resemblance to Gothic crypts. The centerpiece was built in a shipyard by Josep Maria Carandell who copied a steering wheel, interpreting Gaudí's intent as to represent the helm of the ship of life. Interior, gates Access is protected by a massive iron gate with a design attributed to Jujol. It was originally used by both people and cars, as access to the garage is in the basement, now an auditorium. The two halls are fully polychrome with oil paintings on the plaster surfaces, with eclectic references to mythology and flowers. During construction there was a problem including a basement as a garage for cars, the new invention that was thrilling the bourgeois at the time. The future neighbor Felix Anthony Meadows, owner of Industrial Linera, requested a change because his Rolls-Royce could not access it. Gaudí agreed to remove a pillar on the ramp that led into the garage so that Felix, who was establishing sales and factory in Parets del Vallès, could go to both places with his car from La Pedrera. For the floors of Casa Milà, Gaudí used a model of floor forms of square timbers with two colors, and the hydraulic pavement hexagonal pieces of blue and sea motifs that had originally been designed for the Batllo house. The wax was designed in gray by John Bertrand under the supervision of Gaudí who "touched up with their own fingers," in the words of the manufacturer Josep Bay. Loft Like in Casa Batlló, Gaudí shows the application of the catenary arch as a support structure for the roof, a form which he had already used shortly after graduating in the wood frameworks of Mataró's cooperative known as "L'Obrera Mataronense." In this case, Gaudí used the Catalan technique of timbrel, imported from Italy in the fourteenth century. The attic, where the laundry rooms were located, was a clear room under a Catalan vault roof supported by 270 parabolic vaults of different heights and spaced by about 80 cm. The roof resembles both the ribs of a huge animal and a palm, giving the roof-deck a very unconventional shape similar to a landscape of hills and valleys. The shape and location of the courtyards makes the arches higher when the space is narrowed and lower when the space expands. The builder Bayó explained its construction: "First the face of a wide wall was filled with mortar and plastered. Then