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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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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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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Arquitecte. Titulat el 1941. Membre fundador del “Grup R” (moviment arquitectònic fundat el 1951 catalitzador de la recuperació de la modernitat en l'arquitectura). Degà del COAC dues vegades, de 1964-1966 i 1972-1974, fundador i president d’ADI-FAD. Va ser reconegut amb la Medalla FAD (1966) i la Creu de Sant Jordi (1985). Projectes seus són: la coneguda com a Casa dels Braus (1962), el cinema Fémina (1951), o l’Hotel Park

Source: Arxiu Històric del COAC

Works (22)

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All works


Chronology (24)

  1. New Façade of Fémina Cinema

    Antoni de Moragas i Gallissà

    The regeneration of the building located on Passeig de Gràcia-Diputació where the Fémina Cinema was located, destroyed by fire, has allowed us to rebuild the old façade designed by the architect Antoni de Moragas. Due to environmental considerations, the façade of Passeig de Gràcia has been restored, carrying out a project that offers varied typologies that can be compatible with the different heights of ground floor slabs plus the six floors that made up the old building. At the front, there are flats across the entire width of the building, building a single courtyard 9m from the Passeig de Gràcia façade. At the back there are 4 floors on each level in duplexes developed on eight levels equivalent to the six heights of Passeig de Gràcia. On Diputació Street there are small single apartments or open-plan duplexes. Thus, in the interior of the block, new, more contemporary and expressive façades are generated that encompass the interior space of the block with the large premises on the ground floor illuminated by zenithal skylights. The lobby, staircase and common spaces act as transitional spaces between the old and the new.
  2. Park Hotel

    Antoni de Moragas i Gallissà

    Park Hotel

    The project responds to a program for a small hotel located in front of the Barcelona França Station. The solution proposes different treatments to the part of the building that faces the narrow streets and the part facing the avenue. The result is the addition of two completely different bodies. The body facing the avenue is wider, the enclosure is glazed, and the pillars and girders are visible. The back body is a wall structure that houses individual rooms. The staircase concentrates all the vertical dynamism by means of a continuous railing that spirals up to the top floor.
  3. Parish Church of Sant Jaume

    Antoni de Moragas i Gallissà

    Parish Church of Sant Jaume

    On August 7, 1957, Antoni de Moragas drew up a project to reform a warehouse that was half finished for the church of Sant Jaume, in Badalona. The existing structure, a rectangular warehouse with a roof that was not yet completed, responds to a project from 1947, in the report of which the following description appears: "On a plot of land that faces Marquès de Mont-roig Street, from Badalona, it is planned to build a ground floor intended for storage. The construction will be made with brick factory walls with lime mortar and the roof with reinforcements and wooden straps, on top of which corrugated sheets of fiber cement will be supported and fixed. The pavement will be built with concrete [...].” The priest of the parish of Sant Jaume, for economic reasons, proposes to Moragas the reuse of the existing warehouse to build a church, in a working-class neighbourhood of Badalona. The project, therefore, marked by a very tight budget, respects and assumes as value the industrial character of the building and the neighbourhood. The functional program adapts to the existing plant. Thus, the room is illuminated through the existing openings on the side façade, to which Moragas adapts shutters of swinging timbers - which protrude from the inner face of the wall by means of special frames -, protected by external lattices composed of square ceramic pieces. The heart, accessible via a wooden staircase, of which the metal tube railing present in the project was not built, is a structure composed of beams and wooden beams, with a floor, which is also a floor, of wooden planks. The baptistery, delimited by a grid of hexagonal ceramic pieces, has the same stone pavement present in the altar, while the floor of the room is made of tiles, the same material used to cover the walls of the church and also for the plinth, the bench and the back of the bench on the main façade. The wall of the altar and the tabernacle are covered with vertical wooden slats, which are also used for the fixed modules of the carpentry of the main façade and the access to the room. In addition to the metal railing with wooden handrail, the transition between the room and the altar is resolved by changes in the pavement (ceramic and stone), accentuated by steps (solid brick, placed on the corner, and of solid granite). The canopy is made up of two overhanging wooden beams, embedded in the wall of the tabernacle and supported on the armor at the other end, by means of metal braces, and of beams that support micro-perforated tablex plates, the same as those on the roof of the ship. The most consistent intervention is on the main façade. Antoni de Moragas respects the symmetry of the existing façade, placing the bell tower on axis with the access, while the rest of the elements he introduces to the façade tend towards an asymmetrical composition (although the carpentry of the heart was not finally executed according to the project). The few elements used—fixed lead enclosures, uralite roof and the reinforced concrete bell tower that supports the cross, made with the armor of two crossed hoops—follow the “industrial” aesthetic logic of the project. The church has undergone some modifications: the yellow glass and the baptistery window have been replaced by stained glass; the ceramic floor, for sandstone; the staircase, the altar rail and the lattice of the baptistery have disappeared, and another stainless steel one has been superimposed on the cross. Although a simple restoration intervention would be enough to return it to its original state, at present it is affected by a demolition file and by a project that aims to build a block of houses on the façade that faces to the street, and which would push back the church, whose access would be located on the side façade.
  4. Liceo Cinema and Bar

    Antoni de Moragas i Gallissà

    Liceo Cinema and Bar

    Built at the end of the 50s, on the same site where the old Liceo cinema was (1914-1956). The building was projected on a rather irregular plot, a consequence of the urban evolution of the place. It is for this reason that the architect opted for a layout based on placing the projection room at full height enveloped by an "L"-shaped volume, where the rest of the elements of the program, such as a bar, meeting rooms, offices, a service area, different warehouses and vertical communications. This arrangement solved all the requirements in an optimal and elegant way. From fitting a magnificent projection room, with more than 1500 seats distributed between the audience and the floor; by allowing and making the different accesses and circulations within the building compatible, avoiding the conflict between the bar, social centre and the cinema; until managing to generate a perfect acoustic cushion between the screening room and the noisy Sants Streets. As it could not be otherwise, the result is a complex building with an organic plant resulting from the various interrelationships of the program. What stood out was a 32m long bar, which could be separated with several mobile panels in order to be able to work as a bar and a cinema at the same time. Unfortunately, and for some years now, little remains of the original project; beyond the façade of abstract composition characteristic of modern language, and the bar that has been cut and modified. The screening room is preserved, although disused and quite battered, without seats and with substantial modifications. The building is currently occupied by a dance school, a gym and an appliance store.
  5. FAD Award

    Finalist. Category: Architecture
    Liceo Cinema and Bar

  6. FAD Award

    Award-Winner / Winner. Category: Interior Design
    Secretariat Floor of the Architects' Association of Catalonia (COAC)

  7. Via Augusta - Brusi - Sant Elies Dwellings

    Antoni de Moragas i Gallissà, Francesc de Riba i Salas

    Via Augusta - Brusi - Sant Elies Dwellings

    Moragas solves a housing program on a large plot of land that faces three streets of very different characteristics, and differentiates three blocks separated by a semi-private space. The three blocks are very compact and breathe through a system of courtyards of minimal dimensions. This allows the distribution of housing according to a general model that supports many variants. The emphasis on the quality of the lobbies, the use of colourful ornamentation and the vividness of the materials in sight show a desire to interpret the collective housing while respecting the human scale in all areas of urban life.


  • Recordant Antoni de Moragas i Gallissà


    Recordant Antoni de Moragas i Gallissà

Bibliography (58)


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