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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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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 gardens are the scenery of nature. Gaudí and Jujol with their bars, in memoriam. To extend Vil·la Cecília as a public park: similar geometric layouts and the same type of vegetation (cypresses, canary palms, bananas, laurels, orange trees and oleanders) of the garden that surrounds the house, now the cultural centre of the neighbourhood. The layout of the geometry is highlighted by white limestone curbs that frame the cypress fences and organise the road system. The paths, which are hidden from each other, give the impression of a larger garden than it is; it looks like a bit of a smooth maze. On the other side of the wall that encloses Vil·la Cecília, Santa Amèlia Street has been designed as a car lane inside a park, as the Cinquena Amèlia Park on the other side the street is closed with a high barrier of cypresses in a zigzag. Fragments of this fence apparently float on the sidewalks of the street. Alignments of trees from the garden of Vil·la Cecília cross over the sidewalks of pink asphalt towards the gardens of Vil·la Amèlia, establishing a visual continuity between the two. Companies for the natural vegetation of the garden:
- False Greek ceramic murals to increase the value of abandoned walls. - A door on each side of the street with the name of the garden and the park. - Three doors with giant vegetable leaves. - Benches of medicinal capsules-skateboards. - "Lampelunas" lamps. - Carpet to be dry-painted on the entrance wall with the garden plan. - Giant leaves of ginko for the pergola descending over the canal-pond. - Copper hairs or roots to accompany the Bronze Ophelia by the sculptor Francisco López. - Tree pits with hollows of orange leaves. - All the cypresses had to be cut and combed by a hairdresser, but they were pruned by gardeners. - And more...
The gardens are the scenery of nature.
Gaudí and Jujol with their bars, in memoriam.
To extend Vil·la Cecília as a public park: similar geometric layouts and the same type of vegetation (cypresses, canary palms, bananas, laurels, orange trees and oleanders) of the garden that surrounds the house, now the cultural centre of the neighbourhood.
The layout of the geometry is highlighted by white limestone curbs that frame the cypress fences and organise the road system. The paths, which are hidden from each other, give the impression of a larger garden than it is; it looks like a bit of a smooth maze.
On the other side of the wall that encloses Vil·la Cecília, Santa Amèlia Street has been designed as a car lane inside a park, as the Cinquena Amèlia Park on the other side the street is closed with a high barrier of cypresses in a zigzag. Fragments of this fence apparently float on the sidewalks of the street.
Alignments of trees from the garden of Vil·la Cecília cross over the sidewalks of pink asphalt towards the gardens of Vil·la Amèlia, establishing a visual continuity between the two.
Companies for the natural vegetation of the garden:
- False Greek ceramic murals to increase the value of abandoned walls.
- A door on each side of the street with the name of the garden and the park.
- Three doors with giant vegetable leaves.
- Benches of medicinal capsules-skateboards.
- "Lampelunas" lamps.
- Carpet to be dry-painted on the entrance wall with the garden plan.
- Giant leaves of ginko for the pergola descending over the canal-pond.
- Copper hairs or roots to accompany the Bronze Ophelia by the sculptor Francisco López.
- Tree pits with hollows of orange leaves.
- All the cypresses had to be cut and combed by a hairdresser, but they were pruned by gardeners.
- And more...
FAD Award
Award-Winner / Winner. Category: Architecture - Public Spaces
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