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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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
The small station of the Universitat Autònoma de Barcelona in Bellaterra, designed and built in a very short time, had to partially adapt an existing staircase and tunnel. The project has two purposes: the first, to obtain an architecture with the dimension and entity appropriate to the place and its significance despite its reduced programme; the second, to find a formal solution to the different requirements of the façades on the platforms and on the avenue. Thus, the building is projected from a wall parallel to the train tracks that articulates, on one corner, a canopy held with braces that covers the entire platform and, on the other, a semi-detached body, covered and opaque in which a large lowered arch that houses the small pieces of the programme inside opens, at the same time that, centered on the axis of the avenue, it provides an end with more property. In the section of the wall that has no construction, the flight of the canopy is compensated by buttresses. The finishes, with small pieces of stoneware and strips of white marble, follow the proposal for the entire line.
The small station of the Universitat Autònoma de Barcelona in Bellaterra, designed and built in a very short time, had to partially adapt an existing staircase and tunnel.
The project has two purposes: the first, to obtain an architecture with the dimension and entity appropriate to the place and its significance despite its reduced programme; the second, to find a formal solution to the different requirements of the façades on the platforms and on the avenue.
Thus, the building is projected from a wall parallel to the train tracks that articulates, on one corner, a canopy held with braces that covers the entire platform and, on the other, a semi-detached body, covered and opaque in which a large lowered arch that houses the small pieces of the programme inside opens, at the same time that, centered on the axis of the avenue, it provides an end with more property. In the section of the wall that has no construction, the flight of the canopy is compensated by buttresses.
The finishes, with small pieces of stoneware and strips of white marble, follow the proposal for the entire line.
Confronting the small station of 1984 with a larger and more complex structure necessary for the establishment of the double line (the initial cul-de-sac disappears) represents an important conceptual difficulty.
The existing station had been conceived as a wall parallel to the train tracks that presented, on each of its sides, two well-differentiated episodes: the light canopy, suspended from the wall itself by cables, and the compact body in the one that opened the large, lowered access arch and that contained the station's offices.
In the new approach, the idea of the wall and the canopy is maintained, but with a different formalisation to the first project. The new station is conceived as a large nave with a single light saved by visible beams of a special profile that go beyond the closure of the main façade, thus allowing an external transitional space in the access to the station. These beams bifurcate a little before crossing the wall that separates the platform and support the canopy that covers it. As was the case in the first station, in the areas of the wall where there are no buildings, the canopy bar braces are offset by buttresses. A light curved metal cover, which goes over the enclosures and the wall itself, envelops the whole complex.
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