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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2025 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2025 Ramon Faura Carolina B. Garcia Eduard Callís Francesc Rafat Pau Albert Antoni López Daufí Joan Falgueras Mercè Bosch Jaume Farreny Anton Pàmies Juan Manuel Zaguirre Josep Ferrando Fernando Marzá Moisés Puente Aureli Mora Omar Ornaque

Collaborators:

2019-2025 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse Viu

External Collaborators:

2019-2025 Helena Cepeda Inès Martinel

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació Mies van der Rohe

 

Fundación DOCOMOMO Ibérico

 

Basílica de la Sagrada Família

 

Museu del Disseny de Barcelona

 

Fomento

 

AMB

 

EINA Centre Universitari de Disseny i Art de Barcelona

 

IEFC

 

Fundació Domènench Montaner.

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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Responsable del tractament: Col·legi d Arquitectes de Catalunya 'COAC'
Finalitat del tractament: Tramitar la sol·licitud de còpies digitals dels documents dels quals l’Arxiu Històric del COAC gestiona els drets d'explotació dels autors, a més d'aquells que es trobin en domini públic.
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Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
Drets de les persones interessades: Accedir, rectificar i suprimir les seves dades, així com, l’exercici d’altres drets conforme a l’establert a la informació addicional.
Informació addicional: Pot consultar la informació addicional i detallada sobre protecció de dades en aquest enllaç

Memory

Josep Danés i Torras va néixer a Olot l'any 1891. Estudia el batxillerat a Olot en uns anys en que la població viu una intensa vida cultural i social. Entre 1909 i 1917 estudia arquitectura a Barcelona, és per tant coetani de Cèsar Martinell, Nicolau Rubió i Tudurí, J.F. Ràfols, Francesc Folguera, Ramon Raventós, Antoni Puig Gairalt, Joan Bergós, Lluís Bonet Garí, Eusebi Bona. Danés forma part d'aquesta segona generació d'arquitectes noucentistes i catalanistes que cerquen una arquitectura pròpia del país.

A través del Centre Excursionista de Catalunya, i en concret amb la fundació Rafel Patxot, encapçala l'estudi de la Masia Catalana, camp en que destacà pels seus estudis i publicacions. També destaca pels seus treballs de recerca envers el patrimoni arquitectònic del país, amb restauracions i publicacions al respecte.

La seva producció arquitectònica és fidel a aquesta recerca d'una arquitectura pròpia a partir dels supòsits de reinterpretació de l'arquitectura popular, sense renunciar a una certa continuïtat de recursos estilístics propis de l'arquitectura monumentalista i classicista.

D'entre la multitut d'obres que va executar en destaca: la façana de l'església del Tura, a Olot, excepte la rosassa i el perímetre de la portada (1928). L'església dels Àngels (1934-54) i la de la Bonanova (1942) a Barcelona; l'església parroquial de Ribes de Freser (1940); el Santuari de Núria (1928-1955) i l'estació del cremallera (1930) també a Núria; les cases Farjas (1922) i Plana (1927) , capella de la Providència (1922, enderrocada) a Olot. La rehabilitació de Pia Almoina de Girona (1927), actual seu de la Demarcació de Girona del Col·legi d'Arquitectes; reformes substancials al Seminari de la Seu d'Urgell (1946 - 1955); la Masia Mariona (1927-1931) per a Rafael Patxot, a Mosqueroles;entre d'altres.

S'establí i treballà a Barcelona i també exercí el càrrec d'arquitecte diocesà de la Seu d'Urgell (1927). Afeccionat a l'arqueologia i l'excursionisme treballà, en aquest sentit, per al Centre Excursionista de Catalunya, l'Institut d'Estudis Catalans i la Fundació Patxot. És autor de diversos articles i publicacions

Author: Arxiu Històric del COAC

Works (6)

On the Map

Awarded
Cataloged
Disappeared
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Constellation

Chronology (6)

  1. Rogelio Rojo Factory

    Josep Danés i Torras

    The Rogelio Rojo factory is located between Rogelio Rojo, Fàbrica, Santa Clara streets and Catalunya avenue. It is an architectural complex for industrial use built in different periods: 1917, the 1930s, the 1950s, the 1960s and 1973. The main volume of the complex is U-shaped, consisting of two single-storey buildings and one two-storey building. There are also a number of annex buildings that have been added over time. The interior space is open-plan and large, thanks to the large windows and the sawtooth roof. The exterior, made of exposed brickwork and ceramic tiles, has end walls crowned with curvilinear and mixtilinear headboards inspired by the Baroque style. The vertical structure consists of steel pillars and load-bearing walls made of solid brick. The roof is made of Arabic tiles on a ceramic base supported by wooden and metal trusses (replacing the original wooden ones). The main nave and the other two are joined together, as the side walls have been replaced by metal beams with a masonry pillar (solid brickwork) in between. The foundations are 60 cm wide continuous stone masonry walls. The roof of the long nave is made of ceramic tiles on ceramic tongue-and-groove. The floors are concrete and show some unevenness and repairs. Inside, there are full-height divisions with brick walls and reinforcement pillars. The industrial complex occupies a 9,752 m2 site, of which 4,675 m2 is built on. During the First World War (1914-1918), there was an increase in demand from the warring countries, which encouraged the development of the textile and metallurgical industries. At that time, the Rojo family began manufacturing accessories for the garments they made themselves. Finally, they decided to manufacture only metal trimmings such as buckles, buttons and needles, as well as plaques for cava bottles. After the war, Catalan exports suffered a slump. The crisis led to unemployment and social unrest. The Rogelio Rojo company set up its new factory in Masquefa, far from the unrest of urban areas. The architect in charge of the project was Josep Donés i Torres. The pace of production in the early years was stable, the balance between imports and exports was favourable, wages were low and the workforce was mainly made up of women. In 1936, with the outbreak of the Spanish Civil War, production remained unchanged. In 1937, in contact with the War Industries Commission of the Generalitat de Catalunya, the factory began manufacturing projectiles for the Republican army and a new building was also constructed. On 22 January 1939, Masquefa was bombed by the Italian air force. The post-war period was a difficult time, and the factory became an economic benchmark and a socialising element for the municipality of Masquefa. During the 1970s, a new two-storey building was constructed, designed for the galvanising production process. At the end of the 1980s, the factory's facilities became obsolete and it could no longer compete in the market. The factory closed at the end of the 20th century. This factory has been involved in activities related to metallurgy. The last company ceased operations in 2002. It currently houses, among other services and cultural activities, the Municipal Library. In 2002, the complex was acquired by the Masquefa Town Council.
  2. Restauració de La Pia Almoina

    Josep Danés i Torras

    Restauració de La Pia Almoina

    Una institució benèfica característica del sistema urbà medieval, entre el poder del Bisbat i la catedral i el dels estaments civils. Fundada per Arnau d’Escala a partir de les donacions de bisbes, preveres i notables de la ciutat, jugà constantment un paper de penyora social en nombroses transmissions patrimonials. Arriba a formar una illa quasi completa, agrupant diverses finques precedents, de la plaça dels Apòstols (forn de pa i casa d’un exhaurit consell jueu de l’aljama, el 1415) a la capella gòtica de Sant Mateu (1397). Exerceix una caritat massiva fins al 1626, quan el bisbe Gil de Manrique transfereix les rendes a inversions permanents; el litigi entre almoina i inversió durarà fins al 1776, any en què Lorenzana l’adscriu al nou hospici. La desamortització fa que se subhasti (1842), i retorna al clergat en forma d’escola pia fins al 1975. La primera gran restauració, a càrrec de Danés, manipula les obertures, completa les trífores i corona amb merlets el gran pany característic del gòtic civil, en una recreació d’un resultat escenogràfic extraordinari i de gran qualitat en el detall. També resulta interessant el cos de llevant, amb mur gòtic de base, fàbrica renaixentista i arcuacions recents sota teulada, així com l’estructura medieval de planta baixa.
  3. Cinema Olimpia

    Josep Danés i Torras

    Carrer Àngel Guimerà, which runs parallel to Passeig de Pere III, the most important street in the Eixample district of Manresa at the end of the 19th century and during the Art Nouveau period, contains a series of Noucentista buildings with a variety of styles. The Olimpia Cinema is in keeping with the monumentalist classicist style of Noucentisme, due to its public nature. It is built between partitions, has a rectangular floor plan and consists of a ground floor and a double-height first floor, with a unified composition. The symmetrically arranged façade has five openings per floor, organised according to five vertical axes: three central ones with portals on the ground floor and curved balconies with balusters on the main floor and geometric stained glass windows, which corresponded to the old amphitheatre; the balconies are closed with a moulded round arch and grille. The upper top of the building is formed by a frieze of small windows (for ventilation of the space under the roof), alternating with corbels, which support a moulded cornice with dentils, a solid acroterion and, above, a sculptural ensemble with a central medallion bearing the name of the cinema and a crown at the top, flanked by volutes and pinnacles. The roof is gabled with flat tiles. Currently, the interior has been completely modified and is occupied by a Zara store. Originally, the ground floor housed the lobby and stalls (on different levels), with a stage at the back. A large part of the stage and the auditorium occupied the inner courtyard of the block. The upper part of the building was occupied by the amphitheatre, supported by cast iron pillars, and the foyer.
  4. Mariona Country House

    Josep Danés i Torras

    Mariona Country House

    The Mariona country house was built between 1927 and 1931 due to the initiative of Rafael Patxot i Jubert as a summer residence, under the direction of the architect Josep Danés i Torras, who also designed the carpentry and wrought ironwork, as well as the ceramic sundial, placed on the main façade. The house consists of a ground floor and two storeys, with an adjoining tower with a square floor plan and porticoed sundeck. The exterior appearance of the building is inspired by classical country houses, with galleries and a lookout tower, although the interior layout is adapted to the needs of a luxurious summer residence. The garden surrounding the house was also designed by Danés, following landscaping criteria in accordance with the characteristics of the terrain. In exile, Rafel Patxot had the words ‘Guests will come and they will be taken out of the house - 3rd August 1936 - Farewell’ engraved on the keystones of the entrance doorway. The Mariona country house was built between 1927 and 1931. During the Spanish Civil War, the house was damaged and lost most of its furniture in a fire. In 2005, the house was donated to the Barcelona City Council by its owner, Rafel Carreras i Patxot, subject to the execution of the museum project and the relocation of the park's headquarters. It is currently the headquarters of the Office of the Montseny Natural Park. Biosphere Reserve and the permanent exhibition ‘Patxot Universe’.
  5. Mare de Déu dels Àngels Church

    Josep Danés i Torras

    Mare de Déu dels Àngels Church

    The church is located between partitions, with its façade on the chamfered corner, between Carrer de Balmes and València, set back from the houses in order to make it stand out and ensure good visibility of the building. It differs from the parish buildings on the sides, which are lower and slightly further back from the line of the façades. The use of materials also contrasts with a certain monumentalisation: the side buildings with exposed pressed brickwork in a combination of red and white and the grey Montjuïc stone. The façade of the church also has a pediment with a gable roof that hides the open roof terrace. The ground plan of the church begins at the chamfered corner and crosses the site diagonally, leaving space on either side for the parish buildings. In order to ensure good lighting in the church, roof terraces were designed on the upper part to open large parabolic arched windows in the dome and light courtyards with skylights that would give zenithal light to the interior windows. The interior of the church is richly decorated, largely by the architect himself: from the base of the marble slabs, coffered ceilings, polychrome plaster mouldings, stucco, decorated ceramic tile floors, leaded glass windows and lamps to the liturgical furnishings. The frescoes and sgraffito were painted by Ferdinandus Serra, and the Venetian mosaics by Lluís Bru. The stained glass windows are the work of Joan Bonet, with scenes of the Virgin of the Angels and the saints who were most closely associated with the city of Barcelona. Along these lines, there is a carving of the Virgin of the Angels by Martí Cabrer. The architect designed the church and the parish annexes during the Republican period, commissioned by the rector Joaquim Delgé at the end of 1932, but construction did not begin until after the Spanish Civil War, from 1942 onwards. The solutions adopted by the architect place the church halfway between the new religious architecture that was prevailing in Europe and the Catalan Noucentista past, opening up a line of continuity with tradition by providing modern solutions. The parish complex was promoted by the Junta de Obra de la Parroquia de Nuestra Señora de los Ángeles following a programme that included the construction of two annexed buildings for the parish school and the rectory. Work began in 1942, following the 1934 project. The inauguration of the church took place in 1950, when part of the interior decoration was still missing. In 1952 the chandeliers were installed, and on the 12th of October 1955 the church was consecrated and on the 25th December 1956, the altar of the Blessed Sacrament.

Bibliography

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