Intro

About

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

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

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

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.

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

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

Aureli Mora i Omar Ornaque
Directors arquitecturacatalana.cat

credits

About us

Project by:

Created by:

Directors:

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:

ArquinFAD

 

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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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

Arquitecte. Titulat el 1909. Amplià els seus estudis a l’estranger becat per l’Ajuntament i Diputació de Barcelona. Fou catedràtic i director de l’Escola d’Arquitectura de Barcelona i tinent d’alcalde d’ Obres Públiques de l’Ajuntament de Barcelona. Entre les seves obres trobem el cinema Coliseum (1923), la reforma de la Pl. Catalunya (1926), la façana de l’edifici Telefónica (1927) i un gran nombre d’edificis d’habitatges a l’Eixample

Source: Arxiu Històric del COAC

Works (5)

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Constellation

Chronology (5)

  1. Coliseum Cinema

    Francesc de Paula Nebot i Torrens

    Coliseum Cinema

    The Coliseum Cinema is a building for public use designed by Francesc de Paula Nebot and completed in 1923, originally intended for the projection of films from Barcelona, and since 2006, also for the theatrical production. The Coliseum Cinema is located at 595 Gran Via de les Corts Catalanes, Barcelona, in a block of houses framed by Diputació, Balmes and Rambla Catalunya Streets. It is configured as a building between partitions, developed on a quadrangular plot and currently has a capacity for almost 1700 people. The building was designed by Francesc de Paula Nebot, in an eclectic style close to the French Beaux-Arts movement and inspired by that of the Paris Opera House. The façade stands out for the monumentality of both its composition and the decorative and structural elements that make it up. This is configured as a large arch that - like a monumental niche - is flanked by two towers with a square section and three floors. The first two levels of the towers frame the great arch itself and present a decoration of a very classicist taste, with attached pilasters that frame a small alcove covered with a pierced circular pediment, in the centre of which there is a carved mask reminiscent of the classic Greek tragedies. This first body is finished with a Doric entablature with triglyphs and metopes that mark the passage to the second body, uniquely decorated with a porthole framed by garlands and crowned by a mascaron. As for the third floor of the towers, this is arranged above the level of the cornice, giving rise to exempt towers with a square base where on each of the four sides there are half-point niches where sculptures are arranged. This first body - with attached pilasters - is finished with double pediments (triangular and circular) and serves as the basis of a second octagonal body that allows it to develop a crowning like a porticoed temple with columns and an octagonal dome. The central body, which takes the form of a monumental niche through a large lowered half-point arch with a coffered vault, houses a semicircular structure that, like a classical temple, partially protrudes from the lead of the façade. This body is configured on the ground floor as a porticoed element with pairs of Corinthian columns that support a smooth, running entablature that serves as a base on a second level, also with pairs of columns between which a stone balustrade develops. This body supports through a powerful entablature a cornice that is crowned in the central part with an element of curved shapes and four pairs of sculptures, two on each side. These sculptures - made by Pere Ricart - represent allegories of the arts, such as music and theatre. The central body of the building is finished with a large octagonal dome, the drum of which is configured with semicircular arches framed by pilasters that protrude from the line of entablature and into which portholes open surrounded by volutes and crowned by a lion's head. The interior of the building is made through the porticoed body of the ground floor, which gives access to a semicircular lobby. In this, there are five semi-circular arched doors, one on each of the two sides and three at the front, between which the cinema's two box offices are arranged. These lockers are shaped like niches with vegetal decoration and topped by an entablature, while being differentiated according to the type of entrance they sold, through plates that say: "amphitheatre" and "main floor", respectively. Even today the original woodwork is preserved in the lobby, with a convex structure in which the doors that give access to the large performance hall open. The construction of the Coliseum Cinema responds to the desire to build "a sumptuous cinema" that would be the most elegant venue in the city and that could also host other types of shows. It is for this reason that in 1919, Josep Solà and Guardiola, Victorià Saludes and the Marquis of l'Argentera set up the company "Metropolitana S.A.", promoter of the work. Designed by Francesc de Paula Nebot, it was inaugurated on October 10, 1923. The works cost four and a half million pesetas at the time. Originally, it had 1,815 seats, distributed on three levels: platform and two floors in the shape of a half horseshoe, with 50 boxes around the platform. During the Civil War, the block on which the cinema is located was one of the most affected during one of the bombings in 1937. Much of the construction surrounding the Coliseum was demolished but fortunately this building was not one of the most affected. Currently, it has capacity for 1,689 people. From 1939 to 1941 it was owned by Ufilms and from then on it was operated by Cines y Espectáculos S.A. In 1958 it was acquired by the Balañà family, who are the current owners. Even today it has a single room, large, with a single screen, where big premiere films are screening and plays are performed. One of the most representative elements of the building is the large dome that crowns it, and which was originally intended to host a casino that was never installed there. On the other hand, over time, several entities have stayed there. Craftsmen such as Fernández Casals, Gonçal Batlle and Torra Pasan participated in the luxurious decoration, while the sculptures on the façade are the work of Pere Ricart. The metal structure was made by Torres Herreries.
  2. Royal Palace of Pedralbes

    Eusebi Bona i Puig, Francesc de Paula Nebot i Torrens

    Royal Palace of Pedralbes

    The palace, located at the entrance of Barcelona, next to Diagonal Avenue, consists of a central body of four floors, with a chapel at the back, and two side wings, three stories high, which open on the main façade in a curved shape. The exterior reflects the historicist aesthetic, with a taste between neoclassicism and noucentisme, prevailing at the time of its construction: porches of Tuscan columns, semicircular arch openings with medallions interspersed (on the side façades), and crowning vases. The interior, on the other hand, is a popular mix of different styles, both in the decoration of walls and ceilings and in the furniture, ranging from Louis XIV to the most contemporary, to English and Dutch furniture. One of the rooms is decorated with paintings by Francesc Pla, "el Vigatà", from the palace of the Marquis of Montsolís. The Palau de Pedralbes was built between 1920 and 1924 as a royal residence, on land donated by the Güell family to Les Corts de Sarrià. The old Güell tower was completely modified by the architects Eusebi Bona, author of the project, and Francesc de P. Nebot, who directed the works from mid 1923. The palace was not completely finished until 1929. Salvador Alarma, the set designer and decorator, Santiago Marco, Rafael Parcerisas, Francesc Labarta and the architect Sagnier himself worked on its decoration. The garden was designed by Nicolau M. Rubió i Tudurí between 1925 and 1927 from pre-existing vegetation. When the Republic was proclaimed, the palace became property of the Barcelona City Council, which installed the Museum of Decorative Arts (1932). From 1939 it was the residence of General Franco in Barcelona, and in 1960 it was opened to the public. The Stables Pavilion has housed the Carriage Museum since 1970.

Archive

  • Plaça de Catalunya en Construcció

    Drawing

    Plaça de Catalunya en Construcció

    Arxiu Històric del COAC

  • Perspectiva de la columnata exterior del Cinema Coliseum.

    Drawing

    Perspectiva de la columnata exterior del Cinema Coliseum.

    Arxiu Històric del COAC

Bibliography (6)

Bústia suggeriments

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