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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
Located in the heart of the monastic complex of Santa Maria de Pedralbes in Barcelona, the assignment pursued the adaptation of the old Dormitory in order to host the new permanent exhibition of the Monastery’s Museum. First of all, it was necessary to redefine and improve the exhibition narrative because, after 12 years of research, new data had already been discovered about the exhibited pieces that required updating the content of the same. Secondly, the Queen’s Room had to be emptied and freed in order to host temporary exhibitions. Finally, the old Dormitory had to be able to host chamber music concerts, at least a couple of times a year; a requirement that forced the dismantling of the current distribution that had a central separating wall.
It was proposed that all the new elements added to the original nave echo, above all, the austerity and simplicity present in all the spaces of this monastery dedicated to Santa Clara d'Assisi, and tend, as much as possible, to go unnoticed.
All the walls would be painted gray in harmony with the colour of the Sant Vicenç stone pavement, defining a neutral and restful environment in which to display the pieces. All the paintings would be hung at exactly the same height, as well as the accompanying posters. All pedestals would be constructed of the same grey lacquered panels and on them – wherever necessary for safety reasons – minimal chrome display cases would be placed. A distribution of the same would allow the works to be grouped within the space, facilitating a differentiated reading of both the container and the content of the exhibition. At the entrance, a white square would be painted as an accent to indicate the beginning of the exhibition route, emulating a large-format painting. A new metal door would be installed to be able to physically segregate the Queen's Room from the Dormitory and, at the end opposite the entrance, a 7m long bench upholstered in red velvet would be placed that would allow the visitors to rest.