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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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
About us
Project by: 
Created by: 
Directors:
2019-2024 Aureli Mora i Omar OrnaqueDocumental 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 OrnaqueCollaborators:
2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse ViuExternal Collaborators:
2019-2024 Helena Cepeda Inès MartinelWith the support of:
Generalitat de Catalunya. Departament de CulturaCollaborating Entities:
ArquinFADFundació 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.
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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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Memory
The 111 Building in Barcelona investigates and experiments with the idea of promoting communication, relationships and familiarity between neighbours, so that the neighbourhood acts as the first structure within society, reversing the tendency towards isolation and individuality.
The centre of the project is a large void, occupied by three trees and a fountain, surrounded by balconies and terraces, in the manner of a large theatre the seating area of which is surrounded by boxes and galleries that open onto it. Here, the neighbours come out to life on their balconies and stick their heads out to socialise or look at the landscape through a huge opening that frames Torrebonica Park. This communal yard is a platform for social relations, where people from very different origins and cultures communicate and make friends: the great void unites them.
This empty centre is reached through an excavation of the large massif that is the building towards the outside. The path from the street to the interior of the houses, crossing this large courtyard, is modulated in a sequence of stairs and a progressive change from the most open and public area to the most intimate and private area of home. The closures are blurred and unfolded in overlapping elements to unite one end with the other, working to graduate the relationship between what is public and what is private. From one end to the other, from the bedroom to the street, the route is varied and always different. The relationship between family members is mixed with the relationship with the neighbours in the yard, so that it becomes an extension of the family core, where friends and acquaintances accompany one another in their daily lives in a second level of privacy. The tranquility with which mothers let their children go to play in the yard, where everyday shopping can be entrusted to others, where the door of the house opens to invite you to walk in naturally, confirms that architecture can help provide a space of trust, and generate a fragment of the city that invites the culture of sociability.
The issue of social housing is perhaps the most important and difficult challenge that architects face today. In a global situation of crisis, collective housing can help to provide stability and return the trust that seems to have been lost in many layers of today's society. Trusting the neighbours, the possibility of counting on them, generating a community in which everyone can feel accompanied and can support themselves at any time they need, is a necessity today and architecture can collaborate in a decisive manner – it can collaborate to reverse a tendency towards isolation and individuality, promote communication, getting to know each other through physical and communicative contact between neighbours, so that the neighbourhood can function as a first social structure within society. Building 111 in Barcelona investigates and experiments on this topic, with the concern of generating a framework that invites the relationship between neighbours.
The centre of the project is a large void, occupied by three trees and a fountain, surrounded by balconies and terraces, in the manner of a large theatre the seating area of whuch is surrounded by boxes and galleries that open onto it. In the same way, the neighbours bring life to their balconies and stick their heads out to interact or look at the landscape through a huge opening that frames Torrebonica Park. This communal patio is a platform for social relations, where people from very different origins and cultures communicate and make friends: the great void unites them. As in the theatre, the dimension and proportions of this void have been key for the tension between the boundaries and the relationship between neighbours to exist in a fair way.
This empty centre is reached through an excavation of the large massif that is the building towards the outside. The façades behave like a textured cuirass, which dialogues through its chiaroscuro with the pine forest that surrounds it. The block appears to the visitor as a huge rock, placed in this landscape of pines and dry streams, which erodes, as this landscape also does, to allow transitions and articulations between the bodies of the houses. From the unitary exterior, which appears as a single house, to the multiple interior, where the 111 houses are expressed in folds and balconies with their individuality, there is a balance: this strong and massive façade, of an ancient gravity, contains and balances the fragmented interior.
The path from the street to the interior of the houses, crossing this large courtyard, is modulated in a sequence of stairs and a progressive change from the most open and public area to the most intimate and private area of home. The closures are blurred and unfolded in overlapping folds to connect one end with the other, working on the boundary to graduate the relationship between what is public and what is private. From one end to the other, from the bedroom to the street, the route is varied and always different. The greetings between family members are mixed with greetings to the neighbours in the yard, so that it becomes an extension of the family nucleus, where friends and acquaintances accompany one another in their daily lives in a second level of privacy. The tranquility with which mothers let their children go to play in the yard, where everyday shopping can be entrusted to others, where the door of the house opens to invite you to walk in naturally, confirms that architecture can help provide a space of trust, and generate a fragment of the city that invites the culture of sociability.
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Torre-Sana Social Housing Block
Flores & Prats Arquitectes, Ricardo Daniel Flores, Eva Prats i Güerre
The 111 Building in Barcelona investigates and experiments with the idea of promoting communication, relationships and familiarity between neighbours, so that the neighbourhood acts as the first structure within society, reversing the tendency towards isolation and individuality. The centre of the project is a large void, occupied by three trees and a fountain, surrounded by balconies and terraces, in the manner of a large theatre the seating area of which is surrounded by boxes and galleries that open onto it. Here, the neighbours come out to life on their balconies and stick their heads out to socialise or look at the landscape through a huge opening that frames Torrebonica Park. This communal yard is a platform for social relations, where people from very different origins and cultures communicate and make friends: the great void unites them. This empty centre is reached through an excavation of the large massif that is the building towards the outside. The path from the street to the interior of the houses, crossing this large courtyard, is modulated in a sequence of stairs and a progressive change from the most open and public area to the most intimate and private area of home. The closures are blurred and unfolded in overlapping elements to unite one end with the other, working to graduate the relationship between what is public and what is private. From one end to the other, from the bedroom to the street, the route is varied and always different. The relationship between family members is mixed with the relationship with the neighbours in the yard, so that it becomes an extension of the family core, where friends and acquaintances accompany one another in their daily lives in a second level of privacy. The tranquility with which mothers let their children go to play in the yard, where everyday shopping can be entrusted to others, where the door of the house opens to invite you to walk in naturally, confirms that architecture can help provide a space of trust, and generate a fragment of the city that invites the culture of sociability. -
FAD Award
Finalist. Category: ArchitectureTorre-Sana Social Housing BlockFlores & Prats Arquitectes, Ricardo Daniel Flores, Eva Prats i Güerre
FAD Award
Shortlisted. Category: City and LandscapeTorre-Sana Sector Planning ProjectAudiovisual
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6:51
Ricardo Flores i Eva Prats (4)
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2:55
Ricardo Flores i Eva Prats (3)
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2:55
Ricardo Flores i Eva Prats (2)
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3:28
Ricardo Flores i Eva Prats (1)
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Set Projecte d'Ordenació Sector Torre-Sana
