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In this first stage, the catalogue focuses on the modern and contemporary architecture designed and built between 1832 –year of construction of the first industrial chimney in Barcelona that we establish as the beginning of modernity– until today.
The project is born to make the architecture more accessible both to professionals and to the citizens through a website that is going to be updated and extended. Contemporary works of greater general interest will be incorporated, always with a necessary historical perspective, while gradually adding works from our past, with the ambitious objective of understanding a greater documented period.
The collection feeds from multiple sources, mainly from the generosity of architectural and photographic studios, as well as the large amount of excellent historical and reference editorial projects, such as architectural guides, magazines, monographs and other publications. It also takes into consideration all the reference sources from the various branches and associated entities with the COAC and other collaborating entities related to the architectural and design fields, in its maximum spectrum.
Special mention should be made of the incorporation of vast documentation from the COAC Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.
The rigour and criteria for selection of the works has been stablished by a Documental Commission, formed by the COAC’s Culture Spokesperson, the director of the COAC Historical Archive, the directors of the COAC Digital Archive, and professionals and other external experts from all the territorial sections that look after to offer a transversal view of the current and past architectural landscape around the territory.
The determination of this project is to become the largest digital collection about Catalan architecture; a key tool of exemplar information and documentation about architecture, which turns into a local and international referent, for the way to explain and show the architectural heritage of a territory.
Aureli Mora i Omar Ornaque Directors arquitecturacatalana.cat
credits
About us
Project by:
Created by:
Directors:
2019-2024Aureli Mora i Omar Ornaque
Documental Commission:
2019-2024 Ramon FauraCarolina B. GarciaEduard CallísFrancesc RafatPau Albert Antoni López DaufíJoan FalguerasMercè BoschJaume FarrenyAnton PàmiesJuan Manuel ZaguirreJosep FerrandoFernando MarzáMoisés PuenteAureli MoraOmar Ornaque
Collaborators:
2019-2024Lluis AndreuSergi BallesterMaria Jesús QuinteroLucía M. VillodresMontse Viu
External Collaborators:
2019-2024Helena CepedaInès 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
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.
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.
Author: Clàudia Sanmartí
Source: Fundació Domènech i Montaner
The building belongs to the architect Lluís Domenèch i Montaner, who built it in 1918-1919 with the collaboration of his son Pere and his son-in-law Francesc Guàrdia. On the façade there is a staircase leading to the building and a tribune on the first floor. Inside, we find elements of interest such as the two chimneys, glass tiles, carpentry work and the double space at first floor level. The house has an irregular trapezoid floor plan with the main façade located right on the chamfer. This is characterised by a tribune with lobed arches and a plain tympanum gable, framed with bricks. The side façades have crown windows in the Gothic tradition on one and balconies with stone railings on the other. It is made of exposed brick, with ceramic details: the entire upper floor is crowned with a moulded cornice. It currently houses the Domènech i Montaner Museum.
Source: Inventari del Patrimoni Arquitectònic de Catalunya (IPAC)
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.
'La Caixa' acquired the Domènech de Canet de Mar estate which was composed of an 18th century country house, a house built by Domènech i Montaner and a garden shared by both. The intention was to locate its bank headquarters there, building a pavilion in the garden and adapting the modernist house, leaving the restoration of the country house for a future intervention. Later, however, it was ceded to the Canet de Mar Town Hall and became the Domènech i Montaner House - Museum.
The project is mainly based on the creation of a new pavilion that relates the Domènech House and the old country house in a different way. The relationship with the modernist house is based on two basic considerations: respect for the building's architectural uniqueness and the conservation of the character of the house's enclosed garden, which formed an overall image of a strong urban presence. To achieve these two objectives, it is proposed to build a closed volume that faces the Riera, respecting the height of the garden wall and that connects coherently with the exterior balcony with which Casa Domènech ends over the Riera.
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