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About

In this first stage, the catalogue focuses on the modern and contemporary architecture designed and built between 1832 –year of construction of the first industrial chimney in Barcelona that we establish as the beginning of modernity– until today.

The project is born to make the architecture more accessible both to professionals and to the citizens through a website that is going to be updated and extended. Contemporary works of greater general interest will be incorporated, always with a necessary historical perspective, while gradually adding works from our past, with the ambitious objective of understanding a greater documented period.

The collection feeds from multiple sources, mainly from the generosity of architectural and photographic studios, as well as the large amount of excellent historical and reference editorial projects, such as architectural guides, magazines, monographs and other publications. It also takes into consideration all the reference sources from the various branches and associated entities with the COAC and other collaborating entities related to the architectural and design fields, in its maximum spectrum.

Special mention should be made of the incorporation of vast documentation from the COAC Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.

The rigour and criteria for selection of the works has been stablished by a Documental Commission, formed by the COAC’s Culture Spokesperson, the director of the COAC Historical Archive, the directors of the COAC Digital Archive, and professionals and other external experts from all the territorial sections that look after to offer a transversal view of the current and past architectural landscape around the territory.

The determination of this project is to become the largest digital collection about Catalan architecture; a key tool of exemplar information and documentation about architecture, which turns into a local and international referent, for the way to explain and show the architectural heritage of a territory.

Aureli Mora i Omar Ornaque
Directors arquitecturacatalana.cat

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About us

Project by:

Created by:

Directors:

2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 Ramon Faura Carolina B. Garcia Eduard Callís Francesc Rafat Pau Albert Antoni López Daufí Joan Falgueras Mercè Bosch Jaume Farreny Anton Pàmies Juan Manuel Zaguirre Josep Ferrando Fernando Marzá Moisés Puente Aureli Mora Omar Ornaque

Collaborators:

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

External Collaborators:

2019-2024 Helena Cepeda Inès Martinel

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació Mies van der Rohe

 

Fundación DOCOMOMO Ibérico

 

Basílica de la Sagrada Família

 

Museu del Disseny de Barcelona

 

Fomento

 

AMB

 

EINA Centre Universitari de Disseny i Art de Barcelona

 

IEFC

 

Fundació Domènench Montaner.

Design & Development:

edittio Nubilum
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The Arxiu Històric del Col·legi d'Arquitectes de Catalunya is one of the most important documentation centers in Europe, which houses the professional collections of more than 180 architects whose work is fundamental to understanding the history of Catalan architecture. By filling this form, you can request digital copies of the documents for which the Arxiu Històric del Col·legi d'Arquitectes de Catalunya manages the exploitation of the author's rights, as well as those in the public domain. Once the application has been made, the Arxiu Històric del Col·legi d'Arquitectes de Catalunya will send you an approximate budget, which varies in terms of each use and purpose.

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Memory

Barcelona, 30/12/1849 - 27/12/1923. Títol d'arquitecte: 1873. El juny de 1870 obtingué la llicenciatura en Ciències Exactes per la Universitat de Barcelona , i el 1873 acabà la carrera d’arquitecte a la Reial Acadèmia de San Fernando a Madrid amb la qualificació d’excel·lent. Més endavant va ocupar una càtedra a l’Escola Superior d’Arquitectura de Barcelona. Cal destacar les seves facetes com a arquitecte, polític i historiador. De jove va ser membre de la Jove Catalunya i del Centre Català i, l’any 1887, va ingressar a la Lliga de Catalunya de la qual fou president el 1888. Posteriorment, ingressà al Centre Nacional Català (1899) i més tard, a la Lliga Regionalista (1901). Com a periodista col·laborà a diverses publicacions com “La Renaixença”, “Lo Catalanista”, “Revista de Catalunya” i “La Veu de Catalunya”. Més endavant va fundar “El Poble Català”. El 1901 fou un dels diputats triomfadors de la candidatura anomenada “dels quatre presidents”, i resultà reelegit el 1903, però el 1904 , desencantat, abandonà la política per dedicar-se a la investigació arqueològica i a la història. Amb motiu de l’Exposició Universal de Barcelona 1888, va tenir l’oportunitat de construir les primeres obres que el farien popular com ara el Gran Hotel Internacional (alçat per la dita exposició), o el restaurant del Parc de la Ciutadella (anomenat Castell dels Tres Dragons i actual Museu de Zoologia). També construí d'altres edificis monumentals, en un estil molt personal i innovador, fets de maó, ferro forjat i decorats amb ceràmica envernissada policroma, amb abundor de temes florals. El conjunt de la seva obra arquitectònica fa de Domènech i Montaner una de les màximes figures del modernisme mundial. Les seves construccions més emblemàtiques són l’Hospital de Sant Pau i el Palau de la Música Catalana.

Source: Arxiu Històric del COAC

Works (33)

On the Map

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Cataloged
Disappeared
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Constellation

Chronology (41)

  1. Refurbishment of the Liceu Confectioner's Shop

    Lluís Domènech i Montaner

    Refurbishment of the Liceu Confectioner's Shop

    Since 1852, the existence of the Gran Confiteria del Liceu on the ground floor of the theatre, where the Cercle del Liceu is located today, has been documented. In the 1970s, the property passed to Albert Martorell, who commissioned Domènech i Montaner to refurbish it in order to install a shop window with decoration in keeping with the taste of the time and an awning. This is the first documented work by Domènech in Barcelona, without his partner Josep Vilaseca. Sketches are preserved in Domènech i Montaner's archive, as well as the application file for the work at the town hall, but it has not been possible to determine whether it was ever completed in its entirety. The decoration was a wooden scenography added on top of the existing facing. It probably also had glass and ceramic decorations. The ornamentation consisted of floral motifs and geometric shapes of Mudéjar inspiration. The confectionery closed in 1883.

  2. Montaner i Simón Publishers

    Lluís Domènech i Montaner

    Montaner i Simón Publishers

    The building applies the procedures of industrial architecture to a project with a high degree of fragmentation. The outbuildings of the workshops are located on a semi-underground floor that reaches the bottom of the site. The entrance is highlighted by an octagonal dome that provides overhead light and connects it visually to the office loft. The second section is for the file, set in a U-shape around a central skylight. The complex is made up of a structure of cast iron pillars and beams arranged in well-differentiated sectors, and a brick factory façade with six large, glazed openings. The design of the façade adopts the filigree motifs typical of Islamic architecture, one of the main references of the time. The arrangement of the openings generates numerous visuals in a vertical direction and creates light and space effects that anticipate the interests of modern architecture.

  3. Canetenc Athenaeum

    Lluís Domènech i Montaner

    Canetenc Athenaeum

    In 1883, the Ateneu de Canet de Mar society was founded, a social organisation with Catalanist roots. Domènech i Montaner was commissioned to design its headquarters on the most central corner of the town, between La Riera and Carrer Ample. Domènech made use of part of the buildings that occupied the site he had acquired, and erected a building with a ground floor and a first floor, joining it to the main theatre next door. It had a meeting room, a reading room and library, a meeting room, a billiard room and a triple room. A continuous balcony reaches the corner, where a tower that starts from the first floor makes it turn towards the façade of the wide street, which is where the entrance was, giving continuity to the two façades. The façade facing the stream has a clear symmetrical composition with a central body topped with a pediment and a large rose window. The continuous balcony takes on a double flight at this point, supported on metal corbels inspired by the style of Violet-le-Duc. The façades are finished with decorative stucco work by the prestigious Barcelona firm Saumell i Vilaró. The decorative motifs are mythological allegories, largely taken from Verdaguer's Atlantis. There is also a rich decoration of wrought iron and cut iron plate by the locksmiths Pujadas de Canet. In 1923, the building housed the Ateneo Obrero (Workers' Athenaeum) and during Franco's regime, the Education and Rest trade union work. In 1985 the building was acquired by Canet Town Council. The interior was completely modified over the years and only the façades remain. Since 1999 it has been the Gual Pujades library of Canet de Mar.

  4. Casa de la Ciutat: Barcelona City Council. Restorations for the Universal Exhibition of 1888

    Lluís Domènech i Montaner

    Casa de la Ciutat: Barcelona City Council. Restorations for the Universal Exhibition of 1888

    In 1887, the Barcelona City Council called a tender to renovate the Casa de la Ciutat as a residence for the royal family during the Universal Exhibition of 1888. Domènech i Montaner carried it out. The Casa de la Ciutat building, of medieval origin, had arrived at the beginning of the 19th century in a deplorable state of repair. Various restoration and extension works carried out around 1820 had improved it somewhat. But the royal family had to be housed. At first the competition was declared void, and Mayor Rius i Taulet entrusted the project to Antoni Gaudí. He even presented some plans, but the Government Commission urgently commissioned Domènech i Montaner to design the project, and his went ahead. His proposal was not carried out in its entirety, and in many cases it was simplified to speed up construction, which took little more than two months. Domènech's contributions were of a constructive and distributive nature, and the restoration and reinterpretation of the interior decoration. A new monumental staircase was built to dignify access to the first floor and the space between the courtyard and the Saló de Cent was redistributed. The mayor's office and other municipal offices were relocated to accommodate the royal family. Domènech also recovered the old Gothic access gallery to the hall by demolishing all the partitions that covered the arcades and recovering the geometry of the buttresses, which had been heavily modified and had caused serious structural damage. The medieval polychromy of the coffered ceiling was recovered, windows were uncovered and new stained glass windows were installed, cabinetwork, upholstery and flooring work were carried out and skylights were created to provide natural lighting and electric lamps. Once the royal visit was over, Domènech asked for the decorative works and structural reinforcement to be completed, but they were not carried out. The modifications that were made to these spaces over the years made a large part of Domènech's work disappear.

  5. Gran Hotel Internacional

    Lluís Domènech i Montaner

    Gran Hotel Internacional

    In order to provide enough hotel accommodation for the Universal Exhibition of 1888, Barcelona City Council called a competition to build a large, temporary hotel, which was awarded to the developer Ricard Valentí, with a design by Domènech i Montaner. The Hotel Internacional did not present any great aesthetic innovations, but it aroused much admiration for the speed of execution: 53 days to finish the structure and a total of 83 days to have the building completed. Domènech devised a serial construction in order to meet the established deadlines. The building had a rectangular ground plan, measuring 150 m by 35 m, with a central symmetrical axis and projecting bodies at both ends and in the central part. It had five storeys in the elongated bodies and six in the central body and in the towers. It had a lift, access doors for pedestrians and cars, café, restaurant, shirt and glove shop, tobacconist's shop, telegraph, courtyard of honour and large skylights that illuminated the corridors. It could serve 2,000 guests, with 600 rooms and 30 flats for families. In order to build on such unstable ground as the embankment formed by the demolition of the wall by the sea, where conventional foundations would have been very costly and slow to lay, an ingenious system was used. It consisted of a grid of metal beams (which were actually rented train rails that could be recovered once the building had been demolished after the exhibition) on which inverted flat brick vaults rested, creating a continuous foundation slab. All the walls were made of brick masonry, with the spaces sized according to the size of the garment to minimise cuts in the ceramics. To speed up construction, work was carried out 24 hours a day, with the workers working in shifts and divided into specialisations. During the night shift, electric lighting was used, which aroused admiration at the time. A modern work structure in which Bonaventura Pollés i Vivó and the recently qualified Josep Forteza i Ubach acted as assistant architects. The work included decorative stucco work based on drawings by Alexandre de Riquer, Joan Llimona and Dionís Baixeras, ornamental mouldings, wallpapering of the interiors... The painting was done by the Bassegoda company, and the decoration by Saumell i Vilaró. The decorative ensemble aimed to achieve the difficult synthesis of a national and modern architecture, as Domènech had determined in his article ‘In search of a national architecture’. There are clear medieval references, but it also retains some academic touches and, at the same time, an Art Nouveau air. Once the exhibition was over, despite the promoter's requests to preserve it, the building was demolished.

  6. Café-Restaurant of the 1888 International Exhibition

    Lluís Domènech i Montaner

    Café-Restaurant of the 1888 International Exhibition

    The building highlights new architectural values as part of the first Universal Exhibition. It consists of a large dining room and a cafe on the ground floor, a rectangular box with folded façades, so that the exterior image of the building is modeled independently of the interior requirements. The four corners are highlighted by four towers with different crowns. The structure responds to a rigorous application of the brick and iron factory, protagonists of the new architecture. The relationship between the ornamentation and the structure is also clearly resolved: the battlements of the outer wall surround the building accompanied by glazed ceramic shields with airtight inscriptions. This is the first building-manifesto of modernism, which shows some guidelines that later other architects will apply to more complex programs.

  7. Roura House

    Lluís Domènech i Montaner

    Roura House

    Jacint Capmany and his wife Francesca Roura, Lluís Domènech's brothers-in-law, commissioned the architect to build a summer house in 1889, which was finally built in 1891. The building has a rectangular ground plan and a gabled roof, with exposed brick façades and a circular corner tower crowned with a conical dome covered with ceramic scales. This tower, which makes the façade turn and is reinforced by a continuous balcony-terrace, had already been used in the Ateneu de Canet and would be a common solution in other projects by Domènech. It has a ground floor and first floor, but the central part houses a large double-height living room covered with an impressive wooden truss in the manner of an inverted naval construction. The rest of the building's horizontal structure, other floors and balconies, are made of metal. An extensive programme of applied arts decorates the entire interior and exterior of the house: glazed ceramics, mosaic flooring, woodwork, wrought ironwork, stone sculpture, etc. The ceramics are the work of Josep Ros and Pau Pujol. The ornamental references to the medieval world are continuous, and for example the front and back façades are resolved with a stepped gable with medieval central European reminiscences. It is currently a restaurant.

  8. Montaner Palace

    Josep Domènech Estapà, Lluís Domènech i Montaner, Antoni Maria Gallissà Soqué

    Montaner Palace

    The Palau Montaner, by the publisher Ramon Montaner, was begun in 1889 under the direction and design of Josep Domènech i Estapà. But due to disagreements with the owner, he ended up entrusting it to his nephew Lluís Domènech i Montaner. Domènech i Montaner did not alter the architectural structure of Domènech Estapà's palace-villa, which was already built on the ground floor and first floor, but he did decide to change the planned decoration of the façades and the interior. As can be seen in the photographs and plans of the Domènech legacy, one of the interventions on the exterior consisted of introducing a powerful eaves on the roof and a richly decorated ceramic frieze on the upper part. The decorative frieze had ornamental stone elements and ornamental elements of glazed ceramic and metallic reflections with floral and heraldic motifs and references to printing. Inside, he designed a majestic vestibule with an imperial staircase covered with a spectacular stained-glass skylight that floods the space with natural light. The entire palace is decorated with mosaics, sculptures, stained glass, upholstery and drapery and woodwork made in collaboration with Eusebi Arnau, Antoni Rigalt and Gaspar Homar, among others. He also had the help of his collaborator and friend Gallissà. It is currently the headquarters of the Government Delegation in Catalonia.

  9. Eduard Agustí Saladrigas House

    Lluís Domènech i Montaner

    Eduard Agustí Saladrigas House

    The Agustí Monjonell family commissioned Domènech to build a summer house in Badalona in 1893. Eduard Agustí was a civil engineer and head of the ‘Sociedad Material para Ferrocarriles y Construcciones’, the metallurgy company with which Domènech worked regularly. The family must have outgrown the building, because in 1898 they bought the plot next door and again commissioned Domènech to enlarge the house. The building began with a rectangular floor plan 14 metres deep by 8 metres on the façade, which, with the extension, became 14 metres long, with a ground floor and basement. A tower crowns the corner, giving continuity to the two main façades. Domènech designed a single-storey building of exposed brick, topped with a stuccoed band finished with battlements and a wrought-iron railing with plant motifs. In the extension, Domènech maintained the layout and decoration used in the building in 1893 and finished off the corner of the new construction with a circular balcony of exposed brickwork. Inside, he also maintained the existing structure and added a spectacular skylight, in the manner of a courtyard of lights, which joined the two areas. In the 1950s (1950) it housed the Albéniz Institute of Badalona (secondary school) and in the summer there were courses to entertain the youngest children. In the 1990s it housed a motorbike shop. Nowadays there is a café/restaurant.

  10. Duran i España Pharmacy

    Lluís Domènech i Montaner

    Duran i España Pharmacy

    In 1897 the chemist Joan Duran i España, a militant Catalan nationalist, commissioned Domènech to renovate the interior of his pharmacy in Barcelona. Domènech designed a set of cedar shelves surrounding the establishment, decorated with mythological, floral and zoomorphic elements. The upper frieze was polychromed with representations of medicinal flowers, and the lamps in the shop had images of snakes. The wooden counter in the office marked the entrance to the laboratory through an opening framed by a neo-Arabic lattice. The floor was a checkerboard of black and white marble. It is still used today as a pharmacy.

  11. Thomas House

    Lluís Domènech i Montaner

    Thomas House

    Thomas House is a work of the modernist architect Lluís Doménech i Montaner built between 1895 and 1898. It was originally a three-storey building. In the first two floors, an engraving workshop had been installed, and on the upper floor, the house of its owner. The façade of the plants dedicated to the workshop has the form of a large, lowered arch with a continuous stained-glass window protected by a grid of floral stylisations. The original façade of the house had an Ionic colonnade. On the roof there were two very imaginative bodies, one glazed and crowned with an iron crest and the other with a pinnacle supporting a large wrought iron sign.

  12. Ampliació de la Casa Eduard Agustí Saladrigas

    Lluís Domènech i Montaner

    Ampliació de la Casa Eduard Agustí Saladrigas

  13. Francesc Farreras House

    Lluís Domènech i Montaner, Antoni Millàs i Figuerola

    Francesc Farreras House

    In 1899, a building for rented housing was commissioned by Francisco Farreras in Carrer Mallorca, opposite the Thomas house. Although Domènech signed the plans, for some unknown reason, the work is attributed to Antoni Millàs. It is currently used as a residential building.

  14. Decoration of the Casa del Ardiaca for the Lawyers' Association

    Lluís Domènech i Montaner

    In 1896, Domènech made some alterations to the Casa de l'Ardiaca, as the headquarters of the the Lawyers’ Association of Barcelona. He adapted the staircase leading to the Renaissance door and refurbished some of the rooms, designing the furniture. In 1902 he intervened again. The best known intervention is the marble letterbox at the entrance, the work of Alfons Juyol commissioned by Domènech himself, with several allegories: ivy leaves/bureaucracy, swallows in flight/the swiftness that justice should have, tortoise/the real slowness that justice has, and the coat of arms of the Lawyers’ Association. The Casa de l’Ardiaca is a 12th century building built on the Roman walls, which in the Gothic period was a palace and incorporated Renaissance elements. In 1870, a major refurbishment designed by the architect Josep Garriga annexed it to the Dean's house and built the current courtyard. Domènech intervened on this building renovated by Garriga to decorate the assembly hall and other rooms. He also intervened by placing the wrought-iron luminaires in the courtyard (which no longer exist). The intervention that is documented in the building permit, with his signature, is the adaptation of the access through some steps at the entrance door. In 1922 it was remodelled by Josep Goday to house the Museum of the History of Barcelona, and in 1990 it was remodelled again by the B01 team and now houses the Historical Archive of the City of Barcelona. Very few elements of Domènech's renovation work remain.

  15. Lamadrid House

    Lluís Domènech i Montaner

    Lamadrid House

    In 1902, Domènech was commissioned by the businessman Vicenç Bofill i Cases to build a residential building on Carrer Girona, but before the work was finished he sold it to Eduard Santos de Lamadrid i Ribalta, a Cuban businessman, after whom it was named. The building consists of a ground floor and five upper floors. The interior has a symmetrical layout with two flats per floor and two central courtyards to illuminate all the rooms. The façade is highly ornamented, with a stuccoed, sgraffito-embellished façade with plant motifs and inlaid square lustre-painted ceramic pieces. The balconies are framed by stone pilasters supporting corbels, and the stone balcony slabs are decorated with sculpted stone with vegetal motifs. The main floor has semi-circular balconies with openwork stone railings with floral motifs. The balcony railings are made of cast iron, the frames, the balcony slabs and their corbels are made of stone. It is currently used as a dwelling.

  16. Interior refurbishment of Fonda Espanya

    Lluís Domènech i Montaner

    Interior refurbishment of Fonda Espanya

    In 1900, Miquel Salvadó, owner of the Fonda Espanya, commissioned Domènech to renovate his establishment in Barcelona's Raval district. Salvadó wanted to extend and modernise the establishment, which had been in use since 1859, to bring it up to the level of the new restaurants that were being created at the end of the century. The work consisted of refurbishing the dining rooms and foyer of the inn, which opened in 1900, renovating the staircase and installing a lift, adapting the waiting room, the guest dining room, the music room and the living soom and the reading room, which were completed in 1903. Although at first it was only a question of changing the interior decoration, Domènech ended up carrying out a complete refurbishment of the ground floor, rearranging the spaces and removing walls, bringing in natural light. The walls separating the various rooms were replaced by large metal beams supported by pilasters with decorated capitals, and a large glass skylight was built. All the interiors were lavishly ornamented, with great decorative creativity, which was adapted to each space. Particularly remarkable are the sgraffito mermaids by Ramon Casas in the guest dining room. In 1903 all the work was completed and a year later it was awarded the prize for the best commercial establishment in the competition organised by Barcelona City Council. Over the years it has changed owners, and although it has undergone some modifications, a large part of Domènech's work has been maintained, always maintaining its original use.

  17. Concurs Anual d'Edificis i Establiments Urbans

    Award-Winner / Winner. Category: Interiorisme - Decoració
    Interior refurbishment of Fonda Espanya

  18. Refurbishment of the Can Rocosa Country House

    Lluís Domènech i Montaner

    Refurbishment of the Can Rocosa Country House

    Domènech spent the summers with his family at Can Rocosa in Canet de Mar. In order to enlarge the space, they had bought the two houses next door that chamfered Riera de la Gavarra and Riera dels Buscarons and unified their courtyards into a single courtyard. The old country house was used as an architectural studio and personal refuge. He kept the Baroque elements of the building, such as the sgraffito on the façade, the courtiers, the peephole in the staircase and the stone lintels, but at the same time he incorporated numerous decorative elements from his works, sometimes plaster models of the sculptures or ceramic samples. The large room on the first floor still has its drawing table and library shelves. It is now part of the Casa Museu Lluís Domènech i Montaner Canet de Mar.

  19. Lleó Morera House

    Lluís Domènech i Montaner

    Lleó Morera House

    Domènech i Montaner’s original project included the refurbishment of a façade, but it ended up being a new building. This is the type of modernist house intended to house the owners on the main floor and leave two or three flats for rent. Domènech puts all his emphasis on breaking the repetitiveness of the vertical orders through the work of the stone, which in its variety is decisive in defining the enormously profuse aspect of the house. The architect emphasises the corner and gives a balanced character to the side façades, which are not the same width. Although it gives an aulic treatment to the main floor, the treatment of the two upper floors - with the large circular windows and the split balcony - denotes a desire to dignify the entire façade. The Lleó Morera House exemplifies the modernist ideal of the house at the time destined for rent that is shown in the city with a unique image.

  20. Refurbishment for the headquarters of the Centre Excursionista de Catalunya

    Lluís Domènech i Montaner

    Refurbishment for the headquarters of the Centre Excursionista de Catalunya

    Barcelona's Roman temple dedicated to Augustus was located at the top of Mount Taber, and part of its remains were embedded in medieval constructions. In 1903 Domènech renovated the building as the headquarters of the Centre Excursionista de Catalunya. Despite several studies of the temple, many elements were lost in the rubble of the old houses at the end of the 19th century. In 1879, an entire column was saved and displayed in the Plaça del Rei. Three other columns were found inside the medieval building that housed the old cathedral canons' manor house, embedded between several slabs. This building was rented in 1878 by the Associació Catalana d'Excursions Científiques (Catalan Association of Scientific Excursions), now known as the Centre Excursionista de Catalunya. In 1902, the publisher Ramon de Montaner, Lluís Domènech's uncle, bought the entire building. His initial intention was to take the columns and integrate them into the Castle of Santa Florentina. But they finally changed his mind, and he commissioned his nephew to refurbish the building as the headquarters of the Centre Excursionista de Catalunya. The intervention consisted mainly of remodelling the interior of the building to leave the Roman columns exposed, fully visible in an interior courtyard protected by a skylight. A new staircase was built to access the main floor and a gallery to connect the two sides of the courtyard, reinterpreting the Gothic style. The opening of large windows and the replacement of the stone railings with light metallic elements was done with the aim of giving greater visibility to the columns from inside the rooms. Domènech left the space prepared for the fourth column found, which was on display in the Plaça del Rei, but bureaucracy did not allow it to be repositioned. Finally, in 1956, when Barcelona City Council had already bought the building, it was moved. It is still the headquarters of the CEC today.

  21. Concurs Anual d'Edificis i Establiments Urbans

    Award-Winner / Winner. Category: Arquitectura - Millor Edifici Artístic
    Lleó Morera House

  22. Navàs House

    Lluís Domènech i Montaner

    Navàs House

    La casa respon a l’encàrrec de Joaquim Navàs, un important comerciant de teixits que també fou soci fundador de la societat promotora de l’Institut Pere Mata. Navàs volia un edifici ben representatiu per instal·lar-hi el seu negoci i l’habitatge propi. La casa es troba enfrontada a una plaça i fa cantonada amb un carreró estret, la qual cosa porta Domènech a jugar amb la solució de la cantonada. La planta baixa estableix una continuïtat amb les porxades de la plaça, però no continuen al carreró. El pilar de la cantonada genera una composició ascendent que culmina amb l’esvelta torre de la coberta, destruïda durant els bombardejos de l’any 1938.

  23. Casa Macià

    Lluís Domènech i Montaner

    Casa Macià

    Domènech realitza alguns projectes de reforma per els seus companys de política. Francesc Macià, enginyer militar i polític que arribà a ser president de la Generalitat, li encarregà el 1907 la reforma interior del seu habitatge a Lleida, el xalet Macià. Macià era cunyat de Pau Font de Rubinat, amb qui Domènech tenia vincles d’amistat i de política. Domènech va intervenir al vestíbul i escala i, sobretot, a la sala d’estar principal. Una gran llar de foc de pedra, esculpida per Eusebi Arnau (que actualment es troba exposada al Museu Nacional d’Art de Catalunya), estava entre dos finestrals amb vitrall. El 1924 es va convertir en la Clínica Monserrat, durant la guerra civil es va transformar en hospital provisional i posteriorment en escola. Als anys 70 l’edifici estava molt envellit, i els hereus de la família Macià van fer desmuntar i cedir al Museu Nacional d’Art de Catalunya la llar de foc i algunes finestres amb els seus vitralls. A principis dels anys 80 l’edifici es va enderrocar

  24. Santa Florentina Castle

    Lluís Domènech i Montaner

    Santa Florentina Castle

    Ramon Montaner, Lluís Domènech's uncle and co-owner of the Montaner i Simón publishing house, bought the Casa Forta in Canet in 1881, thus returning the property to his family. He commissioned his nephew to restore and extend the building in order to monumentalise it and turn it into a representation of his lineage. With this intention, the publisher had acquired several historical buildings to extract their architectural elements of value and transfer them to his castle, such as the medieval monastery of Tallat. The original building was an old domus, the Casa Forta de Canet de Mar, which before the intervention had the appearance of a compact fortified country house. Domènech's project consisted of building new rooms around a courtyard that recreated a castle, reusing stone elements from other medieval buildings. From the monastery of Tallat, Ramon Montaner bought a large part of the cloister and several window and door frames, which were drawn, numbered piece by piece, dismantled and transferred to Sant Florentina, where they were reassembled in their new location. The new courtyard had a monumental exterior staircase in the style of Gothic palaces, and the towers were topped with battlements, barbicans and machicolations. The complex has many stone sculptures, decorated corbels, sculpted gargoyles, medievalist stained glass windows, polychrome wooden coffered ceilings and antique furniture, in which original Gothic pieces were mixed with modern fragments to achieve a medieval fantasy. Antoni Samarra i Tugues, Carles Flotats i Galtés and Dídac Massana collaborated on the stone sculptures and Josep Pujol on the stained glass windows. In 1905 work began on the crypt, in the basement of one of the old towers of the fortress, for the late wife of Ramon Montaner, Florentina Malató. In 1908, with the renovation of the castle almost finished, King Alfonso XIII was there, the same year that he granted Ramon Montaner the title of Count of the Canet Valley. The Montaner family ruled the castle until the marriage of their daughter Julia passed to the Capmany family. It is currently owned by investors and although it is still used as a private home, it is a museum and can be visited.

  25. Palau de la Música Catalana

    Lluís Domènech i Montaner

    Palau de la Música Catalana

    The Palau de la Música project is linked to the opening of the Via Laietana, in which Domènech i Montaner himself was strongly involved, and to the founding of the Orfeó Català, in 1891, by the composer Lluís Millet. The Palace is located on the corner of two narrow streets, and the emphasis of the whole project is to penetrate the scant natural light into every corner of the interior through numerous polychrome partitions that recreate a dreamlike atmosphere. The large auditorium is located on the first floor and is accessed via a transverse staircase that divides the entire building into two parts and encourages the use of the ground floor for administrative functions. Domènech decides to treat the façades of the two streets with the same profusion, despite their unequal hierarchy, in a demonstration of his expertise in working in unfavorable locations. The exposed brickwork, the stone worked with musical allegories and the stained glass partitions make the building shine in a special way under the daylight, which penetrates to the large auditorium. Attention to the functional aspects of the program reveals a modern Domènech who understands ornamentation as the necessary culmination of an architectural work.

  26. Concurs Anual d'Edificis i Establiments Urbans

    Award-Winner / Winner
    Palau de la Música Catalana

  27. Jover Serra i Cia Factory

    Lluís Domènech i Montaner, Pere Domènech i Roura

    Jover Serra i Cia Factory

    The building designed by Domènech i Montaner follows the same structure that Josep Puig i Cadafalch used for the neighbouring Carbonell factory. The project consisted of two elongated naves arranged symmetrically with a building in between that provided the power for both buildings. In the end, however, it was only possible to build a 75 metre-long by a 15-metre wide nave, with a total of 1000 square metres. A diaphanous space with a height of more than 7 metres. The structure is made of iron beams arranged perpendicular to the length of the nave, forming corbels with a gable roof. The roof is supported by cast pillars located in the centre of the nave. The nave is accessed through four doors, one on each façade. It is a very sober construction. The side of the nave has a simple decorative moulding that frames the windows. The ends of the nave have two large circular medallions decorated with the image of a Latin sailing boat made of mosaic on either side of the door. The crowning of the building is followed by a fragmented frieze. At the ends of the nave were two closed rooms. In one there was the warehouse and in the other the offices. The Jover, Serra i Cia knitwear factory was founded in 1894. For this company, Isidre Jover Lavera and Francesc Xavier Serra Font joined forces and started the business in a house on Carrer Sant Benet. Five years later, as sales were going well, they decided to build a factory on the outskirts of town. They entrusted the project to the architect Lluís Domènech i Montaner, who worked together with his son, Pere Domènech i Roura. The works began in May 1900 and in September it was inaugurated. Despite the speed with which the works were carried out, the new factory was not occupied until 1903. In 1909, the factory was expanded. In any case, however, the twin nave that had been initially projected was not built. Two independent buildings were built, a warehouse and office and the other to house the machinery. It is the only industrial building designed by Lluís Domènech i Montaner.

  28. Monument to Doctor Robert

    Lluís Domènech i Montaner, Josep Llimona i Bruguera

    Monument to Doctor Robert

    The first stone of the monument was laid in January 1904, but shortly afterwards Domènech abandoned the direction of the work due to political differences with some of his colleagues. The sculptor Josep Llimona continued the work alone, which was inaugurated at the end of 1910.

  29. Fuster House

    Lluís Domènech i Montaner

    Fuster House

    In 1908, the Fuster Fabra family commissioned Lluís Domènech i Montaner to build a luxurious building to represent the family's social status at a strategic point on Passeig de Gràcia. Consol Fabra Puig had already bought the land in 1905, a plot of land with frontage on three streets. It has an urban location with a great visual impact, as the end of Passeig de Gràcia at its transition point towards Carrer Gran de Gràcia. The articulation between the two façades is resolved with a cylindrical body in the form of a circular tower, which cantilevers out from the first floor. This chamfer was topped with a large ornamental crowning pinnacle which was never built. The skin of the façade is made of white marble and Montjuïc stone. The interior of the building has a structure made up entirely of flat brick vaults on all floors. Natural light reached all the spaces thanks to two large interior courtyards and the rear courtyard that overlooks the fourth façade. Very few of the original finishes of the interior spaces have been preserved. The ground floor was, for many years, the site of the legendary Cafè Vienès. The building remained in use as a residential building until 1960, when it was acquired by the Enher company and converted into offices and the former Cafè Vienès on the ground floor into an exhibition hall. In 2000, the company Hoteles Center acquired the building and carried out a major refurbishment to adapt it to its current use, the Hotel Casa Fuster.

  30. Rull House

    Lluís Domènech i Montaner

    Rull House

    És el primer encàrrec que rep Domènech i Montaner a Reus, des que es fa càrrec de les obres de l’Institut Pere Mata. La casa és una capsa profusament articulada en tres façanes: la que dóna al carrer és virtualment simètrica, a excepció del pilar de la cantonada i del balcó de la planta noble; la façana posterior genera una simetria regular a partir d’elements diferents, i el balcó ha esdevingut una barana de ferro lleugera, sobre mènsules que enllacen amb les obertures de la planta baixa. L’ús dels elements arquitectònics en l’articulació dels volums constitueix un clar precedent dels procediments compositius de l’arquitectura moderna.

  31. Interior Decoration of the Main Rooms of the Llotja de Mar

    Lluís Domènech i Montaner

    Interior Decoration of the Main Rooms of the Llotja de Mar

    In 1911, Domènech i Montaner and his son-in-law Francesc Guàrdia inaugurated the refurbishment of the main rooms of the Chamber of Commerce at the Llotja de Mar in Barcelona. Since 1886, the Official Chamber of Commerce, Industry and Navigation of Barcelona had been housed in some of the rooms in the Llotja de Mar. In 1909, the entity began to use a large part of the spaces on the main floor and the first floor, commissioning Domènech to arrange and decorate the interior of the most important rooms. His intervention is not exactly documented, but today many of these spaces have been remodelled again and Domènech's project has been lost.

  32. Gasull House

    Lluís Domènech i Montaner, Pere Domènech i Roura

    Gasull House

    Domènech i Montaner construeix la casa Gasull uns deu anys més tard que la casa Rull, quan la sensibilitat més radical del modernisme havia deixat pas al gust més auster i refinat de la nova moda noucentista. Domènech havia de combinar un edifici d’habitatges de 882 metres quadrats, amb pisos de 8 metres d’alçària, amb els 1.000 metres quadrats destinats al magatzem d’oli i fruits secs que connecta el carrer de Sant Elies amb el carrer de Sardà i Cailà. La casa Gasull manté algunes reminiscències del modernisme més arrauxat en els esgrafiats i mosaics emprats en la decoració, si bé les línies generals són classicitzants, sense temes florals, vitralls ni decoració pètria.

  33. Font Montaner Family Pantheon

    Lluís Domènech i Montaner, Pere Domènech i Roura

    Font Montaner Family Pantheon

    In 1912, the shipowner Font Torres, Domènech's uncle, commissioned a family pantheon in the cemetery of Canet. The pantheon follows a neo-medieval style with Catalan Art Nouveau elements. The dome of the roof is covered with ceramic brittle. The interior is also highly decorated.

  34. Concurs Anual d'Edificis i Establiments Urbans

    Award-Winner / Winner
    Hospital de la Santa Creu i Sant Pau

  35. Modification of the Baixeras Plan for the Opening of the Via Laietana

    Lluís Domènech i Montaner, Josep Puig i Cadafalch, Ferran Romeu i Ribot

    Domènech designed the Gran Via Pere el Gran, developing a section of the opening of the so-called B road of the Plan de Reforma Interior de Barcelona of 1892 (Plan Baixeras), which squeezed the historic fabric of the city. It was never carried out. There is a plan of the urban development of this road, dated 1905, which redesigned the image of this area from the new square to the old Hospital de la Santa Creu, demolishing many historic buildings. In the style of the boulevards of Paris and the Vienna Ring, he planned large buildings with typical programmes of modernity: a factory, a large market with a glass roof, a theatre-conservatory, a large bazaar, a large hotel, a building for a scientific society, a chamber of deputies, and so on. Domènech's proposals went so far as to draw plans and perspectives of these buildings. On the one hand, he monumentalised this historical fabric and, for example, enhanced the value of the towers of the city walls in Plaça Nova. On the other hand, however, he demolished numerous historic residential buildings and only proposed the preservation of a few religious buildings. The Hospital de la Santa Creu was razed to the ground. Although it was never built, in 1917 there was still talk of the project, as in the magazine La esfera in an extraordinary issue dedicated to Barcelona.

  36. Domènech i Roura Family Pantheon

    Lluís Domènech i Montaner

    In 1910, Ricard de Capmany commissioned a family pantheon from his uncle Domènech i Montaner in the cemetery of Canet de Mar. But in 1919 he offered it to the Domènech Roura family to bury their son Ricard.

  37. Casa Solà Morales

    Lluís Domènech i Montaner

    Casa Solà Morales

    Joaquim Solà Morales era un propietari rural, catalanista i descendent d’una família olotina formada pel matrimoni de la pubilla de can Solà de Batet de la Serra amb la família Morales. La família tenia la residència en un casal d’estil barroc al Firal d’Olot des del segle XVIII. El 1913 Joaquim Solà Morales encarrega a Lluís Domènech i Montaner la rehabilitació d’aquesta casa pairal, amb l’annexió d’una altra contínua. La reforma va consistir en la remodelació de tota la façana principal, la posterior i la reorganització de l’escala i nous accessos a la planta noble. Domènech i Montaner va conservar part de la composició de la façana barroca de l’edifici, mantenint les obertures originals als pisos superiors, però va fer construir una tribuna volada a la planta principal sobre mènsules radials, els enreixats, una llotja a la part superior de dotze columnes i la sotateulada amb la barbacana de ceràmica decorativa. També va reformar tota la planta baixa, perforant la façana amb una gran obertura central amb balcons i columnes de marbre amb cariàtides de pedra que donava llum a la planta semisoterrani i creant una porta nova a imitació de l’existent en posició simètrica. Les rajoles de la barbacana són disseny d’Antoni Gallissà, realitzades a la fàbrica Pujol i Bausis, i les cariàtides són d’Eusebi Arnau. L ’escala principal que comunica la planta pis amb la planta segona estava il·luminada per una gran claraboia zenital. A l’interior de l’edifici es mantenen interessants mostres de decoració dels segles XVIII i XIX. Actualment encara pertany a la mateixa família i manté l’ús d’habitatge. El 1913 Joaquim Solà Morales encarrega a Domènech la rehabilitació de la seva casa pairal del segle XVIII a Olot. La reforma va consistir en la remodelació de tota la façana principal, la posterior i la reorganització de l’escala i nous accessos a la planta noble.

  38. Pere Mata Secondary School

    Lluís Domènech i Montaner, Pere Domènech i Roura

    Pere Mata Secondary School

    L’Institut Pere Mata és el fruit d’una iniciativa per adequar l’assistència als malalts mentals als nous procediments terapèutics que estaven sorgint a l’època. Domènech i Montaner entrà en contacte amb la Sociedad Manicomio de Reus a través del seu primer president, Pau Font de Rubinat, coreligionari de la Unió Catalanista. Domènech esbossa a l’Institut els criteris d’arquitectura hospitalària que pocs anys més tard desenvoluparia a l’Hospital de la Santa Creu i Sant Pau, a Barcelona. Proposa un sistema de pavellons repartits per un gran jardí, de manera que cada pavelló pot acollir diferents malalts segons el tipus de malaltia, la classe social o el sexe. Tots els pavellons són d’obra vista amb sòcols de pedra poligonal, i totes les cobertes són de doble vessant, de teula àrab. Els emmarcaments de portes i finestres són de pedra calcària, més o menys treballada. De vegades s’aplica la ceràmica blanca i blava per decorar les façanes. En total són onze pavellons organitzats al voltant d’un pavelló central, tractat més profusament, que acull els serveis generals. Domènech desenvolupà el projecte sobre la base d’un coneixement a fons de les pràctiques terapèutiques i de les necessitats dels malalts.

  39. Domènech House

    Lluís Domènech i Montaner, Pere Domènech i Roura, Francesc Guàrdia i Vial

    Domènech House

    Domènech carried out a number of renovation projects for his political colleagues. Francesc Macià, a military engineer and politician who became president of the Generalitat, commissioned him to renovate the interior of his house in Lleida, the Macià chalet. It is the last work Domènech carried out in Canet de Mar. As was the case with most of his works of this period, he had the collaboration of his son Pedro and his son-in-law Francesc Guàrdia. The Domènech family had their second residence in Canet de Mar, in the old Rocosa country house. This building did not have enough space to house the architect's large family and his studio. In 1877, they bought two houses on the corner of Riera Gavarra and Riera de Buscarons, which were connected to the house by the rear courtyards. Masia Rocosa became the architect's office and workshop and the new building the family residence. A first unrealised project is preserved at the Fons Cabruja in Canet de Mar. In 1918, a building permit was requested for the renovation and restoration of the Domènech house of the project that was finally carried out. The original building, on a corner at the confluence of the two streams, was two small 17th-century buildings. The previous constructions were not demolished, but a large part of the walls were reused. Domènech went up again and redistributed and ennobled all the openings, adding a hall with exposed brick arches at the top and monumentalising the chamfered corner with a tribune decorated with floral and zoomorphic elements. Inside the house, all the rooms were renovated, ensuring that all the rooms had windows on the outside. A staircase with ceramic risers connects the ground floor with the first floor, leading to a double-height entrance hall. On the floor of this space is a walk-through skylight that brings light from the upper skylight to the ground floor. A spiral staircase connects this space with the perimeter balcony on the first floor. Several rooms in the building contain the plaster casts of some of the sculptural works in its buildings. In 1980, it was renovated to house a bank and an extension was built in the garden. After the transfer of all the buildings to the Town Council and a second refurbishment in 2011, it is now a facility that houses the Domènech i Montaner House-Museum in Canet de Mar.

  40. Hospital de la Santa Creu i Sant Pau

    Lluís Domènech i Montaner

    Hospital de la Santa Creu i Sant Pau

    The project is the result of the merger of the Hospital de Sant Pau and the old Gothic complex of the Hospital de la Santa Creu, which created one of the elements with the greatest urban impact on the city. The hospital occupies nine blocks of houses in the Eixample Cerdà, at one end of Gaudí Avenue, with the Sagrada Família at the other end. Domènech i Montaner opts for the same organisation in pavilions rehearsed at the Institut Pere Mata, although creating an underground concentrated structure that prevents the functional dispersion of the pavilions, much criticised by some experts of the time in hospital facilities. It is a set of 46 pavilions located around an axis that crosses the large block of houses diagonally. Domènech thus operates an open and innovative reading of the island of typical houses in the Cerdà plan. The structure of the pavilions is modulated in elements that support brick vaults, favouring the adaptation of the wall system with the functionality of each pavilion. The axis formed by Gaudí Avenue represents a unique monumental ensemble, at the ends of which stand two almost antithetical conceptions of the meaning of the new architecture and its functionality in the social needs of the time.

  41. Panteó a Jaume I

    Lluís Domènech i Montaner, Pere Domènech i Roura

    Panteó a Jaume I

    El 1906, la Comissió de Monuments de Tarragona va decidir encarregar a Domènech un mausoleu per dipositar-hi les despulles de Jaume I, que fins a la desamortització havien estat al Monestir de Poblet, i un altre per la resta dels membres de la casa reial d’Aragó, a la Catedral de Tarragona. El projecte converteix el sarcòfag en un vaixell amb baldaquí que navega sobre les aigües, realitzant el conjunt de nou metres d’altura amb pedra ricament ornamentada i decoracions ceràmiques amb nombroses referències històriques i heràldiques. El 1923, quan mor Domènech, l’obra no està acabada i se’n fa càrrec el seu fill, Pere Domènech. El 1952 Franco aprovar el trasllat de les despulles de Jaume I una altra vegada a Poblet, de manera que les peces ja construïdes del mausoleu, ara sense sentit es van mantenir emmagatzemades en un racó de la Catedral. Finalment el 1992 es van muntar el mausoleu en un dels patis interiors de l’Ajuntament de Tarragona, on es conserven actualment.

Archive (43)

  • Ateneu Canetenc

    Drawing

    Ateneu Canetenc

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Esbós de la decoració de la Casa Lleó Morera.

    Drawing

    Esbós de la decoració de la Casa Lleó Morera.

    Arxiu Històric del COAC

  • Esbós de la decoració de la Casa Lleó Morera.

    Drawing

    Esbós de la decoració de la Casa Lleó Morera.

    Arxiu Històric del COAC

  • Esbós de la decoració de la Casa Lleó Morera.

    Drawing

    Esbós de la decoració de la Casa Lleó Morera.

    Arxiu Històric del COAC

  • Perspectiva del recinte de l'Institut Pere Mata.

    Drawing

    Perspectiva del recinte de l'Institut Pere Mata.

    Arxiu Històric del COAC

  • Detall d'una escultura per a l'Institut Pere Mata.

    Drawing

    Detall d'una escultura per a l'Institut Pere Mata.

    Arxiu Històric del COAC

  • Detall de l'anagrama de l'Institut Pere Mata.

    Drawing

    Detall de l'anagrama de l'Institut Pere Mata.

    Arxiu Històric del COAC

  • Detall d'un plafó ceràmic per a la decoració de façana de l'Institut Pere Mata.

    Drawing

    Detall d'un plafó ceràmic per a la decoració de façana de l'Institut Pere Mata.

    Arxiu Històric del COAC

  • Panteó Família Font Montaner

    Esbós

    Panteó Família Font Montaner

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó Família Font Montaner

    Esbós

    Panteó Família Font Montaner

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó Família Font Montaner

    Esbós

    Panteó Família Font Montaner

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó Família Font Montaner

    Esbós

    Panteó Família Font Montaner

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó Família Font Montaner

    Esbós

    Panteó Família Font Montaner

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Perspectiva de l'exterior del Palau Montaner.

    Drawing

    Perspectiva de l'exterior del Palau Montaner.

    Arxiu Històric del COAC

  • Esbós de la decoració interior del Palau Montaner.

    Drawing

    Esbós de la decoració interior del Palau Montaner.

    Arxiu Històric del COAC

  • Alçat del frontó de la façana de l'Editorial Montaner i Simón.

    Drawing

    Alçat del frontó de la façana de l'Editorial Montaner i Simón.

    Arxiu Històric del COAC

  • Cafè-Restaurant de l'Exposició Internacional de 1888

    Drawing

    Cafè-Restaurant de l'Exposició Internacional de 1888

    Arxiu Històric del COAC

  • Cafè-Restaurant de l'Exposició Internacional de 1888.

    Drawing

    Cafè-Restaurant de l'Exposició Internacional de 1888.

    Arxiu Històric del COAC

  • Cafè-Restaurant de l'Exposició Internacional de 1888.

    Drawing

    Cafè-Restaurant de l'Exposició Internacional de 1888.

    Arxiu Històric del COAC

  • Esbós del coronament del frontó de l'Editorial Montaner i Simón.

    Drawing

    Esbós del coronament del frontó de l'Editorial Montaner i Simón.

    Arxiu Històric del COAC

  • Esbós del frontó de la façana de l'Editorial Montaner i Simón.

    Drawing

    Esbós del frontó de la façana de l'Editorial Montaner i Simón.

    Arxiu Històric del COAC

  • Hospital de la Santa Creu i Sant Pau.

    Drawing

    Hospital de la Santa Creu i Sant Pau.

    Arxiu Històric del COAC

  • Hospital de la Santa Creu i Sant Pau.

    Drawing

    Hospital de la Santa Creu i Sant Pau.

    Arxiu Històric del COAC

  • Secció transversal del Pavelló de l'Administració de l'Hospital de la Santa Creu i Sant Pau.

    Drawing

    Secció transversal del Pavelló de l'Administració de l'Hospital de la Santa Creu i Sant Pau.

    Arxiu Històric del COAC

  • Hospital de la Santa Creu i Sant Pau.

    Drawing

    Hospital de la Santa Creu i Sant Pau.

    Arxiu Històric del COAC

  • Perspectiva de la façana del Palau de la Música Catalana.

    Drawing

    Perspectiva de la façana del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Esbós del grup escultòric de l'escenari del Palau de la Música Catalana.

    Drawing

    Esbós del grup escultòric de l'escenari del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Esbós detall d'ornamentació de la façana del Palau de la Música Catalana.

    Drawing

    Esbós detall d'ornamentació de la façana del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Esbós del grup escultòric de l'escenari del Palau de la Música Catalana.

    Drawing

    Esbós del grup escultòric de l'escenari del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Esbós del mosaic i grup escultòric de l'escenari del Palau de la Música Catalana.

    Drawing

    Esbós del mosaic i grup escultòric de l'escenari del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Cianotipo de perspectiva de la façana del Palau de la Música Catalana.

    Graphic Material

    Cianotipo de perspectiva de la façana del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Perspectiva de la façana del Palau de la Música Catalana.

    Drawing

    Perspectiva de la façana del Palau de la Música Catalana.

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

  • Panteó a Jaume I

    Drawing

    Panteó a Jaume I

    Fons Lluís Domènech i Montaner / Arxiu Històric del COAC

Audiovisual

  • Ep. 3 Nets del Modernisme: Lluís Domènech Girbau

    8:48

    Ep. 3 Nets del Modernisme: Lluís Domènech Girbau

  • Lluís Domènech i Montaner a l'Escola d'Arquitectura

    1:11:02

    Lluís Domènech i Montaner a l'Escola d'Arquitectura

Bibliography (196)

Routes & Notes (4)

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