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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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


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2019-2023 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2023 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar Ornaque

External Collaborators:

2019-2023 Lluis Andreu Sergi Ballester Helena Cepeda Inès Martinel Maria Jesús Quintero

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:



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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Arquitecta per l’Escola Tècnica Superior d’Arquitectura de Barcelona l’any 1997.

L’any 1998 s’incorpora com a arquitecta a l’estudi de Carlos Ferrater i l’any 2006 constitueix juntament amb Carlos Ferrater, Borja Ferrater i Xavier Martí Galí la societat Office of Architecture in Barcelona (OAB), juntament amb Núria Ayala com a directora de projectes.

Entre les seves obres en coautoria amb Carlos Ferrater destaquen la rehabilitació de la Casa- Estudi de Coderch a Barcelona, un Centre de Serveis Socials a l’Eixample de Barcelona, i un conjunt d’habitatges a la plaça Lesseps, Barcelona, aquest últim en coautoria amb Xavier Martí. Ha realitzat diverses obres, entre elles l’Església Evangèlica de Terrassa, diferents edificis d’habitatges, diverses cases unifamiliars, entre elles la «Casa davant el mar», en coautoria amb Xavier Martí, el Roca Barcelona Gallery en coautoria també amb Borja Ferrater, l’Hotel Alenti a Sitges, la rehabilitació del l’antic edifici de remolcadors al Port de Barcelona i el nou port esportiu i edificis d’oci al port de Tànger, Marroc.

Actualment està treballant en els projectes de la nova llotja de pescadors al port de Barcelona, un projecte d’habitatges i oficines a la ciutat de Montevideo, Uruguai, un projecte per una residència per a gent gran a Terrassa i tres habitatges unifamiliars a Barcelona.

L’any 2006 va exposar l’obra «Centre de Serveis Socials a l’Eixample» al MOMA de Nova York en el marc de l’exposició «On Site: New Architecture in Spain».

Finalista als Premis FAD d’Arquitectura l’any 2000 per un edifici d’habitatges a Sant Cugat del Vallès. Premi d’Arquitectures de la demarcació de Girona del COAC l’any 2017 per la «Casa davant el mar» al Port de la Selva, en coautoria amb Xavier Martí.

Professora de Projectes a la UIC durant els anys 2019 al 2012, professora del 1r semestre del 3r curs de Projectes a la UEM de Madrid al 2012, professora col·laboradora a la Càtedra Blanca a l’ETSAB (UPC) durant els anys 2012 a 2015. Va ser professora al workshop d’estiu del Màster Madrid City a la Universitat San Pablo CEU al 2013 i posteriorment al concurs «Un universo efímero», dirigit pels alumnes del màster. Professora col·laboradora anualment en el Màster MArch a València juntament amb Núria Ayala. Jurat dels Premis Cosentino Design Challenge 2016 i Premis Neolith 2017. Va ser membre del jurat dels Premis Palmarés Technal 2013 a París.

Actualment és professora de Projectes de 2n curs a l’Escola Superior d’Arquitectura de la Salle, a Barcelona.

Author: Office of Architecture in Barcelona (OAB)

Works (9)

On the Map


Cronology (12)

  1. Passeig de Gràcia 99 Apartment Building

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Passeig de Gràcia 99 Apartment Building

    The project proposal consists of carrying out a comprehensive rehabilitation of a building located at the intersection of Passeig de Gràcia with Rosselló Street in the Eixample. The building was intended for offices, and it is proposed to change its use to housing on the upper floors and commercial premises on the ground floor and mezzanine. The floor plan is organised into apartments of 60 and 100 m2, with one and two bedrooms with open spaces, kitchens incorporated at the end, mobile panels and a small intermediate space with different filters that separates the house from the street. The chamfered apartments adopt geometries in accordance with their situation. Such rehabilitation involves the demolition and new construction of the façade - maintaining only the current forged structure as well as new vertical cores of communication and roofs - cutting the existing overhangs so that the resulting façade is a sum of different skins 50% opaque and 50% glass, as is mandatory in the Eixample, alternated by layers that can slide, allowing combinations of natural light for the floors and great formal dynamism of the façade. A 5 mm translucent marble in the outermost skin that has the effect of letting light through during the day and during the night through strategic lighting with LEDs, acts as the principal source of light.
  2. Plaça de Lesseps Apartment Building

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri, Xavier Martí Galí

    Plaça de Lesseps Apartment Building

    The building volume is part of one of the new metropolitan plans of the city of Barcelona along with the opening of a new street and the widening of another. The volumetric proposal of this building is solved in an organic way by dividing the building into two parts separated by a free space between the blocks. This decision allows to optimise the passage with eight-meter-deep lights in its corresponding façade and to ventilate all the rooms to the outside. The fit of the building in the free space between blocks in the longitudinal direction allows a turn to the chamfer that collects the double façade of the building, emphasising the volumetric fracture, and thus lightening the frontality of the building. In this way, verticality is again achieved with an organic image of a bicephalous building. On the ground floor, access to the premises also takes place from the space between the two blocks and also from the streets. The car park is distributed in three basements occupying 100% of the gauge and is accessed through a ramp located next to the dividing wall with access to Riera de Vallcarca Street, which is the lowest point of the site. The accesses to the houses are made through four gates located two by two in the North and South façades respectively. The façades offer a set of fixed shutters and metal sliding windows that open and close the terraces and allow a better integration of the interior and exterior spaces that dim the natural light. The shutters are made up of stainless-steel uprights and pearl grey lacquered tubular crosspieces and are framed by thin steel handrails forming a grid where the verticals set a rhythm and the horizontal ones sharpen the edges of the slab. These lattice façade plans, together with the glass interior plan, are woven around its perimeter, creating interstitial spaces, places of transition between the city and inhabited interior space, a legacy of the Mediterranean architecture of Coderch. The building, together with the Joan Fuster Library, stands as an icon of the new Lesseps Square.
  3. Line 4 Metro Station: Llucmajor

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Line 4 Metro Station: Llucmajor

    The Llucmajor station remodeling project essentially tries to get the most out of its spaces by connecting them to each other, removing barriers, both traffic and vision, and emphasising the height that the platforms and tracks already have, to thus enlarging and dignifying the station. The project basically opts for the use of a single material, terrazzo, and a single colour, white, as a covering for all the facings in all areas of the station. Only in ceilings and some specific facings steel will be chosen, vitrified in vertical faces and galvanised in ceilings, which will help to close these spaces to achieve permeable ceilings with a feeling of dynamism and luminosity.
  4. Roca Barcelona Gallery

    Office of Architecture in Barcelona (OAB), Borja Ferrater Arquer, Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Roca Barcelona Gallery

    Already in the first steps for the conception of the institutional headquarters of ROCA or Roca Barcelona Gallery, the architectural project is understood as a tool for the dissemination of a brand and a company. The building is planned based on the communication strategy, another way to spread the values, history and challenges of the company and a transmission channel to attract the interest of the public towards the values, the product, the projects and concerns of a company with more than 80 years of history such as Roca. The commission envisages the realization of a complex program in which the institutional headquarters, a museum of the brand and a platform for events of a social nature and from the business world mix and coexist. The architectural project was based on two essential ideas. Its shape and external appearance and the experience of the space lived inside. The building, surrounded by multiple taller buildings, aims to show itself to the city by understanding its own scale. Due to its urban context, the building is surrounded by the adjacent volumes and is distinguished by its smaller scale and its purity of form. Without resorting to the speculative forms typical of an architecture that seeks to realise itself through the show, the building, while discreet and elegant, manages to differentiate itself from any other. As the main objective, we researched and worked to conceive a façade that, being observed with a minimum of attention, would not leave anybody indifferent and would try to arouse curiosity. Also, from the beginning, the possibility of creating a "skin" for the building that could perhaps offer a showy effect towards the outside, but which on the other hand had no relationship or apparent consequence to the building’s interior, was given up. It was sought, therefore, to work as much as possible under these premises. Finally, after testing different possibilities, we came up with a solution for the façade based on the arrangement of a single material, the succession of multiple glasses arranged perpendicular to the axis of the façade. Thus, based on tests and prototypes, we were able to verify how new effects such as diffraction, reflection and refraction of light are produced, resulting in the distortion, translation and superimposition of the image across the façade. It was the light, both natural during the day and artificial at night, which then became the protagonist. Thus, we obtained a completely ambiguous façade that was shown both as an element of solid character by day and liquid by night, both heavy and light, both rough and smooth and in which it is sometimes difficult to recognise if its character is transparent, translucent or opaque. Thus, from the outside, when we look inside the building, the façade offers us an ambiguous (distorted) view of its interior, making it necessary to enter in order to really discover it; once inside, if we look outside, towards the city, we will observe a whole series of visual effects as if it were a game, where nothing is really where it should be. Some light rays pass through in a straight line while others are reflected the other way around, producing something similar to an image overlay. Others, at the same time, diffract to show themselves in all the colours of the rainbow. From the inside, we observe streets where there were none before, buildings are duplicated, and we see pedestrians walking by thinking they are where we see them but, in reality, they are in a different physical place. Our objective was met since we were looking for the realisation of a façade that, whenever looked at carefully, offered a plausible but subtle prescriptive effect at the same time. Just as a building projected outwards is conceived, a world, a space and a unique atmosphere are sought inside. Once inside, through the use of light, audiovisuals, materials and exhibition elements, an attempt has been made to generate an interior space very different from a usual exhibition space, where the visitor lives an intense and unique experience with the building. The interior space, therefore, is conceived as a personal and sensory experience in which the user or visitor interacts with the building thanks to presence detectors, directional speakers, light changes, projections, projected characters that interact with visitors and plasma screens that project moving objects. At the same time, all these elements are inserted as if floating in an indivisible and continuous space. The application of a slightly reflective and experimental pavement made of ceramic, a false ceiling in stainless steel and the walls of foam tetrahedrons, make up the three main materials in its interior. All of them are continuous materials: three planes that due to their condition of continuity recreate a weightless space, marking the horizontality and without spatial or formal references turning the physical space into a sort of virtual space. The technology applied to construction, to audiovisuals and to the way of explaining the brand and its product, are essential to convey the commitment that the company has to its future. The project for Roca Barcelona Gallery echoes the most advanced technologies in terms of lighting, materials such as ceramics, glass and steel. For all this, it has been necessary for ROCA and the OAB architecture team (Borja, Lucía and Carlos Ferrater) to have another team of experts in different fields such as communication, construction, lighting, audiovisuals and many other specialists of excellence who have made the creation of a flagship building and emblem of their brand possible.
  5. F3 House

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    F3 House

    The house is located on a rectangular urban plot and is born from a grid that modulates the structure both in plan and in volume. It is separated from the ground, perceiving it as a suspended body in which the pillars and the gables can be seen on the outside, delimiting the façade planes and forming the volumes. The placement of the building close to the street allows a garden area with a swimming pool to be freed towards the interior of the block. The volumes are articulated according to the needs of the program and the configuration of the interior space to emphasise the relationship with the exterior spaces, which is the objective of the project. Each area of the house is extended with an outdoor garden space, generating a perimeter route in which the vegetation is the protagonist; thus, visually entering the interior spaces. The structural profiles delimit and stress the façade planes that are composed of solids and voids brought to the limit of the perimeter. This game of the façades and the volume allows the light to fall in an intentional way on the interior, receiving a game of changing lights and shadows throughout the day. The use of white limestone in the blind facings and the large glass windows made by Vitrocsa are solved with a structure in minimal enclosures that provide it with a light character.
  6. Evangelical Church

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Evangelical Church

    Deprés de dotze anys de recerca d’un solar, l’Església Evangèlica Unida de Terrassa, una institució gairebé centenària de la ciutat, troba el seu lloc al barri de Can Tusell amb façana a l’Avinguda Béjar, un dels grans carrers d’accés a la ciutat i de comunicació amb la zona industrial. L’edifici, que ocupa un terç del solar i situat en la seva part més baixa amb un accés des de l’Avinguda Béjar, combina usos pròpiament religiosos (celebra el culte tots els diumenges pels matins) amb uns usos socials fruit d’un conveni amb l’Ajuntament. El complex es manifesta com una gran base monolítica que va disminuint d’alçada a causa de la pendent del terreny format per platines d’acer en forma de revestiment i de valla sobre el que es suspenen dos cossos. En una posició central i de major tamany s’aixeca un cub amb arestes i modulat, revestit amb un nou material d’alumini reciclat, prensat i injectat i que gràcies a la seva brillantor li otorga un caràcter emblemàtic a la peça que alberga al seu interior; la sala per al culte. L’altre cos de menor altura i pròxim al carrer Tramuntana es suspèn i surt en volada. En aquest cas les arestes emmarquen uns plans d’alumini ondulat i perforat que actuen de gelosia com una segona pell per al programa de guarderia. Mentre la façana a l’Avinguda Béjar es presenta com un pla tens, rigorós i continu que amaga el seu accés, les dos façanes laterals mostren la seva cara més amable on la vegetació emmascara una valla que actua de segona façana. De manera que el pla del vidre es retrau respecte al límit del solar i així tots els espais perimetrals disfruten de llum i ventilació així com d’intimitat i seguretat. Degut que la guarderia s’accedeix per un nivell superior i separat, el programa funcional, tant religiós com social, es desenvolupa tot en planta baixa a excepció d’un altell suspès sobre el doble espai de la sala de culte. Un espai de recepció permet el pas i distribueix per un costat la zona d’administració i, per l’altre, un corredor facilita l’accés a dotze aules i al front la sala de culte, peça central que vertebra tot el programa de necessitats al seu voltant. La sala de culte s’orienta perpendicular a l’eix d’accés de manera que gràcies a un sistema d’envans mòbils estableixen una relació directa amb els espais contigus que al seu torn aquests es relacionen amb l’exterior a través d’uns patis. Mentre els criteris compositius de l’interior responen a criteris funcionals, els exteriors responen a la situació, l’orientació i sobretot al desig de ser un edifici discret i contingut desde la distància curta però al mateix temps una peça de referent del culte evangèlic des de la distància més llunyana.
  7. Barcelona World Race Interpretation Centre

    Office of Architecture in Barcelona (OAB), Jordi Carbonell, Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    Barcelona World Race Interpretation Centre

    The tugboat building, a master builder's construction, dates from the beginning of the 20th century and for years has endured low-quality renovations. That is why the proposed refurbishment, added to the fact that it is located at the end of a front of buildings with the same port colonial character, proposes a reconstruction operation of its central part (the most damaged structure), arrangement of the lateral towers and only raises a new cover, where the maximum height is maintained and collects a large skylight in its upper crowning as well as large windows on both sides of the promenade and the port. The two-storey building houses a shop, a showroom and bathrooms on the ground floor, while on the upper floor there is the office, warehouse, meeting room and a large multi-purpose room for to the different institutional acts. The refurbishment of the building is understood from the point of view of the set of buildings that follow on this same front, all of them subject to a subsequent one that will be carried out in the port of Barcelona. The solution of the roof of the central body, without varying the height or the configuration of the roof with two gables, responds to an idea of a rib through which natural light penetrates and is reflected during the day while at night it is projected as a big lighthouse. Constructively, a system of panels for the façade, beams, slabs and pilasters, all prefabricated, make up the central body reconstructed faithfully to the pre-existing structure. Above this a structure in the form of ribs guided by steel plates rises, and between which the glass surface folds allowing the entry of vertical and zenithal light. The rigorously reformed lateral towers adapt with their voids and interior spaces to the new program. Finally, the broken white melts throughout the building so that only the game of reflections, lights and shadows of the new intervention takes the spotlight.
  8. FAD Award

    Shortlisted. Category: Interior Design

    FAD Award

    Roca Barcelona Gallery

  9. FAD Award

    Shortlisted. Category: Architecture

    FAD Award

    Evangelical Church

  10. Mostres d'Arquitectura (Barcelona)

    Shortlisted. Category: Edificis d'Habitatges Plurifamiliars de Promoció Privada

    Mostres d'Arquitectura (Barcelona)

    Plaça de Lesseps Apartment Building

  11. Casa Davant del Mar

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Xavier Martí Galí

    Casa Davant del Mar

    Situada la badia de Port de la Selva, a la costa nord del Parc Natural del Cap de Creus, davant del mar i la tramuntana. La casa, una construcció entre mitgeres, recull l'herència cultural del lloc i pren com a referència les cases Villavecchia de F. Corretja i A. Milá i la casa Senillosa de J.A. Coderch, ambdues ubicades a la població veïna de Cadaqués, i són exemple del respecte per allò tradicional, tot incorporant-hi comoditats i elements moderns. Construïda en una parcel·la profunda i estreta entre dos carrers: el passeig de la Platja i el carrer Selva de Mar, i té edificis molt propers i de major altura. La secció resol els condicionants de la normativa del casc antic per mitjà d'un escalonament de la secció a mesura que s'aproxima al carrer posterior, millora les condicions d'assolellament i ventilació i adequa les alçades, com les façanes tradicionals dels patis protegits. Atesa la proporció allargada de la parcel·la, l'orientació solar al nord, els difícils condicionants meteorològics i la falta de privadesa, la casa planteja un pati aïllat i protegit en un lloc central obert a la casa, que es converteix en un espai de relació i estar, que participa del dia i la nit, i que es protegeix de la calor, el fred, la pluja i el vent. Aquest és el lloc de relació entre els habitants i el seu espai íntim imaginat per a una vida no amenaçada. L'interior de la casa es distribueix en tres nivells. A la planta baixa, hi ha un accés pels dos carrers; hi ha un accés posterior al garatge i un accés per als vianants a la part del davant, per la qual s'accedeix directament a l'espai de cuina-menjador-pati, mantenint així la tipologia de casa de pescadors. A la primera planta hi ha els dormitoris, als quals s'accedeix per dues escales; una interior i una altra exterior. En aquest nivell el pati és un atri de distribució a través d'una galeria penjada que genera un contínuum centre de la vida domèstica. Finalment, al segon nivell hi ha la biblioteca, l'estar i una terrassa protegida que mira cap al mar. Constructivament, la casa es resol economitzant mitjans i reconeixent la lògica estructural interna dels seus materials, que, gràcies a la incidència de la llum, manifesten els aspectes més sensitius del seu interior. El rigor, l'austeritat i la materialitat defineixen els espais que connecten l'escala domèstica de la casa amb el pati o domini figurat, que, en transcendir allò domèstic, construeix una escala major en la qual l'imaginari enriqueix la forma d'habitar.
  12. 257 Rosselló Housing Building

    Office of Architecture in Barcelona (OAB), Lucía Ferrater Arquer, Carlos Ferrater i Lambarri

    257 Rosselló Housing Building

    The project was about transforming an office building into a new residential one. The building had been designed by the architect Roberto Terradas Via in 1962, and it was considered a Site of Urban Interest with protection level C in the Barcelona Heritage catalog. After consultations with the author's children and with the need to adapt it to current regulations and the criteria of the technical code, the rehabilitation of this modern heritage is done with great respect towards the original proposal. Respecting the compositional criteria of the façade on Rosselló Street and the façade in the Palau Robert gardens, materials such as white limestone, grey granite and coloured ceramics are restored, incorporating locksmithing and new steel joinery. Preserving the original trace, a set of pivoting windows with a vertical axis with a glass sill is created that incorporates adjustable shutters with horizontal slats inside its glass, solving issues of security, tightness, ventilation, insolation and insulation, as well as the cleaning of the glass from the inside thanks to the three opening positions of the window, 10, 30, 90 cm. The closure of the ground floor respects the original recessed solution by adapting it to the new use of the building, emphasising the riveted iron pillar, reconstructing the old canopy and creating a new lobby with a double scope of access. The common spaces, such as the hall, landings and interior patio, are treated with period materials such as paving stones, ceramics, wood and iron respecting the formal ideology of the Roberto Terradas Via project. Inside the flats, the proposed distribution allows a certain flexibility and the view from the main area of the unitary set of the four windows. The penthouses, porches and spaces between terraces, as well as the community technical installations, are arranged following a criteria of respect for the old building and the environment.