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On the side of completion, however, was Gaudi himself, who told his biographer, "All particularly grandiose churches have taken centuries to complete." Devoutly religious, the aged architect begged for alms when contributions dwindled. Gaudi deliberately sketched only an outline of the final facade. Citing St. Peter's in Rome and cathedrals in Cologne and Reims, he said, "Another generation will collaborate, as is always the case with cathedrals that have facades not only by several authors but also in various styles."
Architectural education is also a factor. "Gaudi invented a new system of architecture," says Catalan professor Joan Bassegoda. "Instead of the geometry of rectangles and circles, he took his structures from nature, studying what forms allow trees and humans to grow and stay upright." Hyperbolas, parabolas, helices and helicoids, the curving, open-ended forms Gaudi used, were calculated so precisely that computers have shown his measurements to be perfect. Today computer-driven diamond saws are cutting Gaudi-designed inclined columns to support the nave, replacing Gothic architecture's flying buttresses. "We're still learning from Gaudi's genius," says Bassegoda.
With Olympic-era Barcelona featuring such sleek modernist architects as Richard Meier and Arata Isozaki, the Sagrada Familia, now 40% complete, may be maligned by some as an old-fashioned ugly duckling. But its admirers have faith that it will yet grow into a swan. Eventually, its central spire will climax in a gold cross reaching at least 170 meters toward the sky, making it Europe's tallest church. At the current construction rate, that will not happen until the 21st century. But as Gaudi once said, pointing heavenward, "My client isn't in any hurry."