Awarded
Cataloged
Disappeared
All works
-
1928
-
Grup Escolar Lola Anglada
Edifici de llenguatge eclèctic, amb elements renaixentistes i barrocs i certes ressonàncies encara modernistes. Consta de semisoterrani, planta baixa i pis. Façana principal amb quatre cossos avançats, i grans finestrals entre ells. Barbacana amb permòdols i coberta de teules àrabs vermelles i verds. Va ser erigida en temps del batlle Sabaté. Antigament es coneixia com a Escola Martínez Anido. -
Can Biel
Manuel Joaquim Raspall i Mayol
House between partition walls, with a ground floor and two landings. The building is divided into two bodies: an access one that protrudes from the plane of the façade and ends in a pediment with a geometric structure, and a lower one that is crowned by a large cornice supported by panels. It must be said that the windows are of different typology. The façade, especially regarding the entrance, has been renovated in recent years by the architect J. Valls. It belongs to the Noucentista and academic stage of M.J. Raspall. It is located in the old part of the city, in the urban centre of the Middle Ages. -
Capellades Slaughterhouse
A building with a ground floor in the shape of a double-height T, with a gable roof with Arabic tiles. The facing is covered in stucco except for a stone plinth that runs around the building, and the corners are defined by pilasters of stone blocks. The construction has a symmetrically distributed structure. The main façade is crowned with a pediment with a broken profile that incorporates a coat of arms. Entrance doorway with a porch of square columns. Other decorations such as bull's heads can also be found at the top of the walls. There is a perimeter wall around it, which defines a courtyard. The interior has been preserved as it was and has the same gabled roof. Tiles are used as an ornamental element. It preserves the utensils (for hanging animals, etc.) from the same period in which it was built. The developer of this building was the Town Council of Capellades and the builder was Arturo Vidal Blanch. -
Formosa House
Magnificent country house between partitions with two floors. It has recently been completely remodeled by "La Caixa" and only the façade has been saved. It is embroidered with sgraffitos representing Sant Jordi, the balconies have terracotta railings and the entrance halls are of the same material. This façade gives a great category to the main street of Sant Sadurní. -
1928 - 1929
-
German Pavilion of the 1929 International Exhibition
The German pavilion represents a new way of conceiving space, and it is completely different from the traditional one and consistent with the possibilities offered by the new metal pillar structures. Mies takes this constructive innovation to the limit of its visual possibilities, allowing the enclosing walls to be freely distributed throughout the floor plan. Another remarkable aspect of the pavilion is the selection of high-quality materials and very intense colours, as well as the introduction of two sheets of water in the exterior spaces. Bruno Zevi carries out an investigation where he aesthetically places the architecture of the pavilion within neo-plasticism, an anti-classical movement which Mies belonged to. The dynamism of the horizontal and vertical planes of the pavilion clearly responds to the aesthetic principles of this avant-garde movement and is clearly opposed to the static conception of Greco-Roman art. The pavilion should be read as a manifesto that will determine all of Mies's latter architecture and will influence successive generations of modern architects. However, the Catalan architects of the Republic had already taken sides with Le Corbusier and the CIAM, and the influence of Mies would have to wait until the 1950s. Contrary to general opinion, this pavilion should also be read as a new housing prototype that Mies has successively presented at different international exhibitions: the Glasraum in Stuttgart, 1927; the German Pavilion in Barcelona, 1929; and the House for a Bachelor in Berlin, 1931. All of them are variations of a new typology of courtyard houses. In the 1950s, Oriol Bohigas contacted Mies van der Rohe to rebuild the Barcelona pavilion. Mies gave his consent and was willing to carry it out personally; however, he did not authorise the reconstruction of the monument to Karl Liebknecht and Rosa Luxemburg because he did not respect the original location. Ignasi de Solà-Morales, Fernando Ramos and Cristián Cirici completed the reconstruction in 1986, on the centenary of Mies' birth. -
Sales Municipals
Un passatge/vestíbul, del passeig al riu, articula les dues sales del programa de biblioteca municipal implantat en substitució de les casetes comercials de Fèlix de Azúa (1870). Una crugia en testa destinada a despatxos delimita el programa i la composició. La duplicitat entre un pòrtic principal ben inserit i l’accés monumentalitzat de testa resulta dubtosa. El vessant més classicitzant del noucentisme va esdevenir útil a la pulsió monumentalista de l’obra pública durant el règim autoritari del període 1923-29. Un cop descartat l’aixecament d’una planta lleugera per ampliar el programa (Fuses/Viader, 1985), el conjunt es va segmentar entre sales d’exposició i oficina de turisme. -
Casa Sarrà
Tardana mostra d’un tipus entre mitgeres vigent durant el primer terç del s. xx: l’habitatge del propietari ocupa dues plantes o deixa les superiors per a renda, i el principal exhibeix àmplia tribuna i balconada. Ja lluny de la seva edulcorada obra anterior, Esteve tracta la façana —molt plana— com un tapís, barrejant-hi rajol i esgrafiats florals, i introdueix unes vagues sèrlies a la planta baixa. Hi persisteix la tribuna, però la sobrietat de balustres i cornisa així com la teranyina art déco de les baranes denoten nous corrents. -
Masana House
Reventós echoes the hygienist and rationalist ideas regarding social housing that focused architectural debates in Central Europe in the 1920s. In the Masana house, he decided to place the stairs on the side of the façade so that they protrude from the plan and favour the entry of light and air in these areas. He also chooses to remove the closed inner courtyards and to make the same courtyard of the block of houses penetrate the building. The exterior shows a clear mastery of pure forms and their articulation, with a first order on the ground floor marked by a slight cornice, and the crowning of the façade with brickwork. Reventós built for the same owner the neighbouring building on Tamarit Street, where he establishes a U-shaped layout around a courtyard directly connected to the interior patio. The beveled and glazed volumes of the staircase contrast with the windows - of two types - in the houses, closed with shutters and without frames. -
Convent of the Josephine Sisters
It is a three-storey building which, following the traditional layout of convents, organises its rooms around a cloister: the church facing the street with public access, the refectory, the dormitories, the interior chapel and the services. Pericas uses a series of historicist resources in this convent that are common to him but which are intelligently interpreted and redrawn: the Romanesque style in the church doorway, with archivolts and no carving, but with the transoms outlined by sgraffito borders; the arcade of the cloister, with stilted arches and non-figurative capitals, evoking Nasrid architecture; and the portal of the upper chapel, with sgraffito filling the spandrels of the arch, reminiscent of Mudéjar art. Everything, down to the last detail, and with special care taken over the carpentry and furniture, floors and stained glass windows, is exquisitely designed, without neglecting the multiplicity of openings in the walls, and without losing the sense of symmetry. The project dates back to 1928, but the construction of the convent building for the Josefinas sisters was delayed due to its complexity, material and ornamental richness, and above all, the stagnation caused by the war period from 1936 to 1939.1928 - 1930
-
Myrurgia Factory
The building is located in a block of houses on Barcelona's Dreta de l’Eixample, framed by Provença, Sicília, Mallorca and Nàpols Streets. Built on a polygonal plot, it has three façades open to 238 Nàpols Street and 351 Mallorca Street. These roads create the angle of the building, with the most relevant hinge that, projected in a chamfer, houses the main access to the building. This industrial building with offices is one of the best examples of Catalan architectural production of the 20s and 30s of the 20th century, not linked to the orthodoxy of the GATCPAC. It is characterised by its functionalist aesthetics of symmetrical shapes and marked horizontality, particularly representative in the case of the windows. The building is designed from a structure of metal pillars and girders that allow the creation of a free plan where space and transparency predominate and to which the skylights on the roofs contribute. It consists of two levels where the marked horizontality of the façades is particularly striking, accentuated by the body of curved windows developed on the two floors of the building. The windows respond to a model of serially manufactured metal openings that are joined to each other through "T" shaped profiles and to the building structure with other "L" shaped profiles. This system gives rise to the large wall locks that give unity to the whole and allow uniform lighting inside. These windows are configured as a curved element that rotates in the chamfer, while being interrupted in this front, where the large entrance portal to the building is located. The chamfer is configured as an element of structural relevance within the set, not only because of the differentiated treatment of the openings, but because of the greater height it presents. Thus, the ground floor is reserved for the entrance, with a triple door that gives access to a double-height hall, which also receives light from the windows arranged on the first floor of this chamfered front. Above this body of windows is the top floor, where an elongated bay window opens that goes from side to side of the wall. Currently, the building is quite modified. Towards the side of Nàpols Street, a hotel has recently been built (2010) - "Illa Myrurgia" - which takes up part of the original plot of the old factory. The chamfer side has also undergone renovations, and today houses the offices of the Puig company, which has owned the property since 2000. The ground floor of this area is now presented as a very open space which is accessed through a reception area located at the back of the main lobby. This area, in the form of a glass box, has two levels where the worktables of the Puig staff are distributed and which are connected by a new factory staircase. As already mentioned, one of the most relevant spaces in the complex - and apparently the only one preserved from the original project - is the lobby. Access to this space is through a door with three openings that is finished with three bronze panels with reliefs depicting classical themed scenes and below which the sign "Fábrica Myrurgia" is preserved. We must also highlight the iron fence of the door which, with very purist geometric lines, contributes to creating a simple decoration, non-existent in the rest of the façade. Once through the door, you enter the hall, which is configured as an independent, double-height space, with a careful art déco design and monumental intent. This monumentality is made visible through the double-section marble staircase that leads to the offices on the first floor. Currently, two catenaries block access to the staircase. The use of noble and high-quality materials such as marble stands out, which is combined with the brass railings and the wood of the handrails located on each side of the staircase. These elements, arranged at an angle, have a door and a bench - also wooden - attached to the structure, which are finished at the top with a window and a panel where you can read "Myrurgia Perfumes" in déco style letters. The factory was built between 1927 and 1930 with a project by Antoni Puig i Gairalt; this work anticipates the modern and rationalist language through the organisation of spaces, the treatment of light, signage and furniture. The sculptor Esteve Monegal Prat was the one who commissioned the project, and it was he who founded the company Myrurgia in 1916, destined to the production of perfumes and cosmetic products. The art deco sculpture made by Monegal, president and founder of the firm Myrurgia, which originally presided over the lobby should be noted. In 1929, the building received the Architecture Award of the Industrial and Commercial Buildings Competition for being equipped with some of the most modern facilities. In 2000, the company was acquired by the Puig Group, which since then has installed its offices in the building. In 1996, residents and neighbourhood organisations mobilised against the project to build a gas station and a private elite sports centre on the grounds of the former Myrurgia factory. In 2010, the block where the estate is located was plunged into controversy over the construction of the building that occupies part of the factory's original plot. In those days, on the corner of Nàpols and Provença Streets, a building was built that was originally intended as a residence for athletes and which eventually became a four-star hotel ("Illa Myrurgia") and a gym. -
Bloc d'Habitatges Pla Cargol
Un refinat exercici compositiu del noucentisme més culte i menys populista, com correspon a la personalitat de l’intel·lectual i empresari promotor. La parcel·la, regular i simètrica, acull habitatges de grans dimensions i fracassa en encaixar-ne tres per replà als nivells superiors. El classicisme compositiu s’allunya de tota exageració i desplega recursos més elegants que expressius en un pany de façana eficaçment continu. -
Josep Masana II House
Located in the Sants-Montjuïc district, this group of flats is on the southern corner of the block bounded by Carrer de Lleida, Carrer de l'Olivera, Carrer de la Font Honrada and Carrer de Tamarit. It is a group of nine blocks of flats between partitions, each with a doorway. Rectangular in plan and with two floors per landing, the structure in elevation of each of these buildings comprises a ground floor, mezzanine, four floors, an attic and a rooftop terrace. However, these buildings stand out as the first documented example of Barcelona expressionist architecture. Each of the dwellings has the same compositional characteristics, giving rise to a unitary ensemble. The ground floor, entirely clad in limestone slabs, opens its shops onto the street through large doorways topped by lintels. For their part, the doorways giving access to the dwellings are framed by a kind of archivolt with a lintel that gives them depth. The mezzanine floor is also clad in stone and crowned with a striking cornice. The rest of the floors are clad with reddish mortar, which originally had green sgraffito decoration based on borders and geometric shapes (as can be seen in the examples preserved along Carrer de l’Olivera). The main characteristic of these buildings is the use of rectangular windows (with the exception of some balconies in Carrer de l'Olivera) and, above all, the use of locating the neighbours' staircase in triangular glazed tribunes which are visible from the street. The attic is finished with red brickwork, marking a horizontal composition that counteracts the verticality of the tribunes. This group of flats owned by Josep Masana was designed by the architect Ramon Reventós i Farrarons in 1928, coinciding with the process of redevelopment that the area of Poble Sec underwent as a result of the 1929 International Exhibition. The importance of this work lies in its use, for the first time in Catalonia, of an expressionist formal language inspired by Central European experiences in the field of mass housing. It was built in several phases between 1929 and 1930. This work is connected with the European expressionist rationalism of socialist ideology, especially with the "Hofs" of mass housing in Austria and southern Germany. Ramón Reventós, despite being a little-known architect, played an important role in the construction of the 1929 International Exposition with works such as the Venetian Towers of Avinguda Maria Cristina, the Teatre Grec, the Montjuïc Funicular, the Poble Espanyol and the Miramar Hotel. He is also the author of the Florida Hotelat the top of Tibidabo. His work is mainly Noucentista.