COAC

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

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.
Legitimació del tractament: El seu consentiment per tractar les seves dades personals.
Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
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

Lluís Clotet (Barcelona, ​​1941). Obté el títol d'arquitecte el 1965 per l'Escola Tècnica Superior d'Arquitectura de Barcelona. En aquesta escola ha estat professor de Dibuix des del 1977 fins el 1984, professor visitant a l'Aula PFC i professor de Projectes I i II del 1997 al 2000. El 1964 funda Studio PER amb els arquitectes Pep Bonet, Cristian Cirici i Oscar Tusquets. Amb aquest últim col·labora en múltiples projectes fins el 1983. El 1984 s'associa amb Ignacio Paricio fins el 2008. És també soci fundador de la firma BD Edicions de Disseny. Les seves obres han estat distingides amb diversos premis: Lleó d'Or al millor llibre il·lustrat a la XII Mostra Internacional de Venècia (1965); Premi FAD d'Interiorisme a la millor intervenció dels anys 1965, 1972 i 2005; Premi FAD d'Arquitectura al millor edifici dels anys 1978, 1979, 1988 i 1989; Premi Nacional de Restauració de 1980; Delta d'Or al millor disseny industrial dels anys 1974, 1979 i 1980; Premi Construmat a l'obra millor construïda dels anys 1991, 1999 i 2007; Premi Nacional d'Arquitectura, Generalitat de Catalunya, de l'any 1999; Premi Dècada 2009; Premi Nacional d'Arquitectura, Ministeri de Foment, de l'any 2010.

Works (39)

On the Map

Awarded
Cataloged
Disappeared
All works

Constellation

Chronology (59)

  1. Bar and Annexes of the Sant Raimon de Penyafort i Nostra Senyora de Montserrat Student Residence

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Bar and Annexes of the Sant Raimon de Penyafort i Nostra Senyora de Montserrat Student Residence

    It consists of a space with high ceilings, generous dimensions and it is presided over by an ordered series of pillars, beams and large windows which were fragmented and organised to allow diverse environments. The main element of the intervention was a partition of different heights that sought in its broken geometry the floor’s maximum stability. It was a kind of complex screen that contained windows, sliding curtains, sconces, washable plastic bands, corners, plinths and trims. This initial exercise already shows a way of doing things that will be present in many of the later works. Concern for comfort, care for the construction no matter how simple and the assessment of the place where it is intervened were the guides that accompanied the project on its way to reach a form, which from the beginning was wanted more as a consequence that as something determinant. From the perspective of this work, fifty years later it is easy to detect the cultural world from which it received so many fundamental influences. The admired Italian architects of the time were then dedicated to recovering aspects forgotten by the early avant-garde, to consequently expanding the vocabulary used by them, to rescuing ornamentation as an expression of the construction process, to considering the aging of things, to taking into account the environment as a priority... and all this was very interesting, and their works were just a few kilometers away.

  2. FAD Award

    Shortlisted. Category: Interior Design
    Bar and Annexes of the Sant Raimon de Penyafort i Nostra Senyora de Montserrat Student Residence

  3. Sonor Shop

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Sonor Shop

    The premises consisted of a ground floor and a basement and were part of a building with a great disorder in structure and facilities. The project, unable to take advantage of that neglected landscape, proposed the creation of a new interior space defined by a new envelope that embraced it and that ran completely independent of the rugged perimeter of the premises. The first tentative drawing consisted of a first overlay of a triangular plot on casual geometries and how it changed scale to suit what was to be hidden or surrounded. A drawing that expressed the search for a strategy that was intended to be general for that type of situation. The plot ended up being orthogonal and was applied to both the walls and the ceilings and floors. From the street, the built-up enclosure was seen from the outside protruding between the pillars of the building without touching them. Its appearance revealed the whole strategy of the operation, as if it were as interested in playing games as in explaining the trick.

  4. FAD Award

    Award-Winner / Winner. Category: Interior Design
    Sonor Shop

  5. Habitatges Gremi de Vidriers

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Habitatges Gremi de Vidriers

  6. Ibars Offices

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Ibars Offices

    The project shows great harmony, admiration and respect for the building. The new entrance gap from the street was achieved with a simple removal of the lintel that separated two overlapping windows and was underlined with a light canopy and a discreet dimly lit brass plate. The gate decreased in height to the size of the wall and was able to join the upper arch neatly. The old mahogany doors were preserved and in their new locations they tried to highlight them as elements of interest. Window grilles and carpentry were also preserved. The old moldings, sometimes cut by the new partitions, remained as a witness to previous distributions and the glass cards allowed to contemplate this game from any point of the offices. The new air ducts, free and hanging from the sky, did not conflict with all this. Nothing was thrown away; everything was taken advantage of. It was an exercise in overlaying layers with the pretense that the last one did not cover the previous one. A Pentimento, an exhibition of heterogeneous elements that reflected different moments and sensibilities. A desire to help not lose memory.

  7. Casa Aguilar

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Casa Aguilar

  8. FAD Award

    Shortlisted. Category: Interior Design
    Ibars Offices

  9. 'ÒRIM, otro' Joan Miró's Exhibition and Mural at the Architects' Association of Catalonia (COAC)

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    'ÒRIM, otro' Joan Miró's Exhibition and Mural at the Architects' Association of Catalonia (COAC)

    It was the end of 1968 when the partner architects of Studio PER (Pep Bonet, Cristian Cirici, Lluís Clotet and Oscar Tusquets), who had just turned twenty-seven, received a commission from the College of Architects of Catalonia and the Balearic Islands to write and edit a counter-exhibition at the school headquarters - which we titled Orim, otro (Miró written backwards) - of the anthological exhibition organised by Barcelona City Council in the Gothic part of the old Hospital de la Santa Creu. Despite the difficulties that the dictatorship of General Franco posed for opening up abroad, we felt very close to the events of May 1968 in Paris. Barcelona was, at that time, a more cosmopolitan city than it is now, because it is still a city in which its tourist success is diluting its personality. We keep an indelible memory of those months in which we were working on the project, advised by Joan Brossa, Alexandre Cirici, Pere Portabella, Joan Prats and Antoni Tàpies, and especially of the relationship with Joan Miró. During a dinner at the Reno, we presented our script to Joan Miró, asked him for an artistic intervention on the glass around the ground floor of the school and set a date to visit his studio in Mallorca and choose some original paintings that should be part of the exhibition. Oscar Tusquets and I went to Miró's studio. His house was pretty kitsch. A fishbowl on a kind of inner parterre was the most memorable architectural element of the living room, where we waited for him to come down from his bedroom. He apologized, saying that it was his wife Pilar’s territory, who chose his architect brother to carry out the project. He immediately led us to his studio, a building of great architectural quality and very much lived by Miró, full of his work in progress, clippings from magazines and newspapers and various objects of primitive African art. We were very impressed with the paintings he was working on. Our script proposed dividing the exhibition into two well-differentiated spaces, separated by the staircase that leads to the so-called Picasso Room and which we proposed to close laterally and above as if it were a steep tunnel. The lower space would be dedicated to Miró’s work from before the Civil War; and the space above, to post-war works. The stairwell between the two spaces would signify the dark times of the war, and a film that we commissioned to Pere Portabella would be shown. We designed the different nooks and crannies to put the paintings and objects in the exhibition, with the materials of the formwork that the construction company that we most appreciated in those days, and which has unfortunately disappeared from the market, selflessly provided us: Famadas, SA. In terms of content, although Miró, Prats and Tàpies offered us original works from their private collections, we only used the works that had the most didactic possibilities and a more contentious attitude. We were not interested in the great works; they could already be seen in the great exhibition of the Hospital de la Santa Creu. A large part of our exhibition consisted of a selection of enlarged photographs of fragments of paintings in which Miró’s symbolism was present, such as the female sex represented by genitalia or chaplains passing through the ring, as can be seen in the engravings of the Barcelona series. But our script also included asking Joan Miró to do some work on the glass that surrounds the ground floor of the headquarters of the College of Architects, in Nova Square. We imagined that, at best, he would paint his signature, but his enthusiastic response was to paint a mural in four colours and black. Each of the screenwriters was assigned a colour and he chose black, applied to the broom and to correct what we had to paint moments before. It was, in large dimensions, the same attitude that led Miró, in the last stage of his life as an artist, to paint on anonymous paintings that he bought in provincial exhibitions.

  10. Penina House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Penina House

    In most of the so-called garden cities, of that romantic idea of living in a great palace isolated from the rest of the world and surrounded by nature, only its ridiculous caricature remains: small constructions surrounded by narrow strips a few metres wide and separated from the street and the neighbours by mandatory low and recessed fences that do not offer any type of privacy. In the case we are dealing with, the plot was small and triangular, a senseless cutout born of an unfortunate plot division. The Roman house, the Arab house, resting on the boundaries of the property, closed to the outside except in the entrance hall and open to one or several inner courtyards, intimate and silent, were intelligent compact building types, economic and which also defined precise and qualified public spaces. But all the regulations prevent this proven and admired model. The proposal for this house was born from the struggle between these opposites, it was born from trying to create a comfortable building despite having to be governed by rules that forced a model of occupying the territory so irrationally. The plan ended up adopting a filamentary shape, a succession of spaces connected by a long corridor that caused a disproportionate façade in relation to the built surface, and all in order to be able to define two open courtyards towards the south, to which all the dependencies faced through generous openings. The other façades were opaque and defined two long, narrow strips. The one facing the neighbour was used to access the surface parking lot and the one facing the street was given to the town and a public bank was built in it. Admirable clients.

  11. Fullà House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Fullà House

    The special relationship between the site’s boundaries and the alignments that define the inner courtyard of the island inevitably led to the appearance of a huge dividing wall presiding over the courtyard. With the intention of softening its presence, the whole building was treated with the same material and the same construction resources as those used in the traditional partitions of Barcelona. The pretension, no doubt optimistic, was that the neighbours who lived in the houses that opened onto the courtyard would not perceive that the building turned its back on them, but would show them a façade like those facing the street. Many concerns are noted in the project at the same time: resolving access to housing through a single and generous space that provided a meeting place for residents; mixing the maximum number of types and sizes of housing to encourage the diversity of occupants; exploring the possibilities of penthouses when they are not considered simple additions to a projected building without them; giving privacy and diminishing the exaggerated surface of its terraces run through skylights that gave zenithal light to the floors inferior; radically interior kitchens and bathrooms with forced extractions...

  12. Ancla Roja Apartments

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Ancla Roja Apartments

    L'edifici evidenciava una sèrie de reflexions sobre les terrasses, un element omnipresent en l'entorn i tractat normalment amb molt poca consideració. Moltes de les decisions que sobre elles llavors es van prendre les podem veure repetides en obres posteriors. L'escassa amplada permesa per les ordenances va ser la causa que es desplacessin a les cantonades buscant en el gir uns espais més generosos. Per fer-les còmodes se les va protegir de vent, de sol i de les mirades indiscretes. La seva estructura de pilars i jàsseres de formigó va facilitar l'obertura d'uns buits generosos en les quatre cantonades de la massissa caixa d'obra de manera que es van convertir en una generosa prolongació de l'interior. La resta de les dependències ventilaven i s'il·luminaven mitjançant petites finestres obertes al mur. El tractament esglaonat de les dues plantes superiors va facilitar la relació de l'obra amb les diferents alçades dels edificis veïns.

  13. Gil Sala House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Gil Sala House

    The straight street with a constant width was defined by continuous façade planes parallel to the sidewalks. Some buildings were recessed to form open courtyards between them, but the ground floor always maintained the alignment so as not to weaken the layout of the street. The laws of formation of the strict urban void, few and clear, allowed a great freedom of sizes and languages of the architectures that embraced it, and the result of the long continuous façades took the form of enormous and complex collages. The proposal used this way of relating fragments, so present in the neighbourhood and in the city, as a mechanism for resolving the building itself. The addition was gently placed on the ground floor just as the different houses did with each other. The project did not seek to treat the building as a stylistic unit and that is why the language of novelty was sought so different from that of the preserved. The project did not modify or tidy up the old one, did not erase clues, left it intact as a witness to other stories, accepted it in the game and treated it as another component of the urban puzzle.

  14. FAD Award

    Award-Winner / Winner. Category: Interior Design
    Aerojet Express Travel Agency

  15. FAD Award

    Shortlisted. Category: Architecture
    Gil Sala House

  16. FAD Award

    Shortlisted. Category: Architecture
    Fullà House

  17. Union Lloyd Maritime Travel Agency

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Union Lloyd Maritime Travel Agency

    A long, narrow space linked the street with the block’s inner courtyard. The project intended not to lose sight of the valuable light at the end of the tunnel and to visually enlarge the width of the premises. A mirror covered the entire wall on one side and a series of cutouts allowed access to some rooms behind. Some accesses that were not hidden and that instead were used to show the game of misunderstandings that the intervention proposed.

  18. Aerojet Express Travel Agency

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Aerojet Express Travel Agency

    Aquellos bajos con una digna fachada habían acogido anteriormente una tienda de electrodomésticos decorada con falsas columnas, jácenas y arcos de yeso que escondían y ordenaban estructura e instalaciones. Una estrategia parecida a la aplicada en Sonor pero con un lenguaje distinto. Se usaron los colores blanquiazules para realzar alguno de esos elementos y dejar a otros en un segundo plano, de modo que emergió visualmente un exento y esbelto templete que se convirtió en el protagonista de la intervención. Todo el resto de la operación se organizó para que esta elección se entendiera. Unos focos hacia arriba le iluminaban como si de un monumento se tratara. Los huecos de la fachada se cuidaron de forma que desde la calle nada impidiera su visión y por ese motivo los carteles característicos de estas agencias se trasladaron a un biombo situado en el fondo de la tienda. Unos espejos verticales se colocaron a derecha e izquierda de los grandes ventanales en una posición radial que subrayaba su centralidad, al tiempo que ofrecían una llamativa visión caleidoscópica y distorsionada desde la calle. También desde el interior el movimiento de la ciudad se convertía en desconcertante. Unas luces horizontales entre los espejos se encendían y se apagaban fingiendo un movimiento de dentro afuera en clara referencia a imágenes conocidas de espectáculos y mundos en aquella época lejanos. 462.Those basements with a dignified façade had previously housed an appliance store decorated with false columns, girders, and plaster arches that hid and ordered structure and facilities. A strategy similar to the one applied in Sonor but with a different language. The colours white and blue were used to enhance some of those elements and leave others in the background, so that a free and slender temple emerged visually and became the protagonist of the intervention. The rest of the operation was organised so that this choice would be understood. Upward lights illuminated it as if it were a monument. The gaps in the façade were taken care of so that nothing could impede their view from the street, and for this reason the characteristic posters of these agencies were moved to a screen located at the back of the store. Vertical mirrors were placed to the right and left of the large windows in a radial position that emphasised their centrality, while offering a striking kaleidoscopic, distorted view from the street. Also, the movement of the city became disconcerting from the inside. Horizontal lights in the mirrors lit up and went out, feigning an inward-outward motion in clear reference to familiar images of spectacles and distant worlds at the time.

  19. Regàs House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Regàs House

    Aquell esplèndid paratge estava presidit per una petita masia en molt mal estat i situada, com gairebé sempre, en el millor lloc i orientada de la millor manera. La seva grandària impedia que pogués acollir el nou programa, però el projecte no va dubtar en conservar-la i apropiar-se d'ella, d'usar-la com a part integrant de la nova proposta i de retre-li homenatge com a testimoni del passat. La nova edificació es va desenvolupar en dues plantes molt tancades a la tramuntana i obertes a sud. La superior va col·laborar amb la masia en la definició d'un espai intermedi molt protegit i la planta inferior va seguir el mateix esquema i també va viure d'un pati il·luminat i ventilat zenitalment. Un petit apartament per al servei, situat en una posició lleugerament apartada, es va plantejar de la mateixa manera. Les façanes eren ortogonals i seguien les directrius de l'antiga construcció a la zona de definició dels patis, i eren sinuoses a la manera dels bancals dels camps veïns en les restants. Es va buscar així respectar la vella masia utilitzant geometries que no l'desdibuixessin. El tractament de l'interior va evidenciar l'admiració per les cases tradicionals japoneses que tant podien utilitzar-se com un espai únic com compartimentar a voluntat en habitacions tancades i independents. Gairebé totes les divisions eren plegables i paradoxalment aquesta llibertat va conviure amb un tractament totalment rígid del mobiliari. Llits, taules i prestatgeries, totes elles d'obra, no es podien moure ni usar-se d'una altra manera a la prevista.

  20. Georgina Belvedere

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Georgina Belvedere

    Afegir un habitatge de 60 m² a un paratge tan bonic i tan a prop de l'aïllada casa Regàs no era fàcil i difícilment podia millorar el lloc. D'haver trobat alguna antiga construcció que formés part d'aquell paisatge, que coincidís més o menys amb la mida que interessava i que fos relativament fàcil d'adaptar al nou ús, hagués estat una sort enorme perquè tot hagués quedat resolt. El projecte va arrencar quan va optar per fer realitat aquest somni: es va construir un belvedere d'estil neoclàssic popular com si d'un objecte preexistent i anònim es tractés i al mateix temps es va modificar per adequar-lo al programa requerit. Les petjades de les simulades reformes van deixar pistes a tot arreu i van ajudar a descobrir de què tractava el joc: fer veure una obra en dos temps quan en realitat tot era simultani.

  21. Puig i Cadafalch Residential Street Block

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Puig i Cadafalch Residential Street Block

    A high voltage line forced the definition of a protection zone parallel to one of the streets and displaced the built volume so that from this restriction a generous semi-public space was organised which was treated as a vestibule of the two important vertical accesses to the homes. Its proximity and openness to the street and its visual relationship with a large avenue in front of it gave it greater breadth and a better connection with the city. The project can be seen as an effort to adapt the simple model of the block to a complex plot of a Mediterranean city in which the corners are fundamental. The relationship between the components, the small gestures in the headers and some change in the width of the blocks allowed the construction to help define the surrounding streets, which were not orthogonal to each other. It was a work that continued with the concern for the generous and dignified dimensions of the common accesses, and in which the desire to offer maximum freedom in the use of the homes appeared for the first time, conceived as rectangular spaces in plan, free of any accident structural or facilities and with gaps in the façade that did not predetermine any use and allowed them all.

  22. El Colomer Apartments (Phase 1)

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    El Colomer Apartments (Phase 1)

  23. Rognoni House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Rognoni House

    A plot of difficult geometry located in a conventional garden-city. Two houses for two brothers with a separate guest area common to both. The planning had provided for an extension of the street which forced the building to be cornered in the southern corner of the plot and it determined the triangular shape of the plant which ended up practically coinciding with the only surface where it could be built. In this project the narrow strips of forced separation with the neighbours were also intended as car parking and pedestrian access to the homes, which opened towards the private garden inevitably located to the north. Patios and skylights sought the sun and southern light.

  24. FAD Award

    Award-Winner / Winner. Category: Architecture
    Rognoni House

  25. Casa Verdura

    Lluís Clotet i Ballús

    Casa Verdura

  26. Jaume Mimó i Llobet 14-16 Dwellings

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Jaume Mimó i Llobet 14-16 Dwellings

    The project collects the experience of the apartments previously designed in Carrer Mozart in Sant Cugat. Each apartment is structured around a central space that allows it to be used virtually as a single space or as a set of independent rooms. In this case, the complex is organised in two blocks that leave a central semi-public space, so that the block facing the street follows the curve of the alignment, in order to restore a certain urban dimension. In addition, the possibility of building at a higher height allows for studios on the top floor. The apartments are accessed from the ground floor, and the studios are accessed from a metal gallery. This allows you to experience the central space from all levels. On the outside of both blocks there are private gardens linked to the apartments. The studios have their own spacious terrace, which allows it to be used as a garden.

  27. La Balsa Restaurant

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    La Balsa Restaurant

    A magnificent, irrigated pond became a restaurant and the project tried not to alter it and highlight the old tank. The new access, the kitchens, the auxiliary outbuildings and a small apartment around a courtyard, were located where the water used to be. A free pavilion was built above in the manner of many beach bars, leaving some generous perimeter terraces. Its light and wooden construction was intended to be the counterpoint to the heavy, masonry construction that surrounded it.

  28. FAD Award

    Award-Winner / Winner. Category: Restoration
    BD Ediciones de Diseño Store in Thomas House

  29. FAD Award

    Award-Winner / Winner (ex aequo). Category: Architecture
    La Balsa Restaurant

  30. Mozart-Fortuny Apartments

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Mozart-Fortuny Apartments

    Neither the small size of the plot, nor its excessive slope, nor its geometry in plan, nor the number of apartments that could and therefore had to be built, made it possible to find the slightest gap in which to improve the volumetric implementation that the editor of the ordinances had decided. The project only found the freedom to paint everything a camouflage green to ensure that everything happened as unnoticed as possible in the middle of that landscape in which discreet and endearing summer towers appeared from the middle of the last century. The effort was concentrated on the interior organisation. It was decided that each apartment, even if it was only 90 m2, would be developed vertically so that everyone could enjoy direct contact with the garden. They were single-wall dwellings, an elementary construction system that the work tried to clearly explain, which were organised from a central void, covered and illuminated from above. On one side there was the staircase that gave access to a series of rooms, all of the same dimension and separated from the void by means of folding doors. The lights and cross ventilations, the game of the multiple possible compartments and the empty façades that did not want to favour predetermined uses, gave great freedom to those small interiors. The users responded with enormous imagination to what the building offered them and the different and unforeseen ways in which those 12 identical apartments were experienced would have deserved a documented study. A few years after they were inaugurated, auxiliary buildings and a community pool were built on an adjacent plot. A wall became the element that organised the extension by radically separating the world of storage rooms treated in the manner of neighbouring apartments, from the brightness and luminosity of the tiles and water. Of the orderly series of doors that led to the pool, one gave access to the changing rooms, others were false, another one was a mirror that simulated a void, and a final one communicated to the outside, to one of the apartment’s courtyards.

  31. BD Ediciones de Diseño Store in Thomas House

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    BD Ediciones de Diseño Store in Thomas House

    Thomas House’s basements were completely abandoned in early spring 1979. The façade was full of election posters and the windows were broken and full of dust. Inside, benches of machines had already been sold at the railroad; fallen railings and skylights had been completely broken or replaced by a slab of ceramic material; and there were half-demolished partitions to facilitate the filming of “The Savolta Case”. The industrial decline of Catalonia has also had its positive aspects. If the partitions, cabinets and stained glass windows in coloured leaded glass and the ceilings designed by Lluís Doménech i Montaner are still preserved, it is because the heirs of Joseph Thomas did not have enough money to replace them with “modular partitions of aluminum” and an “Armstrong” roof. In the restoration and installation works of the B.D. headquarters, on the ground floor of Thomas House, we have not mimetically repeated any broken or worn elements, we have basically cleaned it up, in the most prosaic sense of the term. We used some of the existing closet doors to close the holes in some new partitions we built to separate the warehouse from the exhibit. We changed the beginning of the staircase that connects the two floors. We have replaced an old translucent glass skylight with a new clear glass one that shows the sgraffito and stained glass in the inner courtyard. We changed the floor, which we think replaced an old skylight with a skylight like the original. We laid a carpet with our anagram as the pavement of all the areas destroyed by the benches of the machines. And to insulate ourselves from street noise and protect the stained, glass windows on the façade, we have installed a luna security that protects the outside, such as a display case, grilles and stained, glass windows. It was the detail that we cared about the most and the element that compared it to its cost that solved most problems for us. It is also the intervention that best expresses our attitude towards monuments.

  32. FAD Award

    Shortlisted. Category: Architecture
    Jaume Mimó i Llobet 14-16 Dwellings

  33. FAD Award

    Shortlisted. Category: Architecture
    Mozart-Fortuny Apartments

  34. Simon Logistics Warehouse

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Simon Logistics Warehouse

    The automated warehouse was a large container that had to support a constant and intense flow of incoming and outgoing goods. A first manipulation and control area were treated as an antechamber to the large space full of shelves between which a sophisticated there was robot that accessed any point in the space. The large unit, which was 100 m long, was covered with 46.5 m metal trusses of located at a height of 15 m. They were supported by a concrete capital, of 1.2 x 6 m in plan, which distributed its load on a hollow rectangular pillar built with 20 cm thick block. The juxtaposition of these pieces, individualised by the calligraphy of the downspouts, formed the two large walls of the lateral façades. By means of a slight change in the texture of the blocks, a three-meter-high plinth was differentiated on the walls, extending towards the entrance area, defining the loading and unloading yard for trucks, the car park of employees and also embraced a small construction dedicated to offices and services that was placed in such a way as to not interfere with accessibility to the industrial unit. The ends of any unidirectional structural option are, by their very nature, of very different characteristics to the longitudinal sections. The project chose to demonstrate this and treated the two testers as light enclosures very similar to the roof. The trick that was produced in the vertical plane by following the inclination given by the capitals was used to place two large skylights that bathed the interior floors of the unit homogeneously.

  35. FAD Award

    Award-Winner / Winner (ex aequo). Category: Buildings of new plant for private use
    Simon Logistics Warehouse

  36. Headquarters of the Bank of Spain

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Headquarters of the Bank of Spain

    Grans camions arribaven periòdicament des de la central al garatge subterrani connectat amb la caixa forta i d'allí els diners es traslladaven amb muntacàrregues a uns petits garatges a la planta superior des d'on es distribuïa amb furgonetes als diferents bancs locals. Unes petites oficines completaven un programa que generava molt poca activitat urbana i unes estrictes mesures de seguretat exigien que l'edifici estigués totalment aïllat de les edificacions veïnes. El seu emplaçament més adequat hagués estat en un descampat i al costat d'un accés d'autopista. Paradoxalment el solar escollit es trobava en una de les zones de més activitat de l'eixample gironí, formava part d'una illa en edificació tancada i just en un punt singular on el gir de la Gran Via feia que es convertís inevitablement en un important final de perspectiva en el qual destacaven una enorme mitgera i unes descuidats darreres a l'espera que l'illa completés el seu volum previst i les amagués. D'altra banda, davant el solar i a l'altre costat de la Gran Via, estava prevista l'obertura de la gran Plaça de la Constitució i conseqüentment el nou edifici tornava a ser protagonista des d'un altre punt de vista. Un parell de delicades i petites edificacions contigües acabaven de completar un paisatge heterogeni i desordenat, al qual no semblava que un edifici baix i discret li pogués donar resposta adequada. El projecte va proposar augmentar artificialment el volum estrictament necessari que el programa demandava per tal de disposar de material suficient com per manipular-lo i fer front a tots els temes urbans. Un semicilindre amb el seu eix centrat en la prolongació visual de la Gran Via acollia un sobredimensionat pati d'operacions i s'adossava pel seu pla axial a un cos prismàtic de menor altura que seguia les directrius dels carrers secundaris i contenia garatges, oficines i arxius . Una part del semicilindre continuava per sobre del prisma mentre es podia veure des de la Gran Via i una planta d'instal·lacions a la coberta ajudava a augmentar encara més el volum final. Tant la tanca desmesuradament alta i massissa que va envoltar el banc, com el petit local que casava amb els elegants edificis veïns, volien camuflar la seva condició d'edifici aïllat i mantenir les alineacions de l'illa en un intent de no interrompre la definició volumètrica dels carrers . Tota la construcció estava plantejada amb murs portants d'obra de fàbrica per les mateixes raons de durabilitat i economia en el manteniment esgrimides en altres obres construïdes en aquells anys i l'opció escollida es va posar clarament de manifest tant en la configuració dels alçats com en les traces de les plantes.

  37. FAD Award

    Award-Winner / Winner. Category: Buildings of new plant for public use
    Headquarters of the Bank of Spain

  38. Telephone Exchange and Teleport

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Telephone Exchange and Teleport

    The initial programme for this project described a building complex that was to house the facilities for the treatment and reception of satellite signals, a telephone exchange and premises for the management and sale of these services. These functions were grouped in the two main buildings: a representative building with offices and an exhibition hall with a small bar, as well as a technical building which is the teleport itself. The programme also included a security control and premises for conventional installations. Of all this, only the technical building and those of installations and control have been built. In the technical building, the importance of the network of connections and its frequent modification due to technological innovations finally led to a square floor plan completely surrounded by a perimeter corridor of access and service. To complete the effectiveness of this corridor and the flexibility of the connections, numerous vertical ducts have been placed that allow the direct passage of the installations from the ground floor to all the others, including the roof. A certain homogeneity in the premises that make up the building, the margin of the surfaces and the security with which an evolutionary programme must be treated led to solving the plan with an orthogonal plot. A circular concrete pillar is placed in each of its nodes, and the partitions are always placed within the lines of this grid. It is therefore a perfectly isotropic porticoed structure, in which the enclosures are totally subordinated to the organisation of the framework. Construction and design problems are concentrated, as always, at the edges. To support the corridor, the perimeter pillars are deformed, hinged from a certain height to support some prefabricated slabs located at the height of the false ceiling of the interior premises. The technical building is surrounded by a light enclosure made up of glass and practicable aluminum carpentry, which accompanies the perimeter corridors on the two upper floors and, through them, provides light and views to the work premises. This closure is interrupted in all corners of the building.

  39. UPF Library in the Water Tower of La Ciutadella Park

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    UPF Library in the Water Tower of La Ciutadella Park

    The deposit built by Josep Fontseré in 1874 combines the virtues of good construction, the ease of adapting to changing uses and the ability to understand and improve the place where it is located. A great example of good architecture. The building was in perfect physical condition after being used as a pavilion at the International Fair of 1888, and it later housed a hospital, a municipal warehouse, a movie set and also became an important resting place for many migratory birds. The project proposed demolishing all the interior divisions, the central part of the intermediate slab, and opening five skylights in the geometric centre of the roof that balanced the perimeter light and established a visual and kaleidoscopic relationship between the interior and the roof. For safety reasons, the large body of water that had been planned to be stored was never allowed to reach the top edge of the tank and the new proposal replaced it with a thin sheet at the top. This improved the old image of the permanently half-empty pond and solved the problem of vertical loads, seismic actions and tightness by reducing the weight and forming an intermediate security camera between the bottom of the new vessel and the old one. As for the interior, two elaborate prefabricated pieces of concrete, one as a slab and the other as a support, organised discontinuous mezzanines three metres high above the floor of the room. Treated as furniture in the huge space, they increased the area of use, contained all the voluminous facilities that the building needed and gave rise to a great diversity of reading spaces, from some very collected and homely to others with wider views and spectacular heights. With the exception of the new skylights, everything, including the new pond, was delicately superimposed on the building without injuring it. Everything could be dismantled so that the original support appeared intact again. The search for the formal expression of this strategy guided the project in all its aspects. Again, an exercise that reflects the relationship between architecture and decoration.

  40. Vila Olímpica Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Vila Olímpica Dwellings

    The building complex was part of the Urban Plan for the seafront façade of the Barcelona Olympic Village, which rigidly set the volume, type of roof, terraced portico and exposed brick. The project’s concern was focused on giving the maximum possible freedom of use to the space allocated to each flat. Flat concrete pillars embedded in the thickness of the façade, tidy installations and equal and equidistant gaps in the exterior were designed to ease future, inevitable and unpredictable changes.

  41. Restoration and Rehabilitation of the Convent dels Àngels for the FAD

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Restoration and Rehabilitation of the Convent dels Àngels for the FAD

    The Raval district was located between the second walls of La Rambla (1260) and the third and last walls of Les Rondes (1336-1387). The establishments, services and activities that were disrupting the fields, the farmhouse and the guild house coexisted there. Frustrated expectations of growth in the end of the Middle Ages left a large amount of available land that led to the installation of numerous religious buildings as a result of the rise of Catholicism that were typical at the time. The culmination of this long process that turned the Raval into a convent district can be traced between the 15th century and the confiscating action of Mendizábal in 1837. Its enumeration would be too extensive. On the area in which the study focused, few were the transformations that took place during the Enlightenment absolutism and the industrial revolution except for the opening of Joaquim Costa Street and the interesting urbanisation on the old lands of the Convent of the Carmelites built in 1875. The centre of attention of the city moved to the Eixample Cerdà and this area of the Raval district was left as a forgotten centre, with a significant presence of large buildings, many of them disused and located in a typically medieval plot that made its pedestrian and wheeled access hard. A world full of possibilities in the heart of the city and ignored by most citizens. The first Democratic City Council became interested in the neighbourhood and in July 1980 commissioned a study on the possibilities that the Convent of the Angels, the Old Chartiy House and the Old Mercy House, could offer to accommodate new uses that would give them a renewed meaning and act as locomotives for the revitalisation of this whole part of the city. The work also had to propose an arrangement of the free spaces and a proposal of accessibility that the new uses were supposed to demand. The ambiguity of the assignment was beneficial for the development of the work because the objectives of the project and the area of the study itself were specificised and evolved little by little according to its own internal logic. Gradual knowledge of pre-established factors (the patrimonial status of the City Council and the Provincial Council, the rigid and then unbreakable criteria of the General Metropolitan Plan, the list of buildings listed for their historical and artistic interest, the awareness of the origins, the growth and historical importance of the Raval, the evolution of their uses...) were first superimposed on the reforms and extensions of important buildings, their possible new destinations, the new urban emptiness that were to give them a framework, the strengthening and new creation of routes of pedestrians, wheeled accessibility, new car parks... and how to represent all that. In this way, an elongated study area was set up, which, centered on the three large groups mentioned, extended parallel to Les Ramblas, from the Liceu to the Seminary. From the very beginning the project looked at the neighbourhood from afar and understood it as a bas-relief in which a sculptor with a delicate tool would have been making subtle incisions in a compact and uniform mass. These hollows were very varied and had elongated, straight, curved, rectangular, square, regular, irregular, changed in width and length and all of them constituted an extraordinary set. The project was based on the conviction that the protagonist and the indisputable value of the Raval was the richness and variety of these extractions, much more complex and richer than those of the Eixample or those that do not exist in the peripheral suburbs. The boulevards, streets, squares, enclosed gardens, passages and galleries were related to each other, forming a very varied and complex fabric that the project wanted to understand, respect, consolidate and continue. And this richness and variety of public space reached a very high level of exceptional work of art thanks to the essential collaboration of a wise and discreet architecture whose main objective was to define and qualify the gaps it had around, forming with the city an indissoluble whole. The project began with a drawing on a large 1 x 4 m tracing paper in which the chosen area was represented and with special attention all the ground floors of the important buildings. The necessarily slow realisation of the drawing facilitated the gradual discovery of the ways used by the architects of the Liceu, the Virreina, the Romea Theatre... among many others, to manipulate the established academic models and transform them into organisms more complex to the direct service of the urban environment in which they were located. Quite the opposite of what the Tuberculosis Institute (1936) and later the MACBA (1995) represented, conceived as isolated buildings outside the city and incapable of generating a controlled and dignified public space around it. What they actually did was damage it and make countless nooks and crannies, fences, bars, eternal partitions, and shameless visions of block interiors open to streets and squares appear for the first time in the neighbourhood. The most radical and risky action of the project was the proposal to create a large square 130 m long and 52 m wide that highlighted and related the four main protagonists of the district: the old Convent of the Angels, the Old Charity House, the Old Mercy House and the magnificent Carmel urbanisation. It was imagined as an explosion of space and light which was accessed through narrow alleys, bathed by its characteristic zenithal light. A hollow without trees, with a hard pavement and containing inside the testimony of two isolated historic buildings: the Church of the Angels with its adjoining chapel and the beautiful Gothic building of the Old Orphanage. Three large car parks connected by an underground passageway turned the whole area into a comfortable pedestrian area. The first demolition work began and, according to plans, the south corner of the main square was built. Parts of the old convent were recovered and consolidated, and several heterogeneous pieces were juxtaposed, visually covering partitions, rear façades, neighbours' courtyards, avoiding corners and opening new accesses and new pedestrian paths. The most important piece of the set could not be bigger than it ended up being, in fact a very shallow screen that had to accommodate uses that were always imprecise and changing. The project tried to disguise all these circumstances and not forget that its fundamental mission was to help to tighten the large public space in front of it and at the same time give a first reference on the monumental character that was to be given to the future square. Some changes in the Metropolitan General Plan and a gradual concretion in the contents of the buildings allowed in 1987 to advance in the definition of demolition, extensions of buildings and formalisation of the urban spaces around the Old Charity House. The changes were basically two. On the one hand, due to its excessive rigidity, the idea of enlarging the building was abandoned on the basis of continuing its structure of courtyards embraced by equal and narrow crevices, and it was proposed to preserve only the beautiful Patio of Women and give more freedom to future constructions. On the other hand, the change in the rating of the plots between the Old Charity House and the houses of Tallers Street made it possible to propose a new building that would hide its rear façades and define a new public space that would house the Old Charity House with one side of the Mercy complex. Thus appeared a new series of squares of different sizes and types embraced by large buildings and always connected to each other by narrow streets. The new constructions were imagined permeable to pedestrians on the ground floor, following the examples of the Santa Creu Hospital or the Old Charity House itself, magnificent examples of how large volumes do not break the small scale of the neighbourhood and were able to allow alternative routes and offer quiet spaces of great comfort and friendliness inside. Many of these proposals were not followed.

  42. Llefià Municipal Swimming Pool

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Llefià Municipal Swimming Pool

    The site where the equipment was to be erected was a leftover cut from a neighbouring football field, and the neighbourhood was a display of heterogeneous constructions navigating disorientated in a chaos crossed by roads. The project can be considered as an exercise in manipulating an established academic model to bring some order to an unstructured environment. The building ended up being configured in a volume that can only be understood from the concern for the definition of the surrounding voids and the highlighting of the entrance to the nearby sports area.

  43. Casa Salvans

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Casa Salvans

    La casa Salvans es va construir en un magnífic hort envoltat per un mur de pedra que de vegades aguantava les terres exteriors, altres vegades les pròpies sobre les veïnes i a la zona més alta girava sobre si mateix i es convertia en un aljub. En l'únic punt on coincidien els desnivells exteriors amb el pla horitzontal interior estava situada la porta d'accés que es va conservar en el projecte. Tot el recinte havia quedat envoltat pel creixement gradual de la vila i el nou edifici volia contribuir a donar continuïtat als plans de façana de les cases entre mitgeres veïnes i que definien amb tanta precisió el buit dels carrers. Incomprensiblement les ordenances obligaven a aixecar un edifici aïllat i el projecte va pretendre superar aquesta contradicció.

  44. Interventions in La Boqueria Market

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Interventions in La Boqueria Market

    Between 1836 and 1840, construction work began on a monumental square designed by Francesc Daniel on the extensive plot of land occupied by the Convent of the Discalced Carmelites of Sant Josep since 1593, and in the area closest to Les Rambles. Molina designed a harmonious and orderly architecture that was superimposed on a strict Ionic colonnade that supported a generously sized terrace. In this dignified and unfinished square, the Boqueria Market was installed, one of the most popular temporary markets in Barcelona and which ended up being covered - for practical reasons - with a permanent metal shed, poorly attached to the surrounding buildings preventing the perception of its magnificent architecture. On the other hand, between the market and the Old Hospital of the Santa Creu, the so-called Gardunya Square was found, which was actually an open field caused by the bombings suffered during the civil war and which was used as a temporary area of loading and unloading. In 2006, the City Council showed its will to start an operation to refurbish and improve the market and its surroundings. The project was oriented towards the formation of three pieces: the square of Dr. Fleming facing Carme Street, the Canonge Colom Square facing L'Hospital Street and the large square formed by the gaps of La Gardunya and Sant Josep. Housing conceived in the manner of those proposed by Francesc Daniel Molina on the one hand and the new headquarters of the Massana School on the other were the new constructions that were proposed to define them. Once the problems of loading and unloading had been solved underground, the main character of the proposal was this huge void (166 m x 84 m), practically three times the size of the Reial Square and partly occupied by the metal shed of the market. The project wanted to emphasise its temporality, its calligraphic character, its character as a shed and its secondary character in relation to the higher order of the surrounding architecture. Following one of the first intentions outlined in the 'From the Liceu Theatre to the Seminary' project, everything possible was separated from the surrounding architecture and it was very much insisted that the Boqueria market was a shed and not a closed building; one of those light sheds with high ceilings to facilitate natural ventilation, without closed façades and with vertical blinds to protect it from the sun and rain. We did not want to lose the character of the Mediterranean market that represented the Boqueria all over the world and that related it so directly to Palermo and Istanbul. The traditional vertical protections were replaced by horizontal tinted crystals hanging from the roof, thus increasing the market's natural lighting and improving the perception of the perimeter colonnade from any point inside. The reduction in sales points implied by these operations was compensated by the proposal for an extension towards the Hospital area, treated as an extension of the old one with the added intention of balancing the very busy entrance from Les Rambles. In order not to weaken the concept of a shed treated in the manner of a pleasant thick, protective, exempt and isomorphic forest that could be accessed from any point of its perimeter, the indispensable service building was built as small as possible and at the point that would be, after the expansion, the geometric centre of the shed.

  45. Centre Fòrum Municipal Home for the Elderly

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Centre Fòrum Municipal Home for the Elderly

    It was planned to build a large office building of 34,538 m2 and a municipal home for the elderly of 12,000 m2 on the 13,818 m2 plot. The place was influenced by the traces of the Forum, the Cerdà grid, the Diagonal Avenue and the old exit road to France, and the buildings that surrounded it had very different heights and natures. The project wanted to intertwine and give continuity to all these diversities. The answer was a fragmented volume with a broken plan that looked from time to time for those vertical edges that would ensure the visual continuity of the perimeter streets and form an interior square that collected the alleys of the new neighbourhood of low-rise housing that had to be built on the neighbouring plot. Also, in terms of height, the project was attentive to what was happening around it and ranged from 100m in the area closest to the Forum esplanade to 15m when it approached the neighbouring homes. The project felt close to a certain exemplary tradition of other Barcelona towers that renounced being exempted to emerge in exchange for a built mass respectful of the heights and alignments of the nearby city, always with the aim of guaranteeing its continuity and prevent the pedestrian route from being interrupted by uncomfortable uncontrolled gaps. The tall building had a façade made up of an inner glazed leaf and another metal exterior that acted as a sun protector. These two skins were not always parallel and close, the exterior was attentive to the urban logic and the interior to that of the building itself.

  46. Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

    The town council promoted an ambitious revitalisation operation in Les Roquetes neighbourhood through the construction of new municipal offices and sheltered housing. With this material, it wanted to revitalise the activity in the area and give continuity to two different and confronting urban fabrics, one on a slope and self-built during the 60s, and another in plan and formed by a more recent extension and with a different type of real estate development that gave it a different scale. The project opted for the creation of a generous square that was defined by a continuous building that embraced it and that contained all the required program. Located on a steep slope, it sought horizontality, managed to avoid the access ramps to the underground car park that always break the ground plan, generating undefined and dark areas, and planted as many bananas as possible. The town hall building was very attentive to the many virtues of the neighbouring self-constructions, especially to their extraordinary richness in the transitions between exterior and interior, usually based on sequences with a great deal of patios, terraces, pergolas, trees or plants. All this influenced different themes and especially the way of entering, which was proposed through a half-hidden courtyard, protected by a large tree and treated as a generous hall from which any room could be accessed. From its gestures in plan so that it was seen from the two main streets that penetrated the adjacent fabrics to the treatment of its volumetry chopped in some areas or treated with more emphasis in others, its general appearance was born from the will to give maximum continuity to the two tissues and to preside over and give meaning to the square.

  47. Remodelling of the Multipurpose Events Hall of the ITEC

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Remodelling of the Multipurpose Events Hall of the ITEC

    The main goal was to adapt an old factory as a multipurpose space and meeting room for the Institute of Construction Technology of Catalonia (ITEC). The premises were defined by an orderly succession of eleven reinforced concrete porticos, each of them formed by four pillars that defined three naves that ran its entire length, from the street to the centre of the block’s interior courtyard. The intervention was conceived as a game of minimums, without camouflaging what was already there and taking advantage of and underlining everything that was considered positive, which was almost everything. The most important decision was to create a patio in which adjustable slats, which allowed the sun and light to be controlled at free will, replaced part of the old roof. Large vertical mirrors covered one of its corners, creating an artificial effect that visually quadrupled the space. To facilitate the versatility of the area intended for multipurpose uses, two flashings were made to the pillars that were the most annoying. The movable chairs and platforms could easily be arranged in various distributions following the different coloured markings painted on the wooden floor. This overlay of graphics was reminiscent of fields where various sports are practiced alternately.

  48. Diagonal Mar Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Diagonal Mar Dwellings

    The planning responded to a city model radically different from that of a Mediterranean city and the project found no loophole to change its purposes. The plan had set a buildability of 32,940 m2 to be divided between three buildings perfectly defined in their maximum occupations, their required heights and their position on the floor. The project focused on optimising habitability in such a rigid and untouchable framework. In the two towers, the maximum allowable use was taken advantage of because it facilitated the organisation of different sizes and distributions of the houses and the compositional obsession with slenderness was clearly renounced as if it were an indisputable value. Both reached the mandatory maximum height and the excess buildability that would have resulted if all the plants had been equal to the casualties was reduced and adjusted by extractions to the overall volume. Extractions that increased as they gained height and were carried out in areas facing north, in areas without sea views or on the nearest edges between buildings. In the towers and at each core of stairs and elevators a series of bands were defined that completely wrapped them in the large tower and only on three of its faces in the small one. Of these bands the nearest was the access corridor to the houses. The next one, 50 cm thick, was occupied by pillars and installations. In the widest band, 8 m thick, the houses were distributed without any fixed vertical element and with total freedom to decide sizes and distributions. It was followed by another 50 cm occupied again by installations, pillars and glazed enclosures from floor to ceiling that separated it from the terraces run by 3m of cantilever. Due to its size and the protection from the sun, wind, vacuum and other people's eyes, which were provided by sliding shutters with adjustable aluminum slats, they became another room in the house, a new element of communication between all its pieces, in a generous intermediate space between interior and exterior of a very Mediterranean tradition. And all this is thanks to sensible ordinances that did not penalise terraces with loss of buildability. In those faces that arose from the extractions carried out in the general volume and in which terraces could not be built, the same compositional elements were used as in the rest of the façades. Cantilevers, railings and shutters were also present, although with other measures and relationships so that the building did not have a front and a back. The façades of the lower building were treated with the same resources as those of the towers, seeking to confuse and perceive the three buildings as overlapping and perceived as a unique, formless and changing shape.

  49. FAD Award

    Award-Winner / Winner. Category: Interior Design
    Remodelling of the Multipurpose Events Hall of the ITEC

  50. FAD Award

    Finalist. Category: Architecture
    Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

  51. Les Roquetes Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Les Roquetes Dwellings

    The homes that completed the perimeter faced how to make use of the roofs, usually large useless surfaces that end up in absolute abandonment. Ordinances were drawn up that, without increasing the fixed buildability, increased the permitted height on one floor, so that it was possible to organise volumes in which each floor was smaller than the lower one, giving rise to the appearance of generous outdoor terraces in most homes. That lost roof was fragmented at different levels and turned into a series of useful and generous spaces not counting as built-up area. From a formal point of view, the resulting scale of the new buildings is a better match with that of the neighbouring buildings. The construction systems, materials, colours, plinths, carpentry and railings were the same both in the sheltered housing and in the Town Hall building. Only the volume and the voids that responded to the large interior spaces distinguished the houses individually.

  52. FAD Award

    Finalist. Category: Architecture
    Diagonal Mar Dwellings

  53. Alícia Foundation

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Jordi Julián Gené, Ignacio Paricio i Ansuategui

    Alícia Foundation

    El nou edifici es va situar prop de el Monestir de Sant Benet de Bages. El riu Llobregat abraçava allà, amb un gest brusc, uns magnífics camps de cereals i vinyes que van acollir l'imponent monestir romànic i després la fàbrica tèxtil Carbó. Dos monuments del passat que testimoniaven amb gran claredat i força expressiva dos moments brillants de país. El nou edifici no va voler erigir-se com un element que desdibuixés els anteriors ni els tragués protagonisme i va buscar allunyar-se de les seves concepcions arquitectòniques, constructives i geomètriques. Ja en els dibuixos inicials van aparèixer uns traços que no feien referència a tipus edificatoris coneguts, sinó més aviat insinuaven formes mal·leables, pastoses, de geometries amorfes que suggerien adaptació i camuflatge. D'aquesta manera el nou organisme va anar respectant amb facilitat antigues parets, tanques, camins, escales, plantacions ... i adaptant-se als canvis constants d'un programa inconcret que el va obligar a anar canviant de mida, ocupació i altura, arribant fins i tot a abraçar la veïna casa dels antics propietaris en una demostració permanent de la seva gran docilitat i flexibilitat. Un sòl tècnic, un cel ras generós i una planta lliure van reforçar la voluntat que pogués acollir l'imprevisible. L'edifici va pretendre que des de l'interior es visqués l'experiència d'estar en un lloc envoltat per la natura, d'estar dins d'ella, de poder veure els arbres, els ocells i la pluja des de molt a prop. Per aquest motiu el pla vertical que separava interior i exterior es va plantejar totalment vidrat. Una superfície que segons les intensitats de les llums era transparent o reflectant, de manera que de vegades el volum edificat desapareixia i en d'altres s'integrava totalment amb l'entorn en reflectir l'exterior com si d'un mirall es tractés. El control del sol, de la llum i de la intimitat es va aconseguir mitjançant una façana complexa d'un gruix variable que oscil·lava de zero a la zona d'entrada a 13m la zona més ampla. Era una banda definida pel pla vertical de vidre que tancava l'edifici per una banda i per una paret de pràcticament la mateixa altura per l'altre. Aquesta paret va aprofitar trossos d'antics murs de pedra que es van perllongar amb nous murs de formigó i en algunes zones se li van obrir grans finestrals que permetien vistes controlades cap al paisatge. Entre aquests dos plans verticals es van instal·lar umbracles horitzontals situats al mateix nivell que el cel-ras interior i es van plantar arbres per garantir la protecció solar i la qualitat de la llum. Aquesta façana gruixuda i d'amplada variable resolia amb facilitat el compromís entre la forma interior que l'edifici necessitava i la forma exterior que el lloc reclamava, i creava a més un espai intermedi tranquil i enjardinat que perllongava visualment l'espai interior i formava amb ell una unitat indissociable. Uns generosos lluernaris verticals orientats a nord equilibraven la llum en les zones de la planta més allunyades de l'perímetre.

  54. FAD Award

    Finalist. Category: Architecture
    Les Roquetes Dwellings

  55. Simon House

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Jordi Julián Gené, Ignacio Paricio i Ansuategui

    Simon House

    L'habitatge estava situat en una urbanització dels anys quaranta de segle passat i envoltada per una atmosfera general d'una qualitat poc freqüent, però amb els mateixos problemes d'arrencada que van haver de fer front la casa Penina, la casa Almirall o la casa Rognoni. A diferència del plantejat en aquells casos en què es van ignorar les obligades bandes perimetrals per cedir-les a allò públic o se'ls van adjudicar usos secundaris, aquí l'habitatge es va apoderar decididament d'elles, integrant-les a l'edificació, qualificant-los i concedint-los un paper protagonista en el resultat final de l'obra. Una tanca de fusta, de la màxima opacitat i alçada permeses per les ordenances va resseguir tot el perímetre de l'solar i també va perllongar a l'exterior les divisions de la casa. Així es van transformar aquelles bandes absurdes en una sèrie de patis, cada un d'ells associat a una dependència interior, i perquè la mútua integració fos la més completa possible es va decidir que les façanes fossin absolutament de vidre. Tots els vidres disposaven d'una cortineta i una cortina opaca enrotllables per controlar la llum a voluntat i unes generoses pèrgoles horitzontals a base de lames mòbils van garantir la protecció solar en aquelles orientacions en que era necessària. Uns lluernaris verticals a nord il·luminaven les dependències interiors. L'edificació tenia una forma prismàtica de 32,4x8m en planta i 3,5m en alçada. La llosa de la coberta es recolzava, com en el projecte contemporani de la Fundació Alícia, sobre uns perfils metàl·lics de 7x7cm col·locats en el seu perímetre cada 1,2m. Una caixa adossada de formigó a l'entrada es va encarregar d'absorbir els esforços horitzontals. Un soterrani de la mateixa mida de la casa i un generós fals sostre resolien les instal·lacions. D'aquesta manera es va aconseguir una planta totalment lliure, fàcilment modificable, en un intent de que fins i tot tractant-se d'un edifici unifamiliar, la proposta no fos una resposta tancada a un programa determinat sinó que donés totes les facilitats per acollir inimaginables activitats en el futur. Totes les divisòries interiors a l'arribar a façana disposaven d'una porta, de manera que en moments determinats tota la casa podia usar-se com un espai únic que es percebia llavors com un biombo lleuger de fusta situat dins d'un prisma de vidre al que no tocava.

  56. Simon Lighting Showroom and Offices

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Simon Lighting Showroom and Offices

  57. FAD Award

    Finalist. Category: Architecture
    Alícia Foundation

  58. FAD Award

    Finalist. Category: Architecture
    Simon House

  59. Premio Década

    Award-Winner / Winner
    UPF Library in the Water Tower of La Ciutadella Park

Archive (103)

  • Axonometria dels Habitatges Les Roquetes

    Drawing

    Axonometria dels Habitatges Les Roquetes

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Secció del Banc d'Espanya.

    Drawing

    Secció del Banc d'Espanya.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva exterior dels Habitatges Vila Olímpica

    Drawing

    Perspectiva exterior dels Habitatges Vila Olímpica

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva interior de la biblioteca a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    Drawing

    Perspectiva interior de la biblioteca a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva interior del vestíbul a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    Drawing

    Perspectiva interior del vestíbul a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Gil Sala.

    Drawing

    Perspectiva de l'interior de la Casa Gil Sala.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Gil Sala.

    Drawing

    Perspectiva de l'interior de la Casa Gil Sala.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva interior de l'estar de la Casa Regàs

    Drawing

    Perspectiva interior de l'estar de la Casa Regàs

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior del Belvedere Georgina.

    Drawing

    Perspectiva de l'exterior del Belvedere Georgina.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva interior de l'estar de la Casa Regàs

    Drawing

    Perspectiva interior de l'estar de la Casa Regàs

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior del Belvedere Georgina.

    Drawing

    Perspectiva de l'exterior del Belvedere Georgina.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva interior de l'estar de la Casa Regàs

    Drawing

    Perspectiva interior de l'estar de la Casa Regàs

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior del Belvedere Georgina.

    Drawing

    Perspectiva de l'interior del Belvedere Georgina.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de la façana de l'agència Viatges Aerojet Express.

    Drawing

    Esbós de la façana de l'agència Viatges Aerojet Express.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'agència Viatges Aerojet Express.

    Drawing

    Perspectiva de l'interior de l'agència Viatges Aerojet Express.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'agència Viatges Aerojet Express.

    Drawing

    Perspectiva de l'interior de l'agència Viatges Aerojet Express.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    Drawing

    Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    Drawing

    Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    Drawing

    Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de l'interior de l'Agència de viatges marítims Unión Lloyd.

    Drawing

    Esbós de l'interior de l'Agència de viatges marítims Unión Lloyd.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd.

    Drawing

    Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..

    Drawing

    Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..

    Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..

    Drawing

    Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..

    Arxiu Històric del COAC

  • Perspectiva de l'exterior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    Drawing

    Perspectiva de l'exterior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    Drawing

    Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    Drawing

    Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Ancla Roja.

    Drawing

    Perspectiva de l'exterior dels Apartaments Ancla Roja.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Ancla Roja.

    Drawing

    Perspectiva de l'exterior dels Apartaments Ancla Roja.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Ancla Roja.

    Drawing

    Perspectiva de l'exterior dels Apartaments Ancla Roja.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Diagrama del volum i estructura del Restaurant La Balsa.

    Drawing

    Diagrama del volum i estructura del Restaurant La Balsa.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Secció de detall del Restaurant La Balsa.

    Drawing

    Secció de detall del Restaurant La Balsa.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Planta general del Restaurant La Balsa.

    Drawing

    Planta general del Restaurant La Balsa.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Planta i secció la planta soterrani del Restaurant La Balsa.

    Drawing

    Planta i secció la planta soterrani del Restaurant La Balsa.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Secció i plànol de fusteries del Restaurant La Balsa.

    Drawing

    Secció i plànol de fusteries del Restaurant La Balsa.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Ancla Roja.

    Drawing

    Perspectiva de l'exterior dels Apartaments Ancla Roja.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Ancla Roja.

    Drawing

    Perspectiva de l'exterior dels Apartaments Ancla Roja.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Botiga Sonor.

    Drawing

    Perspectiva de l'interior de la Botiga Sonor.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Planta conceptual prèvia de la Botiga Sonor

    Drawing

    Planta conceptual prèvia de la Botiga Sonor

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Botiga Sonor.

    Drawing

    Perspectiva de l'interior de la Botiga Sonor.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Botiga Sonor.

    Drawing

    Perspectiva de l'interior de la Botiga Sonor.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de detall de la barra del Bar del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de detall de la barra del Bar del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Drawing

    Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.

    Arxiu Històric del COAC

  • Perspectiva de l'interior de la Botiga Sonor.

    Drawing

    Perspectiva de l'interior de la Botiga Sonor.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Botiga Sonor.

    Drawing

    Perspectiva de l'interior de la Botiga Sonor.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'accés de les Oficines Ibars.

    Drawing

    Perspectiva de l'accés de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de les Oficines Ibars.

    Drawing

    Perspectiva de l'interior de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de les Oficines Ibars.

    Drawing

    Perspectiva de l'interior de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'entrada de les Oficines Ibars.

    Drawing

    Perspectiva de l'entrada de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de les Oficines Ibars.

    Drawing

    Perspectiva de l'interior de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de les Oficines Ibars.

    Drawing

    Perspectiva de l'interior de les Oficines Ibars.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Rognoni.

    Drawing

    Perspectiva de l'interior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Rognoni.

    Drawing

    Perspectiva de l'interior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Rognoni.

    Drawing

    Perspectiva de l'exterior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Rognoni.

    Drawing

    Perspectiva de l'interior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Rognoni.

    Drawing

    Perspectiva de l'exterior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de la Casa Rognoni.

    Drawing

    Perspectiva de l'interior de la Casa Rognoni.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Planta d'estudi de la Casa Penina.

    Drawing

    Planta d'estudi de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de la façana posterior de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva de la façana posterior de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Perspectiva general de l'Illa de Cases Puig i Cadafalch

    Drawing

    Perspectiva general de l'Illa de Cases Puig i Cadafalch

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Perspectiva de l'accés del carrer de la Casa Penina.

    Drawing

    Perspectiva de l'accés del carrer de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Axonometria de l'interior de la Casa Penina.

    Drawing

    Axonometria de l'interior de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de la façana posterior de la Casa Penina.

    Drawing

    Perspectiva de la façana posterior de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Penina.

    Drawing

    Perspectiva de l'exterior de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Axonometria d'estudi de l'exterior de la Casa Penina.

    Drawing

    Axonometria d'estudi de l'exterior de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Alçat de l'exterior de la Casa Penina.

    Drawing

    Alçat de l'exterior de la Casa Penina.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del nucli de comunicacions de l'Illa de Cases Puig i Cadafalch.

    Drawing

    Perspectiva del nucli de comunicacions de l'Illa de Cases Puig i Cadafalch.

    Arxiu Històric del COAC

  • Perspectiva del nucli de comunicació de la Casa Fullà.

    Drawing

    Perspectiva del nucli de comunicació de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Fullà.

    Drawing

    Perspectiva de l'exterior de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Fullà.

    Drawing

    Perspectiva de l'exterior de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'accés de la Casa Fullà.

    Drawing

    Perspectiva de l'accés de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del vestíbul d'accés de la Casa Fullà.

    Drawing

    Perspectiva del vestíbul d'accés de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del vestíbul d'accés de la Casa Fullà.

    Drawing

    Perspectiva del vestíbul d'accés de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del vestíbul d'accés de la Casa Fullà.

    Drawing

    Perspectiva del vestíbul d'accés de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior de la Casa Fullà.

    Drawing

    Perspectiva de l'exterior de la Casa Fullà.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva seccionada de l'interior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva seccionada de l'interior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Axonometria del conjunt dels Apartaments Mozart-Fortuny.

    Drawing

    Axonometria del conjunt dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del conjunt dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva del conjunt dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    Drawing

    Perspectiva de l'interior dels Apartaments Mozart-Fortuny.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del conjunt dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva del conjunt dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva de l'interior dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós del conjunt dels Apartaments 'El Colomer'.

    Drawing

    Esbós del conjunt dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós de la façana dels Apartaments 'El Colomer'.

    Drawing

    Esbós de la façana dels Apartaments 'El Colomer'.

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Esbós del conjunt dels Apartaments 'El Colomer'.

    Drawing

    Esbós del conjunt dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del conjunt dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva del conjunt dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva seccionada de l'interior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva seccionada de l'interior dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva de l'exterior dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva del conjunt dels Apartaments 'El Colomer'.

    Drawing

    Perspectiva del conjunt dels Apartaments 'El Colomer'.

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

Audiovisual

  • Clotet, una arquitectura generosa

    9:52

    Clotet, una arquitectura generosa

  • Tusquets diu Clotet

    3:44

    Tusquets diu Clotet

Bibliography (61)

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