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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2023 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:

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
Suggestions

Suggestion box

Request the image

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.

Image requested:

* If the memory has known authorship or rights, cite them in the field above 'Comments' .

Remove * If the photographs has known authorship or rights, cite them in the field above 'Comments'.
You can attach up to 5 files of up to 10 MB each.

Memory

Titulat el 1969 per l’ ETSAB i catedràtic de construcció l’any 1981. L’any 1984 funda amb Lluís Clotet i Ballús, Clotet, Paricio & Assoc.SLP. Entre les seves obres trobem el Banc d’Espanya (1989) a Girona o la remodelació del Convent dels Àngels (1992) a Barcelona.

Source: Arxiu Històric del COAC

Works (18)

On the Map

Constellation

Cronology (28)

  1. Glass Roof of Azulete Restaurant

    Pepe Cortés, Ignacio Paricio i Ansuategui, Oscar Tusquets Blanca

    Glass Roof of Azulete Restaurant

    Un bell xalet modernista a la part alta de la ciutat. Al jardí, sota els arbres, menjava la gent durant l'estiu. La decisió clau va ser desaconsellar l'alteració de l'interior del xalet per ubicar-hi el menjador. Recomanem deixar les taules on eren i cobrir-les amb un paraigua de vidre. A l'interior del xalet, respectant les habitacions de l'antic habitatge, es va ubicar el bar i un menjador privat. Sempre es van decorar parets com a jardins i sostres com a firmaments. En aquest menjador-hivernacle aconseguim arbres vius a les parets, i al sostre... un cel real. Azulete va ser enderrocat en contra de la decidida opinió de l'arquitecte; una rèplica s'ha construït a l'Hotel Miramar.
  2. FAD Award

    Award-Winner / Winner. Category: Interior Design

    FAD Award

    Glass Roof of Azulete Restaurant

  3. Simon Logistics Warehouse

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Simon Logistics Warehouse

    El magatzem automatitzat era en realitat un gran contenidor que havia de suportar un flux constant i intens d'entrades i sortides de mercaderies. Una primera zona de manipulació i control es va tractar com avantsala del gran espai ple de prestatgeries entre les que es movia un sofisticat robot que accedia a qualsevol punt de l'espai. La gran nau de 100 m de longitud es va cobrir amb unes encavallades metàl·liques de 46,5 m de llum situades a 15m d'altura. Es recolzaven en cadascun dels seus extrems sobre un capitell de formigó, a manera de sabata de 1,2 x 6 m en planta, que repartia la seva càrrega sobre un pilar rectangular buidat construït amb fàbrica de bloc de 20 cm de gruix. La juxtaposició per testa d'aquestes peces, individualitzades per la cal·ligrafia dels baixants, va formar els dos grans murs de les façanes laterals. Mitjançant un lleuger canvi de textura dels blocs es va diferenciar en els murs un sòcol de tres metres d'alçada que es va perllongar cap a la zona d'entrada, va definir el pati de càrrega i descàrrega de camions, l'aparcament de cotxes dels empleats i va abraçar també una petita construcció dedicada a oficines i serveis que es va situar de manera que no interferís l'accessibilitat a la nau. Els extrems de qualsevol opció estructural unidireccional són, per la seva pròpia naturalesa, de característiques molt diferents als trams longitudinals. El projecte va optar per evidenciar-ho i va tractar els dos testers com tancaments lleugers molt semblants a la coberta. La finta que es produïa en el pla vertical en seguir la inclinació donada pels capitells es va aprofitar per col·locar dos grans lluernes que banyaven homogèniament els fons interiors de la nau.
  4. FAD Award

    Award-Winner / Winner. Category: Buildings of new plant for private use

    FAD Award

    Simon Logistics Warehouse

  5. Headquarters of the Bank of Spain

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Headquarters of the Bank of Spain

    Grans camions arribaven periòdicament des de la central al garatge subterrani connectat amb la caixa forta i d'allí els diners es traslladaven amb muntacàrregues a uns petits garatges a la planta superior des d'on es distribuïa amb furgonetes als diferents bancs locals. Unes petites oficines completaven un programa que generava molt poca activitat urbana i unes estrictes mesures de seguretat exigien que l'edifici estigués totalment aïllat de les edificacions veïnes. El seu emplaçament més adequat hagués estat en un descampat i al costat d'un accés d'autopista. Paradoxalment el solar escollit es trobava en una de les zones de més activitat de l'eixample gironí, formava part d'una illa en edificació tancada i just en un punt singular on el gir de la Gran Via feia que es convertís inevitablement en un important final de perspectiva en el qual destacaven una enorme mitgera i unes descuidats darreres a l'espera que l'illa completés el seu volum previst i les amagués. D'altra banda, davant el solar i a l'altre costat de la Gran Via, estava prevista l'obertura de la gran Plaça de la Constitució i conseqüentment el nou edifici tornava a ser protagonista des d'un altre punt de vista. Un parell de delicades i petites edificacions contigües acabaven de completar un paisatge heterogeni i desordenat, al qual no semblava que un edifici baix i discret li pogués donar resposta adequada. El projecte va proposar augmentar artificialment el volum estrictament necessari que el programa demandava per tal de disposar de material suficient com per manipular-lo i fer front a tots els temes urbans. Un semicilindre amb el seu eix centrat en la prolongació visual de la Gran Via acollia un sobredimensionat pati d'operacions i s'adossava pel seu pla axial a un cos prismàtic de menor altura que seguia les directrius dels carrers secundaris i contenia garatges, oficines i arxius . Una part del semicilindre continuava per sobre del prisma mentre es podia veure des de la Gran Via i una planta d'instal·lacions a la coberta ajudava a augmentar encara més el volum final. Tant la tanca desmesuradament alta i massissa que va envoltar el banc, com el petit local que casava amb els elegants edificis veïns, volien camuflar la seva condició d'edifici aïllat i mantenir les alineacions de l'illa en un intent de no interrompre la definició volumètrica dels carrers . Tota la construcció estava plantejada amb murs portants d'obra de fàbrica per les mateixes raons de durabilitat i economia en el manteniment esgrimides en altres obres construïdes en aquells anys i l'opció escollida es va posar clarament de manifest tant en la configuració dels alçats com en les traces de les plantes.
  6. FAD Award

    Award-Winner / Winner. Category: Buildings of new plant for public use

    FAD Award

    Headquarters of the Bank of Spain

  7. Telephone Exchange and Teleport

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Telephone Exchange and Teleport

    El programa inicial d'aquest projecte descrivia un conjunt edificat que havia d'albergar les instal·lacions de tractament i recepció de senyals de satèl·lit, una central de telefònica i els locals de gestió i venda d'aquests serveis. Aquestes funcions s'agrupaven en les dues construccions principals: un edifici representatiu amb despatxos i una sala d'exposicions amb un petit bar; i un edifici tècnic que és el teleport pròpiament dit. Al programa apareixien també un control de seguretat i uns locals per a instal·lacions convencionals. De tot això només s'ha construït l'edifici tècnic i els d'instal·lacions i control. A l'edifici tècnic, la importància de la xarxa de connexions i la seva freqüent modificació deguda a les innovacions tecnològiques van portar finalment a una planta quadrada totalment envoltada per un passadís perimetral d'accessos i servei. Per completar l'eficàcia d'aquest passadís i la flexibilitat de les connexions s'han col·locat nombrosos conductes verticals que permeten el pas directe de les instal·lacions des de la planta baixa a totes les altres, inclosa la de coberta. Una certa homogeneïtat en els locals que formen l'edifici, el marge de les superfícies i la seguretat amb què s'ha de tractar un programa evolutiu van dur a resoldre la planta amb una trama ortogonal. En cadascun dels seus nusos se situa un pilar circular de formigó, i els envans es col·loquen sempre dins de les línies d'aquesta retícula. Es tracta, doncs, d'una estructura porticada perfectament isòtropa, en la qual els tancaments es subordinen totalment a l'organització de l'entramat. Els problemes constructius i de disseny es concentren, com sempre, a les vores. Per suportar el passadís, els pilars perimetrals es deformen, acartelándose a partir de certa altura per sostenir unes lloses prefabricades situades a l'altura del fals sostre dels locals interiors. L'edifici tècnic està envoltat per un tancament lleuger format per una fusteria d'alumini totalment de vidre i practicable, que acompanya els passadissos perimetrals en les dues plantes superiors i, a través d'ells, proporciona llum i vistes als locals de treball. Aquest tancament s'interromp en totes les cantonades de l'edifici.
  8. UPF Library in the Water Tower of La Ciutadella Park

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    UPF Library in the Water Tower of La Ciutadella Park

    The deposit built by Josep Fontseré in 1874 combines the virtues of good construction, the ease of adapting to changing uses and the ability to understand and improve the place where it is located. A great example of good architecture. The building was in perfect physical condition after being used as a pavilion at the International Fair of 1888, and it later housed a hospital, a municipal warehouse, a movie set and also became an important resting place for many migratory birds. The project proposed demolishing all the interior divisions, the central part of the intermediate slab, and opening five skylights in the geometric centre of the roof that balanced the perimeter light and established a visual and kaleidoscopic relationship between the interior and the roof. For safety reasons, the large body of water that had been planned to be stored was never allowed to reach the top edge of the tank and the new proposal replaced it with a thin sheet at the top. This improved the old image of the permanently half-empty pond and solved the problem of vertical loads, seismic actions and tightness by reducing the weight and forming an intermediate security camera between the bottom of the new vessel and the old one. As for the interior, two elaborate prefabricated pieces of concrete, one as a slab and the other as a support, organised discontinuous mezzanines three metres high above the floor of the room. Treated as furniture in the huge space, they increased the area of use, contained all the voluminous facilities that the building needed and gave rise to a great diversity of reading spaces, from some very collected and homely to others with wider views and spectacular heights. With the exception of the new skylights, everything, including the new pond, was delicately superimposed on the building without injuring it. Everything could be dismantled so that the original support appeared intact again. The search for the formal expression of this strategy guided the project in all its aspects. Again, an exercise that reflects the relationship between architecture and decoration.
  9. Vila Olímpica Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Vila Olímpica Dwellings

    The building complex was part of the Urban Plan for the seafront façade of the Barcelona Olympic Village, which rigidly set the volume, type of roof, terraced portico and exposed brick. The project’s concern was focused on giving the maximum possible freedom of use to the space allocated to each flat. Flat concrete pillars embedded in the thickness of the façade, tidy installations and equal and equidistant gaps in the exterior were designed to ease future, inevitable and unpredictable changes.
  10. Restoration and Rehabilitation of the Convent dels Àngels for the FAD

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Restoration and Rehabilitation of the Convent dels Àngels for the FAD

    The Raval district was located between the second walls of La Rambla (1260) and the third and last walls of Les Rondes (1336-1387). The establishments, services and activities that were disrupting the fields, the farmhouse and the guild house coexisted there. Frustrated expectations of growth in the end of the Middle Ages left a large amount of available land that led to the installation of numerous religious buildings as a result of the rise of Catholicism that were typical at the time. The culmination of this long process that turned the Raval into a convent district can be traced between the 15th century and the confiscating action of Mendizábal in 1837. Its enumeration would be too extensive. On the area in which the study focused, few were the transformations that took place during the Enlightenment absolutism and the industrial revolution except for the opening of Joaquim Costa Street and the interesting urbanisation on the old lands of the Convent of the Carmelites built in 1875. The centre of attention of the city moved to the Eixample Cerdà and this area of the Raval district was left as a forgotten centre, with a significant presence of large buildings, many of them disused and located in a typically medieval plot that made its pedestrian and wheeled access hard. A world full of possibilities in the heart of the city and ignored by most citizens. The first Democratic City Council became interested in the neighbourhood and in July 1980 commissioned a study on the possibilities that the Convent of the Angels, the Old Chartiy House and the Old Mercy House, could offer to accommodate new uses that would give them a renewed meaning and act as locomotives for the revitalisation of this whole part of the city. The work also had to propose an arrangement of the free spaces and a proposal of accessibility that the new uses were supposed to demand. The ambiguity of the assignment was beneficial for the development of the work because the objectives of the project and the area of the study itself were specificised and evolved little by little according to its own internal logic. Gradual knowledge of pre-established factors (the patrimonial status of the City Council and the Provincial Council, the rigid and then unbreakable criteria of the General Metropolitan Plan, the list of buildings listed for their historical and artistic interest, the awareness of the origins, the growth and historical importance of the Raval, the evolution of their uses...) were first superimposed on the reforms and extensions of important buildings, their possible new destinations, the new urban emptiness that were to give them a framework, the strengthening and new creation of routes of pedestrians, wheeled accessibility, new car parks... and how to represent all that. In this way, an elongated study area was set up, which, centered on the three large groups mentioned, extended parallel to Les Ramblas, from the Liceu to the Seminary. From the very beginning the project looked at the neighbourhood from afar and understood it as a bas-relief in which a sculptor with a delicate tool would have been making subtle incisions in a compact and uniform mass. These hollows were very varied and had elongated, straight, curved, rectangular, square, regular, irregular, changed in width and length and all of them constituted an extraordinary set. The project was based on the conviction that the protagonist and the indisputable value of the Raval was the richness and variety of these extractions, much more complex and richer than those of the Eixample or those that do not exist in the peripheral suburbs. The boulevards, streets, squares, enclosed gardens, passages and galleries were related to each other, forming a very varied and complex fabric that the project wanted to understand, respect, consolidate and continue. And this richness and variety of public space reached a very high level of exceptional work of art thanks to the essential collaboration of a wise and discreet architecture whose main objective was to define and qualify the gaps it had around, forming with the city an indissoluble whole. The project began with a drawing on a large 1 x 4 m tracing paper in which the chosen area was represented and with special attention all the ground floors of the important buildings. The necessarily slow realisation of the drawing facilitated the gradual discovery of the ways used by the architects of the Liceu, the Virreina, the Romea Theatre... among many others, to manipulate the established academic models and transform them into organisms more complex to the direct service of the urban environment in which they were located. Quite the opposite of what the Tuberculosis Institute (1936) and later the MACBA (1995) represented, conceived as isolated buildings outside the city and incapable of generating a controlled and dignified public space around it. What they actually did was damage it and make countless nooks and crannies, fences, bars, eternal partitions, and shameless visions of block interiors open to streets and squares appear for the first time in the neighbourhood. The most radical and risky action of the project was the proposal to create a large square 130 m long and 52 m wide that highlighted and related the four main protagonists of the district: the old Convent of the Angels, the Old Charity House, the Old Mercy House and the magnificent Carmel urbanisation. It was imagined as an explosion of space and light which was accessed through narrow alleys, bathed by its characteristic zenithal light. A hollow without trees, with a hard pavement and containing inside the testimony of two isolated historic buildings: the Church of the Angels with its adjoining chapel and the beautiful Gothic building of the Old Orphanage. Three large car parks connected by an underground passageway turned the whole area into a comfortable pedestrian area. The first demolition work began and, according to plans, the south corner of the main square was built. Parts of the old convent were recovered and consolidated, and several heterogeneous pieces were juxtaposed, visually covering partitions, rear façades, neighbours' courtyards, avoiding corners and opening new accesses and new pedestrian paths. The most important piece of the set could not be bigger than it ended up being, in fact a very shallow screen that had to accommodate uses that were always imprecise and changing. The project tried to disguise all these circumstances and not forget that its fundamental mission was to help to tighten the large public space in front of it and at the same time give a first reference on the monumental character that was to be given to the future square. Some changes in the Metropolitan General Plan and a gradual concretion in the contents of the buildings allowed in 1987 to advance in the definition of demolition, extensions of buildings and formalisation of the urban spaces around the Old Charity House. The changes were basically two. On the one hand, due to its excessive rigidity, the idea of enlarging the building was abandoned on the basis of continuing its structure of courtyards embraced by equal and narrow crevices, and it was proposed to preserve only the beautiful Patio of Women and give more freedom to future constructions. On the other hand, the change in the rating of the plots between the Old Charity House and the houses of Tallers Street made it possible to propose a new building that would hide its rear façades and define a new public space that would house the Old Charity House with one side of the Mercy complex. Thus appeared a new series of squares of different sizes and types embraced by large buildings and always connected to each other by narrow streets. The new constructions were imagined permeable to pedestrians on the ground floor, following the examples of the Santa Creu Hospital or the Old Charity House itself, magnificent examples of how large volumes do not break the small scale of the neighbourhood and were able to allow alternative routes and offer quiet spaces of great comfort and friendliness inside. Many of these proposals were not followed.
  11. Llefià Municipal Swimming Pool

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Llefià Municipal Swimming Pool

    El solar on s'havia d'aixecar l'equipament era un retall sobrant d'un camp de futbol veí i el barri un mostrari d'heterogènies construccions navegant desorientades en un caos travessat per vies de circulació. El projecte es pot considerar com un exercici de manipulació d'un model acadèmic establert amb la finalitat deposar un mínim d'ordre a un entorn desestructurat. L'edifici va acabar configurant-se en un volum que només s'entén des de la preocupació per la definició dels buits circumdants i de la posada en relleu de l'entrada a la zona esportiva propera.
  12. Casa Salvans

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Casa Salvans

    La casa Salvans es va construir en un magnífic hort envoltat per un mur de pedra que de vegades aguantava les terres exteriors, altres vegades les pròpies sobre les veïnes i a la zona més alta girava sobre si mateix i es convertia en un aljub. En l'únic punt on coincidien els desnivells exteriors amb el pla horitzontal interior estava situada la porta d'accés que es va conservar en el projecte. Tot el recinte havia quedat envoltat pel creixement gradual de la vila i el nou edifici volia contribuir a donar continuïtat als plans de façana de les cases entre mitgeres veïnes i que definien amb tanta precisió el buit dels carrers. Incomprensiblement les ordenances obligaven a aixecar un edifici aïllat i el projecte va pretendre superar aquesta contradicció.
  13. Interventions in La Boqueria Market

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Interventions in La Boqueria Market

    Between 1836 and 1840, construction work began on a monumental square designed by Francesc Daniel on the extensive plot of land occupied by the Convent of the Discalced Carmelites of Sant Josep since 1593, and in the area closest to Les Rambles. Molina designed a harmonious and orderly architecture that was superimposed on a strict Ionic colonnade that supported a generously sized terrace. In this dignified and unfinished square, the Boqueria Market was installed, one of the most popular temporary markets in Barcelona and which ended up being covered - for practical reasons - with a permanent metal shed, poorly attached to the surrounding buildings preventing the perception of its magnificent architecture. On the other hand, between the market and the Old Hospital of the Santa Creu, the so-called Gardunya Square was found, which was actually an open field caused by the bombings suffered during the civil war and which was used as a temporary area of loading and unloading. In 2006, the City Council showed its will to start an operation to refurbish and improve the market and its surroundings. The project was oriented towards the formation of three pieces: the square of Dr. Fleming facing Carme Street, the Canonge Colom Square facing L'Hospital Street and the large square formed by the gaps of La Gardunya and Sant Josep. Housing conceived in the manner of those proposed by Francesc Daniel Molina on the one hand and the new headquarters of the Massana School on the other were the new constructions that were proposed to define them. Once the problems of loading and unloading had been solved underground, the main character of the proposal was this huge void (166 m x 84 m), practically three times the size of the Reial Square and partly occupied by the metal shed of the market. The project wanted to emphasise its temporality, its calligraphic character, its character as a shed and its secondary character in relation to the higher order of the surrounding architecture. Following one of the first intentions outlined in the 'From the Liceu Theatre to the Seminary' project, everything possible was separated from the surrounding architecture and it was very much insisted that the Boqueria market was a shed and not a closed building; one of those light sheds with high ceilings to facilitate natural ventilation, without closed façades and with vertical blinds to protect it from the sun and rain. We did not want to lose the character of the Mediterranean market that represented the Boqueria all over the world and that related it so directly to Palermo and Istanbul. The traditional vertical protections were replaced by horizontal tinted crystals hanging from the roof, thus increasing the market's natural lighting and improving the perception of the perimeter colonnade from any point inside. The reduction in sales points implied by these operations was compensated by the proposal for an extension towards the Hospital area, treated as an extension of the old one with the added intention of balancing the very busy entrance from Les Rambles. In order not to weaken the concept of a shed treated in the manner of a pleasant thick, protective, exempt and isomorphic forest that could be accessed from any point of its perimeter, the indispensable service building was built as small as possible and at the point that would be, after the expansion, the geometric centre of the shed.
  14. Centre Fòrum Municipal Home for the Elderly

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Centre Fòrum Municipal Home for the Elderly

    It was planned to build a large office building of 34,538 m2 and a municipal home for the elderly of 12,000 m2 on the 13,818 m2 plot. The place was influenced by the traces of the Forum, the Cerdà grid, the Diagonal Avenue and the old exit road to France, and the buildings that surrounded it had very different heights and natures. The project wanted to intertwine and give continuity to all these diversities. The answer was a fragmented volume with a broken plan that looked from time to time for those vertical edges that would ensure the visual continuity of the perimeter streets and form an interior square that collected the alleys of the new neighbourhood of low-rise housing that had to be built on the neighbouring plot. Also, in terms of height, the project was attentive to what was happening around it and ranged from 100m in the area closest to the Forum esplanade to 15m when it approached the neighbouring homes. The project felt close to a certain exemplary tradition of other Barcelona towers that renounced being exempted to emerge in exchange for a built mass respectful of the heights and alignments of the nearby city, always with the aim of guaranteeing its continuity and prevent the pedestrian route from being interrupted by uncomfortable uncontrolled gaps. The tall building had a façade made up of an inner glazed leaf and another metal exterior that acted as a sun protector. These two skins were not always parallel and close, the exterior was attentive to the urban logic and the interior to that of the building itself.
  15. Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

    L'Ajuntament de la ciutat va promoure una operació ambiciosa de revitalització del barri de Roquetes mitjançant la construcció d'unes noves oficines municipals i d'uns habitatges protegits. Amb aquest material volia revitalitzar l'activitat a la zona i donar continuïtat a dos teixits urbans diferents i confrontants, un en pendent i autoconstruït durant els anys seixanta, i un altre en pla i format per un eixample més recent i amb un altre tipus de promoció immobiliària que li donava una escala diferent. El projecte va apostar per la creació d'una plaça generosa que va quedar definida per una edificació contínua que l'abraçava i que contenia tot el programa requerit. Situada sobre un terreny amb molta pendent va buscar l'horitzontalitat, va aconseguir evitar les rampes d'accés a l'aparcament subterrani que sempre trenquen el pla generant zones indefinides i tenebroses i es van plantar el màxim nombre de plàtans possibles. L'edifici de l'Ajuntament va estar molt atent a les nombroses virtuts que tenien les autoconstrucció cions veïnes, especialment a la seva extraordinària riquesa en les transicions entre exterior i interior basades normalment en seqüències en què abundaven patis, terrasses, pèrgoles, arbres o plantes. Tot això va influir en diferents temes i especialment en la manera d'entrar, que es va plantejar a través d'un pati mig amagat, protegit per un gran arbre i tractat com un generós vestíbul des del qual es podia accedir a qualsevol dependència interior. El seu aspecte general, des dels seus gestos en planta perquè fos vist des de dos carrers principals que penetraven en els teixits adjacents fins al tractament de la seva volumetria trossejada en unes zones o tractada amb més èmfasi en unes altres, va néixer de la voluntat de donar la màxima continuïtat als dos teixits i de presidir i donar sentit a la plaça.
  16. Remodelling of the Multipurpose Events Hall of the ITEC

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Remodelling of the Multipurpose Events Hall of the ITEC

    The main goal was to adapt an old factory as a multipurpose space and meeting room for the Institute of Construction Technology of Catalonia (ITEC). The premises were defined by an orderly succession of eleven reinforced concrete porticos, each of them formed by four pillars that defined three naves that ran its entire length, from the street to the centre of the block’s interior courtyard. The intervention was conceived as a game of minimums, without camouflaging what was already there and taking advantage of and underlining everything that was considered positive, which was almost everything. The most important decision was to create a patio in which adjustable slats, which allowed the sun and light to be controlled at free will, replaced part of the old roof. Large vertical mirrors covered one of its corners, creating an artificial effect that visually quadrupled the space. To facilitate the versatility of the area intended for multipurpose uses, two flashings were made to the pillars that were the most annoying. The movable chairs and platforms could easily be arranged in various distributions following the different coloured markings painted on the wooden floor. This overlay of graphics was reminiscent of fields where various sports are practiced alternately.
  17. Diagonal Mar Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Diagonal Mar Dwellings

    The planning responded to a city model radically different from that of a Mediterranean city and the project found no loophole to change its purposes. The plan had set a buildability of 32,940 m2 to be divided between three buildings perfectly defined in their maximum occupations, their required heights and their position on the floor. The project focused on optimising habitability in such a rigid and untouchable framework. In the two towers, the maximum allowable use was taken advantage of because it facilitated the organisation of different sizes and distributions of the houses and the compositional obsession with slenderness was clearly renounced as if it were an indisputable value. Both reached the mandatory maximum height and the excess buildability that would have resulted if all the plants had been equal to the casualties was reduced and adjusted by extractions to the overall volume. Extractions that increased as they gained height and were carried out in areas facing north, in areas without sea views or on the nearest edges between buildings. In the towers and at each core of stairs and elevators a series of bands were defined that completely wrapped them in the large tower and only on three of its faces in the small one. Of these bands the nearest was the access corridor to the houses. The next one, 50 cm thick, was occupied by pillars and installations. In the widest band, 8 m thick, the houses were distributed without any fixed vertical element and with total freedom to decide sizes and distributions. It was followed by another 50 cm occupied again by installations, pillars and glazed enclosures from floor to ceiling that separated it from the terraces run by 3m of cantilever. Due to its size and the protection from the sun, wind, vacuum and other people's eyes, which were provided by sliding shutters with adjustable aluminum slats, they became another room in the house, a new element of communication between all its pieces, in a generous intermediate space between interior and exterior of a very Mediterranean tradition. And all this is thanks to sensible ordinances that did not penalise terraces with loss of buildability. In those faces that arose from the extractions carried out in the general volume and in which terraces could not be built, the same compositional elements were used as in the rest of the façades. Cantilevers, railings and shutters were also present, although with other measures and relationships so that the building did not have a front and a back. The façades of the lower building were treated with the same resources as those of the towers, seeking to confuse and perceive the three buildings as overlapping and perceived as a unique, formless and changing shape.
  18. FAD Award

    Award-Winner / Winner. Category: Interior Design

    FAD Award

    Remodelling of the Multipurpose Events Hall of the ITEC

  19. FAD Award

    Finalist. Category: Architecture

    FAD Award

    Headquarters of Sant Pere de Ribes Town Hall in Les Roquetes

  20. Les Roquetes Dwellings

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Ignacio Paricio i Ansuategui

    Les Roquetes Dwellings

    Els habitatges que completaven el perímetre van afrontar com donar ús a les cobertes, normalment grans superfícies inútils que acaben en el més absolut abandonament. Es van redactar unes ordenances que sense incrementar l'edificabilitat fixada augmentaven en una planta l'altura permesa, de manera que es van poder organitzar uns volums en els quals cada planta era més petita que la inferior, donant lloc a l'aparició d'unes generoses terrasses descobertes a la majoria dels habitatges. Aquella coberta perduda es va fragmentar a diferents nivells i es va convertir en una sèrie d'espais útils i generosos al no comptar com a superfície construïda. I des d'un punt de vista formal l'escala resultant dels nous edificis casar millor amb la dels edificis veïns. Els sistemes constructius, materials, colors, sòcols, fusteries, baranes ... van ser els mateixos tant en els habitatges protegits com a l'edifici de l'Ajuntament. Només la volumetria i els buits que donaven resposta als grans espais interiors distingien la casa de tots de les cases de cadascú.
  21. FAD Award

    Finalist. Category: Architecture

    FAD Award

    Diagonal Mar Dwellings

  22. FAD Award

    Finalist. Category: Architecture

    FAD Award

    Les Roquetes Dwellings

  23. Simon House

    Clotet, Paricio & Associats, Lluís Clotet i Ballús, Jordi Julián Gené, Ignacio Paricio i Ansuategui

    Simon House

    L'habitatge estava situat en una urbanització dels anys quaranta de segle passat i envoltada per una atmosfera general d'una qualitat poc freqüent, però amb els mateixos problemes d'arrencada que van haver de fer front la casa Penina, la casa Almirall o la casa Rognoni. A diferència del plantejat en aquells casos en què es van ignorar les obligades bandes perimetrals per cedir-les a allò públic o se'ls van adjudicar usos secundaris, aquí l'habitatge es va apoderar decididament d'elles, integrant-les a l'edificació, qualificant-los i concedint-los un paper protagonista en el resultat final de l'obra. Una tanca de fusta, de la màxima opacitat i alçada permeses per les ordenances va resseguir tot el perímetre de l'solar i també va perllongar a l'exterior les divisions de la casa. Així es van transformar aquelles bandes absurdes en una sèrie de patis, cada un d'ells associat a una dependència interior, i perquè la mútua integració fos la més completa possible es va decidir que les façanes fossin absolutament de vidre. Tots els vidres disposaven d'una cortineta i una cortina opaca enrotllables per controlar la llum a voluntat i unes generoses pèrgoles horitzontals a base de lames mòbils van garantir la protecció solar en aquelles orientacions en que era necessària. Uns lluernaris verticals a nord il·luminaven les dependències interiors. L'edificació tenia una forma prismàtica de 32,4x8m en planta i 3,5m en alçada. La llosa de la coberta es recolzava, com en el projecte contemporani de la Fundació Alícia, sobre uns perfils metàl·lics de 7x7cm col·locats en el seu perímetre cada 1,2m. Una caixa adossada de formigó a l'entrada es va encarregar d'absorbir els esforços horitzontals. Un soterrani de la mateixa mida de la casa i un generós fals sostre resolien les instal·lacions. D'aquesta manera es va aconseguir una planta totalment lliure, fàcilment modificable, en un intent de que fins i tot tractant-se d'un edifici unifamiliar, la proposta no fos una resposta tancada a un programa determinat sinó que donés totes les facilitats per acollir inimaginables activitats en el futur. Totes les divisòries interiors a l'arribar a façana disposaven d'una porta, de manera que en moments determinats tota la casa podia usar-se com un espai únic que es percebia llavors com un biombo lleuger de fusta situat dins d'un prisma de vidre al que no tocava.
  24. FAD Award

    Finalist. Category: Architecture

    FAD Award

    Alícia Foundation

  25. FAD Award

    Finalist. Category: Architecture

    FAD Award

    Simon House

  26. Premio Década

    Award-Winner / Winner

    Premio Década

    UPF Library in the Water Tower of La Ciutadella Park

Archive (11)

  • Perspectiva exterior dels Habitatges Vila Olímpica

    Drawing

    Perspectiva exterior dels Habitatges Vila Olímpica

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

  • Secció del Banc d'Espanya.

    Drawing

    Secció del Banc d'Espanya.

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

  • Axonometria dels Habitatges Les Roquetes

    Drawing

    Axonometria dels Habitatges Les Roquetes

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

  • Perspectiva interior de la biblioteca a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    Drawing

    Perspectiva interior de la biblioteca a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

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

  • Perspectiva interior del vestíbul a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

    Drawing

    Perspectiva interior del vestíbul a la Restauració i Rehabilitació del Convent dels Àngels per al FAD

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

  • Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    Drawing

    Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    © Arxiu Històric del COAC

  • Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    Drawing

    Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    © Arxiu Històric del COAC

  • Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    Drawing

    Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    © Arxiu Històric del COAC

  • Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    Drawing

    Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    © Arxiu Històric del COAC

  • Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    Drawing

    Perspectiva interior de la Biblioteca de la UPF al Dipòsit de les Aigües del Parc de la Ciutadella.

    © Arxiu Històric del COAC

  • UPF Library in the Water Tower of La Ciutadella Park

    Graphic Material

    UPF Library in the Water Tower of La Ciutadella Park

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

Bibliography (100)

Societies