
this purpose, two wood and wrought
iron wardrobes designed by Gaudí have
been put in this area. Despite having
been damaged in the uprisings of 1936,
they have been returned to their original
state, restoring the pieces that were
left and remaking those that were lost,
The sections of the cloister on the The cloister of Our Lady of Mercy, on after conducting detailed studies of
Passion façade, and especially the the Passion façade, and the cloister of the remains and photographs from that
portals leading into the chancel, are Our Lady of Montserrat, on the Nativity time. It is the cupboard for vestments
dedicated to Our Lady of Mercy and façade, have been fitted for use in and liturgical items. The sacristy also
Our Lady of Dolours, as per Gaudí’s ecclesiastical, catechistic, educational has copies of the chairs of honour Gaudí
project. Mary is ever-present at the and popular events. While the cloister designed for the crypt presbytery.
Basilica, especially in the cloister, of Our Lady of Dolours, on the northern
because she is the one who watches end, is home to the Liturgical path. The
over the new paradise. floor of the chancel of the portal of
the Passion, which lies between these
two sections of the cloister, features
a piece referencing Palm Sunday, by
Domènec Fita. It is a bas-relief carved in
red porphyry and filled with white resin,
showing Jesus entering Jerusalem.

The floor of the

chancel of the portal
of the Passion features
a piece referencing
Palm Sunday, by
Domènec Fita.
Floor plan of the
Basilica with colours
showing the location
of the western sacristy.

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 7

Liturgical path Pieces

The section of the cloister of Our Lady and reproduction liturgical items 1 Tenebrae hearse, c. 1898 6 Candlestick holder, c. 1890 11 Moveable pulpit, 1898
Wrought iron with gold Wrought iron Wood
of Dolours, including the part of the designed by Gaudí for the crypt at the
247.5 x 179.5 x 104 cm 31 x 12.3 x 11 cm 273.5 x 257.5 x 210 cm
cloister that penetrates the sacristy Sagrada Família (see booklet 5) and Reproduction from c. 1943
building, features a display of original the prayer chapel at Casa Batlló. 2 Two-legged candelabrum, 7 Lectern, c. 1925
c. 1898 Wrought iron 12 Altar-card frames from
Wrought iron 33 x 31.5 x 24 cm Casa Batlló, 1904–1906
166 x 197 x 32 cm Polychrome plaster
8 Pew, c. 1898 19 x 20 x 4 cm (two copies)
3 Candlestick, c. 1883 Wood and iron 21 x 46 x 4.5 cm
Stone, iron, brass and wood 141.5 x 188 x 60 cm
185 x 54 x 54 cm Reproduction from c. 1942 13 Presbytery chairs, 1898
Wood
4 Table-top candelabrum 9 Pew with moveable backrest, 93.5 x 70.5 x 50 cm
with cross, c. 1890 Reproduction from c. 1943
c. 1898
Wrought iron Wood and iron
135 x 56 x 22 cm 92 x 180 x 70.5 cm 14 Prie-dieus, 1898
Reproduction from c. 1942 Wood and velvet
5 Table-top candlestick 85.5 x 60 x 50 cm (each)
holder, c. 1890 Reproductions from c. 1943
10 JMJ Monogram (Jesus-Mary-
Wrought iron Joseph), on the ceiling of the
55 x 21 x 18 cm prayer chapel at Casa Batlló,
1909
Plaster with iron core
98 x 98 cm

1 2 3

12
4 5 6 7

8 9 10 11 13 14

INFORMATION BOOKLET 7 · PASSION FAÇADE, CLOISTER AND SACRISTY 8

 Glossary
Acroterion Decorative element Fita i Molat, Domènec Sacristy At a church, the place,
that, in classical architecture, (Girona, 1927) Artist who generally off the presbytery,
was put on either side or at the trained at the fine arts schools where sacred vessels and
top of a triangular pediment. in Olot and Barcelona, who vestments are stored, and
defends the integration of where the priests change for
Altar-card frames Stands art forms, which has led him their liturgical functions.
or frames that contained the to experiment with sculpture,
unchanging sections of the drawing, painting and ceramics. Subirachs, Josep Maria
mass, placed on the altar to He has also taught art. (Barcelona, 1927–2014)
help priests follow the recitation Sculptor, illustrator and engrav-
while celebrating the Eucharist. Gethsemane Garden located er. From a Noucentisme style,
After the reforms of the Second at the foot of the Mount of he evolved towards expression
Vatican Council (1962-65), they Olives, current day Jerusalem, through sharp, angular shapes
were no longer used. which the New Testament says and exaggerated volumes, 1 Meaning of the Sagrada Família
Jesus and his disciples visited which his work is known for.
Candlestick Candelabrum before the Last Supper. It was, He created the first abstract 2 Brief history of Temple construction
for candlesticks, or large, therefore, the place where sculptures to be on display in
3 Gaudí and his followers. The workshop
thick candles. Judas Iscariot betrayed Jesus. public in Barcelona and devot-
ed himself exclusively to work- 4 Architecture of the Sagrada Família
Chancel A space, generally Lion of Judah Judah, one of ing on the Sagrada Família
with a rectangular floor plan, Jacob’s 12 children (and, there- from 1986. 5 Crypt, apse façade and Chapel of the Assumption
located inside the entryway of fore, Isaac’s grandchildren and
the building, which often has Abraham’s great-grandchildren) Tenebrae hearse Large 6 Nativity façade, cloister and portal of the Rosary
one or more doors to prevent was given a lion by his father, candelabrum, triangular in
air and noise from outside from who also bestowed upon him shape, that holds fifteen 7 Passion façade, cloister and sacristy
entering the interior space. the sceptre of power even candles, previously used while
8 Glory façade, Baptistery and Chapel of Penitence and the Sacrament
though he was not the first- holding Tenebrae mass during
Fajula i Pellicer, Francesc born child. So, it became the Easter week. 9 Interior of the Basilica
(Sant Joan de les Abadesses, symbol of the tribe of Judah.
1945) Architect, sculptor and Tensioned stone Stones 10 Bell towers, lanterns and sacristies
PhD in Fine Arts and expert in Narthex Vestibule, portico, compressed with steel rods.
heritage sites. He has worked in front of the door of a church The pieces of stone are held
with the Sagrada Família on or temple. together with these cables,
several sculpted images. which run through the centre of
Pediment Triangular or the blocks and are then tensi-
Feliu i Maspons, Lau curved finishing element on oned (pulled taut). This makes
(Barcelona, 1957) Trained a façade or portico. the rows of stone pieces one
as a painter at Barcelona’s single element, making them
Escola Massana and in Pulpit Elevated platform used stronger as a whole.
sculpture at the workshop of for reading the holy texts or
Cinto Casanovas, he combines for preaching. The sacrificial Lamb of Isaac
these disciplines with jewellery, Symbol of Jesus, who sacri-
illustration and teaching art. In Redemption Action of re- ficed himself for the sins of
terms of sculpture, his religious deeming oneself. In Christiani- humankind, like the lamb God
work is particularly noteworthy. ty, with his passion and death, gave Abraham so he wouldn’t
Christ saved humanity from sin have to sacrifice his son Isaac.
and offers them eternal life.

© of the architectural work: Fundació Junta Constructora del Temple Expiatori de la Sagrada Família. Edition 07/2022
© texts: Daniel Giralt-Miracle (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
© photos: Pep Daudé (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
© illustrations: Rocío Márquez (author) © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família.
 PRESENTED BY

MARIAM AMR ELABASY 1211024

DONIA ADEL GAMEA 1211009

MARWA ZAKRIA 1211008

Under supervision:

Assoc.Prof. Shimaa Mahmoud Ali

Assoc.Prof. Mohanad Ali Fouda

AR. ANTONIO GAUDI

 INTRODUCTION
ARCHITECT & ARTIST  HISTORY
 DESIGN PHILOSOPHY
One of the pioneers of the emotional trend  DESIGN STYLE

of modernist architecture content 


CASE STUDIES
Comparative analysis
ANTONI GAUDI- LIFE
• He was an Spanish architect born in Reus (Baix Camp, Catalonia)
• After leaving the school, he went to Barcelona.
• He graduated as architect in 1878.

• Almost his entire professional activity took place in Barcelona.

ABOUT ANTONI GAUDI

• Full name Antoni Placid Guillem Comet

• He became vegetarian at a young age. • Spanish architect whose idiosyncratic work,

characterized by undulating curves and richly colored scrambled textures, won wide
international recognition only after the mid-20th century.
- develop his unique style-blending element's of Gothic art, art
nouveau, known as modernismo in Catalonia, and functional structure. - His favorite forms
were inclined columns to add stress to ceilings, paraboloid arches, thin edge-butted tile
vaults, and the richest, most
colorful textures possible, often mosaics made of broken tile scraps.
He didn't draw his buildings, but made 3D models/sculptures. His nickname was 'God's
Architect' due to the religious images in his
work.

DEVELOPMENT AS A PROFESIONAL ARCHITECT

• Upon graduation, Gaudi initially worked in the artistic vein of his Victorian
Predecessors.
• soon developed his own style, composing his works with juxtapositions of geometric
masses and animating the surtaces with patterned brick or
stone, bright ceramic tiles and floral or reptilian metalwork During his early period, at the
Paris World's Fair of 1878, Gaudi displayed a showcase he had produced, which impressed
one patron enough to lead to Gaudi's working on the Güell Estate and Güell Palace,

among others.
 • In 1883, Gaudi was charged with the construction of a Barcelona cathedral called Basilica i
Temple Expiatori de la Sagrada Familia • The plans had been drawn up earlier, and
construction had already begun, but Gaudi completely changed the design, stamping it with
his own distinctive style. experimented with various permutations of historic styles- the
Episcopal Palace and the Casa de los Botines both Gothic, and the Casa Calvet which was
done in the Baroque style. Some of these commissions were the result of the 1888 World's
Fair, at which Gaudi once again staged an impressive showcase.

THE MATURED ARTIST

• He created a type of structure known as EQUILIBRATED i.e., it could
stand on its own without internal bracing, external buttressing, etc.

• The primary functional elements of this system were columns that tilted to employ diagonal
thrusts and lightweight tile vaults.
• Notably, Gaudi used his equilibrated system to construct two Barcelona apartment
buildings: the casa ballot (1904-06) and the casa milà (1905-10), whose floors were structured
like clusters of tile lily pads. Both projects are considered to be characteristic of Gaudi's style.

FACTS N THEORIES OF GAUDI

GAUDI There are no straight lines or Those who look for the laws of nature as a
sharp corners in nature, therefore support for their new
Nothing is art if it
buildings must have no
doesn't
works collaborate with the creator.
straight lines or straight corners.
come from nature
ANTONI GAUDI
ANTONI GAUDI
ANTONI GAUDI

Color in certain places has the The creation continues incessantly

great value of making the outlines through the
and structural planes
media of man
seem more energetic
ANTONI GAUDI
ANTONI GAUD
Anything created by human
being is already in

the book of nature.

ANTONI GAUDI
DESIGN PHILOSOPHY
o Gaudi's work employing organic or natural forms, curved or
undulating lines, reclaimed materials, ceramic bricks, trencadis
mosaics, etc.
o He projects in such a way that the form does not become a mere
stylistic caprice, but rather finds its reason for being in the
function for which it was conceived. For examples: the schools at
the Sagrada Família and hyperbolic vaults.
o He used steel inside of the building to reinforce his structure.
o Reaction against the styles that were developed by machine-
production.
o Objects were simple in form, without decoration.
o Emphasize the qualities of the materials used ("truth to
material").
o Used patterns inspired by British flora and fauna. Influenced by
the gothic revival (1830-1880) & interested in medieval.
o styles, using bold forms and strong colors based on medieval
designs.
o Believe in the moral purpose of art. To express the beauty of
craft, some products were deliberately left
o slightly unfinished, resulting in a certain rustic and robust effect.
Design Style methods and materials
- A purely non-objective approach in the making ofartwork,
without reference to the real world
- Essentially geometric, precise and almost mathematical; in
fact a number of rodchenko drawings were executed with
compass and ruler
- Used squares, rectangles, circles and triangles as the
predominant shapes in carefully composed artworks, whether
drawing, painting, design or sculpture
- Emphasized the dominance of the world of machines and
structures over nature.
MATERIALS
. Deal with such a wide range of materials that anything was possible;
wood, celluloid, nylon, Plexiglas, tin, cardboard and early forms of
plastic were used through a variety of constructing methods from glue
through to welding.
. Lacked the more engineered approach developed by international
Constructivism.
. Employed new materials, construction, and joining methods,
including aluminum, electronic components and chrome-plating
. Industrial materials such as glass, steel, and plastic in clearly defined
arrangements. Because of their admiration for machines and
technology, functionalism, and modern medium