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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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.
On January 27, 2006, Barcelona City Council declares the will "to launch actions aimed at recovering the historical memory of the "Four Columns" monument by Puig i Cadafalch in the city of Barcelona, either in Montjuïc, or in a location that guarantees its symbolic value", in accordance with the non-law proposal approved by the Parliament of Catalonia on April 22, 2005.
This project responds to the last phase of the execution of this mandate by collecting the executive project for the reconstruction of the 4 columns of Montjuïc and the urbanisation of the public space around it.
This building is located in Plaça Marquès de la Foronda, on its axis, and very close to the waterfalls belonging to the water axis topped by the Magic Fountain. The surface on which it is planned to intervene is 844.82 m2.
Once the final location for the columns is chosen, three final topics appear:
- The exact place where to locate them. There are two conditions that could determine this.
. The presence of the balustrade and the service galleries of the fountains that follow it on the side of the waterfall. Affecting the gallery had an economic and technical repercussion that had to be avoided, on the other hand, although the initial intention was to bring the column as close as possible to the slope of the waterfall (as they were originally placed to be seen with maximum integrity from all points of view), the fact of intervening by demolishing them and affecting the glasses that finish it off is not advisable.
. The future presence of the Fira station on the L2 metro. This is a drafted project but with no planned date for the start of the works. The screen walls that the station project envisages were initially the limit that should not be invaded. Finally, having rejected the impact on the balustrades and ornamental elements of the waterfall, it has been necessary to withdraw the position of the columns to the screens of the station affecting the folds that they provide.
- The geometric definition of the column. The starting point was the determination of the column’s height. In this sense, the level of the finishing balustrade on the roof of the highest palace has been taken as a reference. Once the height has been defined, the formalisation of the column has been done according to the classical canons defined by Vignola from the module of the column - a module is equivalent to 1/12 part of the column’s height - the space between the columns has been adjusted according to the same proportion that Puig i Cadafalch once proposed, slightly narrower than the classical canon, but more favorable to the proportions of the symbol to be represented. The columns are made of artificial stone, raised in successive load-bearing drums and post-tensioned. The foundation is solved with micropiles. The roof of the column, of 5.2 m2 each, plans to collect rainwater and channel it internally to a drain in order to prevent uncontrolled runoff.
- Its arrival on the ground. It is conceived as an open space, accessible and not segregated from the rest of the square. The transition between the asphalt and the artificial stone of the column is made through a pavement and a worked geometry. The need to remove rainwater runoff from the foot of the columns raises a curved pavement that covers a rectangle bounded by the stairs and the traces proposed for the arrangement of the square. The curvature takes the highest point under the axis of the columns. Laterally there is a decreasing step which, on reaching the balustrade and on the opposite side, becomes zero in height; linear interceptors of low appearance are proposed at these points. The material that solved this pavement is the red sandstone Figaró, a 40x40x7 format with a soft finish, which welcomes the arrival of the columns as a grid. It is in this pavement where the commemorative plaque is expected to be placed, which is expected to be made of natural stone, the sandy Montjuïc type lowered according to the defined text and typography and finished with brass sheet left flat on the stone. To prevent vehicles and lorries linked to the Fair from damaging and polluting this base, ropes of the same size and material as those of the pavement have been set up.
Roselló-Sangenís Arquitectes, Josep Miquel Roselló i Jurnet, Manel Sangenís i Garcia