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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
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2019-2025 Aureli Mora i Omar OrnaqueDocumental 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 OrnaqueCollaborators:
2019-2025 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse ViuExternal Collaborators:
2019-2025 Helena Cepeda Inès MartinelWith the support of:
Generalitat de Catalunya. Departament de CulturaCollaborating Entities:
ArquinFADFundació 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.
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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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Arquitecte. Titulat a l’ETSAB l’any 1960 d’on va ser professor i Doctor el 1971. Obrí el 1961 estudi a Eivissa amb Raimon Torres i Antoni Miró. L’any 1963 torna a Barcelona on va crear el seu propi despatx, desenvolupant una intensa activitat professional, política i cultural; va ser director de la revista Quaderns (1969-1972). Realitzà obres com l’escola Eduard Fontseré (1982), el Grup Baró de Viver (1988), el C.A.P. Sant Ildefons (1991) o la residencia Teixonera (1992)
Source: Arxiu Històric del COAC
Works (25)
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Chronology (27)
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Gómez House
Habitatge de temporada amb un programa mínim i estricte. Es desenvolupa sobre la idea d'una rígida contenció expressiva, però alhora utilitzant al màxim aquesta mateixa rigidesa de l'esquema constructiu, per a crear un ritme monumental i singular però alhora lleuger i alat mitjançant la utilització de les transparències que atorga el pòrtic acolumnat, que protagonitza tota la construcció. Com en altres casos similars, aquí el clima i la modalitat d'ús de l'habitatge van conduir a centrar l'atenció en els espais exteriors, que es defineixen mitjançant murs de formigó de pedra i l'escalonament de terrasses sobre un terreny suaument inclinat. L'edifici aquesta emplaçat en un paisatge aspre, pedregosos i enfront d'una mar rabiosament blava. Els murs de l'edifici es van pintar d'un color marró fosc i s'aixequen sobre un basament de formigó de pedra, com les voltes que envolten la parcel·la i defineixen els patis i terrasses esmentades. En aquest paisatge semi desèrtic la construcció s'aixeca com una ruïna sòbria i potent de la qual s'ha eliminat qualsevol concessió a la fantasia o a l'amabilitat d'uns acabats, que voluntàriament s'han emportat a la seva més radical expressió bruta. El joc superior de voltes paredades es pinto en blanc. Amb això s'acusa el contrast o contrapunt entre un basament fort i fosc i una coronació alleugerida pel color i suavitzada pel ritme de corbes i arcs. L'element que protagonitza el conjunt és el pòrtic voltat que uneix les dues parts massisses de l'edifico, l'habitatge i el garatge. Aquest pòrtic aquesta format per la successió de cinc voltes rebaixades i recolzades en una doble fila de pilars molt forts, els quals emfatitzen el ritme d'arestes verticals que emergeixen del terreny i que es contínua en els massissos tancats mitjançant el regruix dels seus murs laterals sobre els plans de testera. Tota la fusteria exterior és envernissada i al natural. L'interior és totalment blanc amb l'excepció de les voltes que s'han deixat vistes en el seu material ceràmic de color vermellós. -
Mangrané Houses
El projecte assenyala els orígens de les investigacions de Donato sobre els caràcters distributius dels habitatges, que es perllongarà tot al llarg de la seva carrera. Es tracta de quatre habitatges d’una sola planta organitzats en forma d’esvàstica a l’entorn del dipòsit d’aigua central. Cada casa adopta una planta en L, amb les sales d’estar a la part central i les ales dels dormitoris a l’extrem de cada braç. Cada casa té un recinte semiprivat propi, i l’orientació general del conjunt en permet una bona assolellada. El sistema murari presenta tres ordres: un sòcol de maçoneria, corresponent als murs que tanquen el recinte; una arrebossada fosca per a la franja intermèdia, la casa pròpiament dita, i una arrebossada blanca per als elements que sobresurten de la coberta. Si bé anticipen molts trets arquitectònics propis de l’autor, les cases Mangrané presenten unes solucions peculiars que no es tornaran a repetir més tard. -
Rosselló 152 Dwellings
Sert introduced the concept of minimal housing and divided the floor plan of this building into four apartments per landing, two facing the façade and two facing the courtyard of the block. This solution represented a radical break with the usual layouts in the Cerdà expansion, which prioritised the main façade facing the street and relegated the façade facing the inner courtyard of the block to the background. In this way, he managed to reduce the number of small interior patios to a minimum and made it easier for most of the rooms to be ventilated directly through the façade. As the plan is symmetrical in both directions, the two façades are exactly the same. The original project contemplated the construction of two symmetrical buildings, although only the first one was built. The repetition of these two buildings between partitions generated the image of a unitary block, which was an expression of serial construction and machine culture. Originally, the ground floor was raised on stilts and defined a porch that contained a covered passage for the entry and exit of vehicles to the workshops inside the block, but, currently, this ground floor has been closed to incorporate shops. The result is a cubic volume, with a strip of shadow produced by the openings of the terraces that contrasts with the white colour of the stucco and the flat treatment of the façade. -
FAD Award
Shortlisted. Category: ArchitectureRosselló 152 DwellingsMestres House
Habitatge de repòs per a matrimoni ja major, organitzada en dos cossos voltats independents però vinculats visualment per un mur alt que abriga un pati de servei. El cos principal agrupa sota una única volta paredada de directriu circular el programa mínim d'habitatge de dos dormitoris dobles, en el qual la sala d'estar s'estén cap a l'exterior sota àmplia pèrgola l'espai de la qual es defineix mitjançant murs baixos i bancs d'obra, com a pati obert però resguardat dels vents de ponent. El segon cos cobert per volta d'eix perpendicular a l'anterior s'utilitza com a garatge i traster. Els timpans s'han deixat oberts en aquest cas i tancats amb cristall armat fumat en el primer. Els acabats són naturals i el seu aspecte aspre és intencionat per l'aridesa del paisatge pròxim en què pretenen integrar-se. Els murs són de maçoneria de pedra del mateix terreny, amb nafra gairebé seca a l'exterior i s'han pujat mitjançant encofrat de planxes metàl·liques a l'exterior i d'envà de tochana de 10 a l'interior. Aquest últim rep l'enguixat i permet allotjar les instal·lacions. La volta formada per una primera fulla de rasilla de Piera i una segona d'encadellat s'ha deixat vista interiorment amb terminació d'oli de llinosa cru. Tots els paraments interiors van ser prevists en blanc i només la fusteria, marcs, fulles i forts tapajunts, s'ha pintat de colors nets d'una gamma verda al siena i terra ombra.Bernat House
Petit habitatge pertanyent a una sèrie que es construeixo entre els anys 66-68, en una urbanització en règim de ciutat jardí extensiva. En els primers casos i malgrat tractar-se de clients particulars, s'intento triar uns prototips en els quals es van experimentar iguals sistemes constructius, els mateixos materials així com un repertori d'elements funcionals o d'ús, i per tant es va establir el que seriosa una tipologia rigorosa i un conseqüent i estricte llenguatge arquitectònic. En el present cas es tracta del model següent al mínim, el qual consistia en un rectangle cobert per una única volta rebaixada, ampliat aquí amb un tercer dormitori, cobert al seu torn per una segona volta a la qual es va afegir el cos adjacent del garatge. Resulta així una composició en L, amb els tres espais exteriors següents: un de servei en l'àrea d'accés, un altre en la part sud ordenat com a terrassa de la sala d'estar i cobert amb una pèrgola de formigó i delimitat per un banc de pedra i un tercer igualment definit en la façana Aquest dels dormitoris. Com en tots els tipus de la sèrie es va instal·lar una escala exterior d'accés a la coberta per a obtenir millors vistes i un solarium de major privacitat. Els materials són sempre murs de formigó de pedra del lloc, vista exteriorment i realitzat mitjançant encofrat metàl·lic exterior i mur de maó de deu com a encofrat perdut per l'interior, el qual rep les instal·lacions i l'acabat de guix. Les jacenas suport de les voltes són de formigó vist i esbiaixades mitjançant tirants metàl·lics. Les voltes amb a la catalana i per tant de ceràmica vesteixi i crua. La fusteria sempre en tons foscos o vernissada al natural, completa un llenguatge sobri i rude que s'acorda bé amb el paisatge sec i fortament assolellat, d'aquesta part de la costa de tarragona. Sobrietat i rudesa o brutalismo mai van ser compresos pels propietaris que com sempre desitjaven una arquitectura més amable i “moderna”. En cap cas conseqüentment s'entro en un disseny menor o d'acabats, en nom d'una expressió primitiva i rotunda, la qual constitueix no tant una voluntat apriorística, sinó el resultat d'un procés d'invenció arrelat en les possibilitats dels elements programàtics i naturals que defineixen el mateix paisatge i que confereixen a aquests habitatges una gran simplicitat material i volumètrica.Serra House
Josep Emili Donato i Folch, Uwe Geest
L’habitatge va destinat a una família rural, i la interpretació del programa es fa ressò dels costums i les formes de vida pròpies dels seus habitants. La zona de dia es desglossa en dues sales d’estar: una destinada a la vida íntima familiar i a les activitats més quotidianes, i una altra de caràcter més representatiu, destinada als esdeveniments festius. Un estudi situat a la coberta permet d’accedir a unes terrasses des d’on es domina la vida del carrer. La planta baixa queda elevada 1,60 metres respecte del terreny, per tal de privatitzar el jardí i evitar ombres pròpies sobre les estances principals.Puntí Animal Feed Factory Building
This feed factory, with its unique volumetric composition and marked programmatic differences, covers a total of 2,830 m2 built on eight cylindrical silos, a manufacturing tower for mixing ingredients, a raw material warehouse, a finished product warehouse, and the main building for offices and the security guard's quarters. This segregation of functions is also reflected in the choice of materials: the silos are made of reinforced concrete; the warehouses and the manufacturing tower have a structure of metal pillars and trusses and fibre cement cladding, while the volume intended for offices and the security guard's accommodation is constructed using a concrete portico structure and brick cladding. All this, together with the aesthetic expression of the roofs – triangular, sawtooth or inverted pyramid in shape – gives the complex a unique appearance, while retaining the industrial character typical of a factory use.Martín House
Josep Emili Donato i Folch, Uwe Geest
The house is located on a small plot with a steep slope, with magnificent views over the wooded slopes that border the centre of Aiguafreda on the north side. The house distributes the programme making use of great freedom in the three dimensions, in order to adapt to the slope and arrange the different rooms in a compact volume. The living room, kitchen and dining room are arranged on the ground floor in a staggered manner, until reaching the level of the small garden at the back. An intermediate floor houses the master bedroom, and a third level houses a study. The disjointed volumes of the house are unified by a single-sided roof, an inclined plane that favours views to the south from the street and the entrance. The house is developed on a single floor at some points, and on three levels at the highest points, so that each part of the domestic program builds its own volume. An interior patio allows you to go around the entire house through the garden. From the street, the combination of the porch, the semi-underground entrance and the door to the car park build the exterior image of the house.Ribera House
The plot is located halfway up a mountain that overlooks the Vallromanes valley. This small valley furrows the shadowy side of the coastal-Catalan chain north of Barcelona, and descends towards the Vallès Oriental, with a view that reaches the distant Montseny towards the North-East. The area is quite leafy and dominated by the wild pine forests that displaced ancient vineyards from these small valleys of the Maresme. The terraces of these slopes are still perceptible where some old farmhouse resists the advance of recent residential developments. The plot of about 1,000 m2 belongs to one of these urbanisations, which the crisis subjected to slow or no growth in the last decade. The plot has a strong slope oriented exactly to the east and the remains of walls and terraces typical of its previous agricultural use persisted in it, which followed each other in parallel according to the elevation lines. An elementary but clear and suggestive geometry was thus offered for a possible foundation and implantation of the building. On the other hand, from the middle elevations of the plot, the views are wide and dominant over the bottom of the valley and in the direction of Montseny. Without being grandiose, but friendly and somewhat domestic, these views were from the very beginning determinants of the project's intentions. These intentions focused on two guiding ideas: the wall and the piercing of it by the views. The site defined in this way already dictated the construction pattern: a long rectangle supported on a North-South platform, with a double-height opposite to the East - access and services in the semi-basement and habitable upper floor - which is closed by a wall that runs along the entire plot from one end to the other lengthwise. The geometry of a pre-existing agricultural geography is thus reconstructed, simple and with a secular mechanism. The vernacular instance did not point here, neither to a precise constructive type, nor to a pre-existing local architecture derived from it. The vernacular was something primordial here, therefore prior to the rehearsed gesture and already full of stylistic mediations, or transitory tastes. The issue here was perhaps the attitude of that "tired barbarian whose light is extinguished in the deep waters"; barbarian, culture, light and deep waters recalled by the poet friend. In other words, it seemed to me, probably with instinctive naturalness at least, that the objective was to go firmly unnoticed by melting the essential gesture of the house into the already semi-hidden rumour of the place. The wall created the place, defined by its boundaries the foundational space. What's more, the wall was or had to be both the boundary of the place and the place itself erected as a house. But this wall expanded in its thickness until it enclosed the habitable volume and acquired its full meaning in the dominant contemplation of the panoramic views offered by this landscaped balcony. Balcony, section of orographic ledge, clear in the forest and wide perspectives; everything converges in the generous but poignant and almost merciless perforation of the wall, in order to invert the landscape towards the interior living spaces, those that are built and protected after the wall. An old teacher used to say that disturbing things end up being boring and that architecture should not be tiring, it should naturally accompany our moments of rest in its contemplation; because architecture, for better or for worse, remains far more than restless passengers. It is probably not the time for such sacred rites, nor for the recognition of the silent mystery and tension that emerges in the quiet, calm and deep waters where the light is extinguished. Probably also the composition of perforations in the wall is this, excessively composed, even if it starts or is born from a basic order given by the plan and its division into three parts, boxes or volumes strung axially along the long central corridor. Thus, the arrangement in plan is established according to three independent rectangles; three small houses connected longitudinally but separated. The separations are strangulations of the larger virtual box and are built as small patios paired transversely to the major axis, which allow those views to cross not the front wall, but the entire volume of the house, to achieve a sheltered from the wind and sunny rear garden that runs along the internal retaining wall. Also, and from the axial corridor, wide planes of crystal protected by the shadows of the ridges of the courtyards, absorb the landscape fitting it between the walls of these courtyards. Finally, outside and below, a wide semicircular wall supports the parking and maneuvering platform in front of the garage. Its presence serves as a counterpoint to the harsh frontality of the main plan, the only emergency of which is the regular cube that illuminates the access door to the garage.Taxonera Primary School
Josep Emili Donato i Folch, Uwe Geest
The Taxonera district occupies the northern slope of the Carmel mountain, and its growth reflects an absence of urban order or clearly recognisable typological features, as it is one of the remaining areas of the city subject to an uncontrolled development. The building chooses to recover the principles of the architectural discipline as an instrument of intervention in the context. The site, formerly crossed by the Camí dels Plàtans, is interpreted in such a way as to inscribe an architectural geometry linked to the school's program: a triangular piece houses the entrance and common rooms, and a rectangular piece houses the classrooms of two in two, related to an intermediate courtyard that filters the relationship with the outside. Below this courtyard, a 100-metre long and 16-metres wide porch restores the route of the Camí dels Plàtans as a route linked to the pedestrian network.FAD Award
Shortlisted. Category: Arquitectura - Edificis de Nova PlantaCornellà Secondary SchoolBaró de Viver Residential Street Block
Josep Emili Donato i Folch, Miguel Jiménez Eroles, Ramon Martí i Puzo
The existing building is part of a larger project, intended to replace the neighbourhood with "cheap houses" built on the site following the 1929 Universal Exhibition. The renovation of the neighborhood involved the construction of a large room culminated by two concave bodies, plus a third transverse space located at the intermediate point. The aim was to respond to the urban isolation of the neighbourhood through a large block of houses that would generate its own public space, autogenous and indifferent to the morphological diversity of the rest of the city. The houses follow a three units per landing model, in order to avoid the inner courtyards and allow all the houses to face the central room. The cross section saves the difference in level between the Passeig de Santa Coloma and the lower street by means of an intermediate platform from which the stairs and lifts start, and below which are the spaces for parking and shops.Sant Ildefons Primary Healthcare Centre
The urban challenge that our building faces has two sides; on the one hand to help configure the public space of the square with its construction, and on the other to ensure that its character as a public building is evident and offers, due to its shape and configuration, an important quality and presence. The volumetric arrangement of the building consists of a cubic main body of 23 x 23 x 23 metres with a ground floor and 5 landings, hollowed out in the northwest part from the floor to the ceiling, so that a porch is created in its lower scale sufficiently important in relation to the square and leaving a lower diagonal plane of the façade that contrasts with the orthogonality of the rest offering a second skin of the building that enables and singularises an orientation of the cube towards the square.Horta Geriatric Home
Josep Emili Donato i Folch, Miguel Jiménez Eroles, Ramon Martí i Puzo
The geriatric home is located in the Taxonera district, a few metres above the CEIP, built a few years earlier by the same architect. Familiarity with the neighbourhood and the morphological relationship with the old school lead Donato to take the suggestions of the northern slope of the mountain as generators of an expressive game of geometries that replicate the contours of the slope. The building opens in a convex arch to leave a public space facing south and suitable for outdoor activities for the elderly. This counter-curve superimposed on the original topography allows natural light to be collected by the side bands. The platform is linked to the open landscape through a porch in one section, while the other section is reserved for private rooms. The circle inscribed in the volume clearly separates the two parts of the program and articulates the main entrance, which gives access to the lower levels of the building.L'Arboç Secondary School
Josep Emili Donato i Folch, Miguel Jiménez Eroles
L’Arboç és un petit municipi del Penedès, situat en un turó envoltat d’ametllers, oliveres i vinyes, a la vora d’una vall per on passava l’antiga Via Augusta romana. Al poble hi ha algunes residències del final del segle XIX, a més d’algunes ruïnes preromanes i medievals. Donato reprèn el caràcter monumental del poble a l’hora de plantejar l’edifici de l’institut. Emplaçat al nord de la població, en un terreny no urbanitzat, l’edifici queda situat al límit septentrional del terreny, a tocar de la via fèrria, mentre que el pati es col·loca a la banda del poble i adquireix ben aviat un caràcter de plaça pública. L’escola organitza totes les dependències al voltant d’un ampli espai central dotat d’una gran lluerna superior longitudinal que fa que el vestíbul adquireixi una sacralitat remarcable. L’edifici adopta un aspecte de “catedral cívica” tant per la seva disposició tipològica com per la presència que té en l’indret.Igualada Hospital
Josep Emili Donato i Folch, Miguel Jiménez Eroles, Julio Alberto Pueyo dell’Oro
The new hospital adopts an extensive, low-rise model, which allows for greater flexibility of adaptation to the restructuring and future changes demanded by the evolution of healthcare technologies. This model makes the most of natural ventilation and lighting conditions. The layout of the building follows the axis of Avinguda Montaner, and from this axis a rectangular grid is generated that organises the whole building and the internal organisation of the site. The building ends up taking the form of a large plinth with two floors housing the more dynamic and progressive services, while the more static and traditional hospitalisation units are located on the upper part. The base forms an extensive volume that occupies the entire site and is crossed by a system of internal circulation routes and a system of courtyards that guarantee the natural ventilation of the premises. The two transverse wings of the hospitalisation units have a different roof, formed by a circular arch made of sheet metal, which reaches the end walls and gives a different identity to this part of the building.Bibliography (68)
Routes & Notes (6)
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Apunts 8
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Rutes 35
