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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2024 Aureli Mora i Omar Ornaque

Documental 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 Ornaque

Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres

External Collaborators:

2019-2024 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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Awarded
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All works
  • Armet House

    Ferran Romeu i Ribot

    Armet House

    Detached house treated with an asymmetrical layout. It consists of different bodies - the most important or main one is intended for housing and has a ground floor and two floors, both facing the garden and with a partition. The construction materials are: brick, common walling, and it is decorated with mosaic and herringbone tiles, and in some cases the same ingot forms ogival arches. Inside the structure of the house rises a tower with a crossed plan with an elongated conical finish. The other buildings consist of a garage, auxiliary housing, a storage tower and a windmill. They are of simpler construction, with the same treatment of the apparatus of ingots combined with plastering.

    1898

  • 1905

  • Lluch House

    Eduard Maria Balcells Buigas

    Lluch House

    Small palace with three floors with a functional overlap characteristic of palaces: semi-buried ground floor taking advantage of the natural unevenness of the hill, floor plan with halls, rooms, small rooms, dining room and library. Second floor where there are the bedrooms and a second floor where there is the attic with access to the roof. The facade is structured from volumes of geometric bodies divided into three distinct parts making a triangular portal with smooth pointed in the central crugia. On the outside there is a combination of white and blue trencadís majolica combined with white plastering, exposed billet and stucco. Decoration of lights and wrought iron grills.

    1906

  • 1907

  • Can Barnils

    Eduard Maria Balcells Buigas

    Can Barnils

    Isolated house surrounded by a large garden. It has a rectangular structure, ground floor and main floor. Three bodies have been differentiated on the main façade by means of the central body that protrudes above the façade and by a porch at the entrance door crowned by a balcony with a railing of latticework with a floral theme. There is abundant floral theme decoration on the windows too. A frieze separates the first floor from the crowning of the façade. On one of the lateral sides a lookout tower rises. The façades are plastered with fake stone veneer and the central body is plastered white. On October 10, 1908, Mr. Manuel Mir requested the building permit, according to the project of Eduard M. Balcells.

    1908

  • Mònaco House

    Eduard Maria Balcells Buigas

    Mònaco House

    Square building with symmetrical axial distribution, according to the entrance axis which is indicated by a canopy balcony. The façades are plastered. The window sills, the cornices, and the roof railings are of traditional moulded mortar and with vegetal patterns.

    1910

  • 1899 - 1911

  • Generalife House

    Eduard Maria Balcells Buigas

    Generalife House

    Large house following the Arabic decoration and construction. It consists of two floors and maintains a rectangular structure. The walls are plastered in white and the windows are horseshoe arches with neo-Arabic ornamental details - arcades and sgraffitos similar to those of the Alhambra. At the back of the house, a tower that is crowned by a dome rises, with ceramic decoration in white and blue stripes. In the same area, there is another construction for the country house that maintains a similar but not as elaborate structure.

    1919

  • Sant Cugat Cooperative Winery

    Cèsar Martinell i Brunet

    Sant Cugat Cooperative Winery

    The building built by Cèrsar Martinell consists of a large rectangular nave, for vats and processing room, and a porticoed body, attached to one side of the main façade, without a dividing wall, where underground tanks, hoppers and the reception dock were installed. To cover the building, flat brick vaults were used, in the shape of an eggshell with three thicknesses of tile and arranged at different levels to leave openings between them. These vaults were plastered with Portland cement, like those in Gandesa. These vaults were also used as platforms to support the surface tanks, distributed in two rows on each side of the ship. The roof rested on large parabolic arches with eaves relieved by pilasters that covered the lower vaults. The façade was formed by a large blind parabolic arch, on the ground floor of which the door opened in a lowered brick arch, while on the opposite façade there was a large window with five vertical openings and closed in a raised arch. Located to the west of the monastic complex, this winery, commissioned to the architect Cèsar Martinell, was built from 1921. Already in 1916, the Agricultural Union and Caixa Rural had been founded. In January 1921, the Sant Medir Winery Union and Caixa Rural was founded, made up of tenants, sharecroppers and middle owners. The architect designed a large cellar of which, however, only a part was built and he left the rest for later. In 1936, the winery had to merge with the other cooperative entities of the town. In 1939, when the national troops entered, the union's patrimony was confiscated, which was not recovered until 1945 under the name Cooperativa Vitivinícola de Sant Cugat del Vallès. The decade of the 1950s meant the maximum splendour of the winery, in which the maximum production of wine was reached. In the Martinell building, three naves had been added without any architectural interest. From the 1960s, the organisation took a step back, becoming a bottling and marketing plant for various agricultural products. This went on until 1992, when part of the old Martinell winery was ceded to the city council. In 1994, the three new naves were demolished.

    1921

  • Luque House

    José Antonio Coderch de Sentmenat, Manuel Valls i Vergés

    Luque House

    Coderch solves the gentle slope of the land by means of a difference in level on which the house straddles. Upstairs there is the entrance and parking, a group of two bedrooms and the master bedroom with its study. Downstairs there are two more bedrooms, the day rooms and the wing where the kitchen and service rooms are located. The bedrooms located to the north follow the recess arrangement and the staggered section. Each different use of the house has its own façade, clearly separated from the others by means of the extension of the walls. Facing northeast, the house seeks light through a transversal axis that goes from the parking lot to the living room, and which has as its main element an interior patio that allows the entrance of light. This patio becomes a central nucleus that organises all circulations, so that the life of the house revolves around its luminosity.

    1964 - 1966

  • 1963 - 1971

  • 1969 - 1971

  • 1971

  • Rognoni House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Rognoni House

    A plot of difficult geometry located in a conventional garden-city. Two houses for two brothers with a separate guest area common to both. The planning had provided for an extension of the street which forced the building to be cornered in the southern corner of the plot and it determined the triangular shape of the plant which ended up practically coinciding with the only surface where it could be built. In this project the narrow strips of forced separation with the neighbours were also intended as car parking and pedestrian access to the homes, which opened towards the private garden inevitably located to the north. Patios and skylights sought the sun and southern light.

    1976 - 1978

  • 1978

  • Mozart-Fortuny Apartments

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Mozart-Fortuny Apartments

    Neither the small size of the plot, nor its excessive slope, nor its geometry in plan, nor the number of apartments that could and therefore had to be built, made it possible to find the slightest gap in which to improve the volumetric implementation that the editor of the ordinances had decided. The project only found the freedom to paint everything a camouflage green to ensure that everything happened as unnoticed as possible in the middle of that landscape in which discreet and endearing summer towers appeared from the middle of the last century. The effort was concentrated on the interior organisation. It was decided that each apartment, even if it was only 90 m2, would be developed vertically so that everyone could enjoy direct contact with the garden. They were single-wall dwellings, an elementary construction system that the work tried to clearly explain, which were organised from a central void, covered and illuminated from above. On one side there was the staircase that gave access to a series of rooms, all of the same dimension and separated from the void by means of folding doors. The lights and cross ventilations, the game of the multiple possible compartments and the empty façades that did not want to favour predetermined uses, gave great freedom to those small interiors. The users responded with enormous imagination to what the building offered them and the different and unforeseen ways in which those 12 identical apartments were experienced would have deserved a documented study. A few years after they were inaugurated, auxiliary buildings and a community pool were built on an adjacent plot. A wall became the element that organised the extension by radically separating the world of storage rooms treated in the manner of neighbouring apartments, from the brightness and luminosity of the tiles and water. Of the orderly series of doors that led to the pool, one gave access to the changing rooms, others were false, another one was a mirror that simulated a void, and a final one communicated to the outside, to one of the apartment’s courtyards.

    1972 - 1980

  • 1987 - 1989

  • Sant Cugat Theatre-Auditorium

    Artigues & Sanabria Arquitectes, Ramon Artigues Codó, Ramon Sanabria i Boix

    Sant Cugat Theatre-Auditorium

    Given the complexity of the program, the complex is arranged on the Passeig de Torreblanca and looking south over the Arborètum Park. The main entrances from the Theatre to the Conservatory are arranged on a large platform, benefiting from the views over the Arborètum, as this building sits on one of the lateral façades of the large theatre building. The large volume of this building maintains its presence and stands as the main character of the complex. The project tries to solve a tough functional program from its volumetrics. The theatre will be the protagonist of the whole operation. The rest of the built bodies are arranged around the large central box, with which an attempt is made to solve the scale problem posed by the lateral and rear façades of the theatre. This arrangement of additions to the central body will allow a specialisation of the accesses to the different buildings with the creation of an elevated platform, which, while performing the function of an outdoor public square, organises the arrangement of the accesses to the Theatre and Conservatory from on two of its sides, as well as representing the function of a virtual door to the Arborètum's neighbouring park. The building, given its functional characteristics, is manifested by its volume, reaching its maximum height in the scenic box, which allows the folding of sets. The room extends over two levels: one at the access level, which forms the platform, and another at the level of the amphitheatre, which is accessed by stairs located laterally. The capacity of the hall is 746 spectators, which makes it possible to have very appropriate equipment for the city and its surroundings. The special formal diversification of the building is what will allow the different parts to be understood as a single built complex and will try to solve the obvious problem of scale posed between the large central volume and its encounters with the immediate urban environment, establishing at the same time and from more distant readings an image of autonomy and representativeness in accordance with the characteristics of the centre.

    1989 - 1994

  • Central Park, Rambla del Celler and Sant Cugat Park System

    Batlle i Roig Arquitectura, Enric Batlle i Durany, Joan Roig i Duran

    Central Park, Rambla del Celler and Sant Cugat Park System

    Central Park In the last ten years, Sant Cugat del Vallès has seen its population increase from three originally rural sectors. The park we present occupies one of these three sectors, the one called Sant Domènec-Colomer. It is a narrow and long strip that extends from the centre of the town to one of the nearby hills, being traversed longitudinally by a stream. Urban planning focuses on two main issues: the concentration of the green area in a central strip that protects the stream, and the adaptation of the road layout and the building to the morphology of the site. Based on this, the park project takes into account the topography of the small valley on which it is located, its agricultural nature and the strong social pressure that its urban immersion entails. The main road, which is parallel to the park, is designed according to two different traces: a rectilinear one, which proposes a clear geometric order, and the sinusoidal one, adapting to the existing layouts. The curvilinear route is broken down into a staggered section which, while maintaining a minimum sidewalk, allows a mid-height promenade to be attached between the park and the street. This promenade, which provides occasional access to the park, is the most urban alternative of the project, becoming a viewpoint over the park and over the city. Inside, the path of the stream is restored, which is accompanied by a path roughly parallel to it, allowing the whole sector to be traversed longitudinally. A system of transverse paths, following the agricultural subdivision, completes the connection with the perimeter limits. The vegetation evokes the specific ecosystems of the area: alignment of deciduous leaves on the stream and the longitudinal path, evergreen on the transverse paths, small evergreen forests on the demarcation of the fields and various types of grasses in the fields. Rambla del Celler and Park System The Sant Cugat park system is the result of the development of a series of partial plans around the Monastery, carried out over the last few years based on a common idea: the project of free spaces as the genesis of the form of city. This idea has allowed us to adapt to various situations, to contradictory plans that have already been approved, or to the disaggregation into infinite forms of execution with very changing promoters and budgets. The parks system project already had the global treatment of all the open spaces of the various developments and the preservation of the memory of the place as its main objective. Through the discussion of the different urbanisation projects and the establishment of homogeneous criteria, the aim was to overcome the individuality of each order to obtain an argument that only with vegetation and pavements would become, apparently, something prior to construction of city. The definition of the checkered grids, which are assumed to generate the layout of the streets, and the grass area that equally covers both the parks and the linear parterres or the squares, aim to create a unitary image of the entire sector. This unit is reinforced by the desire to obtain continuity for pedestrians and bicycles throughout the park system. The Riera Park is the last piece of this park system and allows the physical and visual connection with the Torre Negra natural area and the Collserola mountain range. The Riera Park is designed based on the same arguments, taking advantage of the existing ponds and the presence of the open watercourse. The modification of the topography on the banks of the stream gives rise to a series of lamination ponds that reduce the speed of the water and that enable the growth of riverside species. A series of bridges allow both sides of the watercourse to be connected, enabling the contemplation of this typical landscape of our country.

    1989 - 1998

  • Seu Central del Banc Sabadell

    Bach Arquitectes, Jaume Bach i Núñez, Eugeni Bach Triadó

    Seu Central del Banc Sabadell

    En el polígon industrial de Can Sant Joan, als afores de Barcelona, en un solar al costat del nus de l’autopista A-7 i la B-30, es projecta un edifici d’oficines i naus industrials que ha de tenir una forta i representativa imatge des de l’autopista i, alhora, una bona integració en el paisatge. El projecte proposa, seguint les ordenances d’aplicació i els requeriments del programa, un edifici dividit en dues parts. Una nau industrial, amb accés des de la part nord-est del solar que, si és necessari, pugui funcionar independentment de la resta de l’edifici. Aquesta nau es disposa a la distància adequada del límit del solar per a permetre la càrrega i descàrrega i el gir de les maniobres dels camions. La nau és de forma rectangular, excepte en l’extrem oest que gira seguint un arc de circumferència de manera que permet que la resta de l’edifici giri i s’adapti a la geometria corba del solar. Aquesta nau consta de 4 altells en la seva façana de càrrega i descàrrega per a permetre el control, l’entrada i sortida de mercaderies i per a ubicar-hi l’espai necessari per a administració. Paral·lelament a aquesta nau, es desenvolupa un edifici de PB+IV que alberga les oficines. Aquestes es plantegen sense cap tipus de distribució interior, a excepció dels nuclis d’escala, vestíbuls i instal·lacions que formen uns espais compactes en la part central i en la façana nord-est de les oficines. Entre els dos volums (nau industrial i edifici d’oficines) es planteja un carrer d’entrada a la cota de planta soterrani. Aquest carrer permet l’entrada als aparcaments, situats en aquesta planta i dos soterranis més, passant sota quatre ponts que uneixen les dues parts de l’edifici en planta baixa. Les façanes de l’edifici d’oficines s’han plantejat amb diferents tipus de peces de formigó prefabricat; a la façana a l’autopista, amb prefabricats de formigó blanc foradats en voladís, i a la façana que dóna a la nau, amb prefabricats blanc i gris formant un joc dinàmic de tonalitats.

    2003

  • AA House

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

    AA House

    The house responds to some basic geometric rules which are so simple that the power of the essence of the project lies in them. An orthogonal net of 7x7m on which the diagonals are superimposed, building the basis on which the composition of the project rests in the form of a musical stave. The diagonals at 45º are the generators of the expansions of the roof, skylights in some cases and double floors in others, generating an artificial topography that floats over the natural topography of the land. In this way, the programme is developed on the garden-level floor in a direct indoor-outdoor relationship, where rooms, lounges, library, dining rooms, kitchen, main room and guest pavilion are located - all of them visually linked through long perspectives cut by glass. Vertically, there are specific relationships between the main floor and the lower floor and the mezzanines, always responding to programme requirements and thus closing the three-dimensional continuity of the building. These areas of the lower floor are spaces serving the main programme such as: cellar, directly connected to the dining room; archive-video library, connected to the library; wardrobe, extension of the main room; service house, with direct access to the kitchen area. Lofts are reserved for intimate spaces in direct relation to the surrounding landscape. The composition is completed with an unexpected access through a patio in very dark tones that will contrast with the brightness of the rest of the house. The project materialises as an extensive stone roof with specific episodes of contact with the ground, leaving the rest of the perimeter to light and transparent materials: large windows with metal joinery screened at specific points in the programme.

    2007 - 2009

  • New Headquarters of iGuzzini

    Josep Miàs i Gifré

    New Headquarters of iGuzzini

    The building is made up of two parts which correspond to its different functions: a lower one which is semi-underground and made of exposed concrete, and the other is spherical and made of glass, floating in the landscape. Taking advantage of the unevenness of the plot, the lower platform contains the logistics warehouse, the car park, the showroom, the auditorium, the theatre, a presentation room and the facilities. All these environments need darkness to be able to experience and expose the artificial light. The upper surface of the platform is a wired outdoor technical floor, made up of a series of movable panels of different finishes, which allow the necessary flexibility to be able to set up various configurations of the outdoor showroom. Above the platform, the most representative part of the complex emerges in a dynamic balance, with a spherical shape. The offices, management offices and research areas are located there. The office building is built around a patio that develops as a complex structural system made up of five metal structures. When reaching the top, this pillar is joined by traction cables with ten other vertical elements that hold the building's perimeter.

    2006 - 2011

  • 57 University Housing Units at the ETSAV (UPC)

    DataAE, H ARQUITECTES, Claudi Aguiló Aran, David Lorente Ibáñez, Josep Ricart Ulldemolins, Xavier Ros Majó, Roger Tudó Galí

    57 University Housing Units at the ETSAV (UPC)

    The new housing for university students is located on the same block as the Vallès School of Architecture. The proposal aims to maintain the balance between existing buildings, outdoor spaces and the new student residence. It consists of two blocks of ground floor and a floor above which are parallel to the street, with a large central atrium. The program makes it possible to imagine intense cohabitation between users, both on an individual level, thanks to the interior flexibility of the homes, and on a collective level, thanks to the use of the atrium as a space for social events. The project opts for an industrialised construction through a single prefabricated concrete housing module with a minimum of fixed elements. All modules and finishes are removable and recyclable, or reusable. The building is divided into two floors to take advantage of the existing topography, making the access possible without the need for an elevator and reducing the surface area of walkways and stairs.

    2009 - 2011

  • 2011 - 2014

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