Awarded
Cataloged
Disappeared
All works
-
1849
-
1852
-
1873 - 1874
-
1880
-
1881
-
1882 - 1885
-
School and Convent of Our Lady of Montserrat
Spacious, solid, U-shaped house, consisting of cellars with tile vaults, three floors and an attic. The interiors are divided between the toilets in the basement and the classrooms, interns' rooms and cloisters on the upper floors, arranged around the aforementioned U-shaped courtyard. The monumental harmony of the chamfered façade, the attic arches, and the single nave chapel with belfry, attached to the building, should be highlighted. The Franciscan Nuns, at the request of Rector Josep Perera, who saw the lack of education among the girls in the town, began classes on January 2, 1888. Two years later, during the Festa Major of 1890, the first stone of the Franciscan College and public chapel was blessed.1890
-
Governor's Tower. Piarists of Alella
A group of civil buildings, currently owned by the Piarists, made up of many outbuildings, among which there are often no stylistic relationships. One of the characteristics of the complex is its strong eclecticism: from a neoclassical to neo-Gothic façade mixed with neo-Arabic elements; classical columns supporting horseshoe arches; use of brick combined with the use of stone and flat roofs with pinnacles; and classical sculptures coexisting with modernist lampposts. The complex is surrounded by a large garden which also shares its general characteristics – alongside the French-style cypress trees, there are palm trees. Originally there was Mas Torrella, dating from the 14th century. At the end of the 19th century, in 1890, the property passed into the hands of Antoni Borrell, who left it to the Pious Schools when he died. Antoni Borrell, Governor of Catalonia, was the one who ordered the construction of the current building. -
Can Valls
Large quadrangular house, with a flat roof, vaulted floor plan and two floors. The main floor has a tribune added in the modernist period, with five sides and stairs at the back. The interior offers large, illuminated spaces. With the last Republic, the house became a national school and then all the old interior layout was altered. It is worth highlighting the remains of the large garden that surrounds it, in the garage – today converted into the farmer’s home – and the cave of fantastic invention, now hidden. For many years, this house was the summer house of the Valls family. In 1932, the then republican city council leased the building to convert it into a school although it did not function as a national school until the 1940s. This school use was maintained until 1976, when the Escola Montcau was inaugurated. Shortly afterwards it was saved from demolition to make flats, thanks to the campaign to save buildings and green spaces carried out by the Democratic Assembly of Gelida and other people sensitised by art. At the beginning of the 1990s, the secondary school was temporarily located there until the inauguration of the Gelida Institute in 2004. On October 15, 2013, the City Council approved in the ordinary meeting the contract file for the rehabilitation works of the building, which will host the Municipal Music School.1891
-
1892
-
1891 - 1893
-
1893
-
Les Teresianes School
The building follows a courtyard with three longitudinal corridors, so that the central one becomes a complex interior lighting device, which assimilates the whole set to a cloister. Working with a small budget, Gaudí chose to use a very narrow parabolic arch, repeated numerous times, which allowed him to solve the central distribution corridors and at the same time the openings of the façade. The central courtyards allow dimmed light to reach the ground floor by means of successive steps that let the light pass through indirect routes. It is worth noting the simplicity with which the joinery has been solved: inside, the glazed leaf partitions take on abstract forms without any symbolism. The typical window of the façade consists of a rectangular blind, embedded in the mass of the factory, which covers the opening itself, which takes the form of the reference parabolic arch.1888 - 1894
-
Roser School
Religious building. The school has a rectangular ground plan, with a horizontally elongated central body and two bodies at each end with a vertical layout. The one on the left corresponds to the porter's lodge and the one on the right to the chapel. On the left side there is an annexe that forms a kind of tower with battlements, which served as an observatory. The opening systems are different, they do not follow any pattern (rectangular, arched, etc.), and opposite this building there is another one used as a storehouse with similar construction characteristics. The materials used are very varied: stone, red brick, mosaic, stained glass and iron. Josep Puig i Cuyer, born in Breda, spent his summer holidays in Sant Julià de Vilatorta and, with the desire to carry out charitable work, had the orphan school built, which was inaugurated in 1894. Three years later, a meteorological observatory was installed, which was the first in the region. An interesting natural science museum was also created. These two tasks were carried out by Father Cazador. In 1958, a fire destroyed the museum and the library. In 1972, the internal structure of the school was partially modified.1894
-
1893 - 1896
-
Col·legi Blanenc
autoria desconeguda
Ens trobem davant d'una gran edificació quadrangular de tres plantes, amb el cos central elevat o sobresortint o repujat respecte del nivell del pla i dels dos cossos laterals. La façana es fa ressò, manlleva tot un cúmul de trets i motius característics del lèxic clàssic. D'altra banda, els assimila com a mer ornament, sense cap voluntat arquitectònica i constructiva, és a dir trets assimilats en "l'epidermis" de l'edifici (part més superficial), sense afectar ni fer-se copartícip de les estructures internes. Tot i això, es tracta de tota una sèrie de motius interessants que recalquen encara, la vigència i importància del llegat clàssic filtrat en una versió molt menys compromesa, com és el format neoclàssic. Des de l'àmplia profusió d'arcs de mig punt (acapara el protagonisme en totes les obertures), passant per les arquetípiques balustrades fins a la puresa visual, nitidesa ornamental desmarcant-se de qualsevol signe de recargolament o pesadesa, aposta per la claredat compositiva, constituïda per mitjà del disseny dels òculs, cornises de separació de les diverses plantes – són simples i senzilles però alhora clarividents-, la unitat compositiva... Tots aquests motius són arguments més que suficients, que corroboren l'encara dependència i interès per aquestes morfologies clàssiques. D'altra banda, una dependència no aïllada, sinó en consonància amb la resta d'edificis de la vila, ja que com hem pogut comprovar molts dels edificis emblemàtics de la vila, es deixen impregnar per aquest lèxic tan universal. Finalment, cal dir que l'edifici està coronat per una gran torre quadrada i emmerletada, que magnifica i ressalta, el de si ja per si sol monumental edifici.1896
-
Enric Casassas School
Public school located in corner between two streets and with a ground floor. The building is arranged around a courtyard making an "L". In the centre there is the lobby and the management offices. In each of the arms there is a classroom that overlooks the courtyard and the street. The façade follows a modernist style and is made of very elaborate exposed work, with a stone plinth. The ceramic mural in the chamfer is remarkable, with the coat of arms of Sabadell and the school's construction date. This school was built in 1897. It was the first and last witness of the movement for school buildings that began in 1888. The interior of the building was demolished and a new school was built attached to the old façade in December 1982.1897
-
1898
-
Jesús i Maria School
Throughout the 19th century, numerous religious orders - many of French origin - established themselves in Barcelona, monopolising education and attempting to counteract the trends towards secular education, and for this reason they enjoyed the support of the more conservative classes. It was not uncommon for these congregations to have a school in the urban fabric of Barcelona and another, more elitist one, in Sarrià-Sant Gervasi. The orders of Jesus and Mary, initially established in Sant Andreu del Palomar, where Sagnier built a simple school in 1906, had an educational centre in the city centre, in Eixample, where the urban housing and the warehouses of the prosperous textile industrialists were concentrated (neither of these schools longer exist). The Jesús-Maria school in Sant Gervasi, fortunately preserved without too many modifications (only a few windows on the first floor have lost their original ornamentation), corresponds to the usual typology of the school as a large isolated building in the middle of a garden. Although there is no shortage of examples of schools designed in the classical language, the most frequent is the neo-Gothic aspect, typically identified with religious architecture, and this building is one of the best examples: structured around a courtyard, it uses exposed brick with some ornamental stone applications. The original project called for the chapel to be visible from the outside, but it ended up being integrated into one of the four wings of the courtyard. In any case, it remains one of the most outstanding parts of the building. As he did in other churches, Sagnier used a common element in Catalan Gothic architecture: the roof of decorated beams supported by diaphragmatic arches running from side to side of the wide nave. Only the presbytery is covered with a pointed vault.1892 - 1899
-
Convent and Chapel of the Germanes de la Vetlla
Complex made up of the nuns' residence, the chapel and a new building, with a front garden. The house has a ground floor, a main floor and an attic. The façade has a symmetrical composition, and has a remarkable element, which is the pointed arch of the balcony door, with floral ornamentation. The roof is covered with Arabic tiles. The chapel, with a single nave and of small dimensions, presents the use of brick as a fundamental characteristic. The roof is gabled. It presents a combination of several architectural languages. Neo-Gothicism and modernism are predominant. The Convent of the Germanes de la Vetlla dates from 1899. The project, signed by the architect Santiago Güell i Grau and preserved in the municipal archive of Vilafranca, was presented on the 27th of May and approved on the 28th of June. The new construction dates from the years 1974, 1975 and 1976, and was made according to the project of Josep M. Rovira i Gimeno.1899
-
Children's School and Nursery
Rectangular building with two side wings and a wider central section of the façade containing the staircase leading to the second floor. It has two floors in the central section and one wing, and three in the left wing; the third floor leads to a roof terrace with access to other rooms. The main façade was 46 metres long, and the windows reveal the internal division of both floors, which are very high. Both the cornice and the outline of all the openings are emphasised by the use of different materials. It has a backyard with glass-filled façades that help to bring light into the building. 1898.- Work begins on the construction of this building. 1901.- The building, now finished, was blessed by Father Torres i Bages on the 31st August.1898 - 1901
-
Col·legi Teresià
Erigit pel fundador de l'Orde -Sant Enric d'Ossó- i contemporani del col·legi del carrer Ganduxer, a Barcelona, aquesta edificació li fou encarregada a Antoni Gaudí -gran amic del sant- però les creixents ocupacions del primer van impedir la seva participació i Bernardí Martorell ( 1870- 1937), un dels seus col·laboradors, es va fer càrrec del projecte. Tot i això, obra d'en Gaudí són les reixes de l'oratori i, pel que sembla, l'orientació estilística de l'edifici. Aquest, prismàtic de planta rectangular, es caracteritza pel paredat sense treballar de la façana i pels seus elements neogòtics.1888 - 1904
-
Industrial School of Arts and Crafts
Public building intended for a vocational education school. It consists of two large naves and a lateral tower containing the staircase. One of the buildings is placed parallel to the street and consists of basements and two floors. The other ship is perpendicular to the first, its front faces the street and only has a ground floor. The staircase tower has a circular plan, it is crowned by a pavilion cover of ceramic flakes and its upper openings have the shape of a parabolic arch. The façades are modernist and have a stone plinth and the rest of the façade is a combination of exposed work and stucco. The cornice and windowsills are decorated with green ceramics. The main nave has a gable roof while the other has a sawtooth roof. The current Caixa de Sabadell Social Work building was to house the classrooms, workshops and offices of the School of Arts and Crafts. It was built between 1907 and 1910 by Jeroni Martorell, who at the same time was building the Caixa d'Estalvis building with the help of the same team of craftsmen. The sculptor Tomàs Priu i Marine would collaborate. The school occupied the building for fifty years, but later underwent a refurbishment inside, in order to adapt the building to the headquarters of the Cultural Work of La Caixa d'Estalvis, which was carried out by the architect J. Vila Juanico and decorator R. Ribalta. In 1992, renovation works were carried out on the ground floor to adapt it to a library, creating an access through Font Street.1898 - 1910
-
Pere Mata Secondary School
Lluís Domènech i Montaner, Pere Domènech i Roura
L’Institut Pere Mata és el fruit d’una iniciativa per adequar l’assistència als malalts mentals als nous procediments terapèutics que estaven sorgint a l’època. Domènech i Montaner entrà en contacte amb la Sociedad Manicomio de Reus a través del seu primer president, Pau Font de Rubinat, coreligionari de la Unió Catalanista. Domènech esbossa a l’Institut els criteris d’arquitectura hospitalària que pocs anys més tard desenvoluparia a l’Hospital de la Santa Creu i Sant Pau, a Barcelona. Proposa un sistema de pavellons repartits per un gran jardí, de manera que cada pavelló pot acollir diferents malalts segons el tipus de malaltia, la classe social o el sexe. Tots els pavellons són d’obra vista amb sòcols de pedra poligonal, i totes les cobertes són de doble vessant, de teula àrab. Els emmarcaments de portes i finestres són de pedra calcària, més o menys treballada. De vegades s’aplica la ceràmica blanca i blava per decorar les façanes. En total són onze pavellons organitzats al voltant d’un pavelló central, tractat més profusament, que acull els serveis generals. Domènech desenvolupà el projecte sobre la base d’un coneixement a fons de les pràctiques terapèutiques i de les necessitats dels malalts.1897 - 1919