Barcelona’s Sagrada Familia, a testament to architectural ambition, has officially become the world’s tallest church. A massive stone slab, poised 54 metres above the city on a network of scaffolding, awaits its ascent to complete the cross atop the central Jesus Christ tower.
The basilica will reach a height of 172.5 metres, surpassing Germany’s Ulm Minster, yet deliberately stopping short of the 177-metre peak of Montjuïc hill. This intentional deference stems from Antoni Gaudí’s devout belief that Montjuïc was “the work of God,” a principle guiding the project since he took the reins in 1883.
Completion of the tower is scheduled to coincide with the centenary of Gaudí’s death on June 10th, a moment of profound significance for the basilica, where the architect’s remains lie within the crypt. While an invitation has been extended, the Vatican has yet to confirm Pope Leo XIV’s attendance at the inauguration.
Architect Jordi Fauli estimates that installing the cross will bring the project to nearly 80% completion. For decades, the Sagrada Familia has been known as the world’s most famous unfinished building, a label that may soon be a relic of the past.
However, a growing conflict threatens to stall progress. The construction board, responsible for the basilica, had hoped to finalize the entire project this year, but the COVID-19 pandemic brought tourism – and vital funding – to a standstill.
Though visitor numbers are rebounding, with 4.8 million arriving in 2024, the board remains hesitant to announce a new completion date. The most contentious issue centers on the planned Glory Facade and its four bell towers, a vision that requires significant alterations to the surrounding neighborhood.
The board’s plan involves constructing a grand staircase and plaza in front of the basilica, a project that would necessitate the demolition of homes. Residents, many of whom legally purchased their properties, are fiercely resisting the expansion.
“Our houses are legal,” proclaims a sign displayed on one of the threatened buildings. Salvador Barroso, president of the affected residents’ association, questions the basilica’s claim to the land, stating, “The Sagrada Familia owns a plot of land; it does not own the rest. So why should it reach my home?”
Barroso acquired his home in the late 1980s, only becoming aware of the stairway project in the early 1990s, as Barcelona’s profile as a tourist destination soared following the Olympics. He believes the expansion is driven by commercial interests, not architectural integrity.
Residents also challenge the authenticity of the staircase within Gaudí’s original vision, pointing to the destruction of many of his models during the Spanish Civil War. Critics argue the basilica has strayed from the architect’s true intent.
Lead architect Fauli vehemently defends the project, asserting that every aspect remains “faithfully following what Gaudí wanted.” He highlights the preservation of surviving documents and the reconstruction of models by Gaudí’s disciples, emphasizing the importance of completing the extraordinary architect’s work.
Barcelona’s town hall is attempting to mediate the dispute, insisting any resolution must prioritize the needs of the residents, particularly in a city grappling with a severe housing crisis. After nearly a century and a half of construction, the end of the Sagrada Familia’s saga appears within reach.
“I hope the dispute is resolved,” Barroso states, “What I cannot say is whether it will be resolved in the courts or… sat at a table.” The future of the basilica, and the homes surrounding it, hangs in the balance.
