Intro

About

In this first stage, the catalogue focuses on the modern and contemporary architecture designed and built between 1832 –year of construction of the first industrial chimney in Barcelona that we establish as the beginning of modernity– until today.

The project is born to make the architecture more accessible both to professionals and to the citizens through a website that is going to be updated and extended. Contemporary works of greater general interest will be incorporated, always with a necessary historical perspective, while gradually adding works from our past, with the ambitious objective of understanding a greater documented period.

The collection feeds from multiple sources, mainly from the generosity of architectural and photographic studios, as well as the large amount of excellent historical and reference editorial projects, such as architectural guides, magazines, monographs and other publications. It also takes into consideration all the reference sources from the various branches and associated entities with the COAC and other collaborating entities related to the architectural and design fields, in its maximum spectrum.

Special mention should be made of the incorporation of vast documentation from the COAC Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.

The rigour and criteria for selection of the works has been stablished by a Documental Commission, formed by the COAC’s Culture Spokesperson, the director of the COAC Historical Archive, the directors of the COAC Digital Archive, and professionals and other external experts from all the territorial sections that look after to offer a transversal view of the current and past architectural landscape around the territory.

The determination of this project is to become the largest digital collection about Catalan architecture; a key tool of exemplar information and documentation about architecture, which turns into a local and international referent, for the way to explain and show the architectural heritage of a territory.

Aureli Mora i Omar Ornaque
Directors arquitecturacatalana.cat

credits

About us

Architects' Association of Catalonia:

Àrea de Cultura

Directors:

2019-2022 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2022 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar Ornaque

External Collaborators:

2019-2022 Lluis Andreu Sergi Ballester Maria Jesús Quintero

With the support of:

Generalitat de Catalunya Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació Mies van der Rohe

 

Fundación DOCOMOMO Ibérico

Design & Development:

Nubilum Edittio
Suggestions

Suggestion box

Request the image

We kindly invite you to help us improve the dissemination of Catalan architecture through this space. Here you can propose works and provide or amend information on authors, photographers and their work, along with adding comments. The Documentary Commission will analyze all data. Please do only fill in the fields you deem necessary to add or amend the information.

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.

Image requested:

* If the memory has known authorship or rights, cite them in the field above 'Comments' .

* If the photographs has known authorship or rights, cite them in the field above 'Comments'.
You can attach up to 5 files of up to 10 MB each.

How to get there

In Pictures

Memory

Thomas House’s basements were completely abandoned in early spring 1979. The façade was full of election posters and the windows were broken and full of dust. Inside, benches of machines had already been sold at the railroad; fallen railings and skylights had been completely broken or replaced by a slab of ceramic material; and there were half-demolished partitions to facilitate the filming of “The Savolta Case”. The industrial decline of Catalonia has also had its positive aspects. If the partitions, cabinets and stained glass windows in coloured leaded glass and the ceilings designed by Lluís Doménech i Montaner are still preserved, it is because the heirs of Joseph Thomas did not have enough money to replace them with “modular partitions of aluminum” and an “Armstrong” roof. In the restoration and installation works of the B.D. headquarters, on the ground floor of Thomas House, we have not mimetically repeated any broken or worn elements, we have basically cleaned it up, in the most prosaic sense of the term. We used some of the existing closet doors to close the holes in some new partitions we built to separate the warehouse from the exhibit. We changed the beginning of the staircase that connects the two floors. We have replaced an old translucent glass skylight with a new clear glass one that shows the sgraffito and stained glass in the inner courtyard. We changed the floor, which we think replaced an old skylight with a skylight like the original. We laid a carpet with our anagram as the pavement of all the areas destroyed by the benches of the machines. And to insulate ourselves from street noise and protect the stained, glass windows on the façade, we have installed a luna security that protects the outside, such as a display case, grilles and stained, glass windows. It was the detail that we cared about the most and the element that compared it to its cost that solved most problems for us. It is also the intervention that best expresses our attitude towards monuments.

Author: Cristian Cirici i Alomar

Authors

How to get there

On the Map

Constellation

Cronology

  1. Thomas House

    Lluís Domènech i Montaner

    Thomas House

    La Casa Thomas es una obra de l’arquitecte modernista Lluís Doménech i Montaner construïda entre 1895 i 1898. Originalment era un edifici de tres plantes. En les dues primeres hi havia instal·lat un taller de gravats i a la planta superior la vivenda del seu propietari. La façana de les plantes dedicades a taller té la forma d’un gran arc rebaixat amb un vitrall contínuu protegida per una reixa d’estilitzacions florals. La façana original de la vivenda tenia una columnata jònica. Al terrat hi havia dos cossos molt imagintius, l’un vidriat i coronat amb una cresteria de ferro i l’altre amb un pinacle que sostenia un gran rètol de ferro forjat.
  2. Remodelling and Upward Extension of Thomas House

    Francesc Guàrdia i Vial

    Remodelling and Upward Extension of Thomas House

    In 1912 the Casa Thomas was extended to its actual size by Domènech's son-in-law, Francesc Guàrdia i Vial, who moved the two bodies of the crown to the new roof, built two grandstands on the old floor and designed a façade that links in a textual way with the primitive work. The two lower floors of the building are still preserved as designed by Lluís Domènech i Montaner.
  3. FAD Award

    Award-Winner / Winner. Category: Restoration

    FAD Award

    BD Ediciones de Diseño Store in Thomas House

    Studio PER, Cristian Cirici i Alomar

  4. BD Ediciones de Diseño Store in Thomas House

    Studio PER, Cristian Cirici i Alomar

    BD Ediciones de Diseño Store in Thomas House

    Thomas House’s basements were completely abandoned in early spring 1979. The façade was full of election posters and the windows were broken and full of dust. Inside, benches of machines had already been sold at the railroad; fallen railings and skylights had been completely broken or replaced by a slab of ceramic material; and there were half-demolished partitions to facilitate the filming of “The Savolta Case”. The industrial decline of Catalonia has also had its positive aspects. If the partitions, cabinets and stained glass windows in coloured leaded glass and the ceilings designed by Lluís Doménech i Montaner are still preserved, it is because the heirs of Joseph Thomas did not have enough money to replace them with “modular partitions of aluminum” and an “Armstrong” roof. In the restoration and installation works of the B.D. headquarters, on the ground floor of Thomas House, we have not mimetically repeated any broken or worn elements, we have basically cleaned it up, in the most prosaic sense of the term. We used some of the existing closet doors to close the holes in some new partitions we built to separate the warehouse from the exhibit. We changed the beginning of the staircase that connects the two floors. We have replaced an old translucent glass skylight with a new clear glass one that shows the sgraffito and stained glass in the inner courtyard. We changed the floor, which we think replaced an old skylight with a skylight like the original. We laid a carpet with our anagram as the pavement of all the areas destroyed by the benches of the machines. And to insulate ourselves from street noise and protect the stained, glass windows on the façade, we have installed a luna security that protects the outside, such as a display case, grilles and stained, glass windows. It was the detail that we cared about the most and the element that compared it to its cost that solved most problems for us. It is also the intervention that best expresses our attitude towards monuments.