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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
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.
Structured in three sectors. The one corresponding to the north wing is formed by a block of niches attached to the fences of the cemetery. The remaining spaces are occupied by avenues and graves.
In the central sector there is the chapel and most of the graves with the most relevant sculptural elements, while respecting a symmetrical composition in which the central corridor and the chapel are the axis of the main access.
The southern sector is configured by sections of attached niches on the side walls of the east and west facades. Attached to the main façade, where the access is located, are the attached and service outbuildings. The central space is soberly landscaped with cypress trees and a symmetrical composition of avenues.
The ornamental wealth of some tombs and graves made by prominent artistic personalities of the time is worth noting, among whom we must point out the sculptors Venanci Vallmitjana, Josep Llimona and Josep Carcassó -disciple of Vallmitjana-. The works stand out for their chromatic austerity in contrast to the white of the walls and the green of the cypress trees.
Modernist chapel (Enric Sagnier, 1918): built by Enric Sagnier, it is a large pantheon of Iu Bosch's family.
Sculpture of a woman from the Mundet Pantheon (Josep Llimona, 1900): sculpture representing a seated woman with a thinker's attitude, resting her head on one hand. She wears a dress with long skirts that cover her feet. The head is almost the same as the other statue of the same Lemon that is very close, both have the same hairstyle, long hair with a clip in the middle and pulled back towards the corner where the hand that supports it is. Also, like the other, he keeps a distant look. This one, however, has a stronger sensitivity than the other. Its state of conservation would be good if it weren't for the holes it has, which were produced by bullet shots.
Woman sculpture from the Massaguer Pantheon (Josep Llimona, 1925): sculpture that represents a woman sitting on some steps, rehung in the tomb of which it is a part. It is of great beauty and refinement. When you look at it from the side, it looks a little out of proportion. Built with white marble, it gives off an air of mysticism accentuated by the lost and distant gaze of the figure represented.
Holy Trinity or Eternal Father (Venanci Vallmitjana Barbany, 1909): Sculptural ensemble in white marble representing the Holy Trinity. It is made to life size and its presence impresses the visitor. The figure of the Father is represented by a welcoming image of an old, bearded man with a dove on his chest with outstretched wings representing the Holy Spirit. The son is leaning on the father, with his head at an angle, and he has, at his feet, an angel. The whole group is held in a stony mass that gives the feeling of clouds, an element which makes the whole not feel heavy and increases the feeling of magnificence.
Sculpture of a woman (Josep Carcassó i Font, 19th century): Stone sculpture representing a seated girl with a bouquet of flowers in her hands. Her head is down and is looking at the ground. This attitude, together with all the movement that the dress provides, thanks to its long skirts with pleats, gives her a romantic and reserved look. It is of small height and is located behind a sculptural group by V. Vallmitjana.
Virgin Mary with Jesus Christ or Piety (Venanci Vallmitjana Barbany, 1905): Sculptural group formed by the Virgin and Jesus Christ. The son is sitting on the Virgin's lap, representing the theme of Piety, inspired by Michelangelo. Built with white marble, a temple was later added to protect it from inclement weather.
Tomb of the Fontcuberta i Jubany consorts (Cèsar Martinell Brunet, 1941): Tomb built in granite, with a raised base on which rests a body in the form of a sarcophagus and as background, a funerary stele with the cross in relief and the image of Christ in bronze, work of Frederic Marès. Fence vault with corner pillars finished in lantern and joined with metal chain.
The Arenys de Mar cemetery is the result of three successive construction phases - from the middle of the 19th century to the second decade of the 20th century - which have formed individual sectors with different character and composition, but which maintain a harmonious and environmental balance, one of the most relevant values of this place.
Located on the Pietat hill, the cemetery is the second erected in this place. Around 1813 the construction of the first cemetery began. Around 1860, it was decided to build a new one, whose works were almost finished in 1864. The chapel was not completed until December 31, 1867. The author of the project and director of the work was done by the master builder Domènec Casacuberta.
The disappearance of the old cemetery was considered in the seventies of the 19th century. Twenty years later, population growth advised an extension of the site. In 1895, the reform of the path to the cemetery was inaugurated, allowing the passage of carriages, which avoids the driving of dead bodies by the weight of arms. At the end of 1917 the cemetery takes on its current configuration, when the last block of niches is built in the center of the wide area, which is decorated on the face corresponding to the ascending axis of the cemetery with the construction of ten niches luxury framed by artificial stone columns.
Since then, the cemetery has not changed its layout. Its environment has, however, suffered serious attacks.
Set Cementiri de Sinera