Correa Milá Arquitectes

Memory

Despatx format per Federico Correa, Barcelona, 1924 y Alfonso Milá, Barcelona, 1924-2009. Ambdós van treballar amb José Antonio Coderch. Realitzaren entre d’altres moltes obres, cases a Cadaqués, la Fàbrica Montesa (1961), la Fàbrica Godó i Trias (1962), l'edifici Monitor (1969), la cafeteria Flash-Flash (1970), l'edifici Atalaya (1971), la rehabilitació de la Plaça Reial (1981), l’Anell Olímpic de Montjuïc o la reforma de Can Serra (1986)

Source: Arxiu Històric del COAC

Works

On the Map

Constellation

Cronology

20th century
1955
1956 - 1960
1956 - 1963
1956
1957 - 1976
1957 - 1963
1957 - 1971
1958 - 1959
1959
1959 - 1960
1959
1961
1961
1961
1962
1962
1962
1962
1963
1963 - 1971
1963 - 1965
1965
1966 - 1971
1966 - 1977
1966 - 1977
1968 - 1970
1968
1969
1969
1969
1970
1970
1971
1972 - 1980
1972
1972 - 1973
1973 - 1974
1973 - 1974
1974 - 1975
1974
1975
1977 - 1979
1977 - 1978
1977 - 1978
1980
1980
1982
1982
1982 - 1989
1982
1984
1984 - 1988
1985 - 1987
1985 - 1989
1988
1989
1996 - 2002

Renovation of the Façade of the College of Architects of Catalonia (COAC)

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

The proposal is a reinterpretation of Xavier Busquets' original project from 1962 and is part of the legacy of modern Catalan architecture. It consists of maintaining and reinforcing what was most substantial in the original proposal, which was the tension that was established between the monumental platform of the trapezoidal lower body with the Picasso’s sgraffito and the withdrawn body of the office floors. Reinforcing the neutrality of the background, the Picasso’s base is more valued. In short, the spirit of the original project is restored by introducing some modifications such as the change in the type of opening of the windows, from the original sliding and hinges, to oscillating doors and the removal of the crowning finish of the building with a tile cladding extending the glass from the façade to the upper crown, as it already appeared in the model that Busquets had submitted to the 1958 competition. We therefore opted for being loyal to the original project instead of an alternative proposal, such as proposing a second skin or changing the cut of the curtain wall of the façade in favour of greater transparency. Efforts have been made to improve the performance of the new façade, both in the quality of the materials and construction details and in the energy efficiency of the complex. In this sense, a photovoltaic glass with CIGS technology has been incorporated into the panel of the sills, with a screen printing of small white dots so that the impact from black to gray is nuanced and it integrates better with the whole façade.
Villavecchia House

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

La casa respon a una voluntat de superar les contradiccions entre els procediments constructius autòctons i la retòrica modernista, tan de moda al Cadaqués dels anys cinquanta. Els autors prenen com a referència els elements de la construcció tradicional (murs de maó, cobertes de teula) i els apliquen imaginativament a la recerca d’una figurativitat realment genuïna. La casa s’organitza en dues crugies transversals que permeten una organització clara de l’interior. La sala d’estar forma un buit ombrejat a la tercera planta i ofereix una imatge que contrasta amb la retòrica façana de la casa de l’esquerra.
Julià House

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Rumeu-Milá

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Bofill Fradera

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Piscina, Ampliació i Reforma de la Casa Club del Real Club de Golf el Prat

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Fàbrica Montesa

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

Cuando Correa y Milà se enfrentaron al proyecto, ya existía una propuesta previa que fijaba unas luces entre pilares de 24 m. Los autores consideraron que se trataba de una decisión automática y la analizaron de un modo crítico, juzgando innecesario recurrir a grandes luces para una instalación industrial que funcionaba con máquinas pequeñas. Decidieron, por lo tanto, dividir las luces por la mitad, hasta 12 m, lo que les permitió reducir los costes de la cimentación y hacerse con el encargo. El programa exigía construir una solera de hormigón en masa que fuera capaz de resistir uniformemente las cargas para permitir que la distribución de las máquinas pudiera cambiarse en cualquier momento. Esta solera no podía contener ningún tipo de instalación o conducto que obstaculizara los posibles cambios, por ello las instalaciones se dispusieron vistas en el techo, mientras que los bajantes pluviales se llevaron al exterior. La importancia de esta decisión se refleja en la longitud de los canalones, que discurren 100 m entre los dientes de sierra. También había que garantizar la estanquidad de la nave, de manera que los lucernarios se construyeron totalmente verticales.
Edifici d'Oficines de Cementos y Cales Freixa

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Office of the Caixa d'Estalvis de Catalunya

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Pallejà

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Salinas

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Award-Winner / Winner. Category: Interior Design

Office of the Caixa d'Estalvis de Catalunya

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Reno Restaurant

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Oficines per a Comercial Viladomiu

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Finalist. Category: Interior Design

Reno Restaurant

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Federico Correa

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Club Floor of the Architects' Association of Catalonia (COAC)

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Extension of the Godó i Trias Factory

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Bar and Restaurant Floor of the Architects' Association of Catalonia (COAC)

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Romeu House

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

La casa Rumeu tiene una forma hexagonal que proviene de la experiencia de la casa Julià, donde los arquitectos ya habían ensayado las geometrías no ortogonales. La envolvente de la casa Rumeu está construida completamente con piedra de Cadaqués, como la que ya habían utilizado para hacer el muro de contención de la casa Julià. Allí se dieron cuenta de que, en Cadaqués, los muros de piedra eran más baratos que los de ladrillo, y por eso decidieron construir toda esta casa con piedra autóctona. También había un motivo paisajístico mucho más importante, ya que pensaban que era adecuado reservar la arquitectura blanca para el centro de Cadaqués pero, en cambio, utilizar la piedra para las casas de los alrededores, puesto que salpicaban el paisaje sin llegar a constituir entidades urbanas. De este modo, utilizando la misma piedra que en los bancales y las terrazas del exterior, conseguían que la casa desapareciera, camuflada en el paisaje. Uno de los elementos más destacables del proyecto es la estructura de madera que soporta la cubierta, de pendiente muy suave. La estructura está formada por un sistema de cerchas de madera que, en unos casos, están soportadas por los muros de piedra de la fachada y, en otros, por pilares de madera. El resultado es un entramado estructural visto que proporciona una gran vistosidad y plasticidad al proyecto. En el interior se han construido algunos muebles de obra aprovechando los desniveles, en consonancia con los bancales y las terrazas del exterior.
Reforma i Ampliació Casa Cavestany

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Milá-Sala

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Vilarrubis

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Atalaya Tower

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier, José Luis Sanz-Magallón y Hurtado de Mendoza

The tower is part of the first generation of tall buildings built in Barcelona in the early 1970s. At the time, it was a matter of incorporating a new staircase into a number of strategic points in the city. In this case, the original order consisted of the construction management of a project which had been already carried out, but which was rejected by the city council. Correa and Milà proposed a change from the 17th floor, where it goes from four to two houses per floor, which generates a totally innovative order in the distribution of heights. The whole building is modulated with a 1 x 1 meter mesh that determines the prefabricated parts of the façades, as well as small-scale elements: windowsills, lintels, etc. The top floor is completely occupied by a restaurant that forms the cornice of the entire building, thus reversing the interpretation of the typical American skyscrapers’ alignments.
Aiguadolç Residential Complex

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Aiguadolç Dwellings

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Monitor Building

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

The building is adapted to a management plan for this section of Diagonal Avenue drafted by the architect Xavier Subias, although several alterations have been made. The plan envisaged a four-story building, with a perfectly square floor plan and a flat roof. The built-in project recedes the corners where the dining rooms and living rooms are located and applies a system of gentle setbacks around the entire perimeter of the building. The program recommends two homes per floor, of 200 square metres, suitable for the market in this area, although the top floor is intended for a single home, a chalet under cover, with a continuous perimeter balcony. Finally, it was possible to adopt the solution of a huge roof, under the pretext of hosting the facilities. The compositional freedom of all the elements of the block comes from the interrelation, typical of the time, with some Italian architects, and specifically with Ignazio Gardella.
Casa Salvador Torrents Comas

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Botiga Olivetti Terrassa

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Olivetti Shop

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Finalist. Category: Interior Design

Flash-Flash Tortilla Bar

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Botiga Olivetti Vilafranca del Penedès

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Flash-Flash Tortilla Bar

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Award-Winner / Winner. Category: Architecture

Atalaya Tower

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier, José Luis Sanz-Magallón y Hurtado de Mendoza
Furest Pau Casals Shop

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Caseta de Porteria i Peses a la Fàbrica Asland

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Finalist. Category: Interior Design

Furest Pau Casals Shop

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Il Giardinetto Restaurant

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

Apart from other values that would belong more to the sphere of the "how", I think it is necessary to begin this text recognising, from the first moment, what in reality, for the eyes of an architect, is the noun of that place, something that could be expressed in this way: the terms in which architecture is produced are not strictly defined and the loan or, if the word might seem pejorative, the contribution of other disciplines, it can not only join ours but even become itself. This would lead immediately to discussing how architecture is also a sensation, or at least to admit that this is a step prior to understanding architecture. On the other hand, to provoke a certain sensation with a space has been one of the objectives that the most cultured architecture has most often proposed and such a provocation, the last level of which would be achieved with fictitious architectures, with trompe-oeils: it often needed the help of other disciplines. It is true that such an idea of architecture has been displaced by Puritanism, which undoubtedly characterises the architectural culture of our century who, valuing an extreme conception of purity, has exiled any possible interference from other disciplines. But this has not always been the case. Space was not defined as a reality, but, on the contrary, it was described with techniques and disciplines that could, in the end, seek the complete transformation of it. Thus, Pompeian architecture was able to transform cubic pieces into very delicate rooms through painting and there are few spaces fuller of its own reality than the House of Mysteries in which the strict physical space is so small; Ravenna's architecture turned an elementary vault into a complete universe; the stained glass windows of the Sainte-Chapelle allowed for the first time to think of a weightless space; Mantegna was able to turn a stay of the Palace of the Gonzagas of Mantua into a foreign world; the prospect of the Spada Palace in Rome created the ambiguity of a large garden in a small courtyard; cast iron, turned into palm trees, satisfied the need for strangeness of a court established in Brighton's kitchens. The idea of architecture as a space quickly gave way to the idea of an architecture as an abstract space, alien to any other intervention on it, coming to prescribe with violence. Even the discussion of the integration of the arts in architecture is proof of how in the 50s and 60s architecture could give entrance, admit collaboration, but always without losing its guiding status: it was an integration in the architecture, to the maximum granted. I think that Il Gardinetto gives way to an architecture not configured with purely architectural elements (understanding them here as those that in their corporeality have their own meaning), being proof of a process of liberation that, above all, makes wider field of work. Federico Correa and Alfonso Milá have already had the opportunity to build some restaurants: from the Reno to Il Gardinetto, to the Flash, there is a wide path that is somehow a faithful witness to this process. I will try to explain myself. A place like this, where people are, is above all a certain environment or, if you prefer, a space, an atmosphere, capable of assuming rather imprecise and generic relationships. It is impossible to apply the Corbusierian metaphor, a restaurant will never be a food machine. The ways to achieve this environmental condition are very different: one could speak of an abstract definition of space, which, from the domain and the display of a certain language, would actually build an environment; or already passing the order of a concrete thing, to establish for the creation of the same a whole series of contacts with well-known spaces that would allow to provoke the mechanism of the evocation with its inevitable effect; or to represent with reality another reality, which in some way demands, as a precondition, to know what it is to be explained. Even at the risk of simplifying and reducing reality, I will say that the first of the proposals would require, first, a method, and with it the work of the architect becomes a development that ends up providing an atmosphere; the Reno would be within this way of thinking the architecture in which security and correctness in the mastery of a language would seem to be the most prized virtues. As for the second, thinking what an atmosphere might be from what it suggests, the Flash would be present, where the illusion of a world, which would somehow coincide with the image of its own customers, would make sense to the occupation of the subject: the white fantasy of a cinematic atmosphere. Finally, the third alternative, which I think is used in Il Giardinetto, requires an effort of imagination, that is, to conceive the image of what is represented. It is therefore no coincidence, nor a simple study technique, that at the base of the projects of Correa-Milá splendid perspectives always appear, witnesses of these initial efforts to obtain the image. The knowledge of the architect will make that this image is not distorted and remains, throughout the work, what was thought. But in the case of Il Giardinetto, such an image was above all a representation or, at least, as such it was presented. As it is well known, whether architecture was capable of representation has been one of the key topics of discussion in treaties, extending into the writings on eighteenth-century architecture and to which a definitive solution seemed to be found in the pure visualism of the turn of the century. It will appear here again. But, what is represented? To what extent is it possible to understand architecture as a representation? When I first heard about Il Giardinetto I thought I understood what the entity of what was being projected was, I redid the image and mentally recomposed what I thought would be the place, full of the fronds of the trees that completely took over the space. I confess that I thought so much more of the idyllic description of the collected atmosphere of an Italian home garden than of the strange and, I dare say, close to childhood, image that Il Giardinetto proposes to us. The world of pop painting already allowed these transfers, these translations, the coexistence of two opposing formal worlds, understanding how the strength of a new image can emanate from the meeting of two different realities; It was not difficult to think of the inner garden, a feigned image of a country environment in which the meeting can be easier. However, none of this is in Il Giardinetto; the formal world is completely alien to representation in terms of mimesis; nor is it a trompe-l'oeil or the violent impression of an unexpected reality. In this sense, there is nothing as far removed from pop art as it is out of fashion in terms of the recovery of reality, such as Il Giardinetto. What is represented is what has already been represented other times, it is already so mediated from our feeling, and by that I mean from our past! Thus, the trunks that, alien to any mimetic temptation, are transformed into very fine tentacles, acquiring a living, lively condition; the flat roof materially curdled with leaves, with a bit of the subtle design of botanists; the braided wooden fence that, turned into a gate for disgust, supports the invading ivy; trunks, leaves… they have been so familiar to us since childhood. It is so well understood that fiction always alludes to our polite vision of a garden and not a jungle. But the representation overlaps here in space and perhaps this is the most subtle of the operation; for even with the broader concept that space can have as an architectural category, what would have been the decoration, the treatment, that those pillars needed not to be converted like in fairy tales, in trees? Or how could that roof convey to us the feeling of freshness that is felt under the shade of the chestnut trees? Or what sign would have better indicated what the place of the toilet was? On the other hand, and in the opposite direction, how not to admire the position that the cylindrical bar has in the whole? Or the care in the design of the scale, in which the experience and knowledge of the interests of the modern movement are so evident? Or the accuracy of the staircase in the doors, steps and covered spaces? And here we enter fully into the analysis, the systematic encounter or, despite the change of attitude that Giardinetto supposes, with one of those attributes of the work of Federico Correa and Alfonso Milà maintained with greater obstinacy and perseverance: its requirement of satisfaction of the function, the education of the elements to a use. The tables, the auxiliary furniture... are incorporated in an unequivocal image, the one from which the restaurant takes its name, become supported in the metaphor, in elements of that garden, but also allow to contemplate the dishes, or to feel how alienated the side table is; these aspects are fundamental. That’s when you appreciate how that environment works; when it is discovered how in the shady bottom of the forest the profile of a head is cut out. This wise use of colour, without losing the range, is revitalised by the presence of the gilding of the copper and the reflections of the ceramic located behind the sofa shelf, which, incidentally, is the least clear piece of the whole place. The lighting achieved contributes to reinforcing the role that colour plays in the environment, providing definitive support. Few things are as difficult in architecture as lighting a room well; the way Il Giardinetto is lit is one of its great attractions. It recovers the singularity of situations from small spotlights that make the lighting, however, uniform; from such uniformity we understand the role of awnings which, allowing the appearance of gaps, give the atmosphere a certain sense of public space, not private, which I understand is absolutely necessary. The world of objects, tables, furniture (we skillfully upholster the backs of armchairs) board games, cutlery, etc., is installed in the fictitious world with absolute naturalness while the plants (necessarily made of plastic), complete the variety of the space. Such variety could be extended as a deliberate purpose of amenity does not preclude the requirement of quality in whatever the point; the spontaneous and the most exquisite care seem to be glimpsed without possible segregation. Nothing in Il Giardinetto has been forgotten, and yet the affectation does not appear and there is always like a sip of good humour that eliminates any possible reading in search of what is obvious and immediate; culture, from a certain epicurean point of view of life, may well deserve a smile that is certainly not contemptuous. Thus, the lightness of the façade, its deliberate insignificance, in an environment as full of design as that of the city of Barcelona that barely shows the walls, allows us to see how it sticks its head out of it, white, dominated by the light ivy, making us think that intelligence does not always rule out freshness.
FAD Award

Award-Winner / Winner. Category: Interior Design

Il Giardinetto Restaurant

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Botiga Furest Diagonal

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Cases Sagi

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Casa Furest

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Banca Masaveu

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Award-Winner / Winner. Category: Interior Design - Extraordinary Award 1958-1976

Botiga Olivetti Terrassa

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Award-Winner / Winner. Category: Interior Design - Extraordinary Award 1958-1976

Olivetti Shop

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Oficines López Bosch

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Habitatges López Gabarro

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Reforma de la Discoteca Up&Down

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Remodelling of Plaça Reial

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Habitat Building

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Finalist. Category: Restoration

Remodelling of Plaça Reial

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Arrangement of the Olympic Ring

Correa Milá Arquitectes, Carles Buxadé i Ribot, Federico Correa Ruiz, Joan Margarit i Consarnau, Alfonso Milá Sagnier
Habitatges Mas de l'Abelló

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Diputació de Barcelona Headquarters

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
Lluís Companys Olympic Stadium

Correa Milá Arquitectes, Carles Buxadé i Ribot, Federico Correa Ruiz, Vittorio Gregotti, Pedro Ibáñez, Joan Margarit i Consarnau, Alfonso Milá Sagnier
Café Zurich

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier
FAD Award

Award-Winner / Winner. Category: Architecture - Remodelling and Rehabilitation

Lluís Companys Olympic Stadium

Correa Milá Arquitectes, Carles Buxadé i Ribot, Federico Correa Ruiz, Vittorio Gregotti, Pedro Ibáñez, Joan Margarit i Consarnau, Alfonso Milá Sagnier
Episcopal Museum of Vic

Correa Milá Arquitectes, Federico Correa Ruiz, Alfonso Milá Sagnier

El projecte parteix del coneixement exhaustiu del fons museístic que allotja, ja que es tracta d’una col·lecció tancada de la qual es coneixen totes les peces, en les seves dimensions i en el seu valor artístic i històric. L’edifici, de planta baixa més tres plantes, s’adapta fidelment a les alineacions dels estrets carrers que el limiten, mentre que la façana a la plaça adopta una configuració més lliure. En la disposició de les obertures, la solució de la coberta i la traça del sistema murari s’estableixen certes coincidències entre els procediments i les formes de l’arquitectura moderna i la lògica compositiva de les construccions medievals. La forma irregular del solar afavoreix la col·locació de les diferents peces. Unes obertures verticals que abasten tota l’alçària de l’edifici suggereixen vistes concretes cap a alguns elements monumentals de la ciutat, des d’un interior controlat lumínicament per mitjans bàsicament artificials.

Audiovisual

1:29:22

Arquinset'21: "1968-1975, Correa Milá des de l’usuari"

Bibliography

Book

La seu de la Diputació de Barcelona a la Casa Serra : història, ciutat i arquitectura / Ramon Graus, Helena Martín Nieva, Jaume Rosell ; introducció de Jordi Casassas Ymbert.

Barcelona : Diputació Barcelona, 2012.
Book

Correa & Milà = Correa et Milà : [arquitectura 1950-1997] / Beth Galí (ed.) ; amb textos de: Oriol Bohigas, Juli Capella, Beatriz de Moura, Rosa Regàs.

Barcelona : Col·legi d'Arquitectes de Catalunya ; [Madrid] : Ministerio de Fomento, DL 1997.
Book

Correa & Milà = Correa et Milà : arquitectura 1950-1997 / [coordinación editorial: Beth Galí ].

[Madrid] : Centro de Publicaciones, Secretaría General Técnica, Ministerio de Fomento, DL 1997.

Suggestion box

Request the image

Perspectiva de la decoració interior del restaurant Il Giardinetto.

Esbós de l'interior de la Botiga Olivetti.

Perspectiva de l'interior de la Botiga Olivetti.

Esbós sala de reunions de les oficines López Bosch

Perspectiva interior del despatx del director de les oficines López Bosch

Perspectiva interior de las Oficines López Bosch

Perspectiva interior de la recepció de las Oficines López Bosch

Esbós de la barra de la Discoteca Up&Down.

Esbós dela pista de ball de la Discoteca Up&Down.

Esbós de l'entrada de la Discoteca Up&Down.

Perspectiva interior del restaurant de la Discoteca Up&Down.

Perspectiva interior de la recepció de la Discoteca Up&Down.

Perspectiva interior de la sala de ball de la Discoteca Up&Down.

Perspectiva exterior de la Discoteca Up&Down.

Perspectiva interior de la Botiga Furest Pau Casals

Façana de la Botiga Furest Pau Casals

Esbós d'entrada a la Botiga Furest Pau Casals

Esbós perspectiva interior de la Botiga Furest Pau Casals

Perspectiva interior de la Botiga Furest Pau Casals

Esbós de perspectiva interior de la Botiga Furest Diagonal

Perspectiva interior de la Botiga Furest Diagonal

Perspectiva interior de la Botiga Furest Diagonal

Perspectiva interior de la Botiga Furest Diagonal

Esbós de perspectiva semi-exterior de l'entrada a la Botiga Furest Diagonal

Perspectiva semi-exterior de l'entrada a la Botiga Furest Diagonal

Perspectiva interior de l'escala de la Botiga Furest Diagonal

Esbós d'escala interior a la Botiga Furest Diagonal

Esbós d'entrada a la Botiga Furest Diagonal

Perspectiva exterior de la Caseta de Porteria i Peses a la Fàbrica Asland

Perspectiva exterior de la Caseta de Porteria i Peses a la Fàbrica Asland

Perspectiva exterior de la Caseta de Porteria i Peses a la Fàbrica Asland

Esbós de alçat de la Caseta de Porteria i Peses a la Fàbrica Asland

Esbós de planta de la Caseta de Porteria i Peses a la Fàbrica Asland

Perspectiva interior d'un despatx de les Oficines de Cementos y Cales Freixa.

Perspectiva interior de l'area administrativa de les Oficines de Cementos y Cales Freixa.

Perspectiva interior d'un despatx de les Oficines de Cementos y Cales Freixa.

Perspectiva interior de les Oficines de Cementos y Cales Freixa.

Perspectiva interior d'un despatx de les Oficines de Cementos y Cales Freixa.

Perspectiva interior de les Oficines de Cementos y Cales Freixa.

Perspectiva exterior de les Oficines de Cementos y Cales Freixa.

Perspectiva color de la façana de la Fàbrica Godó i Trias.

Perspectiva de l'interior de decoració del Cafè Zurich.

Perspectiva de l'interior de decoració del Cafè Zurich.

Perspectiva de l'interior del Cafè Zurich.

Croquis inicial de l'interior de la Truiteria Flash-Flash

Perspectiva de la façana de la Fàbrica Godó i Trias.

Alçat de la barra de la Truiteria Flash-Flash

Perspectiva de l'interior de la Truiteria Flash-Flash

Perspectiva de l'interior de la Truiteria Flash-Flash

Perspectiva de l'exterior de la Casa Federico Correa

Perspectiva de l'interior de la Botiga Olivetti.

Esbós de l'ordenació dels Habitatges Mas de l'Abelló.

Perspectiva exterior dels Habitatges Mas de l'Abelló.

Perspectiva exterior del Edifici Habitat

Perspectiva interior de la sala d'estar de la casa Salinas

Esbós interior de la sala d'estar de la casa Salinas

Perspectiva interior del rebedor de la casa Salinas

Perspectiva interior d'un dormitori de la casa Pallejà

Perspectiva exterior de la casa Salinas

Perspectiva exterior de la casa Salinas

Perspectiva exterior de la casa Salinas

Perspectiva exterior de la casa Salinas

Perspectiva exterior de la casa Salinas

Esbós de la llar de foc de la casa Pallejà

Perspectiva interior de la llar de foc de la casa Pallejà

Perspectiva interior de les vistes de la casa Pallejà

Perspectiva interior de la sala, llar de foc i prestatgeria de la casa Pallejà

Planta proposta d'ampliació del pavelló dels socis júnior del Real Club de Golf el Prat.

Perspectiva interior de la sala menjador del Real Club de Golf el Prat.

Perspectiva exterior dels vestuaris i la piscina del Real Club de Golf el Prat. Vista frontal.

Perspectiva exterior dels vestuaris i la piscina del Real Club de Golf el Prat. Vista aèria.

Perspectiva exterior dels vestuaris i la piscina del Real Club de Golf el Prat. Vista frontal.

Perspectiva exterior del porche i els vestuaris de senyores de la piscina del Real Club de Golf el Prat.

Perspectiva interior del snack-sala de joventut del Real Club de Golf el Prat.

Perspectiva interior del snack-sala de joventut del Real Club de Golf el Prat.

Perspectiva interior de la sala dels socis júnior del Real Club de Golf el Prat.

Perspectiva interior de la sala dels socis júnior del Real Club de Golf el Prat.

Perspectiva exterior de l'interior de la sala menjador del Real Club de Golf el Prat.