Spain were Ricardo Velázquez Bosco and Alberto del Palacio, although glass for façades and iron for structures were used to some extent by other architects, such as Antonio Palacios, Enrique María Repullés y Vargas or Narciso Pascual y Colomer. A notable example is the Palacio de Cristal del Retiro in Madrid. 20th century Catalan Modernisme When the city of Barcelona was allowed to expand beyond its historic limits in the late 19th century, the resulting Eixample district by Ildefons Cerdà became the site of a burst of architectural energy known as the Modernisme movement. Modernisme broke with past styles and used organic forms for its inspiration in the same way as the concurrent Art Nouveau and Jugendstil movements in the rest of Europe. Most famous among the architects represented there is Antoni Gaudí, whose works in Barcelona and spread in other parts of Catalonia, León and Cantabria, mixing traditional architectural styles with the new, were a precursor to modern architecture. Perhaps the most famous example of his work is the still-unfinished Sagrada Família basilica, the largest building in the Eixample. Other notable Catalan architects of that period include Lluís Domènech i Montaner and Josep Puig i Cadafalch, although their approach to Modernisme was largely more linked to Neo-Gothic shapes. Contemporary architecture The creation in 1928 of the GATCPAC group in Barcelona, followed by the foundation of GATEPAC (1930) by architects mainly from Zaragoza, Madrid, San Sebastián and Bilbao, established two groups of young architects practicing Modern architecture in Spain. Josep Lluis Sert, Fernando García Mercadal, Jose María de Aizpurúa and Joaquín Labayen among others were organised in three regional groups. Other architects explored the Modern style with their personal views: Casto Fernández Shaw with his visionary work, most of it on paper, Josep Antoni Coderch, with his integration of the Mediterranean housing and the new style concepts or Luis Gutiérrez Soto, mostly influenced by the Expressionist tendencies. At the 1929 Barcelona International Exposition, the German pavilion designed by Ludwig Mies van der Rohe became an instant icon, amalgamating Rohe's minimalism and notions of truth to materials with a De Stijl influenced treatment of planes in space. The large overhanging roof famously 'hovers' apparently unsupported. During and after the Spanish Civil War and World War II, Spain found herself both politically and economically isolated. The consequent effect of which, in tandem with Franco's preference for "a deadening, nationalistic sort of classical