In this first stage, the catalogue focuses on the modern and contemporary architecture designed and built between 1832 –year of construction of the first industrial chimney in Barcelona that we establish as the beginning of modernity– until today.

The project is born to make the architecture more accessible both to professionals and to the citizens through a website that is going to be updated and extended. Contemporary works of greater general interest will be incorporated, always with a necessary historical perspective, while gradually adding works from our past, with the ambitious objective of understanding a greater documented period.

The collection feeds from multiple sources, mainly from the generosity of architectural and photographic studios, as well as the large amount of excellent historical and reference editorial projects, such as architectural guides, magazines, monographs and other publications. It also takes into consideration all the reference sources from the various branches and associated entities with the COAC and other collaborating entities related to the architectural and design fields, in its maximum spectrum.

Special mention should be made of the incorporation of vast documentation from the COAC Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.

The rigour and criteria for selection of the works has been stablished by a Documental Commission, formed by the COAC’s Culture Spokesperson, the director of the COAC Historical Archive, the directors of the COAC Digital Archive, and professionals and other external experts from all the territorial sections that look after to offer a transversal view of the current and past architectural landscape around the territory.

The determination of this project is to become the largest digital collection about Catalan architecture; a key tool of exemplar information and documentation about architecture, which turns into a local and international referent, for the way to explain and show the architectural heritage of a territory.

Aureli Mora i Omar Ornaque


About us

Project by:

Created by:


2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar Ornaque

External Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Helena Cepeda Inès Martinel Maria Jesús Quintero

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:



Fundació Mies van der Rohe


Fundación DOCOMOMO Ibérico


Arxiu Mas


Basílica de la Sagrada Família


Museu del Disseny de Barcelona


EINA Centre Universitari de Disseny i Art de Barcelona

Design & Development:

edittio Nubilum

Suggestion box

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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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Comença la seva carrera professional en l’àmbit del disseny industrial i, anys més tard, es llicència en l’especialitat d’urbanisme i edificació a l‘escola d’arquitectura de Barcelona.En l’activitat docent, ha estat professora del Laboratori d’Urbanisme de l’Escola d’Arquitectura de Barcelona, entre els anys1994 i 2004 i és professora invitada en diverses universitats estrangeres entre les que cal destacar l’escola d’arquitectura de Lausanne a Suïssa, la de Delf a Holanda i la de Harvard als Estats Units.

Beth Galí és internacionalment coneguda pels seus projectes que afavoreixen l’ús peatonal de l’espai públic, com la remodelació dels carrers Saint Patrick i Grand Parade de Cork a Irlanda, els centres històrics de s’Hertogenbosch i Roerdmond a Holanda. Ha projectat diversos espais públics al Port de Dublín, Rotterdam i d’Hamburg. A Catalunya i Espanya ha realitzat diversos projectes com el Parc i el Sot del Migdia, el Fossar de la Pedrera, el Parc i la Biblioteca Joan Miró, la Zona de Banys del Fòrum a Barcelona, el Parc Zafra a Huelva, un edifici geriàtric al Paral·lel a Barcelona així com diversos edificis d’habitatges social o privat i equipaments.

Ha obtingut el premi FAD en diverses modalitats, i el Delta de disseny industrial entre altres reconeixements com la Creu de Sant Jordi, la condecoració Chevalier de l'Ordre des Arts et des Lettres o el Premi Nacional d’Holanda en Urbanisme. Primera presidenta del FAD del 2005 al 2009 des d’on posà en marxa projectes com Mater-Centre de Materials, el premi internacional City to City, Terminal B, Xarxes d’Opinió, la Incubadora del FAD, l’Observatori del Disseny i l’espai de crítica La Mosca.

Works (5)

On the Map

All works


Chronology (6)

  1. Fossar de la Pedrera

    Elisabeth Galí i Camprubí, Màrius Quintana i Creus

    Fossar de la Pedrera

    The Fossar de la Pedrera is a strong depression of the Montjuïc Mountain that results from the exploitation of an old stone extraction. The depression was used as a mass grave, and the bodies of those who died in circumstances of imprisonment and persecution were buried there. It is, therefore, where the bodies of many immolated rest for defending Catalunya’s freedom. Access to the site is done through the end of one of the old paths in the cemetery. From there, the walker passes through an intermediate area that acts as a filter between the outer space and the most intimate space, and in a way sacralised enclosure of the ditch, between a series of existing cypresses and stone pillars where the names of those who have been buried in the shootings since 1939 have been engraved. From this filter the whole space of the burial is extended, which is framed by the great escarpments of the old quarry, and which give a dramatic tone to the landscape. The East side of the Fossar is the monumental part that constitutes an architectural background and a point of view on the continuous and homogeneous plan of the collective burials. A stone wall supports the two sloping planes that form the monumental axis. This is confirmed by an access staircase that leads us, finally, to the tomb of President Lluís Companys. The mausoleum is surrounded by water, except at the access point. It is a very simple structure that must give solemnity to the site, but at the same time it must avoid excessively presidential monumentalism within the fundamental community structure of the whole. It is an element made of two concrete arches that are lightened with arched plates of paved iron. This determines a covered space, inside which and under a marble slab, the tomb is located. However, the modesty of the construction would be underlined by the quality of the environment: the stone wall and the reflections of the lake’s surface.
  2. L'Escorxador Park / Joan Miró Park

    Andreu Arriola Madorell, Elisabeth Galí i Camprubí, Màrius Quintana i Creus, Antoni Solanas

    L'Escorxador Park / Joan Miró Park

    The L'Escorxador Park is the result of a competition of ideas called in 1981 by the Barcelona City Council to develop the land freed from the former general slaughterhouse of Barcelona. In the mid 60's it was moved out of town. It is located on the western limit of the Eixample Cerdà and occupies an area of six hectares, equivalent to four blocks of the Cerdà plot. The consideration of "free space with fundamentally urban space", defined by a built envelope, exerts different tensions on each of the limits that make up the plot occupied by the new park. This built envelope is formed by the plot of the old suburban core of Sants and the three incomplete façades of the Eixample Cerdà, and, although its occupation is perfectly planned, the same doesn’t happen in the definition of the architectural façade in front of the park. The refusal to offer a façade from the park motivates a collapse of the interior level of these, two metres below the street level. Just along Vilamarí Street and opposite the axis of Consell de Cent Street, a ground-floor building appears, arranged in the form of pavilions with roofs at different levels and porches that open onto the park. This building is in the middle of a linear lake between the forest and the sidewalk of Vilamarí Street. The park, as a metaphor for the city, also offers a reading through its changes in section, which adapt to the topography of the site, organised in terraces: the highest one houses Miró's monumental sculpture. In between, a series of spaces for sports and social activities unfold accompanied by a regular grid of palm trees. In the lower part, a series of irregularly planted pines create a succession of quiet and intimate spaces.
  3. Jover-Sala House

    Elisabeth Galí i Camprubí, Màrius Quintana i Creus

    Jover-Sala House

    La composició de la casa adopta una forma peculiar com a resposta als condicionants del lloc: un petit terreny a la frontera entre una urbanització i el centre del nucli urbà, amb un pendent de 40 graus. Tres murs segueixen fidelment les corbes de nivell, formant dues crugies que organitzen tota la casa: la sala d’estar, la cuina i el menjador a dalt, amb esplèndides vistes sobre Sant Pere de Roda, i els dormitoris a la planta inferior, amb accés directe a l’exterior, on es troba la piscina. La casa segueix retòricament en tots els punts el plantejament inicial: els murs, que es poden foradar amb llibertat segons els requeriments de les circulacions, se separen de l’alineació de les finestres allí on la traça inicial ho exigeix. Des de la llunyania, el coronament dels murs portants sobresurt per damunt de la densa pineda que envolta la casa i reprodueix en termes arquitectònics les traces de la topografia preexistent.
  4. Bathing Area of Forum 2004

    BB+GG Arquitectes, Elisabeth Galí i Camprubí

    Bathing Area of Forum 2004

    The Bathing Area is designed as a kind of pier, at +1.50m level, equipped with special facilities related to seawater bathing. It continues almost parallel to the promenade or service road which is at +4.00m. and which borders the park. It is proposed as a differentiated swimming alternative to that offered by the existing beaches of Barcelona's coastline. This difference results in enabling the future equipment of facilities related to Thalassotherapy, so that this area becomes a kind of urban park with special sea bathing facilities. The connection to the park is made by means of two sections of stairs at the ends of the pier that save the difference in level of 2.50m. with the park and the execution of three retaining walls that give rise to service facilities and landscaped slopes with shapes similar to those of the park to achieve a certain continuity. Two ramps are located between the walls to allow rolling access for maintenance vehicles and disabled people. Five distinct areas can be distinguished: the "controlled sea" area, which delimits a safe swimming area from that of the open sea; the terrace-patio area like a large square swept away by the wind protected by a Corten steel wall; the beach area, designed as a pine wood platform with the possibility of being removed to build saltwater swimming pools; the jetty and island area made up of white marble platforms that allow jumping; the diving school area located near the marina.
  5. Transformation of Public Spaces Around Esplugues Town Hall and Main Road

    BB+GG Arquitectes, Jaume Benavent, Elisabeth Galí i Camprubí, Andrés Rodríguez, Ruediger Wurth

    Transformation of Public Spaces Around Esplugues Town Hall and Main Road

    Restorative and austere public spaces: that is to clean, order and repave instead of starting from scratch. Intervention is only carried out at strategic points to clean up the old fabric, particularly degraded over the years. The space flows free of obstacles and establishes the relationship between the public buildings that are concentrated here. They force us to maintain some pre-existences and we respond by projecting the space as a kind of patchwork: we keep the central part of the old garden square which gives it a certain character of a town square. We do the same with the children's leisure areas that we circle in an elliptical enclosure, and with the farmhouse, which we free from the fences and surround it with public space. The church, the town hall building and the farmhouse itself complete the patchwork.
  6. Mostres d'Arquitectura (Barcelona)

    Shortlisted. Category: Intervencions en Espais Exteriors
    Transformation of Public Spaces Around Esplugues Town Hall and Main Road

Bibliography (31)


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