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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.
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Perspectiva de l'exterior del conjunt dels Apartaments Solitari 2.
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- Author:
- Oscar Tusquets Blanca
- Studio PER
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- Date:
- 1968 - 1969
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- Type:
- Drawing
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- Fonds / Held by:
- Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Memory
Arquitecte. Titulat el 1965 per l’ ETSAB. A més d’arquitecte i dissenyador és pintor i escriptor. Soci fundador del Studio Per i de BD Bcn Design. Al 1987 s’associa amb Carlos Díaz creant Tusquets, Díaz & Asociados
Source: Arxiu Històric del COAC
Works (33)
On the Map
Awarded
Cataloged
Disappeared
All works
Constellation
Chronology (46)
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Bar and Annexes of the Sant Raimon de Penyafort i Nostra Senyora de Montserrat Student Residence
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
It consists of a space with high ceilings, generous dimensions and it is presided over by an ordered series of pillars, beams and large windows which were fragmented and organised to allow diverse environments. The main element of the intervention was a partition of different heights that sought in its broken geometry the floor’s maximum stability. It was a kind of complex screen that contained windows, sliding curtains, sconces, washable plastic bands, corners, plinths and trims. This initial exercise already shows a way of doing things that will be present in many of the later works. Concern for comfort, care for the construction no matter how simple and the assessment of the place where it is intervened were the guides that accompanied the project on its way to reach a form, which from the beginning was wanted more as a consequence that as something determinant. From the perspective of this work, fifty years later it is easy to detect the cultural world from which it received so many fundamental influences. The admired Italian architects of the time were then dedicated to recovering aspects forgotten by the early avant-garde, to consequently expanding the vocabulary used by them, to rescuing ornamentation as an expression of the construction process, to considering the aging of things, to taking into account the environment as a priority... and all this was very interesting, and their works were just a few kilometers away. -
Sonor Shop
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
The premises consisted of a ground floor and a basement and were part of a building with a great disorder in structure and facilities. The project, unable to take advantage of that neglected landscape, proposed the creation of a new interior space defined by a new envelope that embraced it and that ran completely independent of the rugged perimeter of the premises. The first tentative drawing consisted of a first overlay of a triangular plot on casual geometries and how it changed scale to suit what was to be hidden or surrounded. A drawing that expressed the search for a strategy that was intended to be general for that type of situation. The plot ended up being orthogonal and was applied to both the walls and the ceilings and floors. From the street, the built-up enclosure was seen from the outside protruding between the pillars of the building without touching them. Its appearance revealed the whole strategy of the operation, as if it were as interested in playing games as in explaining the trick. -
FAD Award
Award-Winner / Winner. Category: Interior DesignSonor ShopIbars Offices
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
The project shows great harmony, admiration and respect for the building. The new entrance gap from the street was achieved with a simple removal of the lintel that separated two overlapping windows and was underlined with a light canopy and a discreet dimly lit brass plate. The gate decreased in height to the size of the wall and was able to join the upper arch neatly. The old mahogany doors were preserved and in their new locations they tried to highlight them as elements of interest. Window grilles and carpentry were also preserved. The old moldings, sometimes cut by the new partitions, remained as a witness to previous distributions and the glass cards allowed to contemplate this game from any point of the offices. The new air ducts, free and hanging from the sky, did not conflict with all this. Nothing was thrown away; everything was taken advantage of. It was an exercise in overlaying layers with the pretense that the last one did not cover the previous one. A Pentimento, an exhibition of heterogeneous elements that reflected different moments and sensibilities. A desire to help not lose memory.Penina House
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
In most of the so-called garden cities, of that romantic idea of living in a great palace isolated from the rest of the world and surrounded by nature, only its ridiculous caricature remains: small constructions surrounded by narrow strips a few metres wide and separated from the street and the neighbours by mandatory low and recessed fences that do not offer any type of privacy. In the case we are dealing with, the plot was small and triangular, a senseless cutout born of an unfortunate plot division. The Roman house, the Arab house, resting on the boundaries of the property, closed to the outside except in the entrance hall and open to one or several inner courtyards, intimate and silent, were intelligent compact building types, economic and which also defined precise and qualified public spaces. But all the regulations prevent this proven and admired model. The proposal for this house was born from the struggle between these opposites, it was born from trying to create a comfortable building despite having to be governed by rules that forced a model of occupying the territory so irrationally. The plan ended up adopting a filamentary shape, a succession of spaces connected by a long corridor that caused a disproportionate façade in relation to the built surface, and all in order to be able to define two open courtyards towards the south, to which all the dependencies faced through generous openings. The other façades were opaque and defined two long, narrow strips. The one facing the neighbour was used to access the surface parking lot and the one facing the street was given to the town and a public bank was built in it. Admirable clients.'ÒRIM, otro' Joan Miró's Exhibition and Mural at the Architects' Association of Catalonia (COAC)
Studio PER, Pep Bonet Bertran, Cristian Cirici i Alomar, Lluís Clotet i Ballús, Oscar Tusquets Blanca
It was the end of 1968 when the partner architects of Studio PER (Pep Bonet, Cristian Cirici, Lluís Clotet and Oscar Tusquets), who had just turned twenty-seven, received a commission from the College of Architects of Catalonia and the Balearic Islands to write and edit a counter-exhibition at the school headquarters - which we titled Orim, otro (Miró written backwards) - of the anthological exhibition organised by Barcelona City Council in the Gothic part of the old Hospital de la Santa Creu. Despite the difficulties that the dictatorship of General Franco posed for opening up abroad, we felt very close to the events of May 1968 in Paris. Barcelona was, at that time, a more cosmopolitan city than it is now, because it is still a city in which its tourist success is diluting its personality. We keep an indelible memory of those months in which we were working on the project, advised by Joan Brossa, Alexandre Cirici, Pere Portabella, Joan Prats and Antoni Tàpies, and especially of the relationship with Joan Miró. During a dinner at the Reno, we presented our script to Joan Miró, asked him for an artistic intervention on the glass around the ground floor of the school and set a date to visit his studio in Mallorca and choose some original paintings that should be part of the exhibition. Oscar Tusquets and I went to Miró's studio. His house was pretty kitsch. A fishbowl on a kind of inner parterre was the most memorable architectural element of the living room, where we waited for him to come down from his bedroom. He apologized, saying that it was his wife Pilar’s territory, who chose his architect brother to carry out the project. He immediately led us to his studio, a building of great architectural quality and very much lived by Miró, full of his work in progress, clippings from magazines and newspapers and various objects of primitive African art. We were very impressed with the paintings he was working on. Our script proposed dividing the exhibition into two well-differentiated spaces, separated by the staircase that leads to the so-called Picasso Room and which we proposed to close laterally and above as if it were a steep tunnel. The lower space would be dedicated to Miró’s work from before the Civil War; and the space above, to post-war works. The stairwell between the two spaces would signify the dark times of the war, and a film that we commissioned to Pere Portabella would be shown. We designed the different nooks and crannies to put the paintings and objects in the exhibition, with the materials of the formwork that the construction company that we most appreciated in those days, and which has unfortunately disappeared from the market, selflessly provided us: Famadas, SA. In terms of content, although Miró, Prats and Tàpies offered us original works from their private collections, we only used the works that had the most didactic possibilities and a more contentious attitude. We were not interested in the great works; they could already be seen in the great exhibition of the Hospital de la Santa Creu. A large part of our exhibition consisted of a selection of enlarged photographs of fragments of paintings in which Miró’s symbolism was present, such as the female sex represented by genitalia or chaplains passing through the ring, as can be seen in the engravings of the Barcelona series. But our script also included asking Joan Miró to do some work on the glass that surrounds the ground floor of the headquarters of the College of Architects, in Nova Square. We imagined that, at best, he would paint his signature, but his enthusiastic response was to paint a mural in four colours and black. Each of the screenwriters was assigned a colour and he chose black, applied to the broom and to correct what we had to paint moments before. It was, in large dimensions, the same attitude that led Miró, in the last stage of his life as an artist, to paint on anonymous paintings that he bought in provincial exhibitions.Fullà House
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
The special relationship between the site’s boundaries and the alignments that define the inner courtyard of the island inevitably led to the appearance of a huge dividing wall presiding over the courtyard. With the intention of softening its presence, the whole building was treated with the same material and the same construction resources as those used in the traditional partitions of Barcelona. The pretension, no doubt optimistic, was that the neighbours who lived in the houses that opened onto the courtyard would not perceive that the building turned its back on them, but would show them a façade like those facing the street. Many concerns are noted in the project at the same time: resolving access to housing through a single and generous space that provided a meeting place for residents; mixing the maximum number of types and sizes of housing to encourage the diversity of occupants; exploring the possibilities of penthouses when they are not considered simple additions to a projected building without them; giving privacy and diminishing the exaggerated surface of its terraces run through skylights that gave zenithal light to the floors inferior; radically interior kitchens and bathrooms with forced extractions...Ancla Roja Apartments
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
L'edifici evidenciava una sèrie de reflexions sobre les terrasses, un element omnipresent en l'entorn i tractat normalment amb molt poca consideració. Moltes de les decisions que sobre elles llavors es van prendre les podem veure repetides en obres posteriors. L'escassa amplada permesa per les ordenances va ser la causa que es desplacessin a les cantonades buscant en el gir uns espais més generosos. Per fer-les còmodes se les va protegir de vent, de sol i de les mirades indiscretes. La seva estructura de pilars i jàsseres de formigó va facilitar l'obertura d'uns buits generosos en les quatre cantonades de la massissa caixa d'obra de manera que es van convertir en una generosa prolongació de l'interior. La resta de les dependències ventilaven i s'il·luminaven mitjançant petites finestres obertes al mur. El tractament esglaonat de les dues plantes superiors va facilitar la relació de l'obra amb les diferents alçades dels edificis veïns.Gil Sala House
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
The straight street with a constant width was defined by continuous façade planes parallel to the sidewalks. Some buildings were recessed to form open courtyards between them, but the ground floor always maintained the alignment so as not to weaken the layout of the street. The laws of formation of the strict urban void, few and clear, allowed a great freedom of sizes and languages of the architectures that embraced it, and the result of the long continuous façades took the form of enormous and complex collages. The proposal used this way of relating fragments, so present in the neighbourhood and in the city, as a mechanism for resolving the building itself. The addition was gently placed on the ground floor just as the different houses did with each other. The project did not seek to treat the building as a stylistic unit and that is why the language of novelty was sought so different from that of the preserved. The project did not modify or tidy up the old one, did not erase clues, left it intact as a witness to other stories, accepted it in the game and treated it as another component of the urban puzzle.FAD Award
Award-Winner / Winner. Category: Interior DesignAerojet Express Travel AgencyFAD Award
Finalist. Category: ArchitectureGil Sala HouseFAD Award
Finalist. Category: ArchitectureFullà HouseUnion Lloyd Maritime Travel Agency
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
A long, narrow space linked the street with the block’s inner courtyard. The project intended not to lose sight of the valuable light at the end of the tunnel and to visually enlarge the width of the premises. A mirror covered the entire wall on one side and a series of cutouts allowed access to some rooms behind. Some accesses that were not hidden and that instead were used to show the game of misunderstandings that the intervention proposed.Aerojet Express Travel Agency
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
Aquellos bajos con una digna fachada habían acogido anteriormente una tienda de electrodomésticos decorada con falsas columnas, jácenas y arcos de yeso que escondían y ordenaban estructura e instalaciones. Una estrategia parecida a la aplicada en Sonor pero con un lenguaje distinto. Se usaron los colores blanquiazules para realzar alguno de esos elementos y dejar a otros en un segundo plano, de modo que emergió visualmente un exento y esbelto templete que se convirtió en el protagonista de la intervención. Todo el resto de la operación se organizó para que esta elección se entendiera. Unos focos hacia arriba le iluminaban como si de un monumento se tratara. Los huecos de la fachada se cuidaron de forma que desde la calle nada impidiera su visión y por ese motivo los carteles característicos de estas agencias se trasladaron a un biombo situado en el fondo de la tienda. Unos espejos verticales se colocaron a derecha e izquierda de los grandes ventanales en una posición radial que subrayaba su centralidad, al tiempo que ofrecían una llamativa visión caleidoscópica y distorsionada desde la calle. También desde el interior el movimiento de la ciudad se convertía en desconcertante. Unas luces horizontales entre los espejos se encendían y se apagaban fingiendo un movimiento de dentro afuera en clara referencia a imágenes conocidas de espectáculos y mundos en aquella época lejanos. 462.Those basements with a dignified façade had previously housed an appliance store decorated with false columns, girders, and plaster arches that hid and ordered structure and facilities. A strategy similar to the one applied in Sonor but with a different language. The colours white and blue were used to enhance some of those elements and leave others in the background, so that a free and slender temple emerged visually and became the protagonist of the intervention. The rest of the operation was organised so that this choice would be understood. Upward lights illuminated it as if it were a monument. The gaps in the façade were taken care of so that nothing could impede their view from the street, and for this reason the characteristic posters of these agencies were moved to a screen located at the back of the store. Vertical mirrors were placed to the right and left of the large windows in a radial position that emphasised their centrality, while offering a striking kaleidoscopic, distorted view from the street. Also, the movement of the city became disconcerting from the inside. Horizontal lights in the mirrors lit up and went out, feigning an inward-outward motion in clear reference to familiar images of spectacles and distant worlds at the time.Georgina Belvedere
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
Afegir un habitatge de 60 m² a un paratge tan bonic i tan a prop de l'aïllada casa Regàs no era fàcil i difícilment podia millorar el lloc. D'haver trobat alguna antiga construcció que formés part d'aquell paisatge, que coincidís més o menys amb la mida que interessava i que fos relativament fàcil d'adaptar al nou ús, hagués estat una sort enorme perquè tot hagués quedat resolt. El projecte va arrencar quan va optar per fer realitat aquest somni: es va construir un belvedere d'estil neoclàssic popular com si d'un objecte preexistent i anònim es tractés i al mateix temps es va modificar per adequar-lo al programa requerit. Les petjades de les simulades reformes van deixar pistes a tot arreu i van ajudar a descobrir de què tractava el joc: fer veure una obra en dos temps quan en realitat tot era simultani.Regàs House
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
Aquell esplèndid paratge estava presidit per una petita masia en molt mal estat i situada, com gairebé sempre, en el millor lloc i orientada de la millor manera. La seva grandària impedia que pogués acollir el nou programa, però el projecte no va dubtar en conservar-la i apropiar-se d'ella, d'usar-la com a part integrant de la nova proposta i de retre-li homenatge com a testimoni del passat. La nova edificació es va desenvolupar en dues plantes molt tancades a la tramuntana i obertes a sud. La superior va col·laborar amb la masia en la definició d'un espai intermedi molt protegit i la planta inferior va seguir el mateix esquema i també va viure d'un pati il·luminat i ventilat zenitalment. Un petit apartament per al servei, situat en una posició lleugerament apartada, es va plantejar de la mateixa manera. Les façanes eren ortogonals i seguien les directrius de l'antiga construcció a la zona de definició dels patis, i eren sinuoses a la manera dels bancals dels camps veïns en les restants. Es va buscar així respectar la vella masia utilitzant geometries que no l'desdibuixessin. El tractament de l'interior va evidenciar l'admiració per les cases tradicionals japoneses que tant podien utilitzar-se com un espai únic com compartimentar a voluntat en habitacions tancades i independents. Gairebé totes les divisions eren plegables i paradoxalment aquesta llibertat va conviure amb un tractament totalment rígid del mobiliari. Llits, taules i prestatgeries, totes elles d'obra, no es podien moure ni usar-se d'una altra manera a la prevista.Puig i Cadafalch Residential Street Block
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
A high voltage line forced the definition of a protection zone parallel to one of the streets and displaced the built volume so that from this restriction a generous semi-public space was organised which was treated as a vestibule of the two important vertical accesses to the homes. Its proximity and openness to the street and its visual relationship with a large avenue in front of it gave it greater breadth and a better connection with the city. The project can be seen as an effort to adapt the simple model of the block to a complex plot of a Mediterranean city in which the corners are fundamental. The relationship between the components, the small gestures in the headers and some change in the width of the blocks allowed the construction to help define the surrounding streets, which were not orthogonal to each other. It was a work that continued with the concern for the generous and dignified dimensions of the common accesses, and in which the desire to offer maximum freedom in the use of the homes appeared for the first time, conceived as rectangular spaces in plan, free of any accident structural or facilities and with gaps in the façade that did not predetermine any use and allowed them all.Rognoni House
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
A plot of difficult geometry located in a conventional garden-city. Two houses for two brothers with a separate guest area common to both. The planning had provided for an extension of the street which forced the building to be cornered in the southern corner of the plot and it determined the triangular shape of the plant which ended up practically coinciding with the only surface where it could be built. In this project the narrow strips of forced separation with the neighbours were also intended as car parking and pedestrian access to the homes, which opened towards the private garden inevitably located to the north. Patios and skylights sought the sun and southern light.FAD Award
Award-Winner / Winner. Category: ArchitectureRognoni HouseJaume Mimó i Llobet 14-16 Dwellings
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
The project collects the experience of the apartments previously designed in Carrer Mozart in Sant Cugat. Each apartment is structured around a central space that allows it to be used virtually as a single space or as a set of independent rooms. In this case, the complex is organised in two blocks that leave a central semi-public space, so that the block facing the street follows the curve of the alignment, in order to restore a certain urban dimension. In addition, the possibility of building at a higher height allows for studios on the top floor. The apartments are accessed from the ground floor, and the studios are accessed from a metal gallery. This allows you to experience the central space from all levels. On the outside of both blocks there are private gardens linked to the apartments. The studios have their own spacious terrace, which allows it to be used as a garden.La Balsa Restaurant
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
A magnificent, irrigated pond became a restaurant and the project tried not to alter it and highlight the old tank. The new access, the kitchens, the auxiliary outbuildings and a small apartment around a courtyard, were located where the water used to be. A free pavilion was built above in the manner of many beach bars, leaving some generous perimeter terraces. Its light and wooden construction was intended to be the counterpoint to the heavy, masonry construction that surrounded it.Costa Brava Golf Club
Studio PER, Oscar Tusquets Blanca
La urbanització d'aquest club de golf era poc habitual en el nostre país. El tamany dels solars era acceptable. La gespa dels "carrers" del camp s'estenia sense interrupció pels jardins sense estacades dels xalets veïns. Vam decidir seguir els suggeriments que aquest entorn insòlit aportava. Al jardí continuava la gespa del golf. Plantaríem més alzines i pins com els que cobreixen les muntanyes veïnes. Només hi introduiríem una fila regular d'arbres de fulla caduca enfront de la façana de sol, dos pollancres i algunes flors als patis triangulars, i dos llorers magnifics per donar una mica d'intimitat a l'entrada. Una glorieta al límit del solar, lligada al mur de contenció, seria coberta amb una glicínia. La casa i la piscina, amb el seu annex, serien com una sèrie de rectangles simples de construcció tradicional. La manera de maclar aquests elements ens permetria adaptar-nos al terreny i crear uns espais oberts protegits del vent i de les vistes del carrer. Els materials emprats són: murs de càrrega de doble paret de 15 cms. de maó vist pintat de blanc a I'exterior i a I'interior; cercol de formigó vist formant jàsseres; rajola manual sense pintar en les pilastres exteriors; paviment interior de ceràmica vidriada; paviment exterior de pedra irregular de Banyoles; escales exteriors del mateix material; escales interiors en fusta de freixe; fusteria exterior amb corredores d'alumini; fusteria interior de fusta; coberta inclinada de bigues pretensades; cel ras encadellat de fusta de Flandes; teules arabs antigues; volada formada per plaques de formigó; claraboies amb teula de vidre a I'exterior i vidre opali a l'interior, amb il.luminació artificial entre ambdues.FAD Award
Award-Winner / Winner (ex aequo). Category: ArchitectureLa Balsa RestaurantMozart-Fortuny Apartments
Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca
Neither the small size of the plot, nor its excessive slope, nor its geometry in plan, nor the number of apartments that could and therefore had to be built, made it possible to find the slightest gap in which to improve the volumetric implementation that the editor of the ordinances had decided. The project only found the freedom to paint everything a camouflage green to ensure that everything happened as unnoticed as possible in the middle of that landscape in which discreet and endearing summer towers appeared from the middle of the last century. The effort was concentrated on the interior organisation. It was decided that each apartment, even if it was only 90 m2, would be developed vertically so that everyone could enjoy direct contact with the garden. They were single-wall dwellings, an elementary construction system that the work tried to clearly explain, which were organised from a central void, covered and illuminated from above. On one side there was the staircase that gave access to a series of rooms, all of the same dimension and separated from the void by means of folding doors. The lights and cross ventilations, the game of the multiple possible compartments and the empty façades that did not want to favour predetermined uses, gave great freedom to those small interiors. The users responded with enormous imagination to what the building offered them and the different and unforeseen ways in which those 12 identical apartments were experienced would have deserved a documented study. A few years after they were inaugurated, auxiliary buildings and a community pool were built on an adjacent plot. A wall became the element that organised the extension by radically separating the world of storage rooms treated in the manner of neighbouring apartments, from the brightness and luminosity of the tiles and water. Of the orderly series of doors that led to the pool, one gave access to the changing rooms, others were false, another one was a mirror that simulated a void, and a final one communicated to the outside, to one of the apartment’s courtyards.Glass Roof of Azulete Restaurant
Pepe Cortés, Ignacio Paricio i Ansuategui, Oscar Tusquets Blanca
Un bell xalet modernista a la part alta de la ciutat. Al jardí, sota els arbres, menjava la gent durant l'estiu. La decisió clau va ser desaconsellar l'alteració de l'interior del xalet per ubicar-hi el menjador. Recomanem deixar les taules on eren i cobrir-les amb un paraigua de vidre. A l'interior del xalet, respectant les habitacions de l'antic habitatge, es va ubicar el bar i un menjador privat. Sempre es van decorar parets com a jardins i sostres com a firmaments. En aquest menjador-hivernacle aconseguim arbres vius a les parets, i al sostre... un cel real. Azulete va ser enderrocat en contra de la decidida opinió de l'arquitecte; una rèplica s'ha construït a l'Hotel Miramar.FAD Award
Award-Winner / Winner. Category: Interior DesignGlass Roof of Azulete RestaurantPremi Ciutat de Barcelona
Award-Winner / Winner. Category: Restauració de FaçanesRestoration of the Façade and Remodelling of the Ground Floor of Lleó Morera HouseFAD Award
Award-Winner / Winner (ex aequo). Category: Architecture - Remodelling and RehabilitationRemodelling and Extension of the Palau de la Música CatalanaRemodelling and Extension of the Palau de la Música Catalana
Carles Díaz Gómez, Oscar Tusquets Blanca
Our work consisted of rehabilitating, modernising and expanding this universal jewel of Art Nouveau architecture: the auditorium built in 1906 by Domènech i Montaner, which has not ceased to function for this purpose ever since. In the first phase, which lasted for many years, we restored heavily damaged parts of the old building and provided it with health services, accessibility, security and comfort, unthoughtable a century ago. But the most significant contribution was to take advantage of part of the site of the neighbouring unfinished church to open the courtyard as much as possible, until then always hidden and surprisingly solved by Domènech with a wealth similar to that of the main façades, and thus achieve a new access to the Palace. In the extension located next to the stage we placed services for the artists: rehearsal room, changing rooms, dressing rooms, library...EU Mies Award
NominatedCaves ChandonVilla Andrea
Mi casa y mi estudio situados en la parte alta de la ciudad. Un sencillo cubo de tres plantas. Mi vivienda se ubica en la planta baja en contacto directo con el jardín. La primera y segunda plantas albergan nuestro estudio que gira en torno a un vacío de doble altura. La distribución de la planta baja es sencilla y muy simétrica; un homenaje a Andrea Paladio. En su centro, el gran salón-estudio. Frente a la casa y de su mismo tamaño, un auténtico “Hortus conclusus”.Jardins de la Villa Andrea
Bet Figueras, Oscar Tusquets Blanca
...davant la casa i de la mateixa mida, un autèntic “Hortus conclusus”: Fruiters, plantes aromàtiques, rosers, verdures… a banda i banda d'un safareig negre on a més ens banyem. El terra d´aquest interior a l'aire lliure és albero sevillà. Al voltant de l'hort i de la casa un jardí d'arbres de fulla perenne amb un terra de granit disgregat rosa, ni un pam de gespa.Labyrinth House
A mansion located in the upper part of El Maresme, the beautiful coastal area located in the north of Barcelona. Objectives: rehabilitate a building of relative interest but located in the best part of the land and with vestiges of the 14th century and successive refurbishments that culminated in a restructuring of the early 20th century; design the renovation of the mansion and adjacent areas: garage, terraces, swimming pools and guest house. A beautiful and wide plot of land sloping towards the sea, a forest of Mediterranean trees where you can create a fascinating garden. A risky client with financial means who gave us all his trust. A group of friends, professionals in architecture and various crafts, united to create a truly unique work.Second Extension of the Palau de la Música Catalana - Petit Palau
Carles Díaz Gómez, Oscar Tusquets Blanca
Ten years after the first intervention, the total relocation of the neighbouring church was achieved, which made possible our most important contribution to the monument: to grant a new façade to the Palau, completely opening the rich side courtyard of Domènech to the new square. He dreamt of an exempt building and we, a century later, made his dream come true. Just as on the north side of the square we had erected a building for the musicians (dressing rooms, library ...), on the south side we had erected one for the public and the music school. And under the new square a room for 540 spectators equipped with new technologies that the Palau needed so much.EU Mies Award
NominatedSecond Extension of the Palau de la Música Catalana - Petit PalauArchive (103)
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Drawing
Perspectiva de l'exterior del conjunt dels Apartaments Solitari 2.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Gil Sala.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Gil Sala.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior del Belvedere Georgina.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva interior de l'estar de la Casa Regàs
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'agència Viatges Aerojet Express.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior del Belvedere Georgina.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós de la façana de l'agència Viatges Aerojet Express.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Secció longitudinal de la Reforma i Ampliació del Palau de la Música Catalana.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Alçat de la façana posterior de la Reforma i Ampliació del Palau de la Música Catalana.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Secció transversal de la Reforma i Ampliació del Palau de la Música Catalana.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva interior de l'estar de la Casa Regàs
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós de la passera de connexió dels Habitatges Jaume Mimó i Llobet.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva interior de l'estar de la Casa Regàs
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior del Belvedere Georgina.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'agència Viatges Aerojet Express.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..
Arxiu Històric del COAC
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Esbós de l'interior de l'Agència de viatges marítims Unión Lloyd.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'Agència de viatges marítims Unión Lloyd..
Arxiu Històric del COAC
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Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Cartell de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).
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Perspectiva de l'interior de l'Exposició 'ÒRIM, otro' de Joan Miró al Col·legi d'Arquitectes de Catalunya (COAC).
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Ancla Roja.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Ancla Roja.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Ancla Roja.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Ancla Roja.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Ancla Roja.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Diagrama del volum i estructura del Restaurant La Balsa.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Secció i plànol de fusteries del Restaurant La Balsa.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Secció de detall del Restaurant La Balsa.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Planta i secció la planta soterrani del Restaurant La Balsa.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Planta general del Restaurant La Balsa.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Perspectiva de l'entrada de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Perspectiva de l'interior de la Botiga Sonor.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de la Botiga Sonor.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Botiga Sonor.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Perspectiva de l'accés de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Planta conceptual prèvia de la Botiga Sonor
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de detall de la barra del Bar del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Botiga Sonor.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de les Oficines Ibars.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior del Bar i Sales Annexes del Col·legi Major Sant Raimon de Penyafort i Nostra Senyora de Montserrat.
Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Botiga Sonor.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de la Casa Rognoni.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Axonometria de l'interior de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Axonometria d'estudi de l'exterior de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Alçat de l'exterior de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del nucli de comunicacions de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Perspectiva de l'accés del carrer de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Planta d'estudi de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Perspectiva general de l'Illa de Cases Puig i Cadafalch
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Drawing
Perspectiva de la façana posterior de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de l'Illa de Cases Puig i Cadafalch.
Arxiu Històric del COAC
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Drawing
Perspectiva de la façana posterior de la Casa Penina.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del vestíbul d'accés de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva del vestíbul d'accés de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del vestíbul d'accés de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del nucli de comunicació de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'accés de la Casa Fullà.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'interior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Axonometria del conjunt dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva seccionada de l'interior dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del conjunt dels Apartaments Mozart-Fortuny.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva de l'exterior dels Apartaments 'El Colomer'.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós de la façana dels Apartaments 'El Colomer'.
Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva seccionada de l'interior dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós del conjunt dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva del conjunt dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'interior dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Drawing
Perspectiva del conjunt dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Esbós del conjunt dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva del conjunt dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
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Perspectiva de l'exterior dels Apartaments 'El Colomer'.
© Fons Clotet, Tusquets, Paricio / Arxiu Històric del COAC
Audiovisual (5)
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10:15
Giardinetto Sessions con Óscar Tusquets
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31:54
Elogio a la Luz #6: Óscar Tusquets, "Dios lo ve"
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1:18:44
Conferencia de Oscar Tusquets
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3:44
Tusquets diu Clotet
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16:02
Entrevista a Oscar Tusquets Blanca: "Ser bona persona és més divertit"
Bibliography (104)
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