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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
The attic area of "La Pedrera" was, in addition to being a deposit of useless junk, filled with rats when they commissioned me to study a solution that would allow it to be incorporated into the useful and profitable part of the building.
The structure is simple and interesting. The roof rests directly on partition parabolic arches which are about 80cm apart and whose nails are linked by brick ribs that follow catenary guidelines.
The approach was logical: rings of passage around the large central patios provide access to the various units, which take advantage of the height of the undulating ceilings by means of mezzanines forming "duplexes".
The main drawing board has been the floor of the ground plan, with a firm intention of defending "architectural honesty both in the structure and in the materials", valuing a solution for its simplicity, even at the cost of the perfection of the finish. I have clung to this idea to flee from the decorative and baroque styles that have attacked me, as is logical, in an exuberant environment of shapes, discarding the use of manufactured materials in industries that our country does not have.
All of them have been simple materials, even elementary. Essays with raw common brick, refractories of various kinds, ceramics, stones, Galician pine in some coating… In kitchen and bathroom veneers, after some trials in glazing, I have returned to tile, a material with great possibilities, which I have treated in groups of 3 or 4 colours per piece. I believe that the greatest success achieved has been with earthy materials, particularly with refractories because of its hot and vibrant quality.
These are the result of working in an organic environment with no other forced base than the clean structure, free from the prison of the grid and the 90-degree angle, a logical consequence of industrial standardization, or the use of load-bearing walls, but without justification in structural projects. Open spaces that allow us to conceive a world that is freer and closer to nature that was not created in a grid. I have come to the conclusion that we must take advantage, even in the state of our industry, to allow ourselves certain design liberties that would not be acceptable in more advanced countries, and which allow us to achieve a more humane and attractive architecture.
Ground plan management law.
The goal is to make life easier with the minimum effort and the maximum sensation of well-being, looking for minimum distances when traveling and adapting the closing lines of the environments whose enclosures are repeatedly floating in plan and elevation to these layouts.
Studying the perspectives from the fundamental areas: sleeping, eating and being.
It is impossible to normalise anything other than the fundamental idea; I have been able to create a "standard" element that regulates the functions between the little kitchen and the sleeping area, a large polychrome wardrobe that has simplified the work greatly.
As Mediterranean people with red blood in our veins and a blue sea in our landscapes, we cannot see life in black and white; colour is our fourth dimension in Architecture.
Essays of contrasting polychromies, ranges of colours of the same order and neutral backgrounds with polychrome parts. The type of paint used is glue; in my opinion, it is the one that gives the best quality.
It has been necessary to invent all the furniture, due to not finding anything decent on the market. We have had to even invent the Saarinen armchair, already invented.
As an experience, a chair with a continuous back and seat and a group inspired by the Moorish "pouf" in the last apartment that reflects the experiences of all the others and in which I have tried to respect "architectural honesty" as much as possible, both in shapes and materials.
After living "La Pedrera" daily for more than a year, I have met Gaudí, a true master of our bravest functional architecture.
“La Pedrera” began in 1905, when Gaudí was 53 years old, for the couple from Barcelona Mr. and Mrs. Milá, ending in 1910. It is one of the most important works, apart from the Expiatory Temple of the Sagrada Familia, by the great architect.