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About

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.

Aureli Mora i Omar Ornaque
Directors arquitecturacatalana.cat

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About us

Project by:

Created by:

Directors:

2019-2024 Aureli Mora i Omar Ornaque

Documental 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 Ornaque

Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse Viu

External Collaborators:

2019-2024 Helena Cepeda Inès Martinel

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació 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.

Design & Development:

edittio Nubilum
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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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Responsable del tractament: Col·legi d Arquitectes de Catalunya 'COAC'
Finalitat del tractament: Tramitar la sol·licitud de còpies digitals dels documents dels quals l’Arxiu Històric del COAC gestiona els drets d'explotació dels autors, a més d'aquells que es trobin en domini públic.
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Memory

1987 Doctor en Arquitectura per la Universitat Politècnica de Catalunya (UPC)
1970 Títol d’arquitecte, Escola tècnica Superior d’arquitectura de Barcelona (ETSAB)

Professor de projectes a l’Escola Tècnica Superior d'Arquitectura de Barcelona des de 1974 fins el 2015. Professor convidat i expert extern, de 1995 a 1996, a l'Escola Politècnica Federal de Lausana (Suïssa). Membre del jurat en nombrosos premis i concursos. Arquitecte del Museu Picasso de Barcelona, que amb la recent ampliació afegeix el nou edifici annex com a culminació del llarg treball de transformació i adequació dels 5 edificis gòtics del carrer Moncada. El Museu de Navarra a Pamplona, el primer Museu de la Ciència de Barcelona, el Museu del Cosmos de Tenerife, les sales d’exposicions del MNAC (Museu Nacional d’Art de Catalunya), el Museu Egipte de Barcelona i la Fundació Francisco Godia de Barcelona, són exemples d’aquesta llarga trajectòria de projectes al voltant del tema museístic. La seva aproximació al projecte, sempre molt atent al caràcter del teixit urbà en el qual l’edifici s’implementa així com als continguts i la identitat de la institució cultural que l’utilitza i a la materialitat i simbologia específiques de les col·leccions que contenen, sempre deriven d’una sensibilitat professional consolidada per l’experiència però també per l’organització multidisciplinària dels equips formats a cada projecte.

Author: Garcés-de Seta-Bonet Arquitectes

Works (29)

On the Map

Awarded
Cataloged
Disappeared
All works

Constellation

Chronology (48)

  1. Ventilation and Entrance Towers to an Underground Water Tank

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Ventilation and Entrance Towers to an Underground Water Tank

    Five turrets rise above an underground tank, rectangular in plan. The four small ones, at the four vertices, ensure the ventilation of the tank. For the larger one, supported on one of its sides, you have access to the machinery and its interior. Its situation within the pass, on a hill, allows the whole to be observed from different points of view, almost always far away - that is why we are interested in artificially increasing all the apparent elements of the set. This double objective is taken care of by the enveloping porticos, the formal role of which has been maximised by resolutely disassociating them from any resistant work, while at the same time accentuating their structural appearance.

  2. Resintex Industrial Complex

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Resintex Industrial Complex

    A series of warehouses is built to complete the facilities of a textile industry on a narrow and long plot. With the arrangement of these industrial units, an orderly and perfectly aligned set was obtained and a new, round and hermetic main façade that also encompasses the heterogeneous existing constructions. The units, thanks to their constructive conception and the arrangement of all their doors on the internal face, satisfactorily fulfill the fence vision. Access to the interior of the enclosure is via steps between the units. The only old building shares the new alignment, protruding in height and cantilevering above the new material that runs, without interruption, on the ground floor. The warehouses are closed with prefabricated concrete slabs resting on the floor, attached to the structure and protruding above the roof, thus defining a prismatic volume.

  3. Casa Garí

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Casa Garí

    L'habitatge ocupa un triangle en planta, el costat major del qual esta recolzat sobre la diagonal de la parcel·la i els menors són paral·lels als límits interiors, dels quals se'n separen 3m. Està desenvolupat en una sola planta i la seva façana principal s'orienta al carrer. La planta està ordenada segons aquesta diagonal, es a dir, en franges paral·leles, creuades per un eix perpendicular que uneix totes les estances. Així es serveixen d'aquesta façana l'estar, el rebedor, els tres dormitoris, un lavabo i el passadís posterior que els connecta; segueix una zona intermitja formada per un pati i el menjador, que configuren un altre eix ortogonal respecte de l'anterior, disposat de sud a nord, i que permet l'entrada de llum natural fins al centre de l'habitatge; recolzats en aquesta mateixa zona també trobem el dormitori principal, un bany i la cuina i, finalment i ocupant l'angle posterior, el safareig. S'accedeix a l'habitatge pel centre de la façana principal, i per l'angle posterior hi accedeixen els serveis. L'habitatge es construeix sobre un forjat a diferents nivells, endreçats a partir de la cota natural del terreny, sobre el que es va assentant a través d'escales.

  4. FAD Award

    Shortlisted. Category: Architecture
    Resintex Industrial Complex

  5. FAD Award

    Shortlisted. Category: Restoration
    Science Museum

  6. FAD Award

    Finalist. Category: Restoration
    Extension of the Picasso Museum and Annexation to the Baró de Castellet and Meca Palaces

  7. FAD Award

    Shortlisted. Category: Architecture
    63 Dwellings Pi Molist

  8. 63 Dwellings Pi Molist

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    63 Dwellings Pi Molist

    The site is located on a half-built island according to an old special arrangement of detached buildings. Despite the current urban classification, it set a building depth of 22 m and a regulating height of 16.70 m (ground floor plus 4 floors), two parallel blocks of double façade were projected, without interior courtyards, which opened to the outside of the street, the centre of the island and the central space between blocks, sheltered at its ends. The houses, except for a few smaller ones, have four bedrooms, two doubles and two singles, a living room, a dining room, a kitchen, and a laundry room, with a usable area of 75 m2. The bedrooms are grouped in the central space covered between blocks, in order to keep it clean and quiet. The portion of the building not occupied by the houses, ground floor and mezzanine, are used for parking and commercial premises. The central space has its origin in the attic level of the ground floor, is covered with a skylight and is used as the general lobby of the building with access at both ends. Inside, vertical communication towers with stairs and lifts are built. The construction has been done with materials of the highest possible quality and best conservation. The façades, always very flat, are made of exposed brick. The windows, large in relation to the interior, are related to each other forming a continuous fabric, due to their similar dimensions, constant construction characteristics and the rhythm of their position.

  9. L'Esplai Social Centre for the Elderly

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    L'Esplai Social Centre for the Elderly

    Amb total llibertat de situació i forma, la Caixa de Pensions havia de construir un petit edifici per Local-Club Jubilats i Sala de Conferències, en el nou espai urbà obtingut per l'enderroc d'antigues cases fet per l'Ajuntament de La Seu d'Urgell. Aquests terrenys es configuraven, de moment, com a una prolongació de la gran plaça Pati del Palau (Bisbat) que és, ja, un sector urbà de característiques molt diferents de l'immediat superior construït al voltant del gran nucli monumental de la Catedral. Això va ser determinant en la decisió de dibuixar l'edifici en forma angular de manera que crearà un últim espai tranquil i de reduïdes dimensions, final del recorregut monumental i que amb el seu front exterior delimités de nou, de forma clara i exacta, la plaça del Pati del Palau en les seves dimensions originals. La nova placeta està al servei de la petita església de Sant Miquel, del Museu Diocesà i dels usuaris del nou edifici que l'utilitzaran com a exterior annex. En la seva pavimentació s'han seguit solucions utilitzades en la resta del conjunt monumental adaptant mides, nivells i traçats al nou edifici que la delimita. El pas lateral, definit per l'extrem lliure de l'angle, emmarca una nova vista pròxima de la torre i àbsida lateral de l’església de Sant Miquel. L'edifici, en atenció a tot això, s'obra per l'interior de l'angle a la placeta com si fos un mig claustre que es recolza en el costat exterior opac i sobredimensionat per la col·locació de la planta pis, sala de conferències de forma rectangular, amb accés independent des de la plaça gran a través de la galeria lineal adossada. El pla d'aquesta façana manté al conjunt monumental limitat i al mateix temps serveix de pedestal, en les vistes allunyades, per les torres, que al sobresortir anuncien i recorden el sector monumental. Aquestes consideracions urbanes són les que conformen l'edifici i per tant predeterminen i dissenyen els espais interiors dels que són protagonistes les dues galeries que s'obren a la nova placeta. Exteriorment la construcció és de parets d'obra ceràmica manual vista, fusteries metàl·liques i cobertes de pissarra a excepció de la coberta de planxes de coure de la petita galeria adossada d'accés a la planta pis. En els interiors predominen els paraments d'obra ceràmica pintada i les cobertes s'han resolt amb bigues de formigó de secció rectangular i solera ceràmica pintades.

  10. FAD Award

    Shortlisted. Category: Interior Design - Rehabilitation
    Remodelació i Condicionament de la Planta Baixa del Museu Picasso

  11. Science Museum

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Science Museum

    The Social Work of the "Old Age Pensions and Savings Fund of Catalonia and the Balearic Islands" programmed the conversion of the old asylum building "Amparo de Santa Lucía" into a museum. The building consisted of two sectors. The first, built by the architect Domènech i Estepà between 1904 and 1909, is easily identifiable in the work as a whole. The other, from the 1940s, in the area adjacent to that of Domènech i Estepà, which was the least recoverable due to the small dimensions and layout of the spaces that made it up. Here, the total replacement of the built volume was carried out, which made it possible to reach, with the new work, three primary objectives at the same time: 1. Clarity and slack in the interior distribution of the building. An essential condition in a place like this. 2. Innovative and resounding exterior image very suitable for a building recently added to its public role. 3. Transparency of the building in the central area, which makes it possible to transfer the qualities of the southern exterior to the interior of the building and, consequently, to the main access oriented to the North. On the other hand, we can say that the whole building is made up of a succession of diaphanous rooms, of considerable dimensions, all of them connected to the high-rise central hall and the gardens located to the south of the site.

  12. Extension of the Picasso Museum and Annexation to the Baró de Castellet and Meca Palaces

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Extension of the Picasso Museum and Annexation to the Baró de Castellet and Meca Palaces

  13. Remodelació i Condicionament de la Planta Baixa del Museu Picasso

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Remodelació i Condicionament de la Planta Baixa del Museu Picasso

    El carrer Montcada forma part del cas antic de Barcelona i està configurat en gran part per una successió de petits palaus del XIIIè i XIVè segles. El Museu Picasso ocupa cinc d’aquests palaus, del n. 15 al n. 23 del carrer Montcada. El projecte s’apropa a la qüestió urbana, com a punt de partida, i defineix el museu com un element de requalificació de la zona. Els patis interiors a cel obert i accessibles des del carrer són peces molt importants, es crea un corredor central paral·lel per unir-los. Així s’ordena i s’interpreta el nou ús fusionat dels palaus, es dona un ordre visual al conjunt. L’establiment de passadissos clars porta a totes les plantes un espai central representatiu de la naturalesa pública de l’edifici. En planta baixa el corredor central es transforma en un carrer interior que aporta un valor arquitectònic a la totalitat dels tres palaus sense fer malbé, gracies a la seva esveltesa, les característiques pròpies de cadascun d’ells. Aquesta voluntat d’afegir sense treure és la que ha prevalgut des de la concepció general. Els nous elements se superposen al context constructiu existent al servei d’una imatge inèdita del conjunt.

  14. Móra la Nova Primary Healthcare Centre

    Garcés -Sòria Arquitectes, Àngel Fibla, Jordi Garcés i Brusés, Enric Sòria i Badia, Rafael Soto

    Móra la Nova Primary Healthcare Centre

    Situat en un entorn de ciutat-jardí, aquest centre sanitari d'aspecte compacte i introvertit s'ha projectat amb cert ordre racional, manifestat en la clara distribució en planta i en unes façanes estrictament ordenades. A l'interior, un espai central dissenyat amb particular interès, acull les sales d'espera de cada planta, les quals reben llum zenitalment. La resta de dependències s'ubiquen perimetralment, seguint una ordenació modular que es correspon amb les finestres. Aquestes es resolen amb un únic model i amb la mateixa obra vista de la façana, de dues tonalitats diferents. L'any 1987 va ser guardonat amb el premi FAD d'Arquitectura.

  15. Hidalgo House

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Hidalgo House

    Detached house on a large sloping plot very well oriented regarding the sun and views that reach the sea. The house is resolved formally with the abstract game of the three volumes and the three large double-height windows that relate to each other through the variable rhythm of their relative positions, giving the image of a privileged vantage point. The external cubic rigidity is diluted in the interior where the space is continuous and fluid, recalling the original geometric composition when encountering the façade planes, which limit the built volume with the presence of their large openings.

  16. School of Mural Painting and Arts and Crafts of El Penedès

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    School of Mural Painting and Arts and Crafts of El Penedès

    An unfinished building from 1884 that was supposed to be the Hospital of Sant Sadurní d'Anoia has been converted into a School of Mural Painting and School of Arts and Crafts. The nave of the chapel, the central core of the old project, was very suitable for its use as a practical workshop for the muralists. The annex building of very little architectural interest, in poor condition and with many alterations due to its successive uses, could house the classrooms and services of the two centres, which is why they proceeded to demolish and replace all the interior forgings. The new work appears on the outside as the irruption of the current windows that interfere, in its air, with the old order, scratched by a previous work of solidifying the whole that highlights the compactness of the original factory. This feature is possibly the main quality of the existing one. With the new cover of the nave of the chapel, which seeks the correct lighting of its interior, the contrast between the two unusual volumes that make up the whole was accentuated. The additions of white marble aim to accentuate the involuntary tone of unfinished work that the irregular stone ensemble already has and turn it into a statement. With the layout of the two sections of stairs, one through the rear courtyard and the other pointing to the chapel, each of them is given an itinerary of a certain visual interest.

  17. FAD Award

    Award-Winner / Winner (ex aequo). Category: Architecture - Remodelling and Rehabilitation
    School of Mural Painting and Arts and Crafts of El Penedès

  18. FAD Award

    Award-Winner / Winner. Category: Buildings of new plant for private use
    Hidalgo House

  19. FAD Award

    Award-Winner / Winner. Category: Buildings of new plant for public use
    Móra la Nova Primary Healthcare Centre

  20. Salgot House

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Salgot House

    La casa se situa en una plataforma elevada amb vistes obertes al mar. Tota la configuració queda regida per les llargues visuals ininterrompudes que s’inicien ja des de la part oposada. Consta de dos cossos rectangulars, bisellats en l’extrem que apunta al mar. El cos posterior, d’una sola planta, allotja els dormitoris. El cos del davant allotja les zones de dia i un estudi a la planta superior. Aquest cos s’obre cap al nord per crear una terrassa oberta a l’horitzó, filtrat per una pèrgola transversal. La geometria dels recorreguts genera totes les distribucions, de manera que sempre es camina cap al mar o d’esquena al mar.

  21. FAD Award

    Award-Winner / Winner (ex aequo). Category: Buildings of new plant for private use
    Salgot House

  22. Olympic Pelota Pavilion

    Garcés -Sòria Arquitectes, Carles Buxadé i Ribot, Jordi Garcés i Brusés, Joan Margarit i Consarnau, Enric Sòria i Badia, Rafael Soto

    Olympic Pelota Pavilion

    The typology chosen for this project is the result of inscribing the diverse physical and organisational parameters required by the two sports facilities it contains in the simplest possible volume and spatially clearer, in order to obtain optimal results of the correct dimensioning of the gaming rooms and the order of their relative positions. The façades contribute to the abstract character of the whole by projecting them as immense curtains engraved with ordered incidences of interior origin. The metal cover, substantially flat, folds on its own to form the skylights that crown it, and which, oriented to the north, concentrate the natural light on the tracks, breaking with their presence the external hermeticity of the whole. The Municipal Sports Hall is mainly intended for the practice of volleyball, and the Municipal Sports Centre of Pelota, for all forms of Basque Pelota.

  23. FAD Award

    Award-Winner / Winner (ex aequo). Category: Buildings of new plant for public use
    Olympic Pelota Pavilion

  24. Plaza Hotel

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Plaza Hotel

    The Hotel Plaza, located in the Plaça d’Espanya, is a fundamental part of the urban operation of the new Tarragona Street, due to its location and the great load of activity and representation. The Hotel has been designed with an annular floor, in the manner of large urban hotels with an extensive Hall, connected to a large inner courtyard equipped with exterior dimensions and qualities. These two pieces act as an internal binder of the wide range of uses that the Hotel contains. On the outside, the resulting volume is enriched with a smooth inflection in the definition of its faces. Freed by its urban situation from the automatism of the alignments, the building finds its own identity in the undulating movement of its façades. A tower of orthogonal composition placed at the corner ends and distinguishes the building and the urban ensemble of the Plaça d’Espanya in which the bullring “Las Arenas” and the entrance portico to the fairgrounds. The six floors above the ground floor and the tower accommodate 338 rooms and 8 suites, one of them with the large clock as a stained window overlooking the square. The four façades are built with prefabricated concrete panels that incorporate granite slabs of two colours, gray and red, and different sizes, on the exterior. The chosen cutting covers the mechanical subdivision of the prefabricated, fleeing from an automatic construction division to approach a textile-stony outlook, with more unified results. The same composition of orthogonal lines solves the carpentry. The large central courtyard’s interior, close to 30 m. x 30 m., has been finished with ceramic materials of five different colours, distributed in a graduated order, from the darkest ones to the lightest ones, in the manner of some modernist courtyards that contrasted their chromatic variation with a stony, stern and urban exterior. The building has four basements, destined for: parking, facilities, services and warehouses.

  25. Can Borrell Apartment Building

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Can Borrell Apartment Building

    In the centre of an important residential initiative of public promotion and with rectangular plots (100x35 m.) on both sides of the large central square of the new district, 200 homes, 100 on each side, parking lots and commercial premises have been planned. They have followed basic criteria already used in a previous work of housing for public promotion in Dr. Pi i Molist Street, Barcelona (1978): to contribute to the definition of the surrounding urban space with the linearity of the buildings. To arrange parallel linear blocks that define a large central courtyard to which only bedrooms give, avoiding promiscuity and degradation of the common spaces in which services and kitchens open. To design with minimal architectural gestures combined with the quality of construction and materials used. To use vulgar construction means requalified by the superimposition of additional design elements. To experience the theme of the flat façade supporting a repeated distribution of holes. The following points are introduced as novelties, largely thanks to the possibilities offered by the excess measurements of the plots: the movement of the linear blocks close to the central square thus contributing to a greater characterisation of the space public. The cutting and retraction of a segment of the linear block close to the exterior streets singling out the main access. As a result of the two previous decisions, a central courtyard with a variable floor plan is obtained with a particular spatial interest and with measures that become considerable. The treatment with inclined planes of the extreme ends of the blocks to singularise and formally treat the ends of the buildings. The existence of double-height porches to signal the entrances to the buildings from the street and the square. The exhaustive repetition of a single type of window that comes to be located at the ends coinciding with the edges of the building, thus underlining the character of a continuous fabric with the façades. Introduction of an upper cornice that ends the section.

  26. FAD Award

    Finalist. Category: Arquitectura - Edificis de Nova Planta, Obres de Reforma o Rehabilitació d'Edificis Existents
    Can Borrell Apartment Building

  27. Francesc Batallé Primary School

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Francesc Batallé Primary School

    This Primary Education Centre is distributed over five floors. The ground floor is in a basement situation with respect to the main access, but practically on the same level as Carrer d'Avinguda del Carrilet and the playing fields. The first floor, above the previous one, is the main floor of the school. It has a level entrance thanks to the formation of a large embankment that forms a gentle ramp for the main access. This embankment also allows for the creation of play spaces reserved for pre-school students, and as a barrier to the street, a large heavily landscaped slope. Above this there are two more floors fully occupied by classrooms, and above there is the fourth floor with some additional classrooms, an engine room, the large skylight in the central courtyard, and a large, sheltered terrace. The large central courtyard of the building receives light from an extensive skylight and distributes it to the vestibular areas of each floor, located around the entire perimeter. At the two ends of this courtyard, and consequently, at the ends of the vestibular areas, there are two staircases that connect all the levels of the centre that allow the interior circulation to be split at will. These stairs also receive light from the courtyard, which serves as a constant spatial reference. Adjacent to one of the stairs is an elevator. When the yard reaches the bottom, it expands into a free interior area next to the gymnasium, forming what we know in the school programme as a "porch". This distribution of the plants allows the students to converge in a common space that participates in the lights of the playground when they leave each of their classrooms. This vestibular space, however, is acoustically protected on each floor by a large, glass window. In this vestibular space and in the corner opposite the courtyard we find the spaces for special attention: departments, tutorials, small warehouses, etc., which receive light from the courtyard through windows placed in a very regular and serial manner. We intend that these windows constitute the frame-enclosure where the school's works are permanently exhibited, as showcases of the vestibular common space on each floor, which in this way becomes a small exhibition gallery.

  28. Viladrau House

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Viladrau House

    Casa situada en un terreny de 4.000 m2 amb bona orientació solar coincidint amb la pendent i les panoràmiques sobre el Montseny. Està construïda en el bancal superior dels tres que conformen la propietat amb un desenvolupament linial que es fracciona i trenca a favor de les millors vistes, de la privacitat entre sectors de la casa i de l’obtenció d’un volum més gràcil. L’accés és des del camí inferior. El cos del garatge i un estudi se separa, respectant la mateixa llei de formació: successió de peces que s’obren totes vers el jardí davanter. La secció també s’obra vers la bona direcció amb un únic pendent de coberta, obtenint-se una important alçada interior al sector proper a la façana principal de la casa. Això permet una major alçada dels balcons. Els materials emprats són: revoc pintat blanc, persianes d’alumini lacades en blanc i teula àrab.

  29. Premi Ciutat de Barcelona

    Award-Winner / Winner. Category: Architecture and Urbanism
    Jordi Rubió i Balaguer Agora

  30. Jordi Rubió i Balaguer Agora

    Garcés -Sòria Arquitectes, Robert Brufau i Niubó, Jordi Garcés i Brusés, Albert Salazar Junyent, Enric Sòria i Badia

    Jordi Rubió i Balaguer Agora

    In a former military compound, laid out in accordance with the Eixample’s guidelines, the building is placed between two barracks converted into university facilities. It is an underground building looking for its façades. These are obtained through patios in one direction, and by protruding into the outer space, with the right size and in a constant direction, they order the new university complex’s central square, Ágora. Glass enclosures between walls become lights at night. A similarly constructed central skylight presides over the symmetrical space. Two of the courtyards house stairs for direct access to the interior where we find the Central Vestibule of the building itself which also serves as a connection between the two neighbouring university centres. The Assembly Hall and the Exhibition Hall can be accessed from the lobby. All spaces have natural light through patios and skylights. The project is complemented by a continuous strip that contains a circumstantial office of the Rector and the Reflection Room that was built with the painter Antoni Tàpies. The structure is of exposed concrete walls perpendicular to the façades. These are made of glass and are clad in stone in their extension to enclose the roof laterally and protrude into the square. The exterior and interior pavements are also made of stone, except for the bottoms of the patios, which are made of wood.

  31. Remodelling of Molina Square

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Remodelling of Molina Square

    In the project for the reorganisation of Molina Square, several circumstances were taken into account: -It is not a place to stay at, but fundamentally a hub of vehicle and pedestrian traffic. -The architecture that makes it up is of little entity and does not offer common characteristics in relation to public space. - The absence of a clear and structuring direction of the square originating from some alignment, building or topography. -Presence of a large accumulation of elements of street furniture, gardening and installations that saturate the scarce free space. Consequently, the following were decided: -The rationalisation of road traffic and its consequent reduction. -The accumulation of free space for pedestrians in the most profitable place as close as possible to shops, premises, etc. -Economy and order in the placement of urban furniture elements on a common base fabric. -A formal treatment of the pedestrian spaces identical to that of the surfaces containing the urban traffic in order to obtain a unit of greater size and entity-. The surface of the action is 7,500 m². The materials used are asphalt, gravel and grass in the large tree stumps. Standard urban furniture in Barcelona. Monument to the Magazine "Dau al Set" in the form of a granite rock with an embedded bronze plaque.

  32. Extension of the Picasso Museum and Annexation to Mauri and Finestres Houses

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Extension of the Picasso Museum and Annexation to Mauri and Finestres Houses

  33. Miquel Martí i Pol Secondary School

    Garcés -Sòria Arquitectes, Jordi Garcés i Brusés, Enric Sòria i Badia

    Miquel Martí i Pol Secondary School

  34. FAD Award

    Finalist. Category: Architecture
    Extension of the Picasso Museum and Annexation to Mauri and Finestres Houses

  35. Remodelling of the Picasso Museum Complex

    Jordi Garcés i Brusés

    Remodelling of the Picasso Museum Complex

  36. House at La Fosca beach

    Jordi Garcés i Brusés

    House at La Fosca beach

    La peculiar configuració de la casa respon a les condicions desfavorables del solar, que dóna al carrer en la seva dimensió més gran i al mar en la més petita. Garcés adopta un criteri compositiu format per mòduls equivalents suportats per pilastres allargades, un sistema que permet un creixement molt lliure tant en amplària com en fondària i en alçària. Així, la casa esdevé un conjunt de peces agregades que formen una infraestructura arquitectònica molt poderosa, que ha de permetre que els àmbits més propis de la vida domèstica s’hi inscriguin amb una gran versatilitat. A la banda del carrer, la casa adopta un aspecte urbà, amb una façana plana, si bé modulada i foradada irregularment. El sistema d’agregacions arriba a la vora del mar amb un gran porxo de doble alçària que marca el final de la casa. Els espais exteriors s’entenen com una part del mateix sistema, que pot acollir programes i organitzacions ben variats.

  37. Sala d'Exposicions Exposicions Temporals al Museu Nacional d'Art de Catalunya (MNAC)

    Jordi Garcés i Brusés

    Sala d'Exposicions Exposicions Temporals al Museu Nacional d'Art de Catalunya (MNAC)

  38. Mas de Roda Dwellings

    Jordi Garcés i Brusés

    Mas de Roda Dwellings

    The renovation of the industrial areas of Poblenou (Activities District 22@ Bcn) envisages its transformation into the new "Activities District 22@BCN", mainly dedicated to the industries of the new economy, information and communication technologies. In an old sugar industry, a building complex with unusual characteristics has been designed for a special, dynamic, progressive audience. A unique and quality result has been pursued. The project is based on the qualities of the original industrial building. The old ships are cut vertically with the rhythm established by the trusses of the roof structure, obtaining lofts of two or three levels. The built volumes of several floors are reused as diaphanous spaces on a single level. In the old sugar industry, currently "Ebro Agrícolas", located on the Ramon Turró - Dr. Trueta - Badajoz - Granada - Passage Mas de Roda block of houses, through which the access is made, a built complex with unusual characteristics is projected. The objective and purpose of the Urban Improvement Plan is the rehabilitation-reform for its reuse as non-conventional housing use of the upper sector of the old and traditional sugar industry, unused, formerly famous "COMPANYIA D´INDÚSTRIES AGRÍCOLES, S.A.”, and currently “Ebro Agrícolas”. The size of the complex makes us think of the possibility of carrying out a double rehabilitation-reform action in the old industry and new construction, in a second phase, in the part occupied by the sheds, but with common characteristics of layout, character and design. The operation reuses the old existing factory in the northern corner of the complex, thus contributing to preserving the industrial architectural heritage.

  39. Molins de Rei Civic Centre

    Garcés-de Seta-Bonet Arquitectes, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    Molins de Rei Civic Centre

    The project proposes to preserve the existing façades and architectural structure, as a proof of the beautiful structure of the modernist house. The main façade stands out from everything else and remains a mere shadow, a veil, a ghost of the past. Based on this decision to preserve the old building, the intervention focuses on the creation of a large central courtyard onto which the new, modern interior façades open. Only the insertion of light panels allows the spaces to be occupied while respecting all the façades and their original character. This intervention is defined in two large separate and complementary sectors: on the one hand the operation of restoration and adaptation of the historical parts, and on the other the creation of the patio and the technological glass bodies that incorporate the entire intervention new (stairs, elevators, ...).

  40. Museu per a la Fundació Francisco Godia i Hotel

    Garcés-de Seta-Bonet Arquitectes, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    Museu per a la Fundació Francisco Godia i Hotel

  41. Premis Bonaplata

    Accèssit. Category: Béns Immobles
    Mas de Roda Dwellings

  42. Annexe to the Picasso Museum

    Garcés-de Seta-Bonet Arquitectes, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    Annexe to the Picasso Museum

    An internal street, perpendicular to Montcada Street, traces the access road to the back garden and the annex building, thus reinforcing the public character of the ground floor, turning what could be a simple interior transformation into an urban operation. The new building houses the "Picasso Museum Barcelona study centre", with complementary activities that allow the Museum to be more closely connected with its surroundings. The main façade facing Sabartés Square defines a new composition plan, independent of the current Museum as a whole but with a close relationship established by proximity. A large glass protected by an overhang opens it over the city. In addition, this allows for visual continuity between the Museum's garden and the square, highlighted in a unitary manner. The other two façades, the one on Flassaders Street and the Picasso garden, are more hermetic due to the private world created inside the volume. All the shapes, the openings, of the same size as the existing ones in the Picasso Museum, allow the view and the relationship with the street and the garden. Two materials ensure the permanence of the building in its urban environment, thus adding to the complexity of its vision: the stone on the ground floor and the stucco on the upper floor.

  43. FAD Award

    Finalist. Category: Architecture
    Annexe to the Picasso Museum

  44. Studio for the Painter Arranz Bravo

    Garcés-de Seta-Bonet Arquitectes, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    Studio for the Painter Arranz Bravo

    The new building is dedicated to a single activity: creative, abstract and solitary, as the painter explained to us. This inclined us to solve the volume in a compact way with a uniform exterior – insulating layers and clear stucco in expressive continuity of walls and roof – to establish relationships of a familiar nature, without stridency with the natural environment. Within the green, the object becomes a screen on which the shadows of the trees are projected in continuous variation. The interior is a fluid and multiple concrete cavity, a direct consequence of the monolithic structural concept of the construction and the search for severe and bare spaces at the service of the artistic work carried out there. On the sloping site, with an abundance of trees, on the northern side of Tibidabo and adjacent to the house where the painter lives, the small building is composed of a painting studio, the largest and empty one possible on the upper floor and on the lower floor, the result of the meeting of the prismatic volume with the terrain, a workshop for sculpture and a warehouse. The volume of 12m x 13.5m and two floors has a total surface of 335m2. The study is a space without views and receives light from the roof with a large skylight located at the meeting of the four inclined planes, which irregularly define the space from the horizontal line crowning the walls of the 5m periphery of height. The skylight has been moved depending on the south orientation and the position in which the painter is usually placed to work. A staircase, placed discreetly on one side, so as not to break the unity of the study, leads to the lower floor in which the rear space closest to the soil retaining wall is used as a construction store and the area in front of the sculpture workshop. This opens completely from the front, with a large torn fissure of landscaped proportions, towards an outdoor work terrace and views towards the site's own greenery. The construction system used for this project was conceived in a compact way as required by the final image of it, both interior and exterior.

  45. FAD Award

    Finalist. Category: Architecture
    Studio for the Painter Arranz Bravo

  46. L9 Metro stations: Mercabarna, Parc Logístic and Europa-Fira

    Garcés-de Seta-Bonet Arquitectes, Tec4 Enginyers Consultors, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    L9 Metro stations: Mercabarna, Parc Logístic and Europa-Fira

    The joint project of the Europa-Fira, Parc Logístic and Mercabarna stations on Line 9 aims at a proposal that, with a minimum of resources, makes the most out of the conditions that are typical of an underground construction. We want a more geological space than a built one, following the classic logic that the "place", in the deepest sense of the term, is fundamental in the resolution of any architectural program. Therefore, it is proposed to use as few materials as possible, preferably taking advantage of those already present in the civil-structural work, such as screen walls, construction struts, prefabricated slabs, etc. The materials involved in the work are: the exposed concrete slabs, the apparent installations, the large frames of acoustic material attached to the slabs, the screen walls, the sheet metal coatings, the porcelain floors, industrial-artistic lighting that takes different forms: linear, punctual ..., metal railings and glass lifts, prefabricated benches, TMB's own furniture: ticket machines, tariff barriers, signposts. Another topic of the project revolves around the requirement to close the doors of the platforms with doors. This fact is integrated as a positive element for the overall composition of the proposal. The closure is complete and the project also becomes an exercise in façades, whole facades that seek an absolute mastery of the sections. In short, a space control strategy: accesses, lobbies, platforms and subway enclosures. The convoy arrives through an interior that is connected to the platforms of the public at the precise moment of being parked. Care has been taken to ensure that natural light enters the stations as far as possible. The set aspires to be timeless, not subject to fashionable figures and materials, of good aging and easy maintenance, which maintains a certain aspect of great space-emptiness even if there are many users.

  47. FAD Award

    Award-Winner / Winner. Category: Interior Design
    L9 Metro stations: Mercabarna, Parc Logístic and Europa-Fira

  48. Passatge de Mas de Roda Offices

    Garcés-de Seta-Bonet Arquitectes, Anna Bonet i Giné, Daria De Seta, Jordi Garcés i Brusés

    Passatge de Mas de Roda Offices

    The project takes place in the former sugar factory integrated in the ‘Compañía de Industrias Agrícolas S.A.’ on a site popularly known as ‘Pasaje del azúcar’. In accordance with the Special Plan we drew up in 2002, which included the entire former factory on both sides of the passage, in 2008 we converted the former industrial buildings on the north side into unconventional housing or lofts. In the meantime, an area on the south side of the passage remained unbuilt, which has been the subject of the new-build office project realised in 2019. The office project continues the urban design of the old volumes, so that the whole defines a coherent ecosystem, with its streets and buildings, a kind of more porous widening, for which a variety of volumes of different heights and floors have been built. This layout means that open and closed spaces, public or semi-public and private, old and new, coexist flexibly, like a small city within the city. With a more abstract architectural language, the new offices create continuity with the old refurbished buildings, with a similar materiality, similar shape and arrangement of the windows on the façades, thus preserving the industrial identity of the Poblenou district in a harmonious way.

Archive

  • Perspectiva del conjunt de recintes de ventilació i accés al dipòsit d'aigües.

    Drawing

    Perspectiva del conjunt de recintes de ventilació i accés al dipòsit d'aigües.

    Arxiu Històric del COAC

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