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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

Project by:

Created by:

Directors:

2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 Ramon Faura Carolina B. Garcia Eduard Callís Francesc Rafat Pau Albert Antoni López Daufí Joan Falgueras Mercè Bosch Jaume Farreny Anton Pàmies Juan Manuel Zaguirre Josep Ferrando Fernando Marzá Moisés Puente Aureli Mora Omar Ornaque

Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres

External Collaborators:

2019-2024 Helena Cepeda Inès Martinel

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:

ArquinFAD

 

Fundació Mies van der Rohe

 

Fundación DOCOMOMO Ibérico

 

Basílica de la Sagrada Família

 

Museu del Disseny de Barcelona

 

Fomento

 

AMB

 

EINA Centre Universitari de Disseny i Art de Barcelona

 

IEFC

 

Fundació Domènench Montaner.

Design & Development:

edittio Nubilum
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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.

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Informació bàsica de protecció de dades

Responsable del tractament: Col·legi d Arquitectes de Catalunya 'COAC'
Finalitat del tractament: Tramitar la sol·licitud de còpies digitals dels documents dels quals l’Arxiu Històric del COAC gestiona els drets d'explotació dels autors, a més d'aquells que es trobin en domini públic.
Legitimació del tractament: El seu consentiment per tractar les seves dades personals.
Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
Drets de les persones interessades: Accedir, rectificar i suprimir les seves dades, així com, l’exercici d’altres drets conforme a l’establert a la informació addicional.
Informació addicional: Pot consultar la informació addicional i detallada sobre protecció de dades en aquest enllaç

Memory

Complex of a rectangular plan made up of gardens, public chapel, graves and family pantheons. It has an eclectic language with some modernist details.

The public chapel, with its eclectic language, should be highlighted, as well as the chapels of the Anton Jané family (Neo-Gothic), the Miret-Abad family, the Via-Oliveros family (Neo-Gothic-modernist) and the Ramon Marimon family.

The Vilafranca cemetery was built in 1839 on the site where there used to be a Capuchin convent. The public chapel dates from 1878 and was done by the master builder Raimon Raventós i Queraltó, with reliefs on the façade by the sculptor Ramon Elies.

Anton Jané's Pantheon was carried out by Santiago Güell i Grau and the project of the Marimon family was signed by Domènech i Estapà.

Source: Inventari del Patrimoni Arquitectònic de Catalunya (IPAC)

Municipal cemetery made up of a set of funerary buildings organised in five enclosures through a grid of orthogonal walks. The first enclosure is the southern one, where the public chapel was later built, at the other end, but aligned with the original entrance. It has a square plan, with a perimeter walk and two central ones that form a cross: one connects the entrance with the chapel and the other joins the first enclosure with the second. In the perimeter, we find rows of niches, among which stands out, in the row on the left, the chapel of the devotees of Our Lady of the Rose and the chapel of the confraternity of Sant Antoni Abat and the mortuary room. It has four central parterres with graves and pantheons. The second enclosure was added in 1976 on the north side. It is rectangular in plan, with a perimeter walkway and two central walkways, which form a cross and communicate with the other enclosures. It also has rows of niches around it, among which the chapel - pantheon of the family of Dª Maria Torres d'Almirall and that of the Milà and Sallent families stand out in the row on the right. It also has central flower beds.
The third enclosure has a rectangular plan with the same dimensions and structure as the second enclosure. Behind these enclosures, there is the neutral cemetery and the modern enclosure, without any special interest.
The entire cemetery has a perimeter fence of separation, which in its eastern part, where it joins the urban fabric of the city, is formed by a half-height wall and an iron fence that is interspersed with pillars of work. The cemetery is accessed from this façade through two entrances.
Parallel to the consolidation of the cemetery with the perimeter niches that delimit the site, wealthy families saw in the outcome of the cemetery chapel the possibility of having their own space intended for their families’ cult of death, in the style of private chapels.
The need to demonstrate difference or seek social or economic difference will drive the construction of family pantheons, intended for the burial of successive members of a family.
A whole series of pantheons, sculptures and funerary constructions that monumentalise the general character of the cemetery stand out. Some of these elements and which we have individualised in a file are: the chapel of the Via Oliveras family (301), the chapel of Miquel Torres and family (302), the chapel of the Miret - Abad family (304), the Pantheon of the Josep Balaguer i Martí family (305), the Pantheon of Ramon Marimon and family (306), the Pantheon Chapel of Antoni Jané and family (307), the Pantheon of the Messalles family (308), and the Pantheon of the Massanet family (309).

A Royal Decree of April 3, 1787, prohibited burials within the walls. This meant, although belatedly, the municipality had to consider the construction of a cemetery away from the urban plot.
In 1808, the site was blessed, right where the old Capuchin convent was.
In the documentation of the Vilafranca town hall, there is evidence of land appropriated for the construction of the new cemetery (April 18, 1816). On July 3, the file for the construction of the cemetery is formalised.
Things stopped and the site was changed, at the beginning of January 1829 it seemed that construction was about to begin, but on February 6, from the Captaincy General, the town hall was forced to stop the works and look for a new location. On April 23, 1839, the new cemetery was blessed (the current one, which has been expanded in several phases).
In 1837, the Government ceded the site to the City Council for the construction of the cemetery, which would be inaugurated in 1839. Pau Milà i Fontanals commissioned, in 1864, the project of the public chapel to Joan Torras i Guardiola, which did not end until 1878.

Source: Mapes de Patrimoni Cultural. Diputació de Barcelona (diba)

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