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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
About us
Project by: 
Created by: 
Directors:
2019-2024 Aureli Mora i Omar OrnaqueDocumental Commission:
2019-2024 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar OrnaqueExternal Collaborators:
2019-2024 Lluis Andreu Sergi Ballester Helena Cepeda Inès Martinel Maria Jesús QuinteroWith the support of:
Generalitat de Catalunya. Departament de CulturaCollaborating Entities:
ArquinFADFundació 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
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We kindly invite you to help us improve the dissemination of Catalan architecture through this space. Here you can propose works and provide or amend information on authors, photographers and their work, along with adding comments. The Documentary Commission will analyze all data. Please do only fill in the fields you deem necessary to add or amend the information.
The Arxiu Històric del Col·legi d'Arquitectes de Catalunya is one of the most important documentation centers in Europe, which houses the professional collections of more than 180 architects whose work is fundamental to understanding the history of Catalan architecture. By filling this form, you can request digital copies of the documents for which the Arxiu Històric del Col·legi d'Arquitectes de Catalunya manages the exploitation of the author's rights, as well as those in the public domain. Once the application has been made, the Arxiu Històric del Col·legi d'Arquitectes de Catalunya will send you an approximate budget, which varies in terms of each use and purpose.
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Memory
Arquitecto 1975 / Dr. Arquitecto 1987 por la Escola Tècnica Superior d’Arquitectura de Barcelona (ETSAB / UPC)
Profesor Titular de Proyectes Arquitectónicos desde 1991 (ETSAB / UPC)
Profesor Catedrático 2011 por la UPC
La obra de arquitectura ha merecido, entre otros, la nominación al Premio de Arquitectura Contemporánea de la Unión Europea, Premio Mies van der Rohe (2013), la mención en la XI Bienal Española de Arquitectura y Urbanismo (2011), la selección premio FAD (2011), el premio FAD (1992), el premio Ciutat de Barcelona (1991) y premios internacionales como el Sebetia Ter (2000) o la Medalla de la Ville de París (1994). La actividad académica desarrollada ha cubierto desde la ETSAB, la Welsh School of Architecture of Cardiff University in Wales, UK, la Technische Universität Berlin o la Scuola Superiore Europea di Architettura Urbana en Nápoles. Simultáneamente, la obra ha estado publicada en revistas de reconocido prestigio internacional, contándose también con la publicación de libros en editoriales como Gustavo Gili, Actar o De Singel.
Works (12)
On the Map
Awarded
Cataloged
Disappeared
All works
Constellation
Chronology (16)
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La Bastida Vocational Training Centre
Eduard Bru i Bistuer, Josep Lluís Mateo i Martínez
The building is the result of a critical reading of the urban periphery, as it appeared in the 1980s, that is, as a series of broken terrains lacking cohesion. The project gives a monumental response through an elongated body that imposes a clear geometry on the site. The school is located on the edge of a street that comes from the city and articulates the programme and the volume around this street. The curved path of the street and the straight path of the classroom determine the entire layout. The auditorium forms a bridge over the street, where the entrance to the entire site is located. The ground floor is built up to the street, while the basement floor, which houses the workshops, covers the entire surface indicated by the street and the front of the building. The school is articulated with the road that connects it to the urban centre and offers a resounding response to the topography, while the construction becomes lighter as you reach the roof. -
FAD Award
Finalist. Category: ArchitectureLa Bastida Vocational Training CentreL'Alzina Educational Centre
Jordi Bellmunt i Chiva, Eduard Bru i Bistuer, Gemma Tarragó
We have organised the centre into separate pavilions. One of them houses children under observation. It is the building with a patio. It allows, if appropriate, for children to play without leaving the general area. Two other pavilions receive two groups of five children each. The building near the entrance is for the administration and management. At the opposite end, sheltered between planes of the fence, we have a farm with a patio, a workshop and an irrigation raft for rainwater collected from the roofs in front of an orchard. The main purpose of the work is to move the upper level of the mound, - although the rectangular enclosure that was offered to us was very limited, - so that it can be introduced inside the work to organise all the constructions. The buildings are arranged according to the resulting slopes and each of them has its own area. The use of the variable nature of the perspectives is to be maximised. The buildings themselves coincide with the boundary of the plot and act as an enclosure. The other fences - it's a reformatory - are inside the forest. 5. The 2.5 m module (the width of a bedroom) organises the complex. The white brick, when it ages, gives an external tone to the work which is similar - but more resistant - to the clear plastering of the cultivation houses in our country.Urban Development of the Olympic Area of La Vall d’Hebron
La Vall d’Hebron Park In essence and in general terms, it has been possible to experiment with a project about an open space, rather than about a free space. The available space of the current city is quintessentially the tense space. It is never free. In terms of form because it is an urban void, a void in the midst of unresolved things that have made its occupation impossible. In terms of use because in the city there is no longer free space for contemplation. You always carry out some activity or other: you run, you skate or you dance. You never look, you just pass through. The new space conceived is a structure of closed laws and open forms. It is not intended to be a finished work. Now, the city is never a composition. It is influenced, if you will, by Pop Art. But in a more decanted way than the Oldenburg objects it contains: it is in terms of stair handling and the use of the sign. It approaches a reading of the city through Poe, Baudelaire, Benjamin or German Expressionism, by feeling and creating the city as a terrible thing, seeking her terrible beauty.FAD Award
Award-Winner / Winner. Category: Architecture - Public SpacesUrban Development of the Olympic Area of La Vall d’HebronFAD Award
Finalist. Category: ArchitectureCabaní HouseCabaní House
Els valors principals del lloc són l’emplaçament i el paisatge. Les visuals sobre les serralades prepirinenca i pirinenca tenen lloc en el sentit del pendent del solar. La casa queda col·locada enfrontada al paisatge, seguint el pendent. L’accés, situat a la planta superior, permet entrar en una construcció que ocupa dos nivells a mesura que baixa pel pendent. La planta inferior està disposada per recollir adequadament els cotxes i situar-hi la biblioteca. També organitza l’espai exterior mitjançant unes geometries que són compartides amb la topografia i les visuals: una sèrie de terrasses descendents, articulades i accessibles des de la casa. La planta superior, amb l’entrada principal, aprofita la base que li ofereix la planta baixa, tot i que, en quedar alliberada del contacte amb el terra, cerca la relació amb el paisatge amb una llibertat més gran. La tensió de la corba exfolia les diverses capes que formen les parets, la qual cosa dóna lloc als àmbits habitables.North Campus Public Spaces (UAB)
The project is a journey that is expressed as such. It is a matter of moving between buildings - which have nothing particular to do, but which provoke tangential visions of the surrounding landscape - and establish a stable path on the gentle and transverse slope of the terrain. The path is slightly superficial, as human designs tend to be in the face of the natural order of things: it aims to join two extreme points of the Campus with the maximum flatness possible. On the other hand, it is a common situation: the current public space does not present itself with a beginning and an end. It doesn't even allow to stop. Today, the daily violence of the public is a continuous displacement, a transit between work and residence, or between two jobs, or between two leisure areas. The project therefore does not build a "square", but this route without camouflage: the tension between the artifice - walking flat-footed - and the natural, the topography of the place, then appears. To move away from the step is to stand on the natural section, on the sphere of influence of the buildings. After all, it is designed to stop, by anchoring to the ground while the asphalt path flows at the height of our eyes.Roundabout in Bellaterra
It is not about making a traffic control roundabout a self-referential object, but about inserting it into the UAB Campus, while emphasising its qualities as a place and landscape, and not using them as a background unarmed of an overlapping action. To do this, we rely on the spatial and environmental continuity with the place, which materialises mainly from the qualities of the green, since the UAB Campus is a Campus where nature abounds. Thus, the lines of various species that accompany the traffic are carefully maintained above the roundabout. The tension between these linear geometries and the necessarily circular character of the roundabout's perimeter is resolved by increasing the thickness of the tree traces. The roundabout is presented, then, as a continuity and, at the same time, a compression of the perspective, as an alteration in the outline of a forest, in this case inhabited by men and machines.UAB University Campus
Due to its urban character, the building follows the neighbouring hotel’s geometries in order to configure a square. Through the façade open to a green corridor of the Vallès, it takes the shape of a crescent, while opening towards the Vall de St. Domènech. A perforation in the main volume creates a balcony that not only unites the square and the crescent, but also connects the three valleys that make up the topography of the Universitat Autònoma de Barcelona. The materials, colours and various constructive solutions - prefabricated or very manual - do not seek to differentiate themselves, but to integrate with the architecture of the site, even if they can only be discrete. The attention to the place wants to redeem, together, the old and the new.Estacions de Peatge a l'AP-7
Bru Lacomba Setoain, Eduard Bru i Bistuer, Neus Lacomba Mongé, Victor Setoain Perego
El projecte pretén fer de cada peatge una part integrant d'un lloc, una exaltació de la tècnica d'avantguarda i també del respecte al medi ambient i al paisatge. Els peatges estan fets des de l'estilització de la imatge de les autopistes d'ACESA i dels elements de superfície que constitueixen unes construccions enteses com a plecs del sòl, assimilables al pla de la calçada asfaltada, a prats o camps de cultiu, i fins i tot a 'terrain vagues' en funció d'un entorn més o menys natural o periurbà. La imatge dels peatges d'ACESA està incorporada extensament a l'imaginari col·lectiu, a diferència d'altres autopistes del Principat i comunitats autònomes. En el context actual, la possessió d‟una imatge de marca és un fet i un valor decisiu. El projecte pretén aquest doble caràcter, subratllant tot allò que sigui tècnic, però també tot allò que sigui naturalesa, preservant abans de res una relació harmònica entre tots dos. L'autopista s'activa com a element de transmissió de la informació i guia de reconeixement d'un paisatge determinat, contribuint així a la definició de caràcter i el to de les autopistes d'ACESA. Senyalització de l'alçada de les cabines, pla horitzontal i plans baixos: colors del paviment (teletags, versió automòbils i camions)... Si s'entén l'àmbit del peatge com un paisatge característic de la modernitat, el valor del pla del sòl adquireix un valor decisiu. L'aparició del color en aquest àmbit (senyalització vies T de cotxes i camions) ja comença a ser un valor determinant en termes tant de senyalització com ambientals i paisatgístics. D'aquesta manera, s'hi preveuen textures de color, cultius d'usos o plantacions de missatges.Mostres d'Arquitectura (Barcelona)
Award-Winner / Winner. Category: Edificis d’Ús Residencial de Promoció Pública96 Dwellings for the Elderly Reina AmàliaBibliography (89)
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