Awarded
Cataloged
Disappeared
All works
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1844 - 1848
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1847 - 1848
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Figueres Principal Theatre
El teatre Principal, construït l’any 1849 per l’arquitecte Roca Bros, va ser destruït en la seva pràctica totalitat pels bombardejos de les tropes franquistes contra les republicanes que fugien cap a França. La iniciativa d’habilitar-lo com a museu personal de Dalí va ser impulsada per l’aleshores alcalde de Figueres, Ramon Guardiola, que va convèncer els ministeris de Turisme i de l’Habitatge perquè recolzessin el projecte. El teatre-museu no és plantejat només com un espai d’exposició d’obres, sinó com una recreació arquitectònica on el mateix Dalí expressa en termes espacials tot el seu món delirant. Malgrat tot, cal assenyalar la sala de la cinquena planta, on s’exposen algunes obres mestres de la col·lecció particular del pintor: el Sant Pau d’El Greco; La visita del metge, de Gérard Dou; el Retrat de Napoleó, de Meissonier; el Tribunal de l’Alhambra, de Marià Fortuny; el Cementiri, de Modest Urgell; la Maleta, de Marcel Duchamp, i un facsímil de les Presons de Piranesi, entre d’altres. L’any 1974 l’arquitecte Oscar Tusquets va col·laborar amb Dalí en la cambra Mae West, un muntatge escenogràfic que recrea el rostre de l’actriu en un dispositiu il·lusori que manté unes qualitats arquitectòniques ben clares.1849
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1862
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1863
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La Massa Theatre
The most significant element of Guastavino's work is the spherical dome that covers the stalls, made of flat brick following traditional construction procedures, although its execution has been perfected. The rehabilitation of the theatre involves the restoration of the main components of the old building, as well as its technological adaptation to its current use. The theatre, one of the main monuments in the centre of Vilassar, together with the church, the town hall and the future museum, opens up to the urban space through new accesses added to the old factory. The body that houses the café, annexed to the theatre, shares its entrance, together with the staircase leading to the upper floor. The entrance foyer forms another added body, tangent to the gallery of the stalls, which redoes the façade of the theatre facing the square. A platform suspended in the centre of the dome acts as an element which smoothes out the acoustic, as well as the stage lighting bridge and the general stalls lighting.1880 - 1881
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1881
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Teatre Fortuny
Es tracta d'un conjunt datat el 1882 que s'assenta sobre el solar de l'antic convent de carmelites. El conjunt és obra de l'arquitecte Francesc Blanc i Pons. Té tres plantes sobre un porxo que dona unitat al conjunt urbà. És de composició simètrica en els buits sobre les verticals del porxat inferior. La construcció disposa de simetria total, amb cinc elements idèntics i que mostren columnes de secció quadrada i arcs de mig punt que formen la zona porxada, i balcó corregut a la primera planta que amb la barana de pedra i balustrada dona uniformitat i majestuositat a la façana. L'obertura del balcó està rematada per sengles frontisses i en el seu vèrtex té uns grups escultòrics. Una cornisa, finestra, cornisa i remat corresponen a la teulada, que té sis copes, al mateix temps que la part central de les cornises són riques en motllures i mènsules, donant així continuïtat a les pseudocolumnes toscanes que envolten els buits dels balcons i finestres centrals. Des de l'òptica històrica val a dir que la societat "El Círcol", fundada el 1850-52, tingué la seva primera seu en la propera casa March, que es va traslladar a la plaça de Prim quan va ser construït el Teatre Fortuny gràcies a la iniciativa i col·laboració de molts dels seus membres. El teatre va ser decorat per Josep M. Puig i l'arquitecte Lluís Domènech i Montaner va dissenyar bona part els elements decoratius de "El Círcol". La idea de creació d'un nou teatre va sorgir perquè el Teatre Principal estava molt malmès i fou el 1880 quan es va decidir l'inici de la construcció de l'actual.1882
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1884
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1887
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Fontova Theatre and Ateneu Unió
autoria desconeguda
Set of two buildings with a simple line and structure, which follows the Catalan Art Nouveau principles in its historicist aspect. The theatre presents a two-storey façade with a gable roof and with some finishes simulating a non-existent turret, like Danés i Torras’ type 2-IV country houses. But this is reduced to a vertical extension of the façade wall without any subsequent structure. On the ground floor there is a central door with two large rectangular windows now boarded up that retain their initial forgings and dated from 1903. The first floor has a small central opening and a simple border of sgraffito simulating a pediment that frames the name of the theatre and date of construction. The annex building, the café, also follows the historicist line but more like a manor. It has two floors, with large rectangular openings on the sides of the door on the ground floor and three balconies on the first floor, the central one a little bigger than the lateral but without other extensions. Both the doors and the windows are highlighted by a wide strip of smooth stucco just like in the theatre. This feature and the wide common plinth is the nexus of physical and aesthetic union between the two buildings, probably connected by the interior, as was usual. In the construction of the colony, the recreational aspect could not be neglected in order to achieve an authentic social atmosphere. The creation of the café and the theatre, if we stick to the dates, started earlier. At the beginning of the century, gathering for coffee, playing cards and having small talk were, together with professional or amateur theatre, the most common distraction (someone said that "if Catalans don't go to the theatre much it's because they are all on the 'stage...'). The café still stands to this day and is still the largest and liveliest in the colony.1892
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1893
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1883 - 1894
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1897
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Cercle Mercantil
Francesc de Paula Sellés Vilaró
The Mercantil building follows an eclectic style. The façade can be divided into five parts: the main entrance is located in the central, most advanced part. The name of the entity is located at the top and the year of its foundation in the centre, and a covered gallery connects both ends with the central part. The decorative elements are the sgraffito, placed on the tympanums of the two openings flanking the building, and the metallic-effect ceramic frieze. Inside, the theatre is particularly noteworthy: upon entering, we find the amphitheatre, and then the stalls surrounded on either side by galleries. The first floor has a central area with armchairs and two side areas with tiers of seats. The whole building is surrounded by a well-tended garden. The Mercantile, Industrial and Agricultural Centre was founded in 1899 as a result of a disagreement between several members of the former Casino de Recreo, some of whom were supporters of the Godó family and others of the Boyer family. The organisation's social club was built on the site of the former Tívoli theatre, and its inauguration coincided with the town's annual festival in 1899. The Mercantile Circle celebrated its 50th anniversary in 1949. It contains a theatre, a café-lounge and a ballroom. It was built according to a design by architect Francisco de B. Galtés, with the construction supervised by Francesc Sellés, decoration by Frederic Brunet and painting by Bartomeu Camps and Antoni Tomàs.1893 - 1899
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Igualada Working Class Cultural Association
Pau Riera i Galtés, Pau Salvat i Espasa
One-storey building. The façade is divided into three sections - a central section with three doorways and three windows, and two side sections with four openings each. Once up the entrance stairs, we find ourselves in a large atrium, formerly a theatre, which now serves as a hallway leading to the different rooms: library, theatre, café and office. Art Nouveau leaded glass windows above the doors alternate floral representations with allegories of the organisation. The theatre, attributed to the architect Pau Salvat i Espasa, is the most important room. Structurally, it is horseshoe-shaped and consists of a stalls area and two floors. The decorative features include the frieze surrounding the ceiling and the iron railings, designed by the Igualada-born set designer Pere Valls i Bofarull. Outside, the Municipal School of Music is located to the left of the building and the garden is to the right, with a fountain decorated with trencadís mosaic. The Athenaeum was founded in the heat of the romantic progressivism that was in vogue in Catalonia during the second half of the last century, and its combination of cultural, educational and recreational activities played a fundamental role in spreading progressive ideas and popular culture. After the fire that destroyed the old headquarters in 1873, the current building was constructed in 1877. In the 19th century, it ran a primary school, a theatre and a library. Between 1919 and 1935, the organisation gained momentum with the establishment of a school group linked to the Catalan educational movement, a music conservatory, a weaving school and a sports ground. After 1939, the national forces seized the building and it was renamed the ‘National Centre’.1900
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1904
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1905
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1906
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Palau de la Música Catalana
The Palau de la Música project is linked to the opening of the Via Laietana, in which Domènech i Montaner himself was strongly involved, and to the founding of the Orfeó Català, in 1891, by the composer Lluís Millet. The Palace is located on the corner of two narrow streets, and the emphasis of the whole project is to penetrate the scant natural light into every corner of the interior through numerous polychrome partitions that recreate a dreamlike atmosphere. The large auditorium is located on the first floor and is accessed via a transverse staircase that divides the entire building into two parts and encourages the use of the ground floor for administrative functions. Domènech decides to treat the façades of the two streets with the same profusion, despite their unequal hierarchy, in a demonstration of his expertise in working in unfavorable locations. The exposed brickwork, the stone worked with musical allegories and the stained glass partitions make the building shine in a special way under the daylight, which penetrates to the large auditorium. Attention to the functional aspects of the program reveals a modern Domènech who understands ornamentation as the necessary culmination of an architectural work.1904 - 1908
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1909
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Metropol Theatre
El Patronat Obrer de Tarragona era propietari de dos edificis al carrer d’Armanyà, fins que va decidir comprar l’edifici de la Rambla Nova núm. 46 per tal de disposar d’un teatre amb accés al carrer principal de la ciutat. Jujol havia de salvar el desnivell del nou accés per la Rambla, que es trobava a 2,50 metres per sobre del jardí, i havia d’inserir-hi un espai especialment petit, el nou teatre, de 17 x 20 metres. Per resoldre el primer problema decideix situar l’entrada al teatre al primer pis. I per resoldre el segon, decideix utilitzar com a escenari l’edifici construït per Salas al carrer d’Armanyà. Jujol no es va proposar construir un teatre a la italiana, sinó que el teatre Metropol és concebut com un espai obert capaç d’acollir les diverses activitats d’un ateneu. Opta per emprar el ferro per aconseguir una sensació de lleugeresa. La sala és coberta amb tres jàsseres de 13 metres de llum, separades 4 metres entre elles, que se sostenen sobre tres esvelts pilars de 8 metres d’alçària i 26 centímetres de secció. Això afavoreix la continuïtat espacial des de l’entrada fins al jardí posterior. També el passadís adossat a la mitgera és construït amb una fina estructura metàl·lica que suporta set petites voltes ogivals.1908 - 1910
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1910
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Can Roig i Torres
autoria desconeguda
The building is in the French modernist style. It has its back to the streets that delimit it, where it forms a chamfer, and has its main façade in the garden. The house is made up of two angled bodies, with a ground floor and a first floor (and a semi-basement in the left body) and an attic, joined by the access body with the staircase, crowned by the characteristic spiked tower. The entire roof is made of blue ceramic. The interiors have examples of decorative arts, such as woodwork, ironwork, etc. It was built on the initiative of Rafael Roig i Torres, Uruguayan consul in Barcelona. In 1913, the house received an award from the City Council. During the war it was a hospital, then it was the headquarters of the Falange and, later, a school. In 1987 it was remodelled to become the Municipal School of Music. In 2007, the city's new auditorium was inaugurated in the basement of the building.1906 - 1911
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La Principal Society Theatre
The La Principal Society Theatre is a building between partitions composed of a body located on the fçcade and an interior body. The façade body consists of a ground floor, two floors and a basement. It is covered by a gable roof and also has rear roofs. The theatre has a rectangular floor plan, and the audience has a unique height with two floors of perimeter boxes forming a U, with a rear amphitheatre, two stairs on the sides of the stage and two back to access the floors. The ground floor foyer has side stairs leading to the first-floor foyer. The stage has three floors on each side and a basement, accessible via two staircases. It is also covered by a gable roof. The load-bearing walls are of common masonry. The roof is of fiber cement with a structure of wooden slats, and with Arabic tiles on beams and wooden slats. In the boxes we find columns, beams and wooden flooring. The floors are of wood and iron beams and tile and reinforced concrete. The stairs have a wooden structure and a Catalan vault. It is the work of the architect Andreu Audet i Puig. It has a square surrounded by three floors and boxes and a large stage that allows the assembly of large scenographies.first half of the 20th century