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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

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.
Legitimació del tractament: El seu consentiment per tractar les seves dades personals.
Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
Drets de les persones interessades: Accedir, rectificar i suprimir les seves dades, així com, l’exercici d’altres drets conforme a l’establert a la informació addicional.
Informació addicional: Pot consultar la informació addicional i detallada sobre protecció de dades en aquest enllaç

Awarded
Cataloged
Disappeared
All works
  • Castellot del Serrat del Maurici

    autoria desconeguda

    Enfront del castell de Balsareny i situades al Serrat del Maurici. Es tracta d'una construcció militar d'època carlina (1838) de planta pràcticament quadrada, amb tres torres de secció circular als vèrtexs, excepte pel cantó de llevant on no n'hi ha. Les pedres, de dimensions considerables, subratllen la funció militar que tenia la construcció. Només hi ha unes petites obertures pel cantó de migdia. Queden rastres d'algunes petites obertures en forma d'espitllera. Hi ha restes del que devia haver estat un vall. Les ruïnes del fortí es troben dalt d'un serrat conegut amb el topònim de "Serrat del Maurici", topònim que dóna nom també a aquesta fortificació. Segons notícies recollides, el fortí va ser construït l'any 1838 per una força de Sapadors i una brigada de muls. Els treballs duraren forà temps i finalment s'hi instal·là una companyia del batalló del Júcar. A finals del segle XIX ja estava en runes. Aquest fort i el de la Torreta, situat sota el castell de Balsareny, controlava el camí ral de Berga. La seva construcció es degué a les guerres carlines i un dels capitans que hi van prendre possessió fou el comte d'Espanya.

    1838

  • Torre de Meer

    autoria desconeguda

    Fortí cilíndric, edificat el 1838. Tipus de construcció clàssica de les guerres carlines. Reducte o fort de planta circular, que va reduint el diàmetre a mesura que puja. Porta a mig aire de la construcció, alguna espitllera i obra basta, en general, a desgrat que doni idea de robustesa. Durant la guerra anomenada "dels Set Anys", el castell de Cardona va romandre en poder dels cristins, com que els carlins, capitanejats per Tristany,sovint hi practicaven incursions d'hostilitats, amb el desig de fer-se amos també de les famoses salines, el baró de Meer féu bastir, el 1837-1838 aquest fort que avui rep el seu nom, per tan de rebutjar els atacs contraris o almenys estar-ne a l'aguait.
  • Torre d'en Brunet

    autoria desconeguda

    Located to the southeast of the centre of Sant Salvador de Guardiola, near the new Brunet House. The Brunet tower was a military optical telegraphy tower. The building has the classic typology of this type of construction. It was square in plan and had a rectangular defensive body attached to the north face, and was surrounded by a moat. In elevation, it consisted of a slightly embattled ground floor with four loopholes on each side, an upper floor with loopholes and windows, and finally a roof terrace (partially in ruins). The entrance door opened at the height of the first floor on the south side, probably accessed by means of a wooden staircase that was kept inside. The walls are made of rusticated stone masonry and the division between the floors is marked by a protruding profile. The Brunet tower was part of the Barcelona-Manresa-Solsona military optical telegraphy line. This line shared the first seven telegraph towers with the Barcelona-Lérida line. Thus, the line began at the tower of Montjuïc Castle and continued to the tower of Can Maçana or La Guardia, in the village of El Bruc. It then turned north towards the Brunet tower. The Brunet tower, 420 m high, had a direct line of sight to the previous tower of Can Maçana del Bruc, located 7.4 km away to the south. The rear tower was Puigterrà de Manresa, 6.8 km to the north (no longer standing). The later tower preserved in the latter is that of Sant Martí de Torroella in Sant Joan de Vilatorrada. The Brunet tower was part of the Barcelona-Manresa-Solsona military optical telegraphy line. Optical telegraphy is a system based on a series of signals made at a high point, such as a tower or a bell tower, by an operator, which another operator sees from another point, communicated visually, and repeats it; in this way a message can be transmitted quickly from one point to another on the line. There were various ways of making the signals, such as a tall wooden pole with two crossbeams at the ends which, operated by pulleys, could change position – each position was a letter or key which, thanks to a book of keys, could be deciphered. The operators had long-sighted glasses that allowed the distance between the different points to be greater than if they did not have them. While in countries such as France and England optical telegraphy lines had already been built at the end of the 18th century, in Spain construction did not begin until 1844, by which time electric telegraphy had already begun to be used in some countries. The creation of a line involved the installation of communication systems on existing high points or the construction of towers in places where the distance was too great. In Catalonia, the first line came from Valencia and reached La Jonquera via Barcelona. During the Second Carlist War (1846-1849), the Marquis of Duero, Captain General of Catalonia, commissioned the development of an important military fixed optical telegraphy network. Six lines were created, including the Manresa - Vic - Girona line. In 1853, the first electric telegraphy line was built between Madrid and Irún, which marked the beginning of the abandonment of optical telegraphy and the disuse of the towers built for this purpose. In 1857, the civil telegraphy towers were dismantled and abandoned, and in 1862 the military towers were officially abandoned. This marked the end of the short history of optical telegraphy in Catalonia, but which left the telegraph towers as a witness.

    1844

  • 1844 - 1848

  • 1895

  • Santa Florentina Castle

    Lluís Domènech i Montaner

    Santa Florentina Castle

    Ramon Montaner, Lluís Domènech's uncle and co-owner of the Montaner i Simón publishing house, bought the Casa Forta in Canet in 1881, thus returning the property to his family. He commissioned his nephew to restore and extend the building in order to monumentalise it and turn it into a representation of his lineage. With this intention, the publisher had acquired several historical buildings to extract their architectural elements of value and transfer them to his castle, such as the medieval monastery of Tallat. The original building was an old domus, the Casa Forta de Canet de Mar, which before the intervention had the appearance of a compact fortified country house. Domènech's project consisted of building new rooms around a courtyard that recreated a castle, reusing stone elements from other medieval buildings. From the monastery of Tallat, Ramon Montaner bought a large part of the cloister and several window and door frames, which were drawn, numbered piece by piece, dismantled and transferred to Sant Florentina, where they were reassembled in their new location. The new courtyard had a monumental exterior staircase in the style of Gothic palaces, and the towers were topped with battlements, barbicans and machicolations. The complex has many stone sculptures, decorated corbels, sculpted gargoyles, medievalist stained glass windows, polychrome wooden coffered ceilings and antique furniture, in which original Gothic pieces were mixed with modern fragments to achieve a medieval fantasy. Antoni Samarra i Tugues, Carles Flotats i Galtés and Dídac Massana collaborated on the stone sculptures and Josep Pujol on the stained glass windows. In 1905 work began on the crypt, in the basement of one of the old towers of the fortress, for the late wife of Ramon Montaner, Florentina Malató. In 1908, with the renovation of the castle almost finished, King Alfonso XIII was there, the same year that he granted Ramon Montaner the title of Count of the Canet Valley. The Montaner family ruled the castle until the marriage of their daughter Julia passed to the Capmany family. It is currently owned by investors and although it is still used as a private home, it is a museum and can be visited.

    1900 - 1908

  • 1927 - 1932

  • 1937

  • Zona de barracons de l'Exèrcit Republicà

    autoria desconeguda

    Es tracta d'un conjunt d'habitatges bastits en dues terrasses diferents de la cara nord del turó on s'albergaven els soldats del campament. El conjunt queda delimitat per dos accessos per vehicles, als que s'accedia des del camí que comunicava les diferents terrasses construïdes i ocupades al turó. A l'entrada del campament, aïllat de la resta, hi havia un barracó situat al costat de l'accés occidental i posteriorment se'n van bastir d'altres de millor qualitat constructiva. Actualment trobem vestigis de la fonamentació de les barraques i de les estructures de sanejament, amagades entre la vegetació. A la primera terrassa hi ha restes de vuit barracons. Hi ha restes d'escales que servien per accedir d'una terrassa a una altra. Hi ha restes de latrines. A la segona terrassa caldria fer una intervenció arqueològica per saber el número de barracons que hi havia. Durant la guerra civil de 1936-39 s'instal·là a Pujalt la base d'instrucció militar del 18è cos d'exercit republicà.

    1936 - 1939

  • 1960

  • Govern Militar de Lleida

    Juan Uriarte del Río

    El Gobierno Militar ocupa toda una manzana del ensanche de Lérida, donde antiguamente se encontraba el Camp de Mart. Éste era un terreno fuera de las murallas donde el ejército había tenido su campo de maniobras hasta mediados de siglo XX. Actualmente, el edificio constituye un hito visual en el que confluyen tres avenidas radiales de la ciudad. La ordenación del solar se realiza a través de la disposición de tres volúmenes en forma de H: uno de oficinas, otro de acuartelamiento de tropas y otro de residencia de oficiales, dejando un espacio ajardinado delante y otro detrás. Los tres volúmenes tienen diferente altura y longitud. El volumen central es el más bajo y se levanta una planta del suelo para crear un porche entre los dos patios ajardinados. El bloque que corresponde a la residencia de oficiales tiene la estructura de hormigón armado y las fachadas de ladrillo visto, lo que favorece que las ventanas sean más pequeñas y sugieran mayor privacidad en el uso de las dependencias. Los otros dos bloques tienen la estructura metálica y son más transparentes. Tienen las fachadas laterales de muro cortina y los testeros son ciegos, aplacados de piedra.

    1962 - 1965

  • Comandància Naval de Tarragona

    autoria desconeguda

    1979 - 1980

  • Restauració Conjunt de Mur

    Ramon Maria Puig i Andreu, Pere Robert i Sampietro, Carles Sáez i Llorca

    Restauració Conjunt de Mur

    El conjunt del Castell i de la Canònica de Mur, està situat en una petita plataforma sobre la carena d'una de les estibacions nord del Montsec. El Castell (segle X) construït per Arnau Mir de Tost, fou un dels més importants de la frontera meridional del Comtat de Pallars. De no massa grans dimensions, però de singular arquitectura, de planta lleugerament oval, que circunscriu dins del seu perímetre, en l'extrem més ample i pla, una alta torre de guaita, i en l'extrem oposat, estret i arrodonit, s'hi alça la part d'habitacle, formant una construcció d'estranya forma que se sol descriure com a de proa d'un vaixell. Separat poc més de 100 metres, a l'altre extrem de la plataforma, s'hi troba les restes d'un antic cenobi agustinià, després canònica, amb l'església de Santa Maria (segle XI), un petit claustre (segle XII). L'església acollia importants pintures romàniques, sobretot en l'absis major, i que a principis del segle XX foren venudes i traslladades al Museum of Fine Arts, de Boston. La intervenció ha comportat més de vint anys de treballs, esgraonats en moltes i discontínues fases ... que encara no s'han acabat. Treballs que van des de la simple consolidació de restes, a intervencions estructurals complexes, des d'una restauració general, a unes remodelacions puntuals. Això, segons l'estat de conservació i de coneixement de la part del monument on s'intervenia.

    1980 - 2002

  • Restoration of the Town Walls of Vic

    Meritxell Inaraja i Genís

    Restoration of the Town Walls of Vic

    The project follows the guidelines established in the 1998 Prior Study for the Restoration of the Walls of Vic (14th century), which envisaged the recovery and reproduction of the disappeared towers and the recovery of the underground sections and the passage over the wall as a public space. The work is being carried out on a 50-metre stretch of wall between the towers of the Bishop's Palace and the Cathedral, with visual connection and access to the cloister, bordering the Rambla del Obispado and the river Mèder. Initially it was a plastered wall 3.60m high and 1.6m wide, where in 1971 a hole was made to place the grille of the presbytery of the old Cathedral, which allowed a view from outside the cloister. The few studies carried out suggested that the wall, in this section, bordered directly on the river. The section visible today would correspond to an enclosure wall built on top of the wall at the end of the 18th century. The initial archaeological surveys confirm this, as the original wall, sitting on the rock, was found to be in perfect condition. The possibilities at the time did not allow for the elimination of the Rambla as suggested by the Estudi Previ and for this reason a 1.6m wide moat was dug to allow for a view of the original height of the walls. The glass railing provides the necessary protection and does not obstruct the view of the wall. To maintain the view and restrict access to the cloister, the opening is kept in place, replacing the grille with a sliding iron and glass door. Access requires the construction of a walkway to span the gap in the moat, located at the point where the excavations have exposed the remains of different superimposed doorways from different periods. The wall is finished with limestone in a contemporary shape and layout, marking an oblique cut in the wall, making it more evident that it is a fragment and allowing this latest phase of intervention to be distinguished, maintaining the stone unity of the whole.

    2000 - 2002

  • 2005 - 2007

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