Intro

About

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2025 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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Responsable del tractament: Col·legi d Arquitectes de Catalunya 'COAC'
Finalitat del tractament: Tramitar la sol·licitud de còpies digitals dels documents dels quals l’Arxiu Històric del COAC gestiona els drets d'explotació dels autors, a més d'aquells que es trobin en domini públic.
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All works
  • La Bauma Colony

    La Bauma Colony

    This architectural complex is located on the right bank of the Llobregat river, on one side of the Bauma bridge, very close to the BP-1121 road. The Bauma Factory is a construction made up of two buildings, that of Roca i Llubià, the two owners, and the new factory. Both are located on the banks of the river, arranged side by side, following the course of the river, and separated by the Torre del Amo. The first, the older one, built to carry out the finishing and shipping processes, has a single storey and is characterised by a row of twenty-three openings in segmental arches. The second, which was used for spinning and weaving, as well as the yarn store, the office and the turbine room, has four floors and a two-slope roof. In both buildings, an almost identical masonry facing is used, giving them a unified character. Torre del Amo is a construction attached to the walls of the factory on the west corner, forming a main façade facing Monistrol and another one facing the road. The ground plan of the building is made up of two polygonal bodies, a square one equivalent to the porch and a rectangular one, where a lookout tower and the building's outbuildings are located. Access to the building is from a staircase located after the porch, which has three ovoid arches supported by two pillars with vegetal capitals and a three-slope roof. The tower has a square floor plan and a lookout tower crowned with battlements. The unifying element of both bodies is the two-sloped roof, with green and reddish tiles. The walls are made of exposed brickwork, and the fillings and openings form vertical strips that fit in perfectly with the general composition of the factory buildings. The facing has several balconies with arches that vary from segmental arches to convex arches and lintel arches. The plinths, imposts, arches and tympanums are covered with glazed tiles and ceramic friezes that form multicoloured geometric and vegetal compositions.

    1859

  • El Borràs Colony

    El Borràs Colony

    The Borràs colony was created in 1876 by the Oleguer Borràs i Castelltort family and Ignàsia Pons, next to the Llobregat river; in that year, both the two factories and the workers' housing had already been built. In 1877, the first factory was leased to Josep Salgot and, shortly afterwards, the second to the brothers Frederic and Jaume Ricart. The neighbourhood was built next door, which initially had two groups of houses corresponding to each of the factories. In 1900, the Cape's house had already been built, which later became known as Torre del Amo. A school for nuns was built later on, and in 1922 the Casino del Borràs was inaugurated.

    1872 - 1875

  • Fàbrica Llubià

    Alexandre Soler i March

    Fàbrica Llubià

    This architectural complex is located to the right of the Llobregat river, on one side of the Bauma bridge, very close to the BP-1121 road. The Bauma Factory is a construction made up of two buildings, the Roca and Llubià one, named after the two owners, and the new factory, located on the banks of the river, arranged side by side, following the line of the river course, and separated by the Torre del Amo. The first, older one, built to carry out the finishing and shipping processes, has a single storey and is characterised by a row of twenty-three openings in segmental arches. The second, which was used for spinning and weaving, as well as the flock store, the office and the turbine room, has four storeys and a gable roof, giving it a unitary character. The Torre del Amo is a construction attached to the factory walls on the west corner, forming a main façade facing Monistrol and another one facing the road. The ground plan of the building is made up of two polygonal bodies, a square one equivalent to the porch and a rectangular one, where a lookout tower and the building's outbuildings are located. There is a staircase after the porch with three ovoid arches supported by two pillars with vegetal capitals and a three-slope roof. The tower is square in plan and has a lookout tower crowned with battlements. The unifying element between the two bodies is the roof with two slopes, made of green and reddish tiles. The walls are of exposed brickwork, and the full spaces and openings form vertical strips that fit in perfectly with the general composition of the factory buildings. The facing has several balconies with arches that vary from segmental arches to convex arches and lintelled arches. The plinths, imposts, arches and tympanums are covered with glazed tiles and ceramic friezes that form multicoloured geometric and vegetal compositions. The Bauma factory was founded in the mid-19th century when Narcís Roca and Francesc Llubià joined forces to create the Bauma textile colony. At first, the Bauma factory was known by the names of the two owners: Roca and Llubià, names that lasted until 1929, although they changed hands several times. The saga began with the Güell family, and later, in 1892, it passed into the hands of the Dalmau i Tolrà brothers, who were well known in the textile world. And thirdly, in 1896, they were owned by Joan Vial i Solsona, coinciding with the period of maximum splendour of the factory and the colony. With this new owner, the company underwent significant growth and modernisation in both the factory and the colony, as both parts underwent major extensions and improvements. Also from this period are the extraordinary and emblematic buildings of the Torre del Amo and the Church, built between 1905 and 1908. The Dalmau family kept the property until 1917, when it was taken over by the Parera i Vives brothers, and after 1920 it passed into the hands of Bartomeu Puiggros e Hijos de Bartomeu Puiggros. Finally, in 1930, it passed into the hands of Josep Balcells-Dolors Morató, until 1963, when it closed its doors, to be acquired a few years later by the final owners: Nerpel S.A., who started up the factory again, restored important parts of the building, such as the Torre del Amo, which was in a state of disrepair, and kept the property under the name of Balcells S.A. until 1990, when the company finally ceased to operate, a few years after the death of the new owner, Jaume Amor Ruiz, one of the last great textile entrepreneurs of the industrial era. Bauma is known as the oldest of the three large colonies in the municipality of Castellbell i el Vilar, followed by Colonia Burés and Colonia Borràs. To reach the factory you have to cross a bridge, owned by the factory, which was built in 1859, and which has had to be rebuilt after several floods.

    1902 - 1908

  • Torre de l'Amo de Can Vial

    Alexandre Soler i March

    Torre de l'Amo de Can Vial

    This architectural complex is located on the right side of the Llobregat river, next to the Bauma bridge, very close to the BP-1121 road. The Bauma factory is a construction made up of two buildings, that of Roca i Llubià, the two owners, and the new factory. Both are located on the banks of the river, arranged side by side, following the course of the river, and separated by the Torre de l’Amo. The first, the older one, built to carry out the finishing and shipping processes, has a single storey and is characterised by a row of twenty-three openings in segmental arches. The second, which was used for spinning and weaving, as well as the yarn store, the office and the turbine room, has four storeys and a gable roof. In both constructions, an almost identical facing wall is used, thus giving them a unified character. The Torre de l’Amo is a construction attached to the walls of the factory on the west corner, forming a main façade facing Monistrol and another one facing the road. The ground plan of the building is made up of two polygonal bodies, a square one equivalent to the porch and a rectangular one, where a lookout tower and the building's outbuildings are located. Access to the building is from a staircase located after the porch, which has three ovoid arches supported by two pillars with vegetal capitals and a three-slope roof. The tower has a square floor plan and a lookout tower crowned with battlements. The unifying element of both bodies is the gable roof, covered with green and reddish tiles. The walls are of exposed brickwork, and the filled spaces and openings form vertical strips that fit in perfectly with the general composition of the factory buildings. The facing has several balconies with arches that vary from segmental arches to convex arches and lintel arches. The plinths, imposts, arches and tympanums are covered with glazed tiles and ceramic friezes that form multicoloured geometric and vegetal compositions. The Bauma factory was founded in the mid-19th century when Narcís Roca and Francesc Llubià joined forces to create the Bauma textile colony. At first, the Bauma factory was known by the names of the two owners: Roca i Llubià, names that lasted until 1929, although they changed hands several times. The saga began with the Güell family, and later, in 1892, it passed into the hands of the Dalmau i Tolrà brothers, well-known in the textile world. And thirdly, in 1896, they were owned by Joan Vial i Solsona, coinciding with the period of maximum splendour of the factory and the colony. With this new owner, the company underwent significant growth and modernisation both as a factory and as a colony, as both parts underwent major extensions and improvements. Also from this period are the extraordinary and emblematic buildings of the Torre de l’Amo and the Church, built between 1905 and 1908. The Dalmau family kept the property until 1917, when it was taken over by the Parera i Vives brothers, and after 1920 it passed into the hands of Bartomeu Puiggros e Hijos de Bartomeu Puiggros. Finally, in 1930, it passed into the hands of Josep Balcells-Dolors Morató until 1963, when it closed its doors, to be acquired a few years later by the final owners: Nerpel S.A., who started up the factory again, restored important parts of the building, such as the Torre de l’Amo. It was in a state of disrepair and kept under the name of Balcells S.A. until 1990, when the company finally ceased to operate, a few years after the death of the new owner, Jaume Amor Ruiz, one of the last great textile entrepreneurs of the industrial era. Bauma is known as the oldest of the three large colonies in the municipality of Castellbell i el Vilar, followed by Colònia Burés and Colònia Borràs. To reach the factory you have to cross a bridge, owned by the factory, built in 1859, and several floods have made it necessary to rebuild it.
  • Església de la Sagrada Família de la Colònia la Bauma

    Alexandre Soler i March

    Església de la Sagrada Família de la Colònia la Bauma

    Església monumental, situada al peu de la carretera de Manresa a Terrassa, a mà dreta, en el barri de la Bauma. Forma part del conjunt de construccions de la colònia industrial de la Bauma. La planta de l'església presenta una gran nau central i dues laterals. L'espai interior està distribuït en tres trams, determinats per tres columnes a ambdós costats i tres més d'intercalats. L'absis és semicircular i en ell s'hi obren cinc finestres. Els vitralls laterals estan tapiats amb un envà per la part de dins, encara que visibles pel cantó de fora. Les columnes no són treballades, sinó senzillament buixardades. A l'altar major hi ha una escultura de la Sagrada Família. La façana principal presenta una porta adovellada, de mig punt i una gran rosassa, a mà dreta s'alça una torre circular. L'aparell és força irregular. A ambdós laterals hi ha quatre contraforts, obrats amb grans carreus. En conjunt l'església té un aspecte esvelt i amb verticalitat. Va ser construïda durant els anys 1905-1908 per iniciativa del senyor Vial, propietari de la fàbrica, i del Bisbat. L'església, juntament amb el casino i la torre de l'amo eren edificacions típiques de les "colònies" fabrils de l'època, i manifesten la solidesa dels propietaris, enfront les cases humils dels treballadors. El projecte de l'església és de l'arquitecte A. Soler i March. Les obres es començaren el mes de gener de 1905 i s'acabaren a l'abril de 1908. Fou inaugurada pel Bisbe de Vic, Dr. Torras i Bages i hi assistiren també el governador Civil de B. Sr. Angel Osorio. La riuada dels dies 19-20 de setembre de 1971 va inundar les barriades de vora el riu, quedant molt deteriorades les dependències i el sòl de l'església. Els veïns de la Bauma van construir-la , tot aportant donacions en diner i treball.

    1904 - 1908

  • 1913

  • Cal Guixà

    autoria desconeguda

    Building located in the centre of Bauma, specifically in Carrer de la Riera. It is a building with a garden area in the front part, with a rectangular structure, ground floor and first floor. The main façade has three vertical composition axes formed by rectangular openings with plastered frames painted in a darker colour than the rest of the furnishings. In the central part of all these framings there are small sgraffitoes with vegetal motifs. The two floors are visually separated by a horizontal cornice. On the upper part of the façade there are two more cornices that form a frieze with three small framed oculi. The façade is crowned by a small wrought-iron balcony. The building has some significant elements in the Art Nouveau architectural style: the undulating crown, the wrought-iron balconies with an undulating profile and the framing of the openings in the form of a depressed concave arch. The gate that encloses the garden bears the year of its construction: ‘1917’. The building is plastered and painted in light tones, although the decorative elements of the façade and the framing of the openings are painted in darker colours.

    1917

  • Can Forrellat

    Alexandre Soler i March

    Building located on Carrer de Sant Jeroni. It is a U-shaped construction, made up of two longitudinal industrial units and a final horizontal one, supposedly intended for the residential area. The longitudinal units have gabled roofs with ridges perpendicular to the corresponding main façades. These, which face Carrer Sant Jeroni, are joined by a wall and have the same composition: a segmental arch opening with a brick frame and a porthole decorated with latticework, also in brick. Both façades are finished with a strip of plaster running along the entablature. The walls of the buildings are made of exposed stone. Access to the complex is through a wrought iron door located in the centre of the wall separating the two naves, and is flanked by two square brick pillars crowned by spherical decorative elements. The last building, the residential one, has a rectangular floor plan and is made up of several sections at different levels. The entrance to the building is through a first section with a ground floor and first floor and a gabled roof that precedes the main section. The latter has an attic and another floor, with the ground floor being below street level due to the steep slope of the land. The gabled roof, with the ridge perpendicular to the main façade, is broken by a square-section tower that protrudes one level above the main body and has a flat roof. On the left-hand side of the main volume there is another structure, with a ground floor and two upper floors and a gable roof with a ridge parallel to the main façade. The different volumes are plastered and painted in the same colour, with the exception of the ground floors, which have exposed stone. All the roofs are made of Arabic tiles.

    20th century

  • Borràs Casino

    Marcel·lí Coquillat i Llofriu

    Three-storey rectangular building between partitions made up of three vertical sections: two at the sides (multi-purpose hall and theatre) and a central section (stairwell) that separates and distributes. The roof of the halls is gabled with the ridge perpendicular to the main façade. The roof of the stairwell, on the other hand, is flat with a terrace. The facing, made of plastered and painted brick, is of well-squared ashlars with a bush-hammered plinth in the central section and smooth in the side sections. The crown of the building is characterised by a structure of two pediments flanking the quadrangular section of the staircase. The pediments are almost identical and have smooth, undecorated tympana. One of them has a balcony decorated with corbel-shaped corbels, arranged on a frieze that runs along the entire façade, ornamented with rectangular elements that imitate pilasters and are crowned by spheres. As for the openings, they are distributed symmetrically on the ground floor and first floor, with the exception of the balcony described above, which would be independent and the only opening on the second floor. The entrance door is on the ground floor, flanked by eight symmetrically distributed openings consisting of two segmental arch doors and two lintelled windows. The first floor has a central balcony with a basket-handle arch and a projecting balustrade, which is flanked by three balcony windows. Its characteristic, and what gives the building its value, is the use of elements of classical design such as pilasters with Ionic capitals and semicircular arches decorated with plant motifs. This building was inaugurated in 1922, and throughout its history it has undergone several phases of restoration. Promoted by the Borràs industrial family, who had a factory in the municipality, it became one of the most important cultural centres in Castellbell i el Vilar. Since 1991, it has been owned by the town council. In December 2001 serious structural problems were detected that forced the closure of its activity and even the temporary eviction of a savings bank located on the ground floor of the building. At that time, significant cracks were detected in one of the walls and the ceiling had caved in. When its structure was analysed, it was found that one of the central beams in the room had collapsed by about 15 centimetres. Almost a year and a half later (in 2003) the first works began: renovation of the roof and replacement of the trusses - which were all wooden and were found to be badly damaged - with metal ones. In addition, the walls most at risk were tied down and the opportunity was taken to carry out an initial remodelling of the hall. With this intervention, the theatre was able to reopen. In 2008, work began on renovating the stage machinery - electrically operated curtain rails, renovation of the entire electrical installation, lighting, curtains... - and the wooden stage was replaced with new, fireproof flooring. Finally, all the stairs to the stage were renovated, the doors and accesses were readapted and the dressing rooms and exterior façade were redone.
  • Viladoms Holiday Camp Buildings

    Office of Architecture in Barcelona (OAB), Núria Ayala, Carlos Ferrater i Lambarri

    Viladoms Holiday Camp Buildings

    Commissioned by the NGO Fundació Catalana de l'Esplai, we are working on several projects for summer camps in different areas of Catalonia, such as Castellbell i el Vilar, Navès and Sant Joan de les Abadesses, based on the criteria of sustainability, durability, adaptability and austerity that characterise the buildings we have made for them. The main premises taken into account when designing the new hostel were the following: - Economically sustainable project. The cost could not exceed 450 €/m² built, including urbanisation. - Multifunctional project. With more than 25 years of experience managing nature schools, the Foundation determines that the viability of a facility of these characteristics must have great versatility. Aspects such as the capacity of the rooms, the layout, the bathrooms, the versatility of the activity rooms and the accessibility of all the spaces. - A project that respects the environment. As an implicit part of the Foundation's educational project and with the experience acquired in a building such as the CENTRE ESPLAI, the construction of this new nature school should have energy saving systems. In the first of the projects, the proposal for implementation is based on the urban planning need not to exceed the gauge of the pre-existing buildings – ‘L’ shaped barracks in a very precarious state of health and hygiene. The new facility will consist of three distinct areas: service building, nature classrooms and dormitory area. The services building will house the dining room, kitchen, storeroom and a reception area and information point. The dining room will have capacity for almost 100 diners and will be located in a single room, where the different groups staying at the hostel will find a meeting and relationship space. In the building next to the dining room there will be three nature classrooms with a capacity for 30 people each. The proposal is for system units in which the ratio between useful and built surface area increases because the communications between them are produced from the exterior space, avoiding the conventional typologies of holiday camp houses that respond to the comb-shaped scheme -circulations from which hang batteries of bedrooms with communal bathrooms. This modular layout will permit, for example, housing different groups within the same installation and allowing them to maintain a certain degree of privacy inside their hut. The volumetric fragmentation into small autonomous units makes it possible to graduate the number of users and minimise maintenance and surveillance costs, while at the same time making it possible to configure a system with the entire colony. The unit is proposed as a reference, archetype and image of the imaginary world of childhood - small houses, village, relationship with the forest, paths and nature - and, in the future, it will allow for easy extension or expansion of the system itself. The adapted exterior routes and the passages between the different volumes allow circulation between them, grouping the entrances and facilitating control by the monitors. We propose three different types of rooms, with groups of 4, 6 or 8 children, with the possibility of developing them on one or two levels depending on the body, resulting in a total capacity of 90 places. The upper space and the volume of air it contains acquire enormous importance given the occupation of the living areas. It also favours the incorporation of acoustic control and artificial lighting on the suspended fabric formed by white tubular profiles. The simplicity of the materials used has allowed for great economy in the execution, as well as in subsequent maintenance. The interiors are made of painted fair-faced concrete block, fine-grained polished concrete floors, 20 cm wide windows inserted in 2 mm thick matt stainless steel frames with painted shutters incorporated to darken the interior and exposed chained domes that generate a warm shade of interior light. The location of the sets of windows in the vertical walls allows perfect cross ventilation, regardless of the prevailing wind in each case. For the exteriors, the unity of the material is emphasised – façades and roofs, both of living cells and public buildings, respond to the Coteterm system by Parex, a flexible, self-cleaning stucco that allows for continuity of insulation and waterproofing treatment around the perimeter. The external routes are differentiated into two types of paving: textured concrete slabs for pedestrians and scraped concrete for road traffic. Given the final solution of the proposal, the spectrum of users is widened, as it will not only be able to host summer camps and camps for schoolchildren, but also families and groups will be able to use the facility all year round.

    2010 - 2011

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