It usually happens that in this universe of strangeness, where there is no doubt that Charles Hoyt Fort was their unquestionable prophet, there is room for beings whose work, far from being understood at the time they lived, continues to inspire in the future the most heated controversies and discussions.
Far from maintaining anonymity as the great medieval masters did, but nevertheless preserving their spirit and accepting humility as a prerogative, there were great characters who dreamed of natural forms as a premise to the most harmonious of the laws of Architecture.
There is no doubt that one of such teachers, one of those beings promoted and descended by the sublime scale of Jacob of Wisdom, although his vision of the future ran aground against the absurd academic rigidity of the time, was Antonio Gaudí.
Up to the point, one might ask, of the image that Barcelona would have had in the future, if it had not laid a foundation capable, by itself, of granting it an important part of that brilliant ownership, which always gives the difference.
Today I woke up thinking about this, and I decided to play with perspective, proposing a distorted view of part of his work, which in comparison, could be supposed to represent, to a certain extent, the incomprehension of an era unable to see beyond from the borders of an imagination closely marked, not only by ostracism but also by intransigence, where that other part of Art, which is poetic, is blatantly turned away.
NOTICE: Both the text and the accompanying photographs are my exclusive intellectual property.
[](https://steemit.com/@tximeleta)
<center> 
[](https://steemit.com/@txatxy)</center>
<center>[](https://www.youtube.com/channel/UCNw9xVzpFQ2CIa2gbZpSS-w)</center>