-
Old Pujol i Bausis Ceramics Factory
autoria desconeguda
The old ceramic factory in Pujol i Bausis, popularly known as "La Rajoleta", was one of the most important centres of industrial ceramic production in Catalonia. It is located between Carrer de l’Església and Passatge del Puig d'Ossa, in the city centre of Esplugues de Llobregat. This industry began its activity in the last quarter of the 19th century, although its industrial antecedent began its activity in the middle of the 19th century. The culminating moment of its manufacturing activity came at the end of the 19th century during the modernist era with the commissions of prominent architects of this artistic movement such as: Gaudí, Domènech i Montaner or Puig i Cadafalch. The factory ended its activity in 1984 and then the city council acquired the property. Several buildings were demolished and archaeological surveys were carried out which allowed the underground spaces to be discovered and documented, such as the large underground oven, which is, 20 m long, or the six Arab-type ovens (ca. 1887). The large 22-metre-high brick chimney located at the southern end of the plot and the two large bottle ovens also made of brick remain standing. These last bottle kilns, named because of their shape, were built between 1913 and 1914 to bake stoneware and porcelain, in the context of a remodelling of the factory under the direction of its owner, Pau Pujol. With a circular base, they are formed by a cylindrical section covered by a conical section topped by a chimney. They are made of brick reinforced with a steel mesh made of iron rings and strips to prevent expansion of the facing during the firing of the pieces. Several semicircular arched openings at the base. The industrial antecedent of the Pujol i Bausis ceramics factory dates back to 1858, when two French businessmen built a mill on this land owned by the Pujol family. In 1876 the factory was acquired by Jaume Pujol i Bausis, who remodeled it in the 1880s to manufacture ceramics, and since then it has been known as "La Rajoleta". Its heyday corresponds to the period of modernism, during which the main architects of this artistic movement commissioned work at the factory. In 1901, Joan Baptista Alòs, renowned ceramic designer and teacher at several arts and crafts schools, began working there as artistic director. After the Spanish Civil War (1936-1939), the factory became a limited company, it stopped manufacturing ceramic tiles and started manufacturing high voltage insulators for the electricity companies. Finally, its activity ended in 1984 and the city council acquired the property. After several archaeological prospecting campaigns, in 2002, the La Rajoleta Ceramics Museum was inaugurated in a newly constructed space located in the centre of the old industrial site.1880
-
1902 - 1903
-
Refurbishment of Masia de Can Brillas
autoria desconeguda
From 1808 until the end of the 19th century, it was the first house you could see if you were coming from L'Hospitalet. From 1906 to 1923, it became the social residence of the Cultural and Recreational Entity ‘L'Avenç’. In 1924, the Brillas family set up a wine business which later became the Marguery champagne cellars. In 1972, they sold the house to the town hall, which used it as a ceramics school and exhibition hall. The building is structured on three levels: ground floor, first floor and attic. It is made up of three sections, with a gable roof. The façade is almost symmetrical. The main door opens on the central axis, topped by a segmental arch, above which is the inscription: ‘Anno Domini MDCCCVIII’. The side door is pierced by a lintel. It was rebuilt in 1906, maintaining a certain Catalan Art Nouveau touch in the wrought-iron balconies and the second-floor window. Recently, a side section was added to the left of the main façade. Extensions were carried out to accommodate the cultural activities of the house. The 2000 m2 of gardens that surround the house are worth mentioning.1906
-
1946
-
Iranzo House
Josep Maria Sostres i Maluquer
The project outline, very generous and permissive, is interpreted in this case from a desire for a very strict correspondence between each of the parts of the house and its own structural and volumetric solution, so that the articulation between the different bodies is forced upon themselves. The result is a combination of volumes and openings that form a series of tense rhythms where no element is repeated. Sostres revitalises several compositional guidelines from the modern movement: the location of the entire program on the first floor refers to Le Corbusier, while the strict equation of use-form-structure comes from the more rigid principles of the Bauhaus. Despite everything, the result is not a mere exercise of historicism: by interpreting ideas and procedures, and not stereotyped forms, Sostres manages to regenerate the vitality of the house as a complex system of rooms, where the blown volume of the living room being ends up playing a predominant role.1955 - 1956
-
Moratiel House
Josep Maria Sostres i Maluquer
It is the best critical interpretation that Sostres made of the masters of the modern movement that influenced him so much. The program is developed on a single floor, slightly raised from the ground, and with the different rooms well placed with respect to the solar abacus. The combination of different types of supporting elements and facings, originating from the interest in Terragni and other Italian rationalists, tends to dematerialise the house and to incorporate transparencies as a more intense experience of space. From the street, the two plans differentiated by colour, the cut of the entrance and the view of the two overhangs of the roof, the study and the staircase, reflect a revision of the old icon of the Savoie Villa: an almost square house almost, with the passable roof, and a small inner courtyard that completes the organisation of the whole space and contributes to creating a richer domestic atmosphere than that of the old international style interiors.1955 - 1957
-
1956 - 1957
-
1957
-
1959 - 1960
-
1962
-
Fàbrica Montesa
Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Cuando Correa y Milà se enfrentaron al proyecto, ya existía una propuesta previa que fijaba unas luces entre pilares de 24 m. Los autores consideraron que se trataba de una decisión automática y la analizaron de un modo crítico, juzgando innecesario recurrir a grandes luces para una instalación industrial que funcionaba con máquinas pequeñas. Decidieron, por lo tanto, dividir las luces por la mitad, hasta 12 m, lo que les permitió reducir los costes de la cimentación y hacerse con el encargo. El programa exigía construir una solera de hormigón en masa que fuera capaz de resistir uniformemente las cargas para permitir que la distribución de las máquinas pudiera cambiarse en cualquier momento. Esta solera no podía contener ningún tipo de instalación o conducto que obstaculizara los posibles cambios, por ello las instalaciones se dispusieron vistas en el techo, mientras que los bajantes pluviales se llevaron al exterior. La importancia de esta decisión se refleja en la longitud de los canalones, que discurren 100 m entre los dientes de sierra. También había que garantizar la estanquidad de la nave, de manera que los lucernarios se construyeron totalmente verticales.1957 - 1964
-
1963 - 1965
-
1971
-
Garbí School
MBM Arquitectes, Oriol Bohigas i Guardiola, David Mackay, Josep Maria Martorell i Codina
Construction of a new school, built in three phases, for Kindergarten, Primary and Secondary for a total of approximately 1300 students. The construction of the first phase was developed in accordance with the team of pedagogues, with the idea that the architecture had to collaborate in the educational process, creating in the student the full awareness of belonging responsibly to a community. All the outbuildings were grouped around a central multi-use covered square, although primarily used as a dining room. The organisation had a certain urban analogy: the central community square that gathered around it the various more privatised areas. Shortly after, it was decided to transform and expand the building in three successive phases, in which they tried not to modify the initial concept. The common space, with its urban analogy, was maintained, but the image of the square was transformed into that of a succession of interior and exterior streets and squares. The enlargement technique was simply additive, thanks to the fact that the building had no compositional rigidity and could grow according to an almost unforeseen morphology, in a way related to popular forms. This aspect is underlined by the materials and construction systems used: brick walls, traditional ceramic tiles, concrete and natural wood.1962 - 1973
-
1969 - 1976
-
La Solidaritat Park
Àrea Metropolitana de Barcelona (AMB), Xavier Casas i Galofré, Sergi Godia i Fran
1995 - 1998
-
Esplugues-Pare Miquel Central Library
Artigues & Sanabria Arquitectes, Ramon Artigues Codó, Ramon Sanabria i Boix
1995 - 1999
-
Espai Baronda
Alonso i Balaguer Arquitectes Associats, Lluís Alonso Calleja, Sergi Balaguer Barbadillo
2005
-
1968 - 2017
-
Noves oficines per Galenicum
H ARQUITECTES, David Lorente Ibáñez, Josep Ricart Ulldemolins, Xavier Ros Majó, Roger Tudó Galí
2020 - 2022