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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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


About us

Project by:

Created by:


2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar Ornaque

External Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Helena Cepeda Inès Martinel Maria Jesús Quintero

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:



Fundació Mies van der Rohe


Fundación DOCOMOMO Ibérico


Arxiu Mas


Basílica de la Sagrada Família


Museu del Disseny de Barcelona


EINA Centre Universitari de Disseny i Art de Barcelona

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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L’estudi AMOO està format pels arquitectes Aureli Mora Sanvisens i Omar Ornaque Mor que, col·laborant des de l’any 2011, s’estableixen en societat l’any 2014.

Des de llavors, han realitzat diverses obres emmarcades en l’àmbit de la reforma i rehabilitació d’edificis i espais existents, ja siguin de pública concurrència, oficines o habitatges.

Els seus projectes s'aborden sense condicionar-se per la seva envergadura i abraçant tots els àmbits de l’arquitectura i el disseny d’interiors i de producte des d’una perspectiva integradora.


On the Map

All works


Chronology (5)

  1. New Foyer of Filmax Gran Via Cinema Complex

    AMOO (Aureli Mora + Omar Ornaque), Arquitecturia, Josep Camps Povill, Olga Felip Ordis, Aureli Mora Sanvisens, Omar Ornaque Mor

    New Foyer of Filmax Gran Via Cinema Complex

    The Filmax Gran Via Cinema Complex, located in the Gran Via 2 Shopping Centre, opened their doors 15 years ago, with the boom of this business model based on mass consumption and leisure that led to the filling of urban centres of many shopping centres, combining shops, restaurants and multiplex cinemas. After this golden era and faced with a change of paradigm, the client is looking for a project to straighten out the cinemas: reduce their size by optimising their operation and offer an experience beyond what happens inside the theatre. OPERATION AND EFFICIENCY: SINGLE POINT OF SALE The conventional concept of lockers is eliminated, disregarding the volume intended for this function in the restaurant terrace of the shopping centre. At the main counter, the public can now buy cinema tickets as well as popcorn, drinks and others in a single queue. REDUCTION IN THE NUMBER OF ROOMS Cinemas are reduced from 15 to 12 screens. These rooms will be converted into a bowling alley, which will be accessible from the cinemas. ELIMINATION OF BARRIERS In the previous distribution, the hall of the cinemas was completely closed to the public except at a single access point where the entrance was blocked. These barriers have been removed, delaying the access passage and opening up the hall, taking over the entire floor and facilitating free movement. You no longer need to go to the cinema to be able to consume their products. WORK OPTIMISATION With the execution of the previous points, a counter is obtained that allows the worker to carry out all the jobs without moving or interfering with the circulation of the public: replenishing the products of the points of sale and the warehouse, selling tickets, selling drinks, popcorn and sweets, control access to the different rooms, control the dynamic digital contents, control the lighting of the space. WORK HIERARCHY The new bar, made up of the counter and the work furniture, means that the 10 points of sale work only as such and that, from behind and in direct contact with the warehouse, two workers go about facilitating all the products that need to be replenished. ENVIRONMENT: SECTION The entire false ceiling is demolished, so that the section of slabs from the stands of the cinema rooms remains above the hall, in view, enriching the concept of entering the cinema with its skeleton. Given the great height in some points, a comfort height of 2.70m is chosen, up to where all the elements and coverings will reach. From this height, there are only visible installations and structure, painted in the same unifying colour. INFORMATION Faced with the original disorder and randomness, the choice is made to organise the digital information along two axes. The first, frontal from the entrance and parallel to the counter, will announce the times of the films, drinks and other consumables. In the perpendicular direction, and shielding the original pillars, it will contain the billboards for the films and trailers. The architecture will be changing to the extent that the information will be, dynamising the space. LIGHTING The experience of entering a cinema is, among other things, the transition from light to darkness. At a height of 270cm, a substructure is created to support all the lighting arranged in continuous strips that, with their zig zag, guide from the doors to the entrance to the rooms. The hall therefore becomes the first gradient of darkness. PAVEMENT The darkening of the entire atmosphere is topped off with a black terrazzo of large white aggregates which, simulating the effect of dropped popcorn, helps to avoid the feeling of neglect during peak service hours and the impossibility of cleaning. ENTICEMENT Within the ensemble, a sweet cart with a reticulated geometry, stands out as a singular, dissonant and wheeled element. This element can vary its position, which changes according to the day and the use of the rooms.
  2. El Villa - Vermutería del Mar

    AMOO (Aureli Mora + Omar Ornaque), Aureli Mora Sanvisens, Omar Ornaque Mor

    El Villa - Vermutería del Mar

    The premises are located on the ground floor of a building in the Gràcia district, listed with level C protection (Asset of Urban Interest). Since the 90s, it has worked as a bar with a mixed license. The interior geometry, as in most of the basements of buildings between partitions from the 1900, is in the shape of an elongated tube, with a small patio at the end. To refurbish the old establishment, the following criteria have been taken into account: Restitution of the façade: in its original state, the 4.50m high entrance hole was half covered, with bars from an old smoke extraction and a large opaque sign. The proposal eliminates these elements, returning to the original composition and dignifying the entire estate. Accessibility: the internal unevenness in the access is eliminated, replacing them with a gentle slope, less than 4% and imperceptible, which goes from the entrance to the beginning of the bar. Natural lighting: the restoration of the patrimonial façade, cutting the original false ceiling, doubles the entry of light from the access. At the end of the premises, the closures of the old office are demolished, and the distribution of the toilets is modified to make two large openings that generate a new entry of much-needed natural light. Acoustic comfort: given the acoustic requirements of a public place, the false ceiling and part of the sides have been covered with cork panels - a sound-absorbing material - to avoid reverberation and reduce transmission to the neighbours. The plastic qualities of the cork finish are used as the main decorative motif of the premises. Once these essential criteria have been completed, the project strategy consists of differentiating two sectors within a single space. First, the perimeter envelope is projected, made up of cork and brick cladding, and flooring and walls with a continuous cladding. Secondly, a series of work objects are built with envelopes covered in marble tile, scattered throughout the premises. With their geometries, they will arrange the uses: Envelope: as we have previously commented, the false ceiling and the walls are covered with cork, an element that evokes fishing materials, taking advantage of its quartering to generate stripes that will set a rhythm throughout the entire premises and where the light bulbs will be placed, floating. In this false ceiling (already existing), a series of holes are made to decongest the premises and accentuate the rhythm towards the interior, seeking a sensation of natural lighting from above. Most of the walls have built-in auxiliary bars, covered with white/blue bevel tile and white tile; the different combinatory motifs end up generating abstract murals that are distributed throughout the premises and which, once again, evoke Andalusian arabesques. Finally, a continuous self-leveling pavement is related to the walls, giving abstraction to the whole. Objects: two auxiliary tables, the totem, the bar-counter and the table. Each element, with its singularities, gives a different character to each area of the premises, generating different environments for clients who seek different ways of inhabiting it. High stools are designed that relate the cork of the false ceiling with the rest of the premises. Finally, a free-standing sink is chosen in the bathroom hall, which contrasts with the green of the patio. Overall, they are a series of items that are part of the fictitious wreck of a large marble fishing boat.
  3. FAD Award

    Shortlisted. Category: Interior Design
    El Villa - Vermutería del Mar

  4. FGC Industrial Unit-Museum of Historical Material

    AMOO (Aureli Mora + Omar Ornaque), Mora-Sanvisens Arquitectes Associats, Gabriel Mora i Gramunt, Aureli Mora Sanvisens, Omar Ornaque Mor, Carmina Sanvisens Montón

    FGC Industrial Unit-Museum of Historical Material

    This is a large-scale expansion intervention of the workshop building and main building of the FGC Operational Centre in Rubí with three main objectives: - To cover the old road of dynamic tests for storage and museumisation of various historical units. - To provide a new façade and image to the access street to the centre, while giving greater privacy to the homes in the nearest suburban core. - To act as an exhibitor of the historical units towards the car park and access to the centre's offices. The scale of the workshop and office building - with a larger surface area than a block of the Cerdà plan - and the length of the dynamic test track to be covered, required a forceful and symbolic intervention, which at the same time give material and volumetric continuity to the centre and provide a contemporary image in tune with the institution's current requirements. A long structure is projected adjacent to the workshop building of 173.00m in length and continuous section in the form of an arch that avoids the problem of distinguishing between façade and roof and that, resting on the existing concrete wall that delimits the perimeter from the centre and formally separating from the workshop building, it creates an optimal transition between the existing curved and inclined roofs and the street, towards which it becomes the new image. This structure is clad on the outside with continuous smooth sheet metal with a tab joint, avoiding any joint in section and providing a continuous rhythm along the entire length of the new ship, only interrupted by the emergency staircase - an expressly unique volume, exempt from the main structure— and by the spelling of large corporate letters that subtly present the institution and mark the main access. Inside, this structure is presented in a rational and completely naked way, enhancing its tectonic beauty and marking a constant rhythm that is surprising for its length. The inner lining of the arched enclosure is also made of sheet metal - this grooved, indented, micro-perforated and arranged over large thicknesses of thermal and acoustic insulation - in order to minimise internal reverberation and acoustic pollution towards the outside, in case of specific movement of historical units. When you reach the main entrance to the centre, the new nave opens up towards the offices through a large, glazed façade from top to bottom that allows you to observe the historical units from the outside, like a great heritage showcase. This façade disintegrates into a lower, irregular volume when it reaches the end of the unit, highlighting its access through a double pillar and revealing part of the inner face of the arched roof. This decomposed and lighter end of the main unit adapts kindlier to the set of elements of the main entrance to the centre and still allows a glimpse of the original workshop space from the street. In short, a large and forceful infrastructural intervention that strengthens the railway image of the centre by means of its extensive length and makes it possible to extend the useful life of one of the most unique sets of FGC.
  5. Premis Bonaplata

    Award-Winner / Winner. Category: Béns Mobles
    FGC Industrial Unit-Museum of Historical Material


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