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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

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About us

Project by:

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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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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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Works (13)

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Chronology (13)

  1. Ciutat Jardí de Ribes Roges

    Josep Domènech Mansana, Josep Font i Gumà, Bonaventura Pollés i Vivó

    El conjunt urbanístic de Ribes Roges està format per carrers paral·lels i perpendiculars a la línia de mar. Queda delimitat pel passeig de Ribes Roges, els carrers de Marcel·lina Jacas, de Legazpi i d'Àlvaro de Bazán i el torrent de Sant Joan, el carrer de Pere III el Gran i gran part de la mansana delimitada pel Passeig i els carrers de Lluís de Requesens, de Pere III el Gran i d'Isaac Peral. Cada illa conté diverses parcel·les ocupades per habitatges unifamiliars envoltats de jardí. Tot i que en conjunt no presenta una unitat estilística, encara conserva alguns dels edificis originals, principalment al sector de mar, que presenten característiques pròpies dels estils modernista i noucentista. Dels exemples més propers al modernisme es conserven la Vil·la Argentina i la Vil·la Montserrat (arquitecte Josep Domènech Mansana); el xalet del Doctor Ribot (Vil·la Esperanza) i la Vil·la Laguarda (ambdues de l'arquitecte Bonaventura Pollés Vivó), i la Vil·la Teresa (Modest Tauler Benítez, arquitecte). I dels xalets més propers al noucentisme destaquen la Vil·la Isabel (de Ramon Frexé Mallofré, de 1910-1912); el xalet Vivancos (obra de Josep M. Miró Guibernau, de 1923); el xalet de Dolors Rutllan (de Manuel Joaquim Raspall Mayol, 1925) i la Vil·la Adelina i els xalets de Joan Robert i de Lluís Pàmies (obres d'Antoni Pons Domínguez, 1923, 1925 i 1926). L'origen de la urbanització de Ribes Roges fou iniciativa de la Sra. Anna Raventós de Saurí, presidenta de l'Empar de Santa Llúcia, institució benèfica que havia de ser la beneficiària dels guanys produïts per la urbanització. També de la vilanovina Marcel·lina Jacas, que posseïa un patrimoni considerable heretat del seu pare i d'un oncle, tots dos indianos, i que va cedir els terrenys rústics de la seva propietat per a la construcció dels xalets per aconseguir fons per al sosteniment de l'entitat. La primera pedra dels 10 primers xalets va ser col·locada l'any 1910. Aquest mateix any, la Junta encarregà les construccions a diversos arquitectes i deixà en mans de l'arquitecte municipal B. Pollés la realització del projecte del Passeig Marítim i el pla general de distribució dels solars. El conjunt es troba desvinculat de la trama urbana de la ciutat. El torrent de Sant Joan i la via del ferrocarril van dificultar des del començament el seu creixement i expansió i quedava fora de l'àmbit que comprenia el "Plano General" de Gumà i Ferran i, per tant, de les directrius d'eixample que fixava el pla. L'any 1917, l'arquitecte municipal Josep M. Miró i Guibernau projectà l'ordenació total del sector d'acord amb la tipologia de ciutat jardí. S'autoritzà la realització del Passeig i es va fer el traçat complet de la trama viària i l'estudi dels enllaços amb la ciutat. L'estudi del traçat dels enllaços, tot i que fou molt correcte, no va ser mai executat per la dificultat que suposava la ubicació de la fàbrica Pirelli. El 1967 un nou Pla d'Ordenació permeté un increment de la densitat constructiva dels edificis, fet que provocà l'abandonament de la idea de ciutat-jardí i l'enderroc dels habitatges originals; aquest fet portà a conseqüència l'enderroc de molts xalets unifamiliars, per ser substituïts per blocs d'apartaments. Com a reacció a aquesta tendència, l'any 1981 fou aprovat un nou Pla General d'Ordenació que intenta protegir aquests habitatges mitjançant la qualificació de Ribes Roges com a "zona de conservació de ciutat jardí".
  2. Vil·la Argentina

    Josep Domènech Mansana

    Vil·la Argentina

    Es tracta d'un edifici unifamiliar aïllat amb jardí al voltant destinat originàriament a ús bifamiliar. L'immoble es troba aixecat respecte de la rasant del carrer i està compost de planta baixa i una planta pis. La forma de la planta és sensiblement rectangular amb mirador i escala adossada als que posteriorment s'ha aixecat una planta i s'ha cobert. Consta d'una ampliació lateral per a la instal·lació d'una cuina. La coberta és de teula àrab a diferents vessants. Les parets de càrrega són de paredat comú i totxo. Els forjats són de bigues de ferro i revoltó de rajola. La major part de les obertures són amb llinda. Algunes tenen la llinda esglaonada. L'obertura de la planta baixa que dóna accés a la terrassa és d'arc apuntat. Utilització del totxo vist en diferents parts com les mènsules esglaonades de maó del balcó, la xemeneia, etc. Trobem elements decoratius aplacats de ceràmica vidriada.
  3. Vil·la Montserrat

    Josep Domènech Mansana

    Vil·la Montserrat

    Es tracta d'un edifici unifamiliar aïllat amb jardí al voltant. L'immoble és de la planta és sensiblement rectangular i es compon de planta baixa i una planta pis sota cobertes inclinades de teula plana de les que sobresurt una torratxa -mirador de planta quadrada i coberta de pavelló. El cos davanter és de planta baixa amb terrassa i pèrgola superior. El soterrani va ser construït posteriorment i es fa servir com a garatge. Les parets són de paredat comú i totxo. Els forjats són de bigues de ferro i revoltó de rajola i de bigues de formigó i revoltó ceràmic. Hi ha obertures amb llinda i altres d'arc apuntat. Presència d'ornamentació amb aplacats de ceràmica vidriada i trencadís. Trobem totxo vist en arcs, pilars, capcers, mènsules, ampits i llindes. A la torratxa hi ha un important ràfec sustentat per mènsules. La coberta és de teula plana en part vidriada que forma un dibuix.
  4. Old Esparreguera Slaughterhouse

    Josep Domènech Mansana

    Old Esparreguera Slaughterhouse

    The Old Slaughterhouse of Esparreguera is one of Domènech Mansana's works that are conceived on the border between Catalan Art Nouveau aesthetics and Noucentisme. Some construction details and the use of exposed brick framing openings still evoke the modernist sources, but the lack of added decoration and the basilica plan and section of the building are already of a noucentist style. In this way, the property, which occupies an area of 300 m2, consists of three naves separated by columns, the central one higher than the side ones, which are symmetrical. The central nave is covered by a gable roof, while the sides are covered with single-sided roofs. In the main nave, the main façade is arranged with respect to a central axis, where the access door is located, in a pointed arch profiled in brick and green glazed ceramic buttons on the imposts. In the gable there is a large window which is also pointed and is divided into three parts by two mullions. On each front of the side aisles there is a large window with a wavy arch, a form that is repeated in the windows of the side façades. The building also receives natural light from the line of windows that open at the top of the sides of the central nave, which repeat the wavy shape of the lintels and are tripartite with single mullions. The cornices are decorated with lace placed under the eaves, and at the ends of this there are stepped ornaments in the form of corbels. The slaughterhouse stopped functioning as such in 1985. Then it was used as a cultural centre and hosted exhibitions, as well as the castellers, the giants and the devils of Esparreguera. It is Esparreguera's Federation of Entities of Popular and Traditional Catalan Culture, users of this equipment, that bring together the different groups. Josep Domènech Mansana was the son of the architect Josep Domènech i Estapà. In 1917 he was appointed architect of the Ministry of Public Instruction, from where he built schools in Badalona, Argentona, Igualada, Esparreguera, etc. He was also the municipal architect of Esparreguera and Sant Celoni, where he designed the Casa de la Vila, the Athenaeum and the Slaughterhouse, and a professor at the School of Arts and Artistic Crafts in Barcelona.
  5. Torre de Can Bonet

    Josep Domènech Mansana

    Torre de Can Bonet

    Torre de Can Bonet is part of the Modernisme artistic movement, reflected in its structures, openings and decoration. Its main feature is a building built from a plinth, which in this case is made of well-fitted stones. From this work, which surrounds the entire perimeter of the house, the walls completely painted in white start, that is, where the opening elements and decorative elements have been arranged. The structure of the house forms a confluence of protruding bodies from a square plan. All the rooms have access to the outside through windows or balconies, which represents a maximum use of natural light (one of the principles and concerns of the time). These bodies all have a ground floor, a main floor and an attic. The type of openings, always based on more or less elongated rectangular windows, is one of the most successful examples of the building, due to the shape of the upper part and the use of exposed brick. On the ground floor there is a combination of round arches and trilobed and pointed variants, with the upper brick framing in some of the cases simulating the typical discharge arch. There are two entrances - one is the main entrance to the house and the other is an exit to the garden. The main entrance has a rectangular door with a treatment of the layout of the bricks which depresses the opening to end in a kind of discharge arch and at the level of what would be the impost, where there is sgraffito decoration. At the top, the door has a protective roof (porch) of glazed tiles, supported by brick permodules and resting on the wall. Below and between the permodules there is a sgraffito frieze with the text "Ave Maria". The roof has a decorative crown of two balls. The second door, considered to be the exit to the garden, has similar characteristics. It has a brick porch supported by columns and on the side attached to the wall. Along the floor, you can see the alternation of windows and balconies with the typologies already described, only adding wrought iron work when it comes to the balconies. The balconies are cantilevered, the slabs are on the support of wrought iron modillions and the railing of vertical bars with circular decorative elements in volute. The upper part continues the treatment of the arrangement of the brick within the three-lobed variants. There are ceramic elements in the impost. At attic level, the openings alternate from two to three and some openings with different types of arches, both round and pointed. Attached between the south-east bodies there is a square observation tower divided into a ground floor and three floors, with the gallery under the roof. Along its walls there are window openings corresponding to the typologies already described, as well as inside the upper part, where there are sgraffito corner elements and different coloured paint framing the open gallery area under the roof. The roof of the tower has glazed tiles combining red and green. Regarding the roofs of the other bodies, it should be mentioned that they are gable roofs covered by tiles with the same combination as before and a ridge perpendicular to the façade. The finish is in straight cantilever breaking the rhythm of inclination with support at each end by means of permodules. At the back of the house, a protruding circular body (like an apse) stands out, intended for the smoking room (ubiquitous space in the distribution of rooms in the house and especially the tower house). It is circular in shape, as evidenced by its projection on the outside, and of a structure similar to garden gazebos as an isolated element of the house. The base is like the plinth that surrounds the house, from which round and smooth support columns decorated with white, blue and yellow ceramic mosaic forming an undulating pattern rise. The entablature is straight forward without mouldings of any kind and from the line of permodules a decoration is formed, first of undulations and spirals, and then a thinner one (a naturalistic effect that perhaps represents water). The sustaining permodules correspond to each of the columns in number and location, presumably the effect is decorative rather than sustaining. The tiles are combined in red and green. On the main façade, at the level of the first floor and above the entrance door, on the right hand side, there is a statue attached to the wall on a plinth, as well as under a canopy, which is made of brick and a conical crown with ceramic mosaic coating. The whole complex is a very successful work of the modernist architect to which we must add, for information purposes, a whole annex of water features that ran along the path from the top to the entrance of the estate, which gives that naturalistic spirit of movement and dynamism that fully characterised the phenomenon of Modernisme, the Catalan Art Nouveau. SHARECROPPING The country house is a building with a rectangular plan, taller than it is wide and which on its main façade shows a ground floor, a main floor and an attic. The entrance can be from the outside of the fence, at the foot of the road, or through the side façade within the boundary of the fence. The two entrances are rectangular doors protected by a roof of three trefoils and the upper one, almost non-existent, with glazed tiles and decorative crowning balls. The door of the side façade has the protection with a gable roof. The window openings have a rectangular formulation. On the ground floor and on the main façade there is a pair of windows - in the "coronella" style - with a lintel arch with a depressed top (reversed funnel feel). On the floor, the rectangular windows continue, with a brick sill and an arch formulation, depressed by the arrangement of the bricks as well as the widening of the lintel giving the sensation of a curtain. In the attic opening there is a window with a lowered arch variant and closer to the discharge arch. The gable roof has little overhangs ending with straight ends. At different points of the façade there are perforated ceramic motifs with ventilation functionality. To the rear of the house there is a lower body with garage functions as well as another auxiliary body below. It is in the same style as Torre de Can Bonet. Summer house from the end of the 19th century. It was built by Josep Domènech i Mansana (1916) for Mr. Manuel Bonet, who was from Tarragona and, after getting married, he moved to Barcelona, where he founded the House of Patents and Trademarks. His only son, Bonet del Rio, was deputy mayor of San Sebastián and of Barcelona, representative of culture and president of the Art Centre. After the Spanish Civil War they wanted to return to the house, but times had changed and they didn’t. Currently, the Generalitat de Catalunya wanted to acquire it.
  6. Escoles Nacionals

    Josep Domènech Mansana

    Escoles Nacionals

    Edifici de planta baixa i pis . teulada a dues vessants . en la façana s'observa una composició que reflecteix la simetria de l'edifici. A la planta baixa hi ha dues entrades que donen pas a dues aules i escales d'accés. els portals d'entrada i quasi tota l'alçada de la 1ª planta estat realitzats amb maó vist i la resta de la façana és estucada. Destaquen: el treball de maó en les obertures de les dues plantes i les decoracions de ceràmica. La façana s'acaba amb un frontó on s'hi inscriu l'escut del poble dels Hostalets fet amb pedra artificial . a les façana laterals s'hi obren finestres i se segueix el mateix sistema de composició. Hi ha un cos adossat a la façana posterior que és de construcció més recent. El terrens eren propietat de Pere Pujol. L'edifici ha estat reformat. A la planta primera on inicialment hi havia les vivendes dels mestres ara hi ha aules. S'ha conservat la distribució del es escales interiors i tot l'exterior de l'edifici. El carrer J. Mestre Ladós va ser urbanitzat a primers del s.XX. Aquest edifiqui forma part d'un conjunt format pels de les cases nº 1,3,5,7.
  7. Sant Celoni Town Hall

    Josep Domènech Mansana

    Sant Celoni Town Hall

    Civil building composed of a ground floor and two landings. The central body is covered on the four sides, and the lateral bodies, with a single floor, have a flat roof crowned with a balustrade. The clock tower stands out of the central body, with a square plan and a flat roof framed by a powerful eaves. An iron pyramid with bells protrudes from this tower at the top. The formal and decorative elements tend towards modernist aesthetics. This building is located in Plaça Major or Plaça de la Vila. The Plaça Major is the most important urban space in the old part of the town, in it there are other representative buildings of the late 19th century and early 20th century architecture.

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