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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.
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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
About us
Architects' Association of Catalonia:
Àrea de CulturaDirectors:
2019-2022 Aureli Mora i Omar OrnaqueDocumental 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 OrnaqueExternal Collaborators:
2019-2022 Lluis Andreu Sergi Ballester Helena Cepeda Maria Jesús QuinteroWith the support of:
Generalitat de Catalunya. Departament de CulturaCollaborating Entities:
ArquinFADFundació 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
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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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Decoració de la Casa Milà
- Author:
- Josep Maria Jujol Gibert
- Type:
- Drawing
- Fonds / Held by:
- Fons Josep Maria Jujol Gibert / Arxiu Històric del COAC
- Rights:
- © [object Object]
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Memory
This is Gaudí’s latest civil work, in which he places full emphasis on the experimentation with the structure and opts for risky and well-differentiated solutions from traditional procedures. The load-bearing straight feet are made of limestone from Garraf, combined with metallic elements, and are dimensioned and configured according to the casuistry of their specific position. The slabs are made of metal beams, which follow an irregular order according to the configuration of the floor. The façades on the street merge with the perimeter pillars in a monolithic and self-supporting system. Gaudí proposes to detach the forms from their material content and to look for a synthesis between the abstraction and the evocation of the elements of nature. This led him to turn the building into a large monument dedicated to the Virgin, which was to crown the house as if it were just a pedestal. The help of a naval engineer or the shapes suggested on the deck reveal a Gaudí forerunner of modern architecture, interested in freeing himself from the rows of masonry, orders or the weight of building materials. The Pedrera is a completely unfinished work that solves every spatial and constructive challenge through unpublished and sometimes incomprehensible solutions.
La casa Milà suposa un pas fonamental en l'obra de Gaudí, en expressar amb el màxim de possibilitats el vocabulari formal iniciat en les seves obres anteriors, especialment en la casa Batlló.
Anomenada popularment la Pedrera, se'ns presenta com una escultura abstracta monumental. La façana, contínua, de forma ondulant, que eludeix les cantonades, s'ha convertit amb el temps en l'element emblemàtic de l'edifici: modelada en pedra simplement desbastada, sense més element decoratiu que les baranes de forja dissenyades per Jujol, contrasta amb la coberta, revestida de ceràmica de trencadís i culminada per insòlites xemeneies.
Els dos accessos independents, un pel xamfrà i l'altre pel carrer de Provença, confereixen a l'edifici unes característqiues singulars quant a l'organització i concepció, allunyades de les solucions típiques dels edificis de l'Eixample. Gaudí introdueix una innovació, la supressió de les escales de veïns, de manera que només pot accedir-se als pisos mitjançant els ascensors o les escales de servei. L'edifici s'ordena així entorn de dos patis de grans dimensions, de planta circular i ovoide, respectivament, concebuts com a segona façana de l'edifici (com a la casa Batlló). També és innovadora la situació de les cavallerisses al soterrani, al qual s'accedeix mitjançant rampes helicoïdals. Gaudí havia previst de continuar aquestes rampes fins als pisos alts, però finalment tot quedà en una escala fins a la segona planta.
Tota l'estructura de l'edifici recolza sobre pilars de pedra o maó i jàsseres de en entramat, de forma que no hi ha murs de càrrega i la façana esdevé pràcticament un "mur cortina". Això fa que l'organització interior reposi en una planta lliure, que permet a Gaudí de trencar amb la geometria rectilínia tradicional i organitzar una rica seqüència d'espais domèstics amb paràmetres corbs i traces poligonals, cels rasos ondulants, etc. Aquesta situació d'extraordinària densitat plàstica culmina a les golfes, resoltes amb arcs parabòlics diafragmàtics, a la manera de mansardes de perfil sinuós per damunt de les quals discorre un terrat esgraonat, poblat per sorprenents xemeneies de fums i de ventilació, de formes gairebé antropomòrfiques.
Pel que fa a la decoració dels interiors, Gaudí dissenyà tots els elements dels acabats (portes, ascensors, etc.), i Aleix Clapés dirigí a tots dos vestíbuls una extensa decoració pictòrica, que avui es troba en molt mal estat de conservació.
El caire expressionista de les obres de gaudí arribà al seu punt àlgid a la Pedrera, on va anticipar-se a una sèrie de plantejaments, posteriorment usuals, com ara la coberta-espectacle, la façana sense pràcticament funció de suport, o la planta lliure.
La casa, en realitat dues cases de pisos de l'Eixample, fou construïda per a Pere Milà i Camps. El 1986 la Pedrera ha estat adquirida per una entitat d'estalvis com a seu de les seves activitats culturals, i se n'han emprès les obres de restauració (1988). És declarada patrimoni mundial del catàleg de la Unesco (1984).
Authors
On the Map
Constellation
Cronology (6)
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Milà House
This is Gaudí’s latest civil work, in which he places full emphasis on the experimentation with the structure and opts for risky and well-differentiated solutions from traditional procedures. The load-bearing straight feet are made of limestone from Garraf, combined with metallic elements, and are dimensioned and configured according to the casuistry of their specific position. The slabs are made of metal beams, which follow an irregular order according to the configuration of the floor. The façades on the street merge with the perimeter pillars in a monolithic and self-supporting system. Gaudí proposes to detach the forms from their material content and to look for a synthesis between the abstraction and the evocation of the elements of nature. This led him to turn the building into a large monument dedicated to the Virgin, which was to crown the house as if it were just a pedestal. The help of a naval engineer or the shapes suggested on the deck reveal a Gaudí forerunner of modern architecture, interested in freeing himself from the rows of masonry, orders or the weight of building materials. The Pedrera is a completely unfinished work that solves every spatial and constructive challenge through unpublished and sometimes incomprehensible solutions. -
FAD Award
Award-Winner / Winner. Category: Intervencions Efímeres
Acció-Exposició: "Vers Un Nou Equilibri Natural..."Auditorium and Gaudí Hall at Milà House
MBM Arquitectes, Oriol Bohigas i Guardiola, Oriol Capdevila i Arús, Francesc Gual i Traginé, David Mackay, Josep Maria Martorell i Codina
The adaptation of the basements of La Pedrera for Auditorium and Sala Gaudí, tries to be very neutral and respectful of what remains of the original work. This is not a restoration that tries to return everything to its origin. It is about not adding, being neutral and discreet and avoiding imitations of Gaudí. It was necessary to assume the required structural reinforcements, the passage of the installations and comply with the current regulations. Caixa Catalunya Auditorium: 185 seats, side boxes for 78 seats extendable to the 110 m² outdoor patio, two simultaneous translation booths, a control room, three screens for cinematographic and audiovisual sessions, and a stage with a technical platform for conferences, with talks and theatrical or musical shows in a small format. Sala Gaudí: 92 seats, a control room interconnected with the translation and control booths of the Auditorium, a screen and a space for multipurpose shows and events without a fixed stage. General spaces: an entrance ramp/lobby, a gate, two cloakrooms, eight toilets, a toilet for the disabled, two dressing areas with toilets, showers and changing rooms, a kitchen-office and a guest room.
Archive
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Drawing
Decoració de la Casa Milà
Fons Josep Maria Jujol Gibert / Arxiu Històric del COAC
Audiovisual
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43:06
Batalla del modernisme: La Pedrera-Recinte Modernista de Sant Pau - Batalla monumental