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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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
It is the most significant exponent of Sert’s work in Barcelona during his American phase. The museum space is conceived as a circular route around a courtyard that links several spaces of not very large dimensions, and with a clear discrimination of their functions. The route folds over itself in search of the longest dimension and invites the visitor to the slowness or stillness in the contemplation of the works. The specific lighting of each area combines the zenithal light, distributed and nuanced, and the light coming from the glazed enclosures, which offer a certain visual contact with the surrounding garden. In addition to the central courtyard, two more courtyards, to the north and to the east, relate the Foundation’s space to the panoramic view of the city. The roof is also understood as an exhibition space. The entire wall system is made up of concrete screens that leave the joints between the load-bearing reinforcements and the enclosures -which are prefabricated- visible. It is a conception of the museum space that puts all the attention in the relationship between a certain type of work and the architectural environment, a synthesis between art and architecture that was one of the most pursued milestones by a whole generation of modern architects.
Author: Maurici Pla
Source: Catalunya : guia d'arquitectura moderna, 1880-2007
The Joan Miró Foundation building was designed by Josep Lluís Sert, a great friend of Joan Miró. It was built on land leased by the Barcelona City Council to Montjuïc Park.
Towards the end of the sixties, Sert and Miró began to think and work on the project of making a 'Miró Museum' in the aforementioned location. From the first sketches, Sert conceived the Foundation according to the principles of rationalist architecture, with different spaces around a central courtyard -as is traditional in Mediterranean architecture-, and the characteristic skylights of his work. Designed to house Joan Miró's collection, the Sert building has also demonstrated its ability and adaptability to exhibit the creations of other artists of the 20th and 21st centuries and continues to be a benchmark in contemporary architecture.
In 1988, the Foundation's building was expanded to gain more exhibition space, accommodate new services and relocate offices. The extension project was carried out by Jaume Freixa, a friend and disciple of Sert.
It is the most significant exponent of Sert’s work in Barcelona during his American phase. The museum space is conceived as a circular route around a courtyard that links several spaces of not very large dimensions, and with a clear discrimination of their functions. The route folds over itself in search of the longest dimension and invites the visitor to the slowness or stillness in the contemplation of the works. The specific lighting of each area combines the zenithal light, distributed and nuanced, and the light coming from the glazed enclosures, which offer a certain visual contact with the surrounding garden. In addition to the central courtyard, two more courtyards, to the north and to the east, relate the Foundation’s space to the panoramic view of the city. The roof is also understood as an exhibition space. The entire wall system is made up of concrete screens that leave the joints between the load-bearing reinforcements and the enclosures -which are prefabricated- visible. It is a conception of the museum space that puts all the attention in the relationship between a certain type of work and the architectural environment, a synthesis between art and architecture that was one of the most pursued milestones by a whole generation of modern architects.
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