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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

Architects' Association of Catalonia:

Àrea de Cultura

Directors:

2019-2022 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2022 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:

2019-2022 Lluis Andreu Sergi Ballester Maria Jesús Quintero

With the support of:

Generalitat de Catalunya Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació Mies van der Rohe

 

Fundación DOCOMOMO Ibérico

Design & Development:

Nubilum Edittio
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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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Memory

Doctor Arquitecte. Entre 1995 i 1999 realitzà estudis de Biologia a la Temple University (Philadelphia, PA, EEUU) i a la Universitat de Navarra. Va obtenir la llicenciatura d’Arquitectura el 2005 per la Universitat Internacional de Catalunya. Durant la carrera visità com a estudiant l’Escola d’Arquitectura SCIARC (Los Angeles, CA),assistí al simposi d’Alvar Aalto 2000 a Helsinki i al simposi “days of Oris” a Zagreb, Croàcia, el 2002. L’any 2006 fou coordinador de 4rt curs i professor assistent de projectes 7/8 a la Universitat Internacional de Catalunya, i és també professor invitat al taller de projectes “Emotional City” dirigit pels arquitectes britànics Sergison & Bates (Set. 2006). Obté el títol de Màster oficial en Arquitectura Biodigital al gener de 2010. És membre i soci fundador al Gener de 2006 d’OAB (Office of Architecture in Barcelona) juntament amb Xavier Martí, Lucía i Carlos Ferrater. Entre 2007 i 2011 fou subdirector de cultura, publicacions i relacions internacionals de l’Esarq (Escola Superior d’Arquitectura) a la UIC, des d’ on ha dirigit i coordinat varies publicacions així com el taller vertical i el cicle anual de conferències de l’escola. Actualment és professor de les assignatures de projectes de tercer curs. Entre gener i juliol de 2011 realitzà un període de 6 mesos a la ciutat de Nova York desenvolupant la seva tesi doctoral: “Aplicación de sistemas geométricos complejos en la pràctica arquitectónica” i fou “visiting professor” impartint l’assignatura projectes arquitectònics a la universitat de Pratt Institute, Nova York. És autor del llibre “Sincronizar la Geometria” publicat per l’editorial ACTAR del qual s’han realitzat varies exposicions: Illinois Institute of Tecnology, Chicago, EEUU, al Museu de Belles Arts de Bilbao i a Bezalel School of Arts and Architecture, Jerusalem, Israel, al Col·legi d’Arquitectes de Catalunya i al Col·legi d’Arquitectes de Madrid. Recentment ha editat amb ACTAR una monografia de projectes realitzats per OAB. Ha rebut el 1r premi FAD 2007 a la categoria “arquitectura efímera” juntament amb Carlos Ferrater per l’Exposició a Madrid: “M.C. Escher El arte de lo imposible”. És autor juntament amb Carlos i Lucía Ferrater de l’edifici de Roca Barcelona Gallery que fins avui ha rebut el premi Good design is Good business de la revista Arquitectural Record, el premi Wallpaper Design Awards 2010, ha estat finalista dels premis LAMP i seleccionat als premis FAD 2009 a la categoria d’interiorisme així com una menció especial als premis IALD 2010 (International Lighting Design Awards). És autor de varis projectes realitzats a l’estudi de OAB entre els que destaquen: Conjunt residencial i hotel a Turquia, pavelló d’ acollida al jaciment arqueològic d’Atapuerca, Edifici de 15 plantes d’ús mixt al Miami Design District, USA, el projecte per a l’estadi de Fútbol Club Barcelona i una residència privada de 3500 m2 a Nova Delhi, India. El 2010 dirigí juntament amb Jorge Vidal la comissió de joves arquitectes per al Pla Estratègic Metropolità de Barcelona. És membre de l’assamblea del Col·legi Oficial d’Arquitectes de Catalunya i és membre també de l’associació Barcelona Global. Ha impartit conferències i ha particitat en taules rodones i ha estat jurat de premis a diferents ciutats: Tokyo, Shenzen, Guangzhou, Hangzhou, Harbin, Chicago, Nova York, Boston, Columbus (Ohio), Jerusalem, Estocolm, Sant Petersburg, Hannover, Luxemburg, Manchester, Cardiff, Liverpool, Istanbul, Cagliari i l’Alguer, Bilbao, Granada, Madrid, Saragossa i Barcelona.

Author: Office of Architecture in Barcelona (OAB)

Works

On the Map

Constellation

Cronology

  1. Roca Barcelona Gallery

    Office of Architecture in Barcelona (OAB), Borja Ferrater Arquer, Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Roca Barcelona Gallery

    Ja en els primers passos per a la concepció de la seu institucional de ROCA o Roca Barcelona Gallery, s’entén el projecte arquitectònic com una eina de difusió d’una marca i una empresa. L’edifici es planteja a partir de l’estratègia de comunicació, una forma més de difondre els valors, la historia i els reptes de la companyia i un canal de transmissió per atraure l’interès de la ciutadania cap als valors, el producte, els projectes i les inquietuds d’una empresa amb més de 80 anys d’història com és Roca. L’encàrrec contempla la realització d’un programa complex en el que es barregen i conviuen la seu institucional, un museu de la marca i una plataforma d’esdeveniments de caràcter social i del món empresarial. El projecte arquitectònic s’ha basat en dues idees essencials. La seva forma i aspecte exterior i l’experiència de l’espai viscuda en el seu interior. L’edifici, envoltat per múltiples edificacions de major alçada pretén mostrar-se a la ciutat entenent la seva pròpia escala. Degut al seu context urbà l’edifici es troba embegut per les volumetries adjacents i es distingeix per la seva menor escala i per la seva puresa de formes. Sense recórrer a les formes especulatives pròpies d’una arquitectura que busca realitzar-se a través de l’espectacle, l’edifici, a l’hora que discret i elegant, aconsegueix diferenciar-se de qualsevol altre. Com a objectiu principal es va investigar i treballar per concebre una façana que sent observada amb un mínim deteniment no deixés indiferent i tractés de suscitar curiositat. Així mateix, es va renunciar des d’un principi a la possibilitat de plantejar una “pell” per a l’edifici que potser pogués oferir un efecte vistós cap a l’exterior però que en canvi no tingués relació o conseqüència aparent a l’interior. Es va buscar, per tant, treballar al màxim sota aquestes premisses. Finalment, després de tantejar diferents possibilitats, vàrem plantejar una solució per a la façana basada en la forma de disposició d’un únic material, la successió de múltiples vidres disposats perpendicularment a l’eix de la façana. Així, a partir de proves i prototips vàrem poder comprovar com es produeixen efectes nous com la difracció, la reflexió i la refracció de la llum obtenint com a resultat la distorsió, la translació i la superposició de la imatge a través s de la façana. Fou la llum, tant natural de dia com artificial de nit, la que es va convertir llavors en protagonista. Així, vàrem obtenir una façana totalment ambigua que es mostrava tant com un element de caràcter sòlid de dia com líquid de nit, tant pesada com lleugera, tant rugosa com llisa i en el que és difícil en ocasions, reconèixer si el seu caràcter es transparent, translúcid o opac. Així, des de l’exterior, quan mirem cap a l’interior de l’edifici, la façana ens ofereix una visió ambigua del seu interior (distorsionada) fent necessari entrar-hi per tal de descobrir-lo realment; un cop dins, si mirem cap a l’exterior, cap a la ciutat, observarem tota una sèrie d’efectes visuals com si d’un joc es tractés, on res està realment on hauria d’estar. Uns raigs de llum travessen en línea recta mentre que altres es reflecteixen a l’inrevés, produint alguna cosa semblant a una superposició de la imatge. Altres, al mateix temps es difracten per mostrar-se en tots els colors de l’arc de Sant Martí. Des de dins, observem carrers on abans no n’hi havia, es dupliquen edificis i veiem vianants caminant pensant que estan on els veiem però que en realitat es troben en un altre lloc físic diferent. El nostre objectiu es va veure complert ja que buscàvem la realització d’una façana que sempre que es mirés amb deteniment, oferís un efecte preceptiu plausible però subtil al mateix temps. Així com es concep un edifici projectat cap a l’exterior es busca un món, un espai i un ambient únic en el seu interior. Un cop dins, mitjançant l’ús de la llum, els audiovisuals, els materials i els elements expositius, s’ha intentat generar un espai interior molt diferenciat d’un espai expositiu habitual, on el visitant visqui una experiència intensa i única amb l’edifici. L’espai interior, per tant, es concep com experiència personal i sensorial en la que l’usuari o visitant interactua amb l’edifici gràcies a detectors de presència, altaveus direccionals, canvis de llum, projeccions, personatges projectats que interactuen amb els visitants i pantalles de plasma que projecten objectes en moviment. Al mateix temps tots aquests elements es veuen inserits com si suressin en un espai indivisible i continu. L’aplicació d’un paviment lleugerament reflectant i experimental realitzat en una ceràmica, un fals sostre en acer inoxidable i les parets de tetraedres d’escuma, conformen els tres materials principals en el seu interior. Tots ells materials continus, tres plans que degut a la seva condició de continuïtat recreen un espai ingràvid, marcant la horitzontalitat i sense referències espaials o formals convertint l’espai físic en una sort d’espai virtual. La tecnologia aplicada a la construcció, als audiovisuals i a la manera d’explicar la marca i el seu producte, són essencials per transmetre el compromís que l’empresa té amb el seu futur. El projecte per a Roca Barcelona Gallery es fa ressò de les tecnologies més avançades en matèria d’il·luminació, materials tals com la ceràmica, el vidre i l’acer. Per tot això, ha estat necessari que ROCA i l’equip d’arquitectura d’OAB (Borja, Lucía y Carlos Ferrater) hagi comptat amb un altre equip d’experts en diferents camps com la comunicació, la construcció, la il·luminació, els audiovisuals i molts d’altres especialistes d’excel·lència que han fet possible la creació d’un edifici punter i emblema de la seva marca.
  2. FAD Award

    Shortlisted. Category: Interior Design

    FAD Award

    Roca Barcelona Gallery

    Office of Architecture in Barcelona (OAB), Borja Ferrater Arquer, Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

  3. Hermanos Torres Restaurant-Cuisine

    Office of Architecture in Barcelona (OAB), Borja Ferrater Arquer, Carlos Ferrater i Lambarri

    Hermanos Torres Restaurant-Cuisine

    Hermanos Torres Cuisine is a project born from the desire to generate a new experience in relation to the world of cooking and catering. A new space that allows us to live a new culinary experience. Continent and content come together for a unique experience. THE SPACE From the beginning, Sergio and Javier Torres defined in a few words what they were looking for: "more than a restaurant with a kitchen, we would like to create a kitchen with a restaurant". With this clear and ambitious premise and with the acquisition of an old industrial building of almost 800 m2, which had to be completely renovated, the project began. At the spatial level, the project was born, therefore, with the desire to erase or dilute some dividing lines between the different spaces that make up a traditional restaurant. Gradually, over time, the kitchen space has acquired a certain prominence in some of the latest avant-garde restaurants. Initially, windows that showed the interior of the kitchen through a glass were opened. On other occasions the kitchen was opened by placing it at the back of the restaurant, behind a bar, and even in some cases, as in the case of the Dos Cielos Restaurant (former restaurant of the Torres brothers), the restaurant through the kitchen. Exclusive tables have also been included in some restaurants so that a few people can eat in the same kitchen. However, this time, an even more radical leap is made, placing the kitchen not only as the central element of the intervention, but also as an enveloping element. The restaurant is the kitchen. By placing the kitchen at the epicentre of the restaurant, the old concept of the café-theater resurfaces, places where the diner enjoys a show while having dinner. But here the show will consist of the same preparation of the dishes to be tasted. In addition, thanks to the fact that he has chosen an industrial building as a large container, the experience of living a "performance" yourself is emphasised. It feels like being on a big ship, being on a TV set or in a modern theatre. It was therefore a matter of configuring and exalting these properties of the original space in such a way that a further step could be taken in the experience of haute cuisine. The diner participates and empathises with the Chef, while it is a direct witness to the creative act that is taking place. And not only is it a witness, but it also ends up becoming the protagonist of the experience when the dish arrives at the table. Having diluted the lines that physically separate the space, the two chefs, Sergio and Javier, along with second chefs, chefs, waiters and assistant cooks, move the space naturally and without barriers between stoves and tables. A space of no more than two meters, free of any physical or visual obstacles. This is what the brothers were looking for, to be able to establish a direct relationship with their customers. At the same time, the spectator, diner and protagonist (depending on each moment) not only has a central stage that are of the "three pianos" (place where the last steps of each dish are elaborated and culminated), but also it is surrounded by kitchens and spaces related to the experience you are living. In three of the faces that surround the central space is the wine cellar, the pastry shop and the 3 cooking kitchens (Meats, Fish and Fruits-vegetables), plus you can also see the space of research and development behind a glass, in which the brothers carry out their experiments and tests to achieve new creations. Work has been done to make the kitchens work like clockwork, and to be as well-equipped as possible, always giving priority to functional aspects so as not to diminish their proper functioning. Therefore, there is a subsequent circulation, which manages to communicate all the spaces: preparation and production kitchens and their respective cameras as well as the spaces for staff, dining room, locker rooms, training room, etc. So, despite the novelty of the distribution, the space has been organised in a consistent and effective way. Another example would be to respect the classic concept of atrium represented in the Bar area. That is, when we enter and access the large industrial building, we have a first filter space that allows us to save the surprise, and then discover the large space of the main dining room. So, next to the cloakroom, the Bar becomes an entrance hall. Returning to the concept of foyer in a concert hall: before the show, the bartender, a prestigious mixologist, will prepare a cocktail, a first aperitif, which introduces us to the atmosphere of the industrial unit, the perfect opening act before the experience that awaits us on the other side of the cellar. MATERIALITY Once the organisation of the space has been defined, an element of great importance ensures that the culinary experience takes place with the dose of comfort and convenience it deserves. To try to soften the undeniable fact that we will be eating in an industrial unit, a series of materials are introduced that soften and even produce a kind of ambiguity between being initially in a cold space of large proportions versus a pleasant space, warm and welcoming. Tables with tablecloths, upholstered chairs and even the presence of a rug will soften and provide comfort, as well as help control the acoustics of the room. However, we have tried to make the decorative interventions as minimal as possible. Fleeing the recent trend and the increasingly popular fashion of refilling and filling spaces with objects, textiles and formal abundance that gives place to a baroque minimalism or new kitsch that can only confuse the customer and not leave clear what is authentic and what is a "lie" (fake). This is exactly the opposite. To erase the unnecessary, not to confuse and not allow it to dominate the superfluous, but the truly important. The floor, thanks to the collaboration of the Roca company, is ceramic. As it should be, this has always been the traditional cuisine of a lifetime, just like the one where the brothers cooked as children with their grandmother Catalina. This is a special format piece designed specifically for the Restaurant. A continuous floor, therefore using the same material for all areas, the main ones and the ones for the staff. It was essential to understand the unitary nature of the intervention. We decided that the bathrooms would be the exception to the rule: Iroko wood is introduced in the bathrooms, which gives them great comfort. An atmosphere contrary to that of the central space is sought, more typical of a ship's cabin than of a large industrial building. The protagonists will always be the diner, the cook and the dishes. Regarding the rest, the less you notice and see, the better, and having the minimum concessions. To do this, we have a single large decorative element: a large black and gold curtain that occupies an entire side wall and is backlit, magically playing with light. Light, as an indispensable ingredient in architecture, will be what we will talk about below. THE LIGHT In this obsession with eliminating the superfluous and the unnecessary, the presence of the color black in practically all the restaurant appears strongly. Black emerges as a counterpoint to the white of the dishes, tablecloths and chefs' uniforms, which acquire their prominence thanks to wrapping them all with an indefinite matte black space. The colour black also allows us to do the same with light as with the decoration. Thanks to him we will be able to illuminate what interests us. The rest will be lost in the vastness of the industrial unit. Just like in a theatre or a concert hall where what lights up is the stage, the actors or the musicians. From here, a magical game begins thanks to the presence of glass that produces reflections, the darkness of the room and the presence of some mysterious hanging lights, giving rise to what the brothers have ended up defining as the ship of your dreams. The cellar is used to create a subtle light box, although not too bright (for obvious reasons of wine treatment). The glass box of the cellar is dressed in virgin vine. This warm light box with a golden effect helps to create a cozy atmosphere in both the bar and the main room. For the lighting of the room, we worked with the designer Pete Sans in the creation of what we call "clouds", lights that precisely sought to meet several objectives: the light, through the presence of hundreds or thousands of lights evokes a starry space, and thanks to the reflections in the glass of the room or in the skylights, a magical multiplier effect is produced. The lights are strategically placed at a constant height of 2.55 m, which allows you to build an imaginary or virtual roof, in which everything above (the ship reaches 7.5 m on its ridge) when painted black, it seems to fade or disappear. In this way, the ceiling is not clearly visible, only intuited. At the same time, the lights begin to generate reflections in all the windows of the restaurant and what before could be perceived as a finite space becomes ambiguous and undefined. The immensity of the black and the multiplied lights, the golden curtain with a dark background, the illuminated cellar where the bottles can be seen, the translucent skylights... All this makes the limits of the space confusing, while a dreamlike space is generated. THRESHOLD And we will finish at the beginning: the front door and the façade, which we knew had to become a threshold that separates the space of the imaginary from the urban reality of the Les Corts neighbourhood in Barcelona. To do this, after much deliberation and thinking about what we should do, we decided to respect the interior shape of the nave, a gabled roof, and therefore rescue the formal archetype of a house. Secondly, the brothers conveyed to us the importance of the 4 seasons of the year, working with seasonal produce. That’s why we decided that the best way to represent this idea would be through nature. Specifically, around a forest and how the seasons transform it. Carlos had been following the works of the painter and muralist Regina Saura for years, and in some of her recent exhibitions she had focused on the representation of trees and forests. So we asked her to participate in the project and execute a work of art on the façade around the idea of a forest. We believe that Regina Saura's façade manages to convey the message of seasonality from the different shades of leaves (winter, summer, autumn and spring colours), and at the same time it allows the contrast with the reality of the urban context. We can understand the act of entering the Hermanos Torres Kitchen in two ways, crossing a forest in the city or accessing their new home in the forest. In any case, the façade is a threshold, a place where the outer space, the street, is abandoned, and which, once transferred, allows us to live almost imaginary experiences. All this thanks to the organisation of the space, the use of materials and the play of light. But above all, the interior space becomes a dream when you taste the latest creations by Sergio and Javier Torres.

Bibliography

Societies