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Intro

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

credits

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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We kindly invite you to help us improve the dissemination of Catalan architecture through this space. Here you can propose works and provide or amend information on authors, photographers and their work, along with adding comments. The Documentary Commission will analyze all data. Please do only fill in the fields you deem necessary to add or amend the information.

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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Drets de les persones interessades: Accedir, rectificar i suprimir les seves dades, així com, l’exercici d’altres drets conforme a l’establert a la informació addicional.
Informació addicional: Pot consultar la informació addicional i detallada sobre protecció de dades en aquest enllaç

Memory

Argentona 1893 - Barcelona 1993. Títol d’arquitecte: 1918. Formant-se al costat d’en Josep Puig i Cadafalch, durant aquest període va conèixer l'Antoni Gaudí anant sovint a veure'l com treballava en l’obra de la Sagrada Família. Amb el temps, es va convertir en el seu deixeble i va imprimir el seu estil en la construcció de la Capella de Sant Miquel del Cros a Argentona. Després de la Guerra Civil espanyola, en Bonet va restaurar les maquetes en guix de la Sagrada Família les quals van quedar malmeses a causa d’un incendi, i va continuar amb les obres del temple juntament amb els arquitectes Isidre Puig i Boada, Francesc de P. Cardoner i Blanch i Francesc Quintana Vidal. Posteriorment, entre 1971 i 1980 va exercir com a arquitecte director de l’obra. Bonet va ser un dels representants del monumentalisme. Entre les seves obres destaca l'Institut Nacional de Previsió i Banc Vitalici, al Passeig de Gràcia amb Gran Via, a Barcelona (1949).

Source: Arxiu Històric del COAC

Works (15)

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Disappeared
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Constellation

Chronology (16)

  1. Teresa Ametller House

    Lluís Bonet i Garí, Josep Sala Comas

    Teresa Ametller House

    The Agell House, due to its proportions, takes on a stately character. The typology adopted brings us closer to the characteristic of medieval palaces, since the square plan generates a courtyard in the middle and, around it, a gallery. The arrangement, on two of the building's flanks, of two towers that protrude from the volume recalls fortified palaces. The building, with two floors, has a hip roof of flat lace tiles, and with a barbican supported by panels. The semicircular porch that gives access to the entrance is surrounded by Ionic columns that support an open terrace on the first floor. On the opposite façade there is a porch terrace, on the central gable of which there is a relief of an almond tree, emblem of the original owner's family. The arrangement of the main access; the appearance of terraces and porches where Ionic columns alternate and, in others, semicircular arches, give the building certain medieval and, at the same time, classical echoes. In the openings, the application of sgraffitos with filigree details (the work of Joan Mirambell) and on one of the sides the arrangement of a built-in bench with the back of decorated tiles (the work of Francesc Domingo) have just given the building of a nineteenth-century character. This bench is tiled with ceramic borders and floral motifs, and at the top there are three designs. In the one in the centre, an almond tree with the inscription "L'Ametler, arbre de Catalunya" appears. The side drawings show a girl with a basket of flowers and a farmer. As it was an isolated tower, it was the architect Rubió i Tudurí who designed the extensive garden structured geometrically by topiary art, and let the eleven hectares of forest that surround the property grow more spontaneously. The tower was built on an extensive rustic property very close to the old chapel of Santa Elena d'Agell, mentioned already in the 10th century, and the Mas de "Ca l'Arnó", today called "Cals Frares" (1235), which for a few years was the manor of the property. Since the 18th century, the land was owned by the family of Teresa Amatller i Cros (1873-1960), daughter of the prestigious chocolatier, who was the promoter. A first project is due to Josep Sala i Comas, but in 1918, it was Lluís Bonet i Garí who took charge of it. In 1943, Antoni Amatller gave the house to the Women's Section, which used it for a hostel. Recently, the Generalitat de Catalunya acquired the house and conditioned it to function as a hostel for colonies. The works of rebuilding roofs, restoring and consolidating façades and adding a new building were directed by the architect Agapit Borràs. Currently, the building is part of the national network of social hostels in Catalonia.

  2. Pavelló del Banc Vitalici d'Espanya

    Lluís Bonet i Garí

    Pavelló del Banc Vitalici d'Espanya

  3. Fàbrica Polydor

    Lluís Bonet i Garí

    Fàbrica Polydor

  4. Sant Miquel del Cros Chapel

    Lluís Bonet i Garí

    Sant Miquel del Cros Chapel

    The building has a single nave with a rectangular plan. The apse is oriented to the N-E, with an apsidal vault cover and a lantern of wrought iron and glass based on paraboloids and hyperboloids. The material used is rustic stone with some elements of polychrome glass and glazed tiles. The two-sided roof is made of Arabic tiles. A small, attached bell tower is crowned by mosaic, establishing a certain link with the project of the estate of Josep Puig i Cadafalch. The access, located on the side, is preceded by a porch with three arcades, the rhythm of which recalls a Florentine loggia. This chapel, which is part of the property of Can Garí del Cros (house built by the architect Josep Puig i Cadafalch), was already mentioned in 1187, but it was ruined and only a stone cross with relief, a piece of cornice and a square foot of terracotta are preserved. In 1929, Lluís Bonet i Garí designed a new church. The documentation on the hermitage is mainly due to Carreras Candi, who explains its existence through the document of 1187. The oldest location is from 1323; there is another, from 1385, in favour of Joan de Caldes due to Bernat d'Agell's renunciation of the benefit of the altar of Sant Miquel del Cros. Around 1884, the Romanesque chapel was demolished and a new one was built, according to Domènech i Estapà's project, which was demolished in 1926, after which the current one was built. From very early on, Bonet Garí collaborated with Josep Puig i Cadafalch, the author of the remodeling and restoration of Can Garí. At the same time, the admiration he felt for Antoni Gaudí also led him to use some of the solutions in this hermitage. Currently, the small chapel does not have regular worship and the Garí family gave it to the bishopric, and it depends on the parish of Sant Julià. Once inside the property, a path from the Can Garí entrance leads directly to the hermitage and has a small fence that separates it from the garden area.

  5. Can Garí Manor House

    Lluís Bonet i Garí

    Can Garí Manor House

    The Cros, Garí castle or Garí Palace of Argentona adopts the characteristics of a large, fortified house with a quadrangular attached tower and circular turrets on the flanks, with loopholes, typical of both military architectural structures and rural isolated buildings, elements that allowed a better defense in uncertain times. The farm is surrounded by a walled enclosure. An upper gallery runs along the façades below the roof line, which is covered by glazed ceramic tiles, a detail that gives an idea of the importance that applied arts had at this time. The finishes of wrought iron on the roofs of the tower and the turrets also reflect this fact, in such a way that we the main elements of the industrial age – the applied arts and the historicist theme, which is evident in the revival of the medieval world with the construction of a building – are joined together with the characteristics of a late medieval castle. Access to the house is through a porch that has a gallery or loggia above it, which presents a style close to the flamboyant Gothic style. The house is centered by a courtyard with an open staircase to the first floor. In the interior, J. Puig i Cadafalch was in charge of designing all the furniture and ornamental elements: the staircase, the handrails, the eaves, the fireplace, the lights... and even the sculptural ornamentation of the columns where, among heraldic or floral motifs, one can discover caricatures such as those of Sagasta or Romero Robledo, important figures in the politics of the moment. In 1925, the architect Lluís Bonet Garí replaced the house of the tenant farmers, which was on the ground floor, and installed new bedrooms and a room there. Within the extensive property of Can Garí in Cros d'Argentona, a large garden that completed the work of remodeling the estate that Josep Puig i Cadafalch carried out between 1898 and 1900 was designed. Nicolau M. Rubió i Tudurí was the first to intervene in the design through the combination of natural spaces with the distribution of tree areas, mainly pines, which responded to leaving a free nature next to other modeled ones. The garden designed to pass through by means of paths, stepped terraces made of exposed brick, pergolas (some recall the work he was carrying out in the Montjuïc Park, in Barcelona) and pointing out points of view open to broad perspectives. The presence of vegetation is combined with sculptures that give a more human dimension to the complex. Wooded spaces have been recreated, others with the presence of cacti and a large tin in the middle of which is the glass temple of Baccarat with the figure of Hermes in bronze or the dots of wrought iron lanterns all resume the stately character of the place. This garden with the presence of sculptures and areas with citrus trees, so characteristic of the Mediterranean and Italian villas, enters fully into the Noucentisme style. The gardening work was continued by Lluís Bonet i Garí, with whom they shared the same ideology linked to the Noucentisme period. In 1929, Lluís Bonet i Garí designed the construction of the Can Garí farmhouse, intended for agricultural work and housing. He did not want his project to be a contrast to the work done by Josep Puig i Cadafalch in Can Garí. The new building was designed to take on a certain stately character, both for the dimensions and for the careful treatment of the materials used. Therefore, you can find glazed tiles in the gable roof, a very careful work in the masonry that surrounds the openings or in the discharge arches, but at the same time it also took references from the architecture of the farmhouses. The whole set takes the volume of a farmhouse and introduces the arched gallery. You can also see the use of sgraffito in a figure of Saint Christopher that crowns one of the entrance doors intended for the machinery. There is padding in the corners, and the whole wall is plastered. A stand stands out in the corner that provides it with a character of distinction. Symmetry was not used in the composition, since each of the façades has a different treatment, as is the case with Can Garí by Josep Puig i Cadafalch. The Cros chapel was built in 1929 by the architect Lluís Bonet i Garí. If we take into account that at the end of the 19th century construction had not reached the degree of industrialisation of our time, we can appreciate the feat that Puig i Cadafalch represents in completing this work, the house of the financier Josep Garí at the Cros d'Argentona, after only nine months from the start of the works in 1899.

  6. Edifici d'Habitatges Propietat del Banc Vitalici d'Espanya

    Lluís Bonet i Garí

    Edifici d'Habitatges Propietat del Banc Vitalici d'Espanya

  7. Banys Populars de Barcelona Gràcia

    Lluís Bonet i Garí

    Banys Populars de Barcelona Gràcia

  8. Banys Populars de Barcelona Comtal

    Lluís Bonet i Garí

    Banys Populars de Barcelona Comtal

  9. Seminari Nou de Vic

    Lluís Bonet i Garí

    Seminari Nou de Vic

    Edifici religiós. Seminari de planta gairebé en forma de creu amb els braços més prims, la façana és orientada a migdia i presenta una mena d'atri format per arcuacions d'arc de mig punt a manera de porxo i coronat per un frontó triangular amb una creu al damunt. Consta de planta baixa i dos pisos, els quals són marcats horitzontalment per unes impostes, les obertures són rectangulars llevats del primer pis de la façana que són d'arc de mig punt. És cobert amb teula aràbiga a diverses vessants. Cal remarcar les torres de planta quadrada que s'eleven sobre els braços amples de l'edifici, són llanternes als ulls de l'escala, simètriques i amb arcades semicirculars al pis superior, són cobertes de forma piramidal. Està envoltat d'espais esportius i s'hi arriba a través d'un ampli espai enjardinat. L'estat de conservació és bo. Seminari que fou construït entre 1944 i 1947 amb l'església que fou inaugurada l'any 1963. Aquest seminari venia a substituir el del carrer Sant Just que havia quedat petit, és construí en l'eixample de la ciutat que es realitzà a principis de segle estenent-se cap a Santa Clara de la Vella fins al turó del Seminari. Actualment amb la minva vocació eclesiàstica el mateix edifici s'utilitzi com escola privada essent una extensió del col·legi de Sant Miquel dels Sants.

  10. Headquarters of the Banc Vitalici d'Espanya in Barcelona

    Lluís Bonet i Garí

    Headquarters of the Banc Vitalici d'Espanya in Barcelona

    It is a 21-storey building, made up of four large independent bodies. The main body is located in the chamfer and is a tower that provides the main access to the building. The structure of the building is made of reinforced concrete, which gives a sense of uniformity. The façade is decorated with Galician granite and Montjuïc stone. In elevation, it has a clear influence of the Chicago School: the openings are symmetrically distributed throughout the façade and it has a plinth along the entire ground floor, concentrating the only decoration on the main entrance. To give more solemnity, some columns of classical order were placed, and two sculptural groups and statues were added as ornamentation. As for the ground floor, there is a passage with access from Passeig de Gràcia or from Gran Via de les Corts Catalanes and connects to the performance hall, as well as giving access to the other three bodies. In the upper corner of this passage is an open interior courtyard, which provides this interior space with natural light.

  11. Seu del Banc Vitalici d'Espanya a Girona

    Lluís Bonet i Garí

    Seu del Banc Vitalici d'Espanya a Girona

    Acabada l’obra del passeig de Gràcia per a aquest mateix banc, l’autor barceloní s’encarregà d’altres edificis amb un programa i una voluntat representativa semblants. L’encaix en una planta axial segons bisectriu i la isotropia del volum en les seves tres cares fan que mantingui una relació difícil amb l’emplaçament. En tot cas, l’interès rau en la combinació de la seqüència vertical (de banc, oficines i habitatges) amb l’articulació volumètrica de la seva arquitectura i els jocs als quals es lliura per modular la massa monumentalista, a l’estil del primitiu gratacel metropolità: el monumentalisme hi deriva més del motlluratge i el joc de cornises que no pas de la forma de les obertures o de les jerarquies que s’estableixen entre elles.

  12. Edifici Social de l'Institut Nacional de Previsió

    Lluís Bonet i Garí

    Edifici Social de l'Institut Nacional de Previsió

  13. Seu del Banc Vitalici d'Espanya a Lleida

    Lluís Bonet i Garí

    Edifici Aïllat amb façana davant-darrera i de concepte pantalla per a tancar la plaça Sant Joan. Planta baixa-sòcol, planta noble, tres plantes secundàries i rematades pel tractament de l'àtic i el vol de la cornisa. Escala interior, encaixada amb formes singulars dels esglaons. Relleus escultòrics d'Enric Monjó de Barcelona. Façana del darrera secundària. Murs de càrrega i pilars interiors. Aplacats de pedra i arrebossat al darrera. Coberta de teula àrab.

  14. Seu del Banc Vitalici d'Espanya a Tarragona

    Lluís Bonet i Garí

    Seu del Banc Vitalici d'Espanya a Tarragona

    Edifici de sis plantes de línies molt simples, les façanes del qual donen a dos carrers i una plaça. Aquest element és característic no tan sols d'aquesta, sinó també del carrer de la Unió, que baixa perpendicular i des del qual s'albira. Té cavitats amb llinda plana i arcades de mig punt a la planta principal i a la més alta. Al cantó que dóna al carrer Apodaca, hi ha una torre cúbica amb rellotge. Al portal es troba, sobre una pilastra prismàtica, la reproducció d'una escultura romana, trobada durant l'excavació de l'esmentat edifici: probablement correspon a l'emperadriu Annia Galeria Faustina.

  15. Remodelling of Gibert House

    Lluís Bonet i Garí

  16. Continuation of Work on the Sagrada Familia Expiatory Temple

    Lluís Bonet i Garí, Antoni Gaudí i Cornet, Isidre Puig Boada

    Continuation of Work on the Sagrada Familia Expiatory Temple

    The architects Isidre Puig Boada and Lluis Bonet i Garí, who had regularly visited Gaudí in the last stage of his life and had worked on the development of the work under the direction of Francesc de Paula Quintana, became the successors after the death of the latter. At this stage, the architectural part of the Façade of the Passion is completed, except for the upper porch, and a large part of the documentation and models that will allow the continuation of the works is collected and studied.

Archive (23)

  • Perspectiva de l'Edifici Social de l'Institut Nacional de Previsió.

    Drawing

    Perspectiva de l'Edifici Social de l'Institut Nacional de Previsió.

    Arxiu Històric del COAC

  • Perspectiva exterior de la Seu del Banc Vitalici d'Espanya a Tarragona.

    Drawing

    Perspectiva exterior de la Seu del Banc Vitalici d'Espanya a Tarragona.

    Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva exterior de l'Edifici d'Habitatges Propietat del Banc Vitalici d'Espanya.

    Drawing

    Perspectiva exterior de l'Edifici d'Habitatges Propietat del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós d'alçat de la Masoveria de Can Garí.

    Drawing

    Esbós d'alçat de la Masoveria de Can Garí.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva Masoveria de Can Garí.

    Drawing

    Perspectiva Masoveria de Can Garí.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva exterior del Seminari Nou de Vic.

    Drawing

    Perspectiva exterior del Seminari Nou de Vic.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Diagrama d'usos del Seminari Nou de Vic.

    Graphic Material

    Diagrama d'usos del Seminari Nou de Vic.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva exterior del Seminari Nou de Vic.

    Drawing

    Perspectiva exterior del Seminari Nou de Vic.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Axonometria en Color del Vestíbul d'Accés a la Seu del Banc Vitalici d'Espanya a Barcelona.

    Drawing

    Axonometria en Color del Vestíbul d'Accés a la Seu del Banc Vitalici d'Espanya a Barcelona.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Axonometria del Vestíbul d'Accés a la Seu del Banc Vitalici d'Espanya a Barcelona.

    Drawing

    Axonometria del Vestíbul d'Accés a la Seu del Banc Vitalici d'Espanya a Barcelona.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva de la Galeria Condal, als baixos de la Seu del Banc Vitalici d'Espanya a Barcelona.

    Drawing

    Perspectiva de la Galeria Condal, als baixos de la Seu del Banc Vitalici d'Espanya a Barcelona.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Perspectiva de la Seu del Banc Vitalici d'Espanya a Barcelona.

    Drawing

    Perspectiva de la Seu del Banc Vitalici d'Espanya a Barcelona.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Alçat del Pavelló del Banc Vitalici d'Espanya.

    Drawing

    Alçat del Pavelló del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbossos diversos del Pavelló del Banc Vitalici d'Espanya.

    Drawing

    Esbossos diversos del Pavelló del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Alçat del Pavelló del Banc Vitalici d'Espanya.

    Drawing

    Alçat del Pavelló del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Reproducció de gravat del Pavelló del Banc Vitalici d'Espanya.

    Graphic Material

    Reproducció de gravat del Pavelló del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Alçat del Pavelló del Banc Vitalici d'Espanya.

    Drawing

    Alçat del Pavelló del Banc Vitalici d'Espanya.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós de volta de la Capella de Sant Miquel del Cros.

    Drawing

    Esbós de volta de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós de planta i secció de la Capella de Sant Miquel del Cros.

    Drawing

    Esbós de planta i secció de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós de planta, alçat i secció de la Capella de Sant Miquel del Cros.

    Drawing

    Esbós de planta, alçat i secció de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós de planta de la Capella de Sant Miquel del Cros.

    Drawing

    Esbós de planta de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Esbós d'alçat de l'altar de la Capella de Sant Miquel del Cros.

    Drawing

    Esbós d'alçat de l'altar de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

  • Estàtica gràfica de l'arc de la Capella de Sant Miquel del Cros.

    Drawing

    Estàtica gràfica de l'arc de la Capella de Sant Miquel del Cros.

    © Fons Lluís Bonet i Garí / Arxiu Històric del COAC

Bibliography (25)

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