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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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


About us

Architects' Association of Catalonia:

Àrea de Cultura


2019-2022 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2022 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:

2019-2022 Lluis Andreu Sergi Ballester Maria Jesús Quintero

With the support of:

Generalitat de Catalunya Departament de Cultura

Collaborating Entities:



Fundació Mies van der Rohe


Fundación DOCOMOMO Ibérico

Design & Development:

Nubilum Edittio

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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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In Pictures

  • Josep Maria Soteras i Mauri


Va néixer el 23 d’Abril de 1907 i va morir l’onze de Març de 1989. Obtingué el títol d'arquitecte el nou d'agost de 1930 a l'Escola Tècnica Superior d'Arquitectura de Barcelona. Va desenvolupar una extensa carrera com a arquitecte, realitzant nombroses col·laboracions amb arquitectes com Lorenzo García-Barbón Fernández de Henestrosa i Francesc Mitjans i Miró. Val a dir també, que va exercir d'arquitecte en cap de la Unitat Operativa de l'Ajuntament de Barcelona. De la seva producció cal destacar els plans parcials del sector final de la Diagonal, Santa Coloma, Zona Nord de la Diagonal i les Corts, i els projectes de l'Estadi del Fútbol Club Barcelona, El Palau d'esports de Barcelona, l'antic estadi del R.C.E. Espanyol i les "Vivendes" del Congrés Eucarístic. A més, és l'autor d’edificis singulars, entre els que trobem l'edifici Euro Gran Via S.A. (Gran Via-Lepant), el conjunt industrial de Henkel Ibérica S.A, la Fábrica lámparas Z, els tallers de la Hispano-Olivetti i l'edifici de la Llave de Oro a la plaça Josep Tarradellas.

Source: Arxiu Històric del COAC


On the Map



  1. Hispano-Olivetti Workshops

    Italo Lauro, Josep Maria Soteras i Mauri

    Hispano-Olivetti Workshops

  2. Font del Passeig de Gràcia

    Josep Maria Soteras i Mauri

    Font del Passeig de Gràcia

  3. Eucharistic Congress Housing

    Carlos Marqués Maristany, Antoni Pineda i Gualba, Josep Maria Soteras i Mauri

    Eucharistic Congress Housing

  4. Altar for the 35th International Eucharistic Congress in Barcelona

    Lluís Riudor i Carol, Josep Maria Soteras i Mauri, Joaquim Vilaseca Rivera

    Altar for the 35th International Eucharistic Congress in Barcelona

  5. Municipal Sports Stadium

    Lorenzo García-Barbón Fernández de Henestrosa, Josep Maria Soteras i Mauri

    Municipal Sports Stadium

    Barcelona’s Municipal Sport Stadium is located in the lowest part of the Montjuïc mountain, on a site that had been occupied by one of the 1929 International Exposition’s palaces. It was opened in 1955 to host the II Mediterranean Games and has capacity for any type of indoor sport. It was the only sports centre in Barcelona until FC Barcelona opened the Palau Blaugrana in 1971. The building basically consists of a 65-metre span roof that covers the stands and the sports court. The roof is a vault that is made up of nine reinforced concrete arches with three joints, they are built in situ and have a height of 24 metres from their start at the level of the corridor that separates the two rings of stands. These arches are left visible on the outside and are highlighted by covering the other elements with stone cladding. Inside, only the nerves have been left visible, covering the ceilings with a wooden lath that provides a good finish and serves as an acoustic absorber. The accesses to the building are produced through the flat façades, below two rectangular frames with giant vertical concrete slats that filter the lighting.
  6. Camp Nou

    Lorenzo García-Barbón Fernández de Henestrosa, Francesc Mitjans Miró, Josep Maria Soteras i Mauri

    Camp Nou

    The project responds to the need to accommodate a growing number of spectators for a football club that is constantly growing and with a greater social projection. The design criteria were based on a critical analysis of the world's major football stadiums. The playing field is below street level, so the ascent to the highest ranks is not so exaggerated. The stands follow a course of four lowered curves in order to guarantee the maximum proximity of the spectators to the field of play. In section, the stadium is organised in three overlapping tiers, to make the most of the vertical occupancy. The first tier rests directly on the ground. The second tier houses the grandstand seats and the most favoured seats, which are the only covered ones. The third tier houses the general seats and grows in height on the side opposite the grandstand. The evacuation is organised by the combination of numerous vertical circulation cores connected by uninterrupted walkways. The Camp Nou applies rationality criteria to the program of a high-capacity stadium, where the spectators are the real protagonists.
  7. Ampliació i Reforma de l'Estadi de Sarrià del R.C.D. Espanyol

    Josep Maria Soteras i Mauri

    Ampliació i Reforma de l'Estadi de Sarrià del R.C.D. Espanyol

    El Camp d'Esports de la Carretera de Sarrià, propietat del Reial Club Deportiu Espanyol de Barcelona, amb un aforament legal d'uns 15.000 espectadors, resultava insuficient per contenir còmodament la gran afluència de públic que desitjava presenciar les competicions de futbol que en el mateix se celebraven, per la qual cosa, des de feia temps, l'ampliació de les graderies de tribuna es feia indispensable. En les alineacions del sector aprovades per l'Ajuntament en 30 de novembre de 1953, es va preveure la possibilitat de la permanència i l'ampliació del Camp d'Esports de la Carretera de Sarrià de manera que fos possible una capacitat legal d'uns 35.000 espectadors, quedant el recinte del Camp d'Esports envoltat en gairebé tot el seu perímetre per carrers. Per encàrrec de la Junta, es va redactar un avantprojecte general que permetés el desenvolupament de les obres en diverses fases successives i d'acord amb les possibilitats econòmiques del Club. La primera fase correspon a l'ampliació de la tribuna principal, que constitueix l'objecte de l'actual projecte. DESCRIPCIÓ - Les obres consisteixen essencialment en l'addició d'una tribuna superior en voladís sobre l'actualment existent, suprimint la marquesina d'estructura metàl·lica actual i ampliant en 12 metres la profunditat de la graderia. Els perfils transversals han estat acuradament estudiats per obtenir una visibilitat perfecta per a tots els espectadore, tant en les localitats numerades com a les localitats de peu. Es divideix la graderia en tribuna alta i graderia i tribuna baixa. La tribuna baixa comprèn el tram inferior de 6 files de localitats numerades descobertes i el tram superior amb 12 files de localitats cobertes que s'anomena tribuna i en la qual està situada la tribuna presidencial i la llotja d'autoritats, flanquejades pel seu front i laterals per 21 llotges que s'estenen també per darrere de les localitats de la tribuna principal, formant llotges de 6 i 8 butaques. Per a l'accés d'aquestes localitats, s'han previst els següents vomitoris i escales: 6 vomitoris de 2 metres i 2 escales de 3 metres, de 18 metres en total. Les tribunes baixa i principal estan separades per un passadís de 1,20 metres d'amplada, al qual desemboquen els vomitoris i en sentit transversal per escales d'1 m. d'amplada, separades a una distància màxima de 12 m. Les grades de les tribunes tenen 80 cm. d'ample, dels quals 40 estan destinats a seients numerats i els restants a pas. L'amplada de les localitats serà de 0,50 m. per espectador. La tribuna alta comprèn també dos trams diferents: la tribuna superior i la graderia, que al seu torn se subdivideix en inferior i superior. La tribuna superior constarà de 6 files de localitats numerades descobertes i forma un voladís sobre la tribuna principal, d'9,50 metres. La graderia està formada per dos trams de 8 i 14 files de localitats de peu no numerades. Per al servei d'aquestes localitats es projecten els següents vomitoris i escales: tribuna superior, 8 vomitoris de 2 m. ; graderia, 10 vomitoris de 2 m. A la tribuna superior es deixa un passadís de distribució d'1 m. d'amplada, i en la graderia un altre passadís central d'1 m. després de la fila 8. a i un altre de superior de 2 m. després del segon tram de graderia. Les localitats de graderia estan calculades de 0,60x0,50m. d'amplada i deixant escales d'1 m., Amb una separació màxima de 11 m. ESTRUCTURA. - L'estructura de la nova tribuna es projecta de formigó armat, formant pòrtics de dos trams i volada de 9,50 m., Adossant la nova estructura als pòrtics existents de l'actual, deixant entre ambdues una junta de dilatació, de manera que el seu treball sigui totalment independent. La separació entre pòrtics és de 7 m. de la línia d'estructura de façana i convergent radialment segons la curvatura de la tribuna actual. Els pòrtics queden travats per jàsseres transversals i pels forjats de sostres de les plantes i entreplantes descrites. L'estructura es projecta per lloses de formigó armat reticulat, formant-se les graderies per nervis de formigó armat i lloses del mateix material que completin l'arriostrament dels pòrtics. Tota l'estructura ha estat calculada meticulosament per sobrecàrregues de 500 kg. per metre quadrat. Per evitar les esquerdes produïdes per les retraccions d'enduriment, s'han previst dues juntes de dilatació en sentit transversal, coincidint amb les actualment existents a la tribuna baixa actual.
  8. Parròquia de Sant Bernat Calvó

    Josep Maria Soteras i Mauri

  9. Luminor Building

    Josep Maria Soteras i Mauri

    El ayuntamiento derribó un antiguo convento en 1943 para construir la actual plaza Castella. De este convento sólo se conservó la iglesia barroca y se aprovecharon algunas columnas del claustro para construir un porche de acceso. A cada lado de esta iglesia tenía que situarse un edificio con vocación de formar un espacio urbano con lenguaje tradicional y el edificio Luminor tenía que culminar este proceso. Soteras presentó una propuesta al ayuntamiento con fachadas tradicionales, que fueron aprobadas. Sin embargo, acabó construyendo un edificio muy distinto con criterios racionalistas. Es un caso muy parecido al del edificio Novocomum de Terragni de 1929. El edificio Luminor tiene una planta en L que cierra la plaza, mantiene la cornisa horizontal a la altura de los demás edificios y va escalonando la altura de las plantas bajas para adaptarse a la pendiente de la ciudad. Como elementos singulares aparecen unas ventanas adelantadas que sirven de escaparate y una marquesina de hormigón armado que remata el testero del edificio. La ampliación de Coderch es respetuosa con toda estructura formal y constructiva del proyecto. Las diferencias son muy pequeñas, casi imperceptibles.
  10. Blocks G1 and G2 of Montbau Estate

    Josep Maria Soteras i Mauri

    Blocks G1 and G2 of Montbau Estate

  11. Escoles Pies 6 Dwellings

    Josep Maria Soteras i Mauri

  12. Fàbrica Philips

    Josep Maria Soteras i Mauri

    Fàbrica Philips

    Los pabellones están organizados a lo largo de un eje de circulación interior con zonas verdes para el descanso de los trabajadores, como si el conjunto se hubiera concebido a partir de teorías derivadas de modelos higienistas y de ciudades jardín. Actualmente, el entorno ha sufrido graves transformaciones debido a la ampliación de la fábrica. Por motivos financieros y de flexibilidad, se ha destinado un edificio a cada función y se han dejado las plantas libres, definiéndose tan sólo la posición de los servicios, las escaleras y el montacargas. También se ha construido una sala de máquinas independiente para suministrar energía a los demás pabellones. La imagen del conjunto viene determinada por la estructura, que se puede cerrar por dentro o por fuera y permite realizar aberturas muy grandes donde se necesite. En el proyecto se juega con estas posibilidades y se combinan soluciones distintas según el material empleado. En general, se alterna la fábrica de ladrillo visto con el estuco pintado de blanco y el vidrio. Como la ventilación es básicamente artificial, se han colocado ventanas de 1,20 m de altura en las naves y se han protegido con lamas.
  13. Block P of Montbau Estate

    Manuel Baldrich Tibau, Antoni Bonet Castellana, Pedro López Iñigo, Josep Maria Soteras i Mauri

    Block P of Montbau Estate

    In the second stage of planning the Montbau housing estate, there is an increase in building density. It will be the way some buildings are grouped together and the increase in height of others that will make it possible to achieve this. The resulting public space has a more domestic scale, generating small squares around the building. The P block is one of the types developed for this purpose. A succession of L-shaped blocks, staggered, generates a unique framework, around which 3 separate groups are projected, formed by 3 towers each and which close the whole. The homes on the long side of the L have a ventilated and illuminated staircase on the facade and access from the street to the second-floor level, which requires a different typology to the first floor. Here the houses have only one façade, facing the square. On the second, third and fourth floors there are two homes per landing, with a front and rear façade. On the short side of the L, the staircase is in the middle of the floor and gives access to four apartments per landing. In the block, all parts, except for the toilets, are exterior. And both in the rooms and in the main bedrooms, there is a setback in the façade plan that gives an outdoor space, some terraces, in front of them and generates a very characteristic compositional element that is different from the rest of the façades that do not face the square. The constructive system of load-bearing brick walls allows these large openings, given that they are perpendicular to the south and north façades. The façades combine the work seen with glazed ceramic pieces from La Bisbal in blueish and greenish colours.
  14. Montbau Estate: Second Unit

    Manuel Baldrich Tibau, Antoni Bonet Castellana, Pedro López Iñigo, Josep Maria Soteras i Mauri

    Montbau Estate: Second Unit

    When the decision to build the second sector was made in 1961, the Board of Trustees commissioned the architects Manuel Baldrich, Antoni Bonet, Pedro López Iñigo and Josep Soteras to drat the corresponding architectural project. What were the reasons for choosing this heterogeneous team, made up of two municipal architects, a provincial architect and an independent architect, who had just arrived from Argentina with an obvious professional prestige? This team, despite the presence of municipal architects, one of them co-author of the first Plan, decided that it could not be limited to design the buildings, but it was also necessary to completely redo the urban structure of that sector. A new Plan was therefore drawn up, which was approved on July 2, 1962. With this new Plan it seems that exactly the double number of dwellings that had been initially planned in that sector were built.
  15. Habitatges Diagonal 489-495

    Josep Maria Soteras i Mauri

    Habitatges Diagonal 489-495

  16. Factoria Cobega S.A.

    Josep Maria Soteras i Mauri

    Factoria Cobega S.A.

    The building was built on a plot of land on Guipúzcoa Street which, at that time, was the entrance to Barcelona from the Maresme and had a great future as a commercial avenue. The functional approach was based on the decision to show the manufacturing process to passers-by as a great showcase, with the aim of manifesting the powerful image of the industry and presenting it as one of the symbols of the new society. The building is L-shaped with an office wing on the side and a manufacturing wing facing the street, where the process is carried out by gravity in three phases. The sugar and raw material warehouse is located on the upper floor, which descends to the intermediate floor where carbonated drinks are mixed and manufactured. On the ground floor, they are bottled and closed. Through the large windows on the ground floor, the process of bottling carbonated drinks could be seen from the street, although today this is no longer the case since bottling has been moved to the basement. On the first floor, technicians can still observe the manufacturing process through the large glass partitions that subdivide the interior space. The building is planned based on constructive rationality criteria, with an important work in the elaboration of the details.
  17. Block Q of Montbau Estate

    Manuel Baldrich Tibau, Antoni Bonet Castellana, Pedro López Iñigo, Josep Maria Soteras i Mauri

    Block Q of Montbau Estate

    356.The design of the Q block, together with the P and R, made it possible to double the density of the building in the second stage of Montbau’s construction, separated from the first by the Torrent Central (Pomaret). Organisationally, it is similar to the L’s short arm of block P, with a square plant and 17 m laterally. In the same way, the staircase is in the middle and gives access to 4 houses per landing. But having 14 floors in height instead of just 4, requires the installation of elevators. Two of them are placed per block, serving the even and odd plants respectively. The other differentiating factor is the 45º turn with respect to the arrangement of the other buildings, in order to achieve a good orientation and to avoid the frontality between the towers, optimising the views and the sunlight that all the houses receive. It is the only building for which the ground was leveled, so that all 4 façades are of the same height. The structure of this building is mixed with concrete and masonry. At the time, there was still a tendency to build taller buildings with the load-bearing wall system. In this case, the reinforced concrete is introduced into the exterior walls and the brick is retained for the interior structure.
  18. Església Parròquia de Santa Tecla

    Josep Maria Soteras i Mauri

    Éste es un edificio aislado de planta rectangular que ofrece el aspecto de una inmensa nave industrial sin pilares intermedios. Tiene una capacidad para 800 personas sentadas y es completamente diáfana. La estructura de hormigón armado y los cerramientos de obra vista presentan un aspecto general que se podría considerar brutalista, pero los elementos más destacados —el campanario y la cubierta— son muy ligeros e innovadores. El campanario es un elemento singular de carácter escultórico que está formado por dos mástiles de hormigón armado de 45 m de altura que soportan una cruz muy esbelta y ligera, un juego de seis campanas y un reloj sonoro. La cubierta es una superficie reglada formada por una secuencia de paraboloides hiperbólicos que permiten desaguar fácilmente. Esta superficie se genera a partir del movimiento alternativo de unas jácenas metálicas en celosía que se van inclinando a un lado y a otro. La nave de la iglesia está iluminada por grandes vidrieras de hormigón con cristales de colores y líneas abstractas. El testero que cierra el fondo del presbiterio está formado por un muro retranqueado que acaba de cerrar el recinto, sin ornamentos.
  19. Servei Estació

    Francesc Cavaller i Soteras, Josep Maria Soteras i Mauri

    El Servei Estació fue la primera gasolinera catalana de estilo moderno que se construyó a finales de los años treinta. Su fundador, José Manzanares, empezó combinar el servicio de repostaje con la importación de productos derivados del petróleo, evolucionando hacia el plástico y materiales de primera transformación, hasta que pasó a consolidarse como una tienda multiproducto. La evolución del negocio derivó en la necesidad de construir el actual edificio, con un programa comercial mucho más amplio que le ha llevado a convertirse en el Corte Inglés de las ferreterías. El proyecto de Soteras y Cavaller es un edificio de planta libre. Los únicos elementos fijos son el núcleo de comunicaciones verticales y las escaleras mecánicas, que fuero las primeras de Barcelona. El edificio está separado de una de las medianeras por la necesidad de respetar la fachada posterior de un edificio existente, lo que le permite ganar iluminación y acabar el edificio en forma de testero. Los alzados combinan grandes ventanales con aplacados verticales de granito gris. Los pilares metálicos aparecen marcados en la fachada y acaban rematando el edificio con una marquesina metálica.
  20. Fàbrica Electrònica

    Josep Maria Soteras i Mauri

    Fàbrica Electrònica

  21. Habitatges Passeig de Gràcia 99

    Francesc Cavaller i Soteras, Josep Maria Soteras i Mauri

    Habitatges Passeig de Gràcia 99

  22. Habitatges Travessera de Les Corts 174-200

    Enric Giralt i Ortet, Josep Maria Soteras i Mauri

    Habitatges Travessera de Les Corts 174-200

  23. Fàbrica Coca-Cola

    Josep Maria Soteras i Mauri

  24. First Extension of Camp Nou

    Antonio Bergnes de las Casas i Soteras, Francesc Cavaller i Soteras, Juan Pablo Mitjans i Perelló, Francesc Mitjans Miró, Josep Maria Soteras i Mauri

    First Extension of Camp Nou

    The Stadium was inaugurated in September 1957, the first phase being built with just the first two stands and a symmetrical crown. The profile of the Stadium was characterised by the large roof canopy, with a new design adapted by the architects to the conventional techniques of the time. It was not until 1982, already under the presidency of the ineffable Josep Lluís Nuñez, when the original asymmetry of the Stadium was completed with the third tier for the celebration of the World Championship for National Teams. The project for this second phase was carried out by Mitjans and Soteras, together with Juan Pablo Mitjans, son of the first, and Francisco Cavaller, nephew of the latter. The final construction was characterised by the assembly of an envelope of slats around the entire perimeter of the building, and by the inclusion of the body of ramps on the east façade, originally independent, within the volume of the third tier. These ramps, hanging taut from the rear façade, increase the presumed drama of the complex, even at the cost of eliminating the value of the original project as a mediating element. In 1994, due to UEFA regulations, the first tier was adapted, moving the spectators from standing to sitting. This change involved lowering the level of the playing field by almost 3 metres, with the inevitable consequences on the isoptics of the Stadium. The stoic spectacular nature of the original vision of the Stadium and its access to the grandstand on a ramp from the curved geometry car park located in Arístides Mayol, was gradually disfigured from 1957 with the appearance of a crude constellation of buildings. Among them, the beautiful dome of the Palau Blaugrana still shines with its own light, unfortunately currently condemned to demolition, carried out by Soteras together with Cavaller and the engineer Florencio del Pozo. Its less fortunate exterior volumetry clumsily intermingles between a group of banal auxiliary buildings. The set, far from the mythical category of the stadium, ruins the symbolic access to the building. Also, the additions made to the west façade, including the current museum headquarters, with similar authorship, do not help to not deny the hypothesis of the existence of a genetic component in the quality of an architect. Architectural knowledge, and this is even more visible when intervening in a pre-existing building, is probably of doubtful hereditary character. It is acquired with effort, dedication, perseverance, and even though it may not be fashionable today, with high doses of humility and willingness to serve society. More than fifty years later, the Camp Nou maintains its stoic dignity and functionality as a stadium. Another question is whether it is the right set for broadcasting a football match, when the viewer becomes part of the show. Or when the ancient temple of sport is transformed, biblically, into a market. Well, into a mall.


  • Perspectiva exterior del Camp Nou


    Perspectiva exterior del Camp Nou

    Fons Quaderns d'Arquitectura i Urbanisme / Arxiu Històric del COAC

  • Perspectiva de l'exterior del Polígon Montbau: Unitat Nord-Est.


    Perspectiva de l'exterior del Polígon Montbau: Unitat Nord-Est.

    Arxiu Històric del COAC