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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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


2019-2023 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2023 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:

2019-2023 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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Works (25)

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Cronology (30)

  1. Installations Consultancy of the Col·legi d'Arquitectes de Catalunya (COAC)

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Installations Consultancy of the Col·legi d'Arquitectes de Catalunya (COAC)

    The offices take up the entire top floor of a building intended for offices, with a trapezoidal plan and three façades built on the basis of a fiber cement sill, while the rest is made entirely of glass. The structure is based on metal portals. The office program to be installed on that free floor consisted of a reception, a secretary, a meeting room, a visiting room, two offices intended for technicians, an office for an administrator, a library, a draftsman's room and health services for employees and the public. An air conditioning system had to be installed for all the rooms for the summer. In the whole distribution, the existing façade was an important condition, which due to the type and dimensions of the openings, only normally allowed and in a façade perimeter of 40 metres the delivery of dividing partitions in 8 fixed points. Another condition was the pillars of the structure, which, due to their situation in the plan, made it difficult to build partitions precisely at those points where deliveries with the external enclosure were easier. The third condition was to obtain some natural lighting even for the spaces that remained inside and did not receive direct light from the outside. Using a special profile to solve the delivery of the partitions with the façade carpentry, the possible delivery points were increased; and by retracting the dividing walls forming angled windows in each displacement, it was possible to separate the structure of the partitions and give some natural lighting even to the reception, which is the innermost space of the offices. To visually isolate the offices from the outside, protect them from the summer sun, and make the installation of air conditioning as economical as possible, the entire façade has been protected with "American" type windows of white plastic, which separated in their lower part from the face of the façade, create an air chamber between the shutters and the façade, very favourable to avoid a higher heat transmission. To allow the passage of the air conditioning conductors, the false ceiling of the rooms that ventilate directly to the outside have been placed at a higher level than the rest, and between both levels the grilles of air expulsion have been placed. All the rooms in the program are closed spaces except the secretariat, which is separated from the outside only by a counter and a wardrobe hanging from the upper floor and which visually isolates both environments. All the doors, except for the sanitary ones, are of acid-treated glass to give greater illumination to the interior rooms while preserving privacy. In the partitions and during their construction, drilled metal profiles were placed that serve as supports for most of the office furniture.
  2. 'ÒRIM, otro' Joan Miró's Exhibition and Mural at the Architects' Association of Catalonia (COAC)

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    'ÒRIM, otro' Joan Miró's Exhibition and Mural at the Architects' Association of Catalonia (COAC)

    It was the end of 1968 when the partner architects of Studio PER (Pep Bonet, Cristian Cirici, Lluís Clotet and Oscar Tusquets), who had just turned twenty-seven, received a commission from the College of Architects of Catalonia and the Balearic Islands to write and edit a counter-exhibition at the school headquarters - which we titled Orim, otro (Miró written backwards) - of the anthological exhibition organised by Barcelona City Council in the Gothic part of the old Hospital de la Santa Creu. Despite the difficulties that the dictatorship of General Franco posed for opening up abroad, we felt very close to the events of May 1968 in Paris. Barcelona was, at that time, a more cosmopolitan city than it is now, because it is still a city in which its tourist success is diluting its personality. We keep an indelible memory of those months in which we were working on the project, advised by Joan Brossa, Alexandre Cirici, Pere Portabella, Joan Prats and Antoni Tàpies, and especially of the relationship with Joan Miró. During a dinner at the Reno, we presented our script to Joan Miró, asked him for an artistic intervention on the glass around the ground floor of the school and set a date to visit his studio in Mallorca and choose some original paintings that should be part of the exhibition. Oscar Tusquets and I went to Miró's studio. His house was pretty kitsch. A fishbowl on a kind of inner parterre was the most memorable architectural element of the living room, where we waited for him to come down from his bedroom. He apologized, saying that it was his wife Pilar’s territory, who chose his architect brother to carry out the project. He immediately led us to his studio, a building of great architectural quality and very much lived by Miró, full of his work in progress, clippings from magazines and newspapers and various objects of primitive African art. We were very impressed with the paintings he was working on. Our script proposed dividing the exhibition into two well-differentiated spaces, separated by the staircase that leads to the so-called Picasso Room and which we proposed to close laterally and above as if it were a steep tunnel. The lower space would be dedicated to Miró’s work from before the Civil War; and the space above, to post-war works. The stairwell between the two spaces would signify the dark times of the war, and a film that we commissioned to Pere Portabella would be shown. We designed the different nooks and crannies to put the paintings and objects in the exhibition, with the materials of the formwork that the construction company that we most appreciated in those days, and which has unfortunately disappeared from the market, selflessly provided us: Famadas, SA. In terms of content, although Miró, Prats and Tàpies offered us original works from their private collections, we only used the works that had the most didactic possibilities and a more contentious attitude. We were not interested in the great works; they could already be seen in the great exhibition of the Hospital de la Santa Creu. A large part of our exhibition consisted of a selection of enlarged photographs of fragments of paintings in which Miró’s symbolism was present, such as the female sex represented by genitalia or chaplains passing through the ring, as can be seen in the engravings of the Barcelona series. But our script also included asking Joan Miró to do some work on the glass that surrounds the ground floor of the headquarters of the College of Architects, in Nova Square. We imagined that, at best, he would paint his signature, but his enthusiastic response was to paint a mural in four colours and black. Each of the screenwriters was assigned a colour and he chose black, applied to the broom and to correct what we had to paint moments before. It was, in large dimensions, the same attitude that led Miró, in the last stage of his life as an artist, to paint on anonymous paintings that he bought in provincial exhibitions.
  3. Historical Archive of the Architects' Association of Catalonia (COAC)

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Historical Archive of the Architects' Association of Catalonia (COAC)

    Our intention in this project was to make the equivalent of a Coca-Cola delivery truck in architecture: a container that is easy to identify and cleans up the chaos of a pile of boxes with bottles of different sizes, from the average to the family size. The space defined by the COACB building, enclosed by a curtain wall, in which the Historical Archive was to be installed, and our inability to design in a short time, and for a few units, filing cabinets for plans, pages, cards and slides as economic and effective as those of the market were essential at the time of making a decision. We will further explain both concepts. The location of a building with a curtain wall on an open floor was responsible for the position of the entire archive in the centre of the enclosure, with the peripheral circulations so as not to contradict a type of façade designed to free it from furniture. The curtain wall. The curtain wall of the existing façade was also responsible for raising the pavement to correct the defects of the building, which has a sill that is too high. On a more anecdotal level, it has been responsible for the dark tone of our intervention in contrast to the bright white of the pre-existing environment, as well as of the carpet that covers the new part in contrast to the existing parquet. After this project, and making a certain generalisation of our experience, we risk making the statement that the curtain wall has many possibilities in an office building. Recognising our inability to design and produce effective filing cabinets manually (by effective we understand that the drawers open and close smoothly), which were also transportable and at the same time could be expanded if the file grew, but without having to resort to the architects and artisans who had built them, we chose to select the set of filing cabinets that, in our opinion, were the best designed. We would like to point out that not even the most powerful manufacturers of office furniture have bothered to coordinate the sizes between filing cabinets intended for different uses, nor do the handles of all of them respond to the same design criteria. Our decision of using industrially produced file cabinets responds to an attitude in which we are particularly interested, because we believe it responds to a very simple case of what are the most important commissions in interior architecture. How can you design a supermarket without thinking that one of those huge fridges should be used for frozen products, cheese or milk? How can a bar be designed without thinking that inside there will be an Italian coffee machine full of fluorescent plastics, and without thinking that the owner will soon install a couple of jukeboxes between the tables? How is it possible to think about the design of an office if we forget that its image will be partly made up of filing cabinets, typewriters and Coca-Cola refrigerators? The result of this attitude is a certain visual chaos of filing cabinets of different sizes and with different handle systems. A chaos that we try to organise with the use of a single dark colour for all types of file cabinets and the introduction of cylindrical wooden shelves and supports that, solving the functional problem of work surfaces for those who work in the historical archive, introduce a visual order. Just as the neat pilasters of the Palazzo Taruffi maintain the monumentality of a building with asymmetrically arranged openings, the wooden cylinders in the corners of the Historical Archive are visually important enough to admit a certain chaos in the design and layout of the filing cabinets. To reassure functionalists, we will say that the function of these columns is to solve the problem of the corners that file cabinet manufacturers have not solved.
  4. FAD Award

    Award-Winner / Winner. Category: Interior Design

    FAD Award

    Historical Archive of the Architects' Association of Catalonia (COAC)

  5. FAD Award

    Award-Winner / Winner. Category: Interior Design

    FAD Award

    Manufactures Llambés

  6. FAD Award

    Finalist. Category: Interior Design

    FAD Award

    Match Shop

  7. Tapisseries Profitós Factory

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Tapisseries Profitós Factory

    La nostra proposta arquitectònica integrava en un sol edifici els diferents tipus d'espai necessaris tant per a la fabricació integral dels mobles tapissats, com per l'administració de la pròpia empresa i la comercialització dels seus productes. L'expressió exterior dels requeriments espaials de les diverses activitats que s'havien de desenvolupar en l'edifici, es fa palesa en les diferents alçades lliures dels diversos sectors, així com en el tractament de la llum natural a base de grans vidres en la zona de façana en la que es localitzen els despatxos, i grups de quatre claraboies modulars per a captar la llum zenital en l'àrea de tallers, i finalment absència total de llum natural en l'àrea d'emmagatzematge de matèries primeres i producte acabat. Cal destacar la forma triangular en planta, amb la seva hipotenusa alineada amb la carretera d'accés, com la més eficaç per permetre el creixement futur de l'edifici sense haver de modificar-ne els accessos, ni la seva façana, i no haver d'interrompre l'activitat mentre duressin les hipotètiques obres d'ampliació. Malauradament un desgraciat incendi va acabar finalment amb l'edifici que havíem projectat.
  8. Bricall House 1 and 2

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Bricall House 1 and 2

    La casa es va projectar com a segona residència, i es va construir sobre el que havia estat l'hort d'una casa modernista del front de mar. En el seu moment, va ser una de les primeres edificacions en un carrer a mig urbanitzar que s'anava formant en els límits dels horts i eixides de les cases del front de mar. Precisament la manca d'unes preexistències ambientals definides, en un carrer que ha evolucionat d'una forma caòtica en la que es juxtaposen blocs de fins a set pisos amb habitatges unifamiliars de planta i pis, ens van portar a plantejar la casa com una construcció separada dels veïns i orientada envers el jardí interior d'illa. Els diferents espais del programa funcional, es situen a diferentes cotes, que en certa manera són els replans d'escala de la comunicació vertical. Les escales prenen tal protagonisme que, fins el sota de l'escala de servei que puja al terrat, forma un complex sostre del menjador que es situa sota d'ella. Uns anys més tard, vam tenir l'oportunitat de fer créixer el volum de la casa, amb l'addició de dos apartaments dúplex, amb terrasses i una piscina, formant un nou conjunt dissenyat amb el mateix llenguatge formal.
  9. Kuijlaars House

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Kuijlaars House

    A la vivenda s'hi accedeix per la coberta, que s'uneix al carrer per un petit pont que permet el pas dels vehicles. Una coberta protegeix del sol i la pluja als cotxes que s'aparquen a sota d'aquesta. La visió de la casa des del carrer és la d'una gran superfície d'angles arrodonits amb varis elements exempts i molt lleugers sobre ella, amb un cert aire de "xiringuito" sobre la platja. La visió de la casa des de la vall és un volum blanc bastant important d'unes quatre plantes d'alçada , que sobresurt d'entre un bosc de pins.
  10. FAD Award

    Award-Winner / Winner. Category: Restoration

    FAD Award

    BD Ediciones de Diseño Store in Thomas House

  11. BD Ediciones de Diseño Store in Thomas House

    Studio PER, Cristian Cirici i Alomar

    BD Ediciones de Diseño Store in Thomas House

    Thomas House’s basements were completely abandoned in early spring 1979. The façade was full of election posters and the windows were broken and full of dust. Inside, benches of machines had already been sold at the railroad; fallen railings and skylights had been completely broken or replaced by a slab of ceramic material; and there were half-demolished partitions to facilitate the filming of “The Savolta Case”. The industrial decline of Catalonia has also had its positive aspects. If the partitions, cabinets and stained glass windows in coloured leaded glass and the ceilings designed by Lluís Doménech i Montaner are still preserved, it is because the heirs of Joseph Thomas did not have enough money to replace them with “modular partitions of aluminum” and an “Armstrong” roof. In the restoration and installation works of the B.D. headquarters, on the ground floor of Thomas House, we have not mimetically repeated any broken or worn elements, we have basically cleaned it up, in the most prosaic sense of the term. We used some of the existing closet doors to close the holes in some new partitions we built to separate the warehouse from the exhibit. We changed the beginning of the staircase that connects the two floors. We have replaced an old translucent glass skylight with a new clear glass one that shows the sgraffito and stained glass in the inner courtyard. We changed the floor, which we think replaced an old skylight with a skylight like the original. We laid a carpet with our anagram as the pavement of all the areas destroyed by the benches of the machines. And to insulate ourselves from street noise and protect the stained, glass windows on the façade, we have installed a luna security that protects the outside, such as a display case, grilles and stained, glass windows. It was the detail that we cared about the most and the element that compared it to its cost that solved most problems for us. It is also the intervention that best expresses our attitude towards monuments.
  12. House in El Maresme

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    House in El Maresme

    Aquesta casa, projectada inicialment com a residència d'una família, ha estat sotmesa, amb posterioritat, a diverses ampliacions i l'ajardinament de l'espai exterior que l'envolta i que inicialment no es varen contemplar per no sobrepassar un pressupost limitat. No s'ha construït cap mena de separació arquitectònica entre la zona que s'utilitza com a jardí privat, i la resta de la propietat d'ús agrícola. Tot el programa es desenvolupa en una sola planta en forma de T, amb els braços orientats envers el Sud. La façana està protegida del sol de l'estiu per un porxo de coberta en pendent, que és la perllongació de la coberta a dues pendents de teula de tota la casa. Està construïda a base de dos fulls de parets de maons, l'exterior de color natural i l'interior pintat de blanc. La coberta de teules, es recolza sobre bigues de fusta, que a la vegada, es recolzen sobre la paret interior de maons. Cambres de bany i cuina estàn recobertes, parcialment, amb peces trencades de marbre.
  13. Cadí Tunnel Maintenance and Control Building

    Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar

    Cadí Tunnel Maintenance and Control Building

    Emplaçament L’edifici es troba en el municipi d’Urús, sobre la cota 1.200 i en el marge Est de la carretera d’accés al túnel, en el punt en que hi ha les cabines de peatge. Dit d’altre manera, es troba a uns 300 metres enllà, en sentit Cerdanya, de la boca Nord del Túnel del Cadí. Programa funcional del centre de manteniment i control La part més important de l’edifici, està dedicada a facilitar el manteniment del túnel i accessos, així com les seves instal·lacions. Es tracta de: garatges per a guardar-hi els camions llevaneus, un gran magatzem per a la sal que s’utilitza per prevenir les glaçades sobre la carretera, i diferents magatzems més petits per a guardar material de reposició de ventiladors, làmpades de recanvi pels aparells d’enllumenat, i material mòbil de senyalització. Altres dependències de l’edifici, estan més lligades al control remot del que succeeix en el túnel pròpiament dit i en els seus accessos, així com a la mesura de les variables atmosfèriques, a partir de les quals es comanden automàticament les turbines destinades a renovar-ne l’aire. Finalment, també hi ha instal·lades les oficines administratives de l’empresa concessionària, i els serveis necessaris com a base operativa de peatgistes i mantenidors de les instal·lacions i de les vies de tràfic pròpiament dites. Descripció de l’edifici L'edifici s'ha projectat en el punt de trobada entre el pendent de les muntanyes que formen la Serra del Moixeró i una esplanada, formada artificialment per a ubicar-hi les cabines i barreres del peatge, de tal manera que l’edifici té una sola façana que mira envers l’esplanada, ja que la façana posterior és, de fet, un mur de contenció de la muntanya. En planta té una forma semblant a una clau de serreta, i és per això que en transcurs de la seva construcció, entre els encarregats els tècnics i la propietat, ens hi referíem com: ”La Clau". El cap circular està ocupat pels garatges, magatzems, tallers i el control. L'orifici central del cap, és un pati de maniobres pels vehicles. La part dentada està ocupada per les altres dependències citades anteriorment. El tractament formal de la coberta de l'edifici és el mateix que el de la muntanya, doncs es tracta d'una coberta plana del tipus invertit amb grava procedent de la mateixa muntanya i amb certes àrees plantades amb la mateixa vegetació de turó baix que pobla el terreny natural circumdant. Aquesta coberta camuflada, te només algunes intervencions més arquitectòniques com una claraboia continua entre el forjat i el mur de contenció del terreny i un gran lluernari centrat en l'espai d'accés a l'edifici. Els materials i les tècniques constructives L’estructura resistent de l’edifici, és íntegrament de formigó armat, a base de pilars i bigues formigonades “in situ”, i biguetes prefabricades en forma de π recolzades sobre les esmentades bigues. Amb aquesta solució mixta, vàrem aconseguir reduir el temps d’execució de l’obra, importància en un indret en el que als hiverns són freds i molts dies és impossible formigonar. En les façanes, les finestres amb fusteria d’alumini, estan muntades sobre pre-marcs d’acer. Les targes superiors són de pavès, i en les parts opaques el disseny de l’especejament, combina franges a base de blocs de formigó, amb franges de maó. A la plaça interior, dissenyada per a maniobrar els vehicles, les portes dels diferents magatzems i garatges que l’envolten, estan composades a base de triangles pintats de diferents colors, com una forma d’identificar-les. Ara fa vint anys Al refer el que vaig escriure en acabar l’edifici, ara fa vint anys, recordo amb nostàlgia la forma de dirigir les obres d’aquella època. Un cop a la setmana després de travessar la collada de Tosses, molt sovint nevada, ens trobàvem a peu d’obra: L’Andrés Alcolea que era l’encarregat, en Santiago Sardà, en representació de FOCSA, en Bernardo Monclús, en representació de la propietat, i jo mateix. I després d’una jornada intensa trepitjant l’obra i sense el destorb dels telèfons mòbils, anàvem junts a dinar, i a taula, continuaven les converses entorn a l’obra, en la que tots col·laboràvem positivament i amb entusiasme. En fi, uns dies molt diferents als de les visites d’obra actuals, gairebé sempre visites virtuals en el sentit de no acariciar els pilars i murs, i trepitjar els forjats, i que es desenvolupen al voltant d’una taula situada en una barraca prefabricada, i en les que gairebé només es parla dels informes rebuts de les diferents empreses de control, i de preus contradictoris.
  14. Rosés House

    Studio PER, Cristian Cirici i Alomar

    Rosés House

    In the summer of 1983, “Rosés House” – named after its first owners – was completely abandoned. The house was developed on four different levels: a semi-basement, a ground floor, a first floor and an attic. The total built area was close to 1,400m, and the cost of the repairs that had to be done as well as the maintenance of a house of such size was unfeasible for a single family, so a possibility was to subdivide it into several housing units. The semi-basement has been left as a common part that covers the building's facilities, a storage room for each house and a large common space. The ground floor, first floor and attic accommodate a house each. The attic of the building is the part where, internally, more reforms have been made. The functional change has been so radical that it has been essential to remove many dividing walls between spaces to recover the order of the structural brick walls.
  15. Reconstruction of the German Pavilion

    Cristian Cirici i Alomar, Fernando Juan Ramos Galino, Ignasi de Solà-Morales i Rubió

    Reconstruction of the German Pavilion

    The first proposal for the reconstruction of the German pavilion was made in Mies van der Rohe by Group R, which received an enthusiastic response from the architect, but the project did not prosper due to the Administration’s disinterest. There is a second proposal by Joan Bassegoda i Nonell from 1964, and ten years later Professor Fernando Ramos organised a seminar to get to know the building in detail, as there was almost no project originally. The final proposal was born in 1981, when some scholars and historians already had a fair knowledge of the archived materials in Barcelona, Berlin, New York and Chicago. This knowledge, in addition to some working hypotheses and the analysis of the remains found in the same place, could guarantee the rigorous fidelity of the reconstruction, based on the original building and not so much on the redrawn plans that Mies had done on behalf of Werner Blaser. Reconstruction differs from the original in aspects such as roof waterproofing, water collection or security. The building is currently the Mies van der Rohe Foundation headquarters and functions as a conference room for small events.
  16. Gento Reservoir Floodgates

    Studio PER, Cristian Cirici i Alomar

    Gento Reservoir Floodgates

    La funció d'aquestes dues torres bessones, és la de regular la presa d'aigua que alimenta la Central Hidràulica Reversible de Sallente. A la part més alta d'ambdues torres hi ha instal.lats els quadres elèctrics i la sala de control. Aquesta s'il.lumina a través d'una finestra amb forma de copa que està orientada envers l'estany. L'accés de persones a la sala de control es fa per una escala de cargol exterior, i l'accés de maquinaria o dels recanvis, per una possible reparació, es fa mitjançant un polipast que te el seu extrem, ocult i protegit per una protuberància que tenen les portes. El pistó hidràulic que fa moure les comportes, emergeix per sobre de la coberta i està protegit per una carrosseria cilíndrica d'acer inoxidable.
  17. La Borda d'en Roy

    Cristian Cirici i Alomar

    La Borda d'en Roy

    Aquesta segona residència es el resultat de rehabilitar una borda aïllada en la que es guardava el bestiar i l’herba per alimentar-lo durant l’hivern. A l’esmentada borda s’hi accedeix a traves d’un pati parcialment cobert i ben orientat al sud, que s’ha mantingut sense fer-hi cap modificació. El pendent del terreny es tan fort, que mentre la façana sud te mes de tres plantes d’alçada, la façana sord queda totalment soterrada i només emergeix la coberta de pissarra. Com un objectiu de disseny, ens vàrem proposar mantenir les característiques de l’arquitectura aranesa, introduint-hi alguns elements nous i sofisticats que revelen una recent intervenció, com els forjats construïts amb planxa corrugada metàl·lica, i els marcs-dintell de les portes i finestres construïts amb perfils laminats d’acer.
  18. House in Pedralbes

    Cirici&Bassó, Carles Bassó Vidal, Cristian Cirici i Alomar

    House in Pedralbes

    We proposed to organise the program of this house in two distinct areas. An area for the relationship areas: hall, living room, study, dining room, kitchen, service... and another more domestic and private area with the bedrooms and bathrooms, which is completed with several porches and an outdoor pool. We have placed the two areas at two different levels based on taking advantage of the strong natural slope of the land. They only overlap in a small area in which we have placed the stairs, a freight elevator, and a skylight to ventilate. The garden is staggered forming several platforms, in such a way that all the interior spaces are always related to an exterior space at the same level. This situation allows a great simplicity of interior-exterior relationship so typical of the "Roman domus", which was a primary requirement of the client.
  19. Vapor Llull Factory Building

    Cirici&Bassó, Carles Bassó Vidal, Cristian Cirici i Alomar

    Vapor Llull Factory Building

    Before the start of the rehabilitation works, there was a group of hundred-year-old industrial buildings belonging to the Massó i Carol company on the site. Of the entire set that made up the factory, the volume that had the best conditions to rehabilitate as "lofts" was that of the long nave aligned with the Masoliver passage. We have preserved the chimney in its entirety, as a historical memory of a time when the entire Poble Nou was full of industries moved by the power of steam. The entire set has been subdivided into eighteen modules. To give independent access to each of them, we have introduced three sets of vertical communication elements consisting of a stairwell and a panoramic freight elevator. Its formal expression is like that of a grain silo covered externally with metal sheet.
  20. Premi Ciutat de Barcelona

    Award-Winner / Winner. Category: Architecture and Urbanism

    Premi Ciutat de Barcelona

    Vapor Llull Factory Building

  21. El Triangle Shopping Centre

    Cirici&Bassó, Carles Bassó Vidal, Cristian Cirici i Alomar

    El Triangle Shopping Centre

    The building called El Triangle replaces the obsolete buildings that define the western façade of Catalunya Square, but also includes a lower building body built on the long, unbuilt lot of Pelai Street, between Bergara and the beginning of La Rambla. However, it contemplates the reorganisation of the underground commercial galleries that occupied the space between the two accesses to the Generalitat Railways. In other words, this is a project that had the following objectives: to recover positively for the city the so-called "square of shame", and to compensate for the first shopping galleries that the city had, known as Light Avenue. The body of the building with the façade on Pelai Street was not of great commercial interest, but it did have a great visual impact. It had two problems that greatly conditioned its use: first, the very shallow building depth, and second, the site is practically mined, in its entirety, by the vaults that cover the Catalonia station of the F.G.C., and given this situation, it was not possible to build a building of more than one floor that did not endanger the aforementioned vaults.

Archive (8)

  • Axonometria seccionada de les Cases Bricall 1 i 2.


    Axonometria seccionada de les Cases Bricall 1 i 2.

    Arxiu Històric del COAC

  • Axonometria de l'Arxiu Històric del Col·legi d'Arquitectes de Catalunya (COAC).


    Axonometria de l'Arxiu Històric del Col·legi d'Arquitectes de Catalunya (COAC).

    Arxiu Històric del COAC

  • Perspectiva del Centre comercial 'El Triangle'.


    Perspectiva del Centre comercial 'El Triangle'.

    Arxiu Històric del COAC

  • Perspectiva del Centre Comercial 'El Triangle'.


    Perspectiva del Centre Comercial 'El Triangle'.

    Arxiu Històric del COAC

  • Cartell de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).


    Cartell de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

  • Perspectiva de l'exterior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).


    Perspectiva de l'exterior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).


    Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

  • Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).


    Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).

    © Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC

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