Antoni Gaudi can in many ways be seen to be a contradictory figure. He was at once a political nationalist and creative architect; a passionate and traditional Catholic and a revolutionary artistic pioneer; and an obsessively meticulous artist who was never able to finish his defining piece of work. For these reasons, Gaudi cuts an isolated figure within the broader context of the great modernist artists and architects of the twentieth century – a sense of isolation which seems exacerbated by the fact that he did not belong to one singular creative ‘movement’. Although he was known to have moved within the same artistic circles as the celebrated Spanish artist Pablo Picasso, Gaudi remained a man fuelled by his own unique artistic vision marrying the core ideals of the broader Modernist Movement to the creative styles of art nouveau, Catalan nationalism and Gothic revival in a unique and highly challenging artistic hybrid while refusing to tether himself to any contemporary school of artistic vision. Therefore, we should realise that, unlike many of his contemporaries, Gaudi has been a figure that posterity has been relatively slow to recognise. Renowned and loved within his own lifetime (especially by the Catalans to whom he was emotionally and artistically tithed) his work was airbrushed from Spanish tradition by the anti-Catalan, fascist dictatorship which took over political, military and administrative control of Spain after the cessation of the Spanish Civil War in 1939. Only with the blossoming of autonomous Catalan nationalism, which has flourished in the generations since the passing of General Franco in 1976, has Gaudi’s work once again become a central tenet of mainstream Spanish culture. This has necessitated an extensive re-evaluation of his work – both by architects and historians alike.