Intro

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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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

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About us

Project by:

Created by:

Directors:

2019-2025 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2025 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 Ornaque

Collaborators:

2019-2025 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse Viu

External Collaborators:

2019-2025 Helena Cepeda Inès 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

 

IEFC

 

Fundació Domènench Montaner.

Design & Development:

edittio Nubilum
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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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  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

  • Torre Nova de Cal Pons

Memory

Torre Nova was completed in 1897. It is a square building with two polygonal bodies – one to the east, where the main entrance is located, and the other to the west in the form of a tribune. It has a ground floor, two storeys and an attic. The exterior is completely plastered, although the façade is currently in very poor condition. The only decoration is on the doors and windows and is clearly Gothic in style, with floral decorations, medieval bestiary decorations and gargoyles. The openings are also framed by mouldings reminiscent of the pattern of the old tower (BIPPC 36).
The decorative repertoire in the interior is noteworthy, especially in the vestibule, where allegorical themes are depicted on the continents. The halls are profusely decorated with themes appropriate to their functions.

The driving force behind Cal Pons - one of the most interesting industrial colonies in Catalonia in terms of town planning and architecture - was Josep Pons i Enrich, born in Manresa in 1811, descendant of a Manresa family linked to the silk industry during the 18th century. From the mid-19th century onwards, Josep Pons became an important cotton industrialist who was also a politician, founder of the Caja de Manresa and promoter of the Manresa railway in Berga. In 1875, Josep Pons bought the land of Cal Garrigal - which he later extended with the purchase of more land from surrounding country houses - with the intention of building an industrial colony. The following year he obtained permission for the industrial use of water from the Llobregat river and then had the lock, the canal, the turbine hall and the factory built, which was inaugurated in 1880. One of the most important buildings at Cal Pons, due to the services it housed, was the one built next to the church in 1893. This space included the school, the nuns‘ convent, the girls’ residence and the theatre. However, the most emblematic buildings - due to their spectacular nature - of the colony were and still are others: the church and the owners' towers. The church, inaugurated in 1887, was described by the press of the time as the ‘Cathedral of the Alt Llobregat’. The two towers, located around a garden, were built before 1885 (the old one) and in 1897 (the new one). The whole of the colony under construction was surrounded by a wall about two metres high with three gates and two doors. The gatekeepers and the watchman ensured that no worker entered or left the perimeter of the colony after 20.00 or 21.00 (depending on the time of year). This wall was demolished during the Civil War and was never rebuilt.
In 1893, Josep Pons i Enrich died, and three years later, his heir, Ignasi Pons, too. From then until 1921, Lluís G. Pons, brother of the colony's founder, became the strong man of the family and the owner of Cal Pons. The situation of the colony - already built and consolidated - and the figure of the director of the factory - who controlled the economic functioning of the company and the maintenance of order and ‘social peace’ and who had his own villa from 1900 onwards - allowed Mr. Pons to focus on his political activity. It was during these years when Lluís Pons became the owner of Cal Pons that the paternalistic relationship with the workers was consolidated. Paternalism was based on an unwritten pact whereby the owner offered work, a flat, food, services, stability and security to his workers in exchange for them working, obeying and not breaking the ‘social peace’.
Like most of the colonies in Berguedà, Cal Pons remained in full swing and full of life until the 1960s. From then on, things began to evolve rapidly. The factory continued to operate until 1992, but from the 1970s, and especially during the 1980s, the signs of the crisis in the textile sector were felt and the colony model also went into decline: many people left Cal Pons and the services were closing. With the closure of the factory, the whole of the colony - except for the turbine - was repossessed. When it was put up for sale - by public auction at the end of the 1990s – the Puig-reig Town Council acquired a large part of the colony's spaces.

In 1908, King Alfonso XIII of Spain stayed in this house. It is now owned by the Puig-reig Town Council, which plans to locate the new municipal offices.

Source: Mapes de Patrimoni Cultural. Diputació de Barcelona (diba)

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  1. Torre Nova de Cal Pons

    autoria desconeguda

    Torre Nova de Cal Pons

    Torre Nova was completed in 1897. It is a square building with two polygonal bodies – one to the east, where the main entrance is located, and the other to the west in the form of a tribune. It has a ground floor, two storeys and an attic. The exterior is completely plastered, although the façade is currently in very poor condition. The only decoration is on the doors and windows and is clearly Gothic in style, with floral decorations, medieval bestiary decorations and gargoyles. The openings are also framed by mouldings reminiscent of the pattern of the old tower (BIPPC 36). The decorative repertoire in the interior is noteworthy, especially in the vestibule, where allegorical themes are depicted on the continents. The halls are profusely decorated with themes appropriate to their functions. The driving force behind Cal Pons - one of the most interesting industrial colonies in Catalonia in terms of town planning and architecture - was Josep Pons i Enrich, born in Manresa in 1811, descendant of a Manresa family linked to the silk industry during the 18th century. From the mid-19th century onwards, Josep Pons became an important cotton industrialist who was also a politician, founder of the Caja de Manresa and promoter of the Manresa railway in Berga. In 1875, Josep Pons bought the land of Cal Garrigal - which he later extended with the purchase of more land from surrounding country houses - with the intention of building an industrial colony. The following year he obtained permission for the industrial use of water from the Llobregat river and then had the lock, the canal, the turbine hall and the factory built, which was inaugurated in 1880. One of the most important buildings at Cal Pons, due to the services it housed, was the one built next to the church in 1893. This space included the school, the nuns‘ convent, the girls’ residence and the theatre. However, the most emblematic buildings - due to their spectacular nature - of the colony were and still are others: the church and the owners' towers. The church, inaugurated in 1887, was described by the press of the time as the ‘Cathedral of the Alt Llobregat’. The two towers, located around a garden, were built before 1885 (the old one) and in 1897 (the new one). The whole of the colony under construction was surrounded by a wall about two metres high with three gates and two doors. The gatekeepers and the watchman ensured that no worker entered or left the perimeter of the colony after 20.00 or 21.00 (depending on the time of year). This wall was demolished during the Civil War and was never rebuilt. In 1893, Josep Pons i Enrich died, and three years later, his heir, Ignasi Pons, too. From then until 1921, Lluís G. Pons, brother of the colony's founder, became the strong man of the family and the owner of Cal Pons. The situation of the colony - already built and consolidated - and the figure of the director of the factory - who controlled the economic functioning of the company and the maintenance of order and ‘social peace’ and who had his own villa from 1900 onwards - allowed Mr. Pons to focus on his political activity. It was during these years when Lluís Pons became the owner of Cal Pons that the paternalistic relationship with the workers was consolidated. Paternalism was based on an unwritten pact whereby the owner offered work, a flat, food, services, stability and security to his workers in exchange for them working, obeying and not breaking the ‘social peace’. Like most of the colonies in Berguedà, Cal Pons remained in full swing and full of life until the 1960s. From then on, things began to evolve rapidly. The factory continued to operate until 1992, but from the 1970s, and especially during the 1980s, the signs of the crisis in the textile sector were felt and the colony model also went into decline: many people left Cal Pons and the services were closing. With the closure of the factory, the whole of the colony - except for the turbine - was repossessed. When it was put up for sale - by public auction at the end of the 1990s – the Puig-reig Town Council acquired a large part of the colony's spaces. In 1908, King Alfonso XIII of Spain stayed in this house. It is now owned by the Puig-reig Town Council, which plans to locate the new municipal offices.
  2. Colònia Cal Pons

    autoria desconeguda

    Colònia Cal Pons

    El conjunt de la colònia Pons es caracteritza per ser una de les colònies tèxtils que neix i es forma en un període relativament curt (1875-1910) de temps la qual cosa fa que presenti una gran unitat. Les dues torres dels propietaris, la del director i l'església són els edificis més emblemàtics de cal Pons, juntament amb el jardí. L'any 1908 el rei Alfons XIII es desplaçà a la conca del Llobregat i feu una visita a la colònia Pons. Església de Sant Josep L'església és de planta de creu llatina de 32 metres de llarg. La nau principal és coberta amb volta de creueria, i les capelles laterals fan de contrafort de la nau central. A l'encreuament de la nau principal amb el transsepte s'alça un cimbori octogonal. L'absis poligonal té un deambulatori que porta a la cripta i a la sagristia. El 1879 s'aixeca el campanar aïllat i el 1907 es construí el panteó familiar, en el qual foren enterrats Lluís Pons i Enrich i la seva esposa, Anna Roca. Exteriorment, l'església presenta un aspecte altiu reforçat pel cimbori, el campanar i el conjunt de pinacles. La façana principal, orientada a migdia, és de carreus ben tallats, la resta de l'edifici combina harmònicament la pedra devastada amb els maons. Es tracta d'un edifici neogòtic que fou bastit en setze mesos, obra de l'arquitecte Josep Torres i Argullol. L'interior fou decorat per Francesc Morell, germà del director de la fàbrica en aquell moment. Escola, convent, teatre i casa de les noies. Els edificis consten de dos pisos: a la planta baixa condicionada per a escoles i el superior per al convent, el pis del capellà i la residència de noies treballadores. Com la resta d'edificis de la colònia, els materials constructius són: la pedra pels murs i el maó per les finestres i les portes. La torre vella (bastida abans de 1885) i la torre nova (inaugurada el 1897) són edificis monumentals d'estil historicista medieval. Van ser plantejats com castells medievals envoltats de jardí. La torre vella fou la primera que es construí, es tracta d'un massís però esvelt edifici, amb un cos central molt marcat. Ressalta l'escala de volta catalana. És d'estil eclèctic i goticitzant. La torre nova és una construcció de grans proporcions bastida sobre un penyal al final dels jardins de la colònia. En la seva estructura predomina el cos central per damunt dels dos laterals. La façana principal, amb una doble escalinata, està orientada a tramuntana. Els murs exteriors combinen el maó, l'arrebossat i els mosaics. Presenta molts detalls decoratius de tipus medieval: capitells amb el bestiari, decoració floral, gàrgoles, arcuacions cegues en el ràfec de la teulada..., Al rebedor hi ha unes pintures al·legòriques que fan referència als continents d'Amèrica, Àfrica, Àsia i Europa. Es tracta d'un paisatge de fons amb una figura femenina que porta algun element que fa referència a cada continent. En la representació d'Europa, el paisatge de fons és la colònia Pons vist des del peu del Llobregat. Fou residència dels propietaris inicialment de forma continuada, després va fer funcions de segona residència i a mitjan segle XX es va subhastar el mobiliari i és habilitar com a fàbrica de tovalloles. Es desconeix qui fou l'autor d'aquests dos edificis. Sembla, però, que podria haver estat Josep Torres i Argullol o Alexandre Soler i March arquitectes que van treballar per la família Pons. El xalet del director fou construït abans de 1900, és més auster i de dimensions més reduïdes, i tampoc se sap qui en va ser l'autor. El jardí Quan es dissenyà la colònia es va pensar a convertir la finca en un jardí tancat que l'aïllava del món exterior. El jardí, de fet, era d'ús privat pels propietaris de la colònia i la família del director. Però quan la família Pons no hi era els treballadors podien disposar del jardí i el bosc annex. En aquest espai hi havia una gran diversitat d'espècies vegetals (algunes, però han desaparegut): plataners, til·lers, moreres, troanes, castanyers d'índies, palmeres, pollancres, alzines, avets ... Al jardí privat de la torre nova destaquen dues glorietes de 1900 -fetes de maó i fusta- que tenen vista sobre el Llobregat i la colònia. La colònia fou fins al anys 50 i 60 del segle XX el centre cultural més actiu del municipi de Puig-reig. Es publicava la revista "Colònia Pons" i es creà l'Escola de la Llar i l'Escola del Treball vinculada a l'Escola Industrial de Barcelona. Els treballadors de la fàbrica rebien una formació, que a nivell comarcal constituïen una autèntica avantguarda. El 25 de març de 1886 s'inicià la construcció de l'església de la colònia Pons advocada a la Mare de Déu de Montserrat. Es consagrà el 10 d'agost de 1897. Es construí al mateix temps que la gran fàbrica, els habitatges dels treballadors i les dues torres. A mitjan segle XX, i sobre tot arran de la Guerra Civil, s'abandonaren les torres on residien els amos i començà un progressiu deteriorament de les activitats culturals i del parc, en el qual hi havia una interessant col·lecció d'aus exòtiques. Els moments d'esplendor de la colònia Pons coincideixen amb els primers temps de la seva existència, entre 1880 i 1930.

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