Gaudí, the Atelier of the Divine: VR Syncs with Lothlórien

They stood in a forest clearing, with a lush green hill to the left, reminiscent of the early spring of ancient times. The hill was crowned with two rings of trees, like a double-layered crown: the outer ring had snow-white trunks with no leaves, their bare branches beautifully symmetrical; the inner ring was tall and golden-hued, evoking the mystical landscapes of "The Lord of the Rings."

I've never been to Spain, nor have I set foot in the Sagrada Familia, but watching "Gaudi, the Atelier of the Divine" in VR, I felt as if I were walking inside the Sagrada Familia. Initially, I found myself in a green forest, with sunlight filtering through the canopy, dust particles dancing in the beams. In VR, the outlines of the trees blurred, transforming into Gaudí's white columns, inspired by branches, while the leaves morphed into colorful stained glass casting golden reflections, reminiscent of Art Nouveau.

The VR experience of "Gaudi, the Atelier of the Divine" is incredibly true to life when compared to actual photos! (Source: GEDEON Experiences)

At that moment, a sense of familiarity washed over me—wasn't this the scene from "The Lord of the Rings"? Specifically, Peter Jackson's depiction of Lothlórien in the first movie.

Need a memory jog? Lothlórien is where Frodo and his companions arrived after Gandalf's dramatic "You Shall Not Pass!" moment with the Balrog. They were surrounded by elves singing in mourning for Gandalf, ascending the winding stairs among the silver trees, with light playing through the leaves and branches. There, they met Galadriel. As a young teenager, I first felt a sense of otherworldly sanctity watching this on TV.

Why do these scenes from different eras and cultures evoke a similar "sacred feeling"? Did Tolkien and Gaudí secretly correspond, or did "The Lord of the Rings" draw inspiration from the Sagrada Familia? The answer lies in the Art Nouveau movement, the artistic style Gaudí belonged to, which "Gaudi, the Atelier of the Divine" takes us back to, step by step, into a vanished studio.

Lothlórien (also known as the Golden Wood) in “The Lord of the Rings” features architecture with silver trees as imagery. (Source: Middle Earth Film Saga Wikia)

Back to Gaudí's Studio: Amplifying Emotions Together

"Gaudi, the Atelier of the Divine" can be experienced by up to six people at once. With the VIVE Focus Vision headset, you'll find your body transformed into a transparent puppet shape, preventing collisions and minimizing interference.

Initially, viewers see Gaudí, who was tragically hit by a tram, lying on a bed, sharing his artistic philosophy—creativity isn't conjured from thin air but "discovered" through observing nature. Beauty comes from imitating God's masterpieces. The mission is to become Gaudí's disciple, inheriting his vision to complete the renowned Sagrada Familia, a church that can be built slowly because its "client," God, isn't in a hurry.

Then, the scene shifts to Gaudí's studio. I was busy exploring—freedom to move around is a feature of "Gaudi, the Atelier of the Divine," along with Gaudí narrating as the visuals change. This allows viewers to closely admire models of Palau Güell and Casa Batlló. When Gaudí describes the chimneys of Palau Güell as various shapes, some mosaic-tiled, some like flames, mushrooms, or little Christmas trees, everyone leans in for a closer look. I almost reached out to touch them, but of course, I could only grasp air.

As for Casa Batlló, Gaudí directs us to notice the balcony's curves, which indeed resemble bones up close. This reflects Gaudí's famous saying, "The straight line belongs to man, the curve to God." Casa Batlló, compared to Palau Güell, more thoroughly embodies Gaudí's love for curves, with not a single straight line in sight.

A close-up view of Palau Güell and Casa Batlló gives a miniature feel. (Source: GEDEON Experiences)

The transitions are captivating, with walls moving in and out. Gaudí then shows us ropes hanging from the ceiling, with a mirror on the floor reflecting them as architectural shapes. This is Gaudí's famous Hanging Chain Model, where ropes of varying weights form natural curves to simulate structural forces, which, when flipped, become self-supporting arches. This concept might sound complex, but VR's scene-switching makes it intuitive.

Next, we move to another part of the studio, with a large window offering a view of Montjuïc. Gaudí explains that the Sagrada Familia will not exceed this sacred mountain's height, as doing so would be an affront to God. Among the 18 towering spires of the Sagrada Familia, each represents a Catholic figure, with Jesus' spire being the tallest at about 170 meters, indeed shorter than the 173-meter mountain.

Finally, we arrive at the place mentioned at the beginning, witnessing the transformation from forest to the interior of the Sagrada Familia with others. Here, the multi-user support shines, as having companions amplifies the emotional impact of the experience.

Transparent avatar shapes allow users to see each other in the VR experience, preventing collisions. (Source: GEDEON Experiences)

Why allow viewers to move and gather in groups? Agnès Garaudel, director of GEDEON Experiences, which produced "Gaudi, the Atelier of the Divine," mentioned in an interview that this turns spectatorship into participation, not just visiting a servant of God's studio but entering a mad mind.

Garaudel explained that viewers aren't just seeing what Gaudí did but how he operated. She noted that no one truly understood Gaudí, suggesting that in some ways, he was a madman who always worked alone in his studio. According to her, after Gaudí's death, the studio was burned down, leaving nothing behind. She pointed out that despite this loss, one interesting fact remains - Gaudí's studio was remarkably small, consisting of only three 40-square-meter rooms. This raises the question of how he managed to create such a magnificent cathedral in such a limited space.

Besides immersing viewers in Gaudí's devout, mad architecture and mind, Agnès Garaudel also said that "Gaudi, the Atelier of the Divine" not only showcases the Sagrada Familia but also presents something that doesn't yet exist—a completed Sagrada Familia. This dual sense of being both under construction and complete is a design only VR can deliver.

Beyond the sense of completed and incomplete spaces, the golden forest and the Sagrada Familia are connected through "Gaudi, the Atelier of the Divine." So, did Tolkien secretly visit Gaudí's architecture for inspiration when writing "The Lord of the Rings"?

"Gaudi, the Atelier of the Divine" presents the dual space of forest and Sagrada Familia, inviting viewers to look upward. (Source: GEDEON Experiences)

Art Nouveau, Anti-Industrialization, and Faith: A Cross-Time Connection

The truth might be a bit disappointing—no, Tolkien didn't draw inspiration from Gaudí's architecture when writing "The Lord of the Rings." Although Tolkien and Gaudí lived in overlapping times, they had no known interactions—at least not physically. As mentioned earlier, both the golden forest and the Sagrada Familia exude the sublime and sacredness of nature, stemming from the Art Nouveau movement Gaudí was part of.

Art Nouveau, a French term, emerged in late 19th-century Europe. This movement was characterized by several distinctive features: it emphasized nature's vitality and used biomimetic designs like leaves, vines, and tree forms. It pursued curves and fluidity while avoiding straight lines. This approach allowed buildings to organically blend with their surroundings.

These aesthetic tendencies were a backlash against the uniformity, standardization, and coldness of industrialization, seeking to rediscover "soul and craftsmanship" in art—a sentiment that connects with Tolkien's era. Remember how Saruman's Orc "factories" were destroyed by Ents in a flood of rage? Or the pastoral beauty of the Shire and the sacred beauty of Elven realms like the Golden Wood? Beyond anti-industrialization, both were devout Catholics: Gaudí glorified God through architecture, while Tolkien's Middle-earth reflected the Bible's influence on him.

Besides the historical context, the 2001 Peter Jackson film adaptation has a stronger connection to Art Nouveau. Artist John Howe, who worked on the film's design concepts, explicitly stated that part of his inspiration came from the Art Nouveau movement. So, the déjà vu I felt in "Gaudi, the Atelier of the Divine" wasn't an illusion but a long and winding artistic influence.

John Howe's depiction of Gandalf returning to Bag End, with round windows showcasing Art Nouveau style. (Source: Reddit)

Finally, the "cross-time encounter" between Gaudí and Tolkien echoes in Amazon's "The Lord of the Rings: The Rings of Power." Director J.A. Bayona stated that the design concept for the Elven city of Lindon was "a forest like a cathedral," inspired by Gaudí's architectural masterpiece, the Sagrada Familia.

The Elven city of Lindon, resembling both trees and a cathedral, draws inspiration from the Sagrada Familia. (Source: Amazon Studios)

I've never visited the Sagrada Família, nor can I traverse the world of Tolkien's creation. However, after watching "Gaudi, the Atelier of the Divine," I found myself experiencing both realms at once—transported back to my teenage self and experiencing the awe of the sacred for the first time.