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In this first stage, the catalogue focuses on the modern and contemporary architecture designed and built between 1832 –year of construction of the first industrial chimney in Barcelona that we establish as the beginning of modernity– until today.
The project is born to make the architecture more accessible both to professionals and to the citizens through a website that is going to be updated and extended. Contemporary works of greater general interest will be incorporated, always with a necessary historical perspective, while gradually adding works from our past, with the ambitious objective of understanding a greater documented period.
The collection feeds from multiple sources, mainly from the generosity of architectural and photographic studios, as well as the large amount of excellent historical and reference editorial projects, such as architectural guides, magazines, monographs and other publications. It also takes into consideration all the reference sources from the various branches and associated entities with the COAC and other collaborating entities related to the architectural and design fields, in its maximum spectrum.
Special mention should be made of the incorporation of vast documentation from the COAC Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.
The rigour and criteria for selection of the works has been stablished by a Documental Commission, formed by the COAC’s Culture Spokesperson, the director of the COAC Historical Archive, the directors of the COAC Digital Archive, and professionals and other external experts from all the territorial sections that look after to offer a transversal view of the current and past architectural landscape around the territory.
The determination of this project is to become the largest digital collection about Catalan architecture; a key tool of exemplar information and documentation about architecture, which turns into a local and international referent, for the way to explain and show the architectural heritage of a territory.
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2019-2024 Aureli Mora i Omar OrnaqueDocumental Commission:
2019-2024 Ramon Faura Carolina B. Garcia Eduard Callís Francesc Rafat Pau Albert Antoni López Daufí Joan Falgueras Mercè Bosch Jaume Farreny Anton Pàmies Juan Manuel Zaguirre Josep Ferrando Fernando Marzá Moisés Puente Aureli Mora Omar OrnaqueCollaborators:
2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse ViuExternal Collaborators:
2019-2024 Helena Cepeda Inès MartinelWith the support of:
Generalitat de Catalunya. Departament de CulturaCollaborating Entities:
ArquinFADFundació Mies van der Rohe
Fundación DOCOMOMO Ibérico
Basílica de la Sagrada Família
Museu del Disseny de Barcelona
Fomento
AMB
EINA Centre Universitari de Disseny i Art de Barcelona
IEFC
Fundació Domènench Montaner.
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The Arxiu Històric del Col·legi d'Arquitectes de Catalunya is one of the most important documentation centers in Europe, which houses the professional collections of more than 180 architects whose work is fundamental to understanding the history of Catalan architecture. By filling this form, you can request digital copies of the documents for which the Arxiu Històric del Col·legi d'Arquitectes de Catalunya manages the exploitation of the author's rights, as well as those in the public domain. Once the application has been made, the Arxiu Històric del Col·legi d'Arquitectes de Catalunya will send you an approximate budget, which varies in terms of each use and purpose.
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Arquitecte. Titulat el 1893. Deixeble i col·laborador de Gaudí, va ser un dels més importants codificadors de les seves idees, potenciant l’anomenat gaudinisme. Fou President del Cercle Artístic de Sant Lluc, i polític. Entre les seves obres, trobem la Casa Macari Golferichs (premi de l’Ajuntament de Barcelona, 1901), la Casa Isabel Pomar (1906), el Frare Blanc (1913), i una sèrie de cases a la Colònia Güell
Source: Arxiu Històric del COAC
Works (33)
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Chronology (37)
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Ca l'Ordal
Francesc d'Assís Berenguer i Mestres, Joan Rubió i Bellver
Independent building made up of three terraced single-family houses, with ground floor, first floor, attic and basement converted into a garden at the back. Located in the residential area of Colònia Güell, it is the first building you see when you enter it. Work built around 1894, which, both due to the shape of its floor plan and the singularity of the façades and their symmetry, gives the building great originality. Although it does not have the typical appearance of a country house, it is noticeable how in one way or another the architect wanted to collect the most significant features of manor houses. For example, the building has a basilica floor plan and a gable roof, and the facing is made of stone conglomerate of various sizes bound with lime mortar, on which several structures are built. The marked historicist character of the building, beyond the appearance of a manor house at the front, is also reflected at the back with a construction on different levels and bodies. Undoubtedly, however, what stands out most about the building are the rounded corners, and the decorative elements, the filigree work with exposed brick is particularly relevant. This is visible in the windows, the three chimneys, the porch, the cistern or the eaves under the deck. The house was originally inhabited by the Ros de l'Ordal family, hence its name, and they are still the owners. However, other families such as the Cruañas, Gaudó, Montanès and Carrión have also lived there. All of them were farmers who worked the owner's land as tenants. Some members of these families also worked in the factory. In the interest of moving away from the existing social conflicts in the city, a new type of industry was proposed in the 19th century - the industrial colonies, i.e. the houses of the workers and equipment next to the factory, all in the same property, integrating its own nucleus with a social and economic life protected by the company. The Güell colony was an industrial colony dedicated to the manufacture of bread and velvet. Its construction began in 1890, and the project had an inn, school, shops, theatre, cooperative, doctor's house, pharmacy and chapel, in addition to factories and workers' homes, in a total area of about 160 hectares. Güell, in his capacity as a patron of culture, commissioned projects from several leading architects, such as Antoni Gaudí, Francesc Berenguer i Mestres or Joan Rubió. There used to be a well inside, but due to subsequent renovations to the building and new uses in the space, it has been modified. -
Ca l'Espinal
House with an almost square floor plan, located on the corner of Monturiol and Malvehy Streets, towards which its main façades face. It consists of a ground floor and a first floor, in which horizontal strips of exposed brick alternate with others of stone conglomerate. The openings and other architectural elements are also solved with exposed brick. The most outstanding element is the door, located in the chamfer, and above which rises a little balcony on the upper floor. On the ground floor and first floor there are single and twined windows in the shape of an elongated hexagon. As a colophon and unifying element of the façade and the tower, there is a reticulated border of bricks, on which the whole is topped off by the railing of the upper roof. The building, designed by the architect Joan Rubió i Bellver, has a marked influence of the early Gaudinism in terms of the use of historicist elements of Gothic inspiration. The house was built at the same time as the rest of Colònia Güell. The date "1900" is written on the forgings of the entrance. -
Golferichs House
Macari Golferichs, a capricious road engineer, wood merchant, and collector, seems to have made a fortune in America, like so many other bourgeois of the time. When he returned, he decided to buy some land in the Eixample and build a modernist-style residence there. In this work, Rubió begins his research towards his own architectural style. The structural and constructive value of the Gothic forms is verified and experienced in a genuine investigation, as we can see in the materials used, in the construction technique and in the ceramic ornamentation. -
Manuel Dolcet House
Manuel Dolcet House is located in the Sarrià-Sant Gervasi district of Barcelona, and faces 44 Vallvidrera Avenue, although without reaching the street, since the direct access is cut off by the Generalitat’s Railway, and you have to cross a bridge to access the gate of the estate. It is a building designed as a single-family residence by the architect Joan Rubió i Bellver and built between 1906 and 1907. This construction is built on a mountainside, a situation that causes the plot to be divided into terraces, with the building on the highest part. Access is through a garden with a pergola and stairs that save the difference in level to the building. This is isolated from other buildings and consists of a semi-subterranean ground floor and two upper floors. The plan is rectangular with three straight façades and a fourth one more broken containing the staircase, but the differentiation of the roofs produces a very rich volumetric game. The body that contains the staircase is crowned by a pavilion cover that protrudes from the other volumes; the back of the main body is covered with a roof and the front with a gable roof. On the second floor the façade is set back, forming a closed gallery with a balustrade divided by exposed brick Solomonic columns that support the roof. From this gallery, the circular balcony placed in one of the corners with a wrought iron railing protrudes. As for the façades, this house is characterised by the use of exposed brick contrasted with smooth white stucco facings. It is a building made up of traditional artisanal elements, where brick abounds as decoration on a white background, with ceramic touches. This decorative system gives a beautiful relief to the lintels of the doors, windows, balustrades, crowning and eaves. The rectangular windows have a wavy lintel with vegetable decorative elements made with mosaic. The beams are covered with classicist elements, such as triglyphs and meanders. In 1906, Manuel Dolcet commissioned the architect Joan Rubió i Bellvé to build his residence in the old municipality of Sarrià. Between the years 1965 and 1994, the building hosted the offices of the EINA School of Design. -
Delgado House
House built between partitions, with two floors and basements facing Passeig Circumvallació. The supporting pillar of the façade as a sculptural element, divides a porch into two equal volumes, dressed with special wrought iron bars, feverishly modernist. The part of the upper façade of the building consists of a rotunda and two tribunes with ceramic and iron overhangs. The basis of applied materials are: the seen billet, the ceramics used as an ornament, and the stream pallets. The predominant one is iron as projection and embellishment. This work is the most relevant representative of Modernism in Gelida. -
Serra House
L’edifici és el resultat de l’ampliació d’un habitatge construït pocs anys abans per un comerciant de vins anglès. De la vella edificació se’n conserven la torre-mirador i el primer cos de l’edifici. Rubió hi afegeix el cos posterior. A les façanes d’aquest cos afegit es combina l’ús de l’obra vista amb panys de pedra aparellada de forma poligonal. La coberta del menjador, també projectada per Rubió, es recolza sobre quatre arcs torals que arrenquen de quatre columnes de marbre. Dels quatre angles formats per la unió dels arcs en sorgeix un grup de tres revoltons, un esquema que es repeteix tres vegades fins a tancar l’espai cupulat. -
Can Puigdomènech
Building between partitions, composed of basement, ground floor and first floor. The body that includes the staircase protrudes in the western partition. The façade is flat with formal elements - lintels, medallions - and decorative elements - ceramic buttons, sgraffitos - representative of the language of modernism. Joan Rubió i Bellver is the architect of this house. Together with Can Trinxet, they are the only two buildings in Sant Feliu de Codines that have been attributed to him. Located in the wide area of the old town, the street-road in which the house is located is the main axis of the town and in it we find the most representative buildings of the architecture of the late 19th century and first third of the 20th century. -
Sant Miquel de la Roqueta Chapel
Rubió construeix una petita capella dedicada a la devoció de sant Miquel de la Roqueta després de la seva feina al baldaquí de l’església del monestir de Ripoll, envoltada d’una gran polèmica. Rubió va decidir construir un temple cristià modest i reduït amb pedra natural del voltant. Va constituir el seu primer estudi i assaig per a les construccions següents. Hi utilitza la pedra natural, sense filigranes, netes com sortien de la pedrera. En definitiva, complia la seva teoria de la construcció de pedra en sec. La capella combina formes de l’arquitectura tradicional amb altres formes extretes clarament del món gaudinià, com ara el pòrtic apuntat o l’amalgama d’elements cupulars. La planta configura un cercle senzill al qual s’adossa un absis principal i quatre capelles menors, també semicirculars. Les voltes de les capelles i de la coberta de la nau principal també estan fetes amb pedra en sec. -
Concurs Anual d'Edificis i Establiments Urbans
Award-Winner / Winner. Category: Arquitectura - Millor Edifici ConstruïtRoviralta HouseConcurs Anual d'Edificis i Establiments Urbans
Award-Winner / Winner. Category: Arquitectura - Millor Edifici ConstruïtTorre dels PardalsVirella House
Isolated building of large dimensions and rectangular floor plan consisting of ground floor, two floors and attic. The roof has a two-slope pitched roof with two levels of Arabic tiles. The composition of the façade is almost symmetrical (one of the wings is more symmetrical than the other), while the central body is higher. The ground floor has been extensively modified. Access to the inn is through the first floor, which has two semicircular-arched windows at the ends and several openings in the central body with a basket-handle arch. A masonry canopy separates the first and second floors. On the first floor there is a gallery formed by five semicircular arches and rectangular balconies on both sides, with iron railings. The attic floor is occupied by small openings framed with exposed brick in the lateral bodies, and a central gallery of eight arches, also made of brick. According to the Sitges Municipal Archives, in 1919 Joan Vilella asked the Town Council for permission to build a house on Passeig de la Ribera in accordance with plans drawn up by the architect Joan Rubio i Bellver and signed in April. Approval was given on 5th May of the same year. The building, which follows the Noucentista style, has elements that still have a modernist and eclectic Noucentista essence, mainly the use of exposed brick and the oriental-inspired decoration (the arches in the first floor gallery).Nous Pavellons de l'Hospital Psiquiàtric de Salt
El 1888, la compra provincial d’unes 3,5 hectàrees al mas Cardell enceta l’equipament en un remot paratge rural. La saturació constant d’orats i un règim controlat per religiosos marquen un conspicu panorama vuitcentista, voltat de fossat i filat i amb algun intent mèdic regeneracionista. La Mancomunitat catalana (1914), l’adveniment d’un poder modernitzador, l’assumeix, el repensa (Dr. Martí i Julià, Dr. Vives) i basteix els edificis de Rubió. Els dos pavellons evoquen trets de la masia, filtrats pel noucentisme que impregna porxos i detalls i encara amb alguns residus del gaudinisme passat, com ara els sòcols «baldufa» dels pilars. El cop reaccionari del 1923 ho atura tot, i els plans republicans del 1933, amb llur renovació de la psiquiatria, moren arran de la convulsió del 1936 i la victòria feixista. L’allau de demències i la penalitat econòmica posteriors marquen una evolució que arriba, vers el 1980, a un canvi radical de mètodes per fer-los més oberts. Cap al 1993, el planteig del trasllat de l’hospital provincial i les necessitats de la psiquiatria clínica susciten un pla que abat edificis i en preveu de nous, sempre en un mosaic extensiu que interactua amb l’arbrat i l’espai obert i que es relaciona amb les traces urbanes veïnes. N’és fill el conjunt del 2003, de tres unitats amb 50 llits cadascuna, que desplega braços des d’un eix principal.Can Trinxet
Isolated garden-city typology building, located in the middle of the forest, north of the historic centre. It comes from the refurbishment of the old farmhouse of Can Bosc dels Rufets. The complex has a complex plan and volume, a composite roof and the façades are symmetrical and finished in stone. It is a large stone house full of details of the best modernist taste and, it must be said, very well taken care of by its owners. It has an open field on the southern side of the mountain, surrounded by two swimming pools and romantic gardens. Modernist farmhouse that takes up the site of the old Mas Bosc or Can Bosc dels Rufets. In 1920 it was acquired by Mr. Francesc Trinxet, who had it rebuilt between 1920 and 1924 by the architect Joan Rubió i Bellver. The old Mas Bosc was a farmer's house. In the same year, a poultry farm called Fi-Vallès was built next to the house, which has been abandoned for years.Raventós Raïmat Winery
L’any 1914, Manuel Raventós i Domènech, reconegut industrial del vi i el cava, va decidir crear una colònia a les terres de Lleida per tal d’acollir les famílies que havien de conrear els terrenys que havia comprat. Va encarregar a Rubió i Bellver la construcció de l’església de la població i dels cellers que havien d’acollir l’elaboració i l’emmagatzematge dels diferents vins. Rubió dissenyà una zona residencial a prop d’un bosc que hi havia a la mateixa finca. Als afores de la població va construir els cellers. Cal assenyalar el lloc destinat a la càrrega i descàrrega, cobert amb un sostre semblant al que va utilitzar Gaudí a les escoles de la Sagrada Família.Continuació de les Obres de l'Escola Superior d’Agricultura de l'Escola Industrial de Barcelona
New Laboratories at the Barcelona Industrial School
The Industrial University is an enclosure occupying four blocks of the Eixample Cerdà, built over time by three different main architects, which recycles the Batlló Factory, which is eccentric with respect to the complex (the current Clock Building, located in the middle of a block), and is organised along the axis of Carrer Córcega, aligned with Carrer del Comte d'Urgell, with the Rotonda as the entrance. The complex has a structure based on pavilions that leave courtyards in between, with a central entrance, several pavilions for classrooms and a chapel at the end of the complex. Both the Rotonda and Can Batlló are the work of Rafael Guastavino, with very sober, worked stone façades and interior structures of virtuoso design, with flat brick vaults pushed to the limit of constructive possibilities. The complex grew in the form of pavilions enlarged by Joan Rubió i Bellver, who also had a pavilion against Carrer París, gabled parallel to the street. The layout maintains Carrer del Comte Borrell inside the complex, although it is not accessible on foot. It is a good example of additive architecture in which each component makes sense in its own right and maintains the harmony of the whole. The last architect to work on the complex was Manuel Baldrich, who enlarged the workshops and built the swimming pools on Carrer París, two notable examples of post-war architecture, with concrete structures and folded roofs that play a decisive role. Rubió's structures are also remarkable, with a succession of parabolic arches in the workshops and a crossing of the same arches in the chapel, decorated with a soft polychromy with a notable late modernist flavour. The complex is completely enclosed but is public and accessible from the Rotonda. Its communes can be visited.Asil del Sant Crist
És un edifici de planta i dos pisos, amb una torre a la façana principal. En el bell mig de l'edifici trobem el claustre. Adossada a l'edifici, l'església, que té forma de creu grega, creuer, arcs parabòlics i cobert amb cimbori. Tot l'edifici és construït amb pedra i també la pedra és emprada com a element decoratiu. A nivell estilístic observem una barreja: romànic, gòtic en els arcs ogivals, àrab i allò típicament modernista. Esvelt i singular edifici, situat a la part de ponent de la població. Començat l'any 1931 i ha restat construït a expenses d'un llegat de les germanes Castells, nadiues d'Igualada. Va ésser construït durant la Guerra Civil, amb l'excusa d'anar destinat a biblioteca.Església del Carme de Manresa
Església d'una nau amb passadissos laterals de menor alçada. Voltes de creueria, amb clau, separades per quatre arcs torals apuntats. Una sèrie d'arcs formers separen la nau dels passadissos laterals. Té absis poligonal, volta nervada i arc triomfal sobre pilastres. Les capelles laterals estan inacabades. A l'exterior s'aprecien les restes de l'antiga sagristia del s. XVIII (a un costat de l'absis). L'església presenta estructura de formigó, paraments de paredat comú i totxo amb revestiments de pedra buixardada. 1308: Els conselleres de la ciutat donen permís als PP. Carmelites per fundar un convent i una església. s.XIV: Construcció dels 2 edificis en estil gòtic. s.XIX (1835): L'església gòtica es manté amb la façana inacabada. 1936: L'església es crema. 1940-52 Reconstrucció en estil nou-gòtic de l'església.Bibliography (40)