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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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


About us

Project by:

Created by:


2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 Ramon Faura Carolina B. Garcia Francesc Rafat Antoni López Daufí Joan Falgueras Anton Pàmies Mercè Bosch Josep Ferrando Fernando Marzá Aureli Mora Omar Ornaque

External Collaborators:

2019-2024 Lluis Andreu Sergi Ballester Helena Cepeda Inès Martinel Maria Jesús Quintero

With the support of:

Generalitat de Catalunya. Departament de Cultura

Collaborating Entities:



Fundació Mies van der Rohe


Fundación DOCOMOMO Ibérico


Arxiu Mas


Basílica de la Sagrada Família


Museu del Disseny de Barcelona


EINA Centre Universitari de Disseny i Art de Barcelona

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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All works
  • Cloelia farmhouse

    Manuel Joaquim Raspall i Mayol

    Cloelia farmhouse

    Garden city typology volumetric building with a ground floor, main floor and turret. Decoratively it is quite poor: ground floor with plastered padding and floor with smooth stucco. The turret has sgraffitos with a floral and geometric theme in white relief on an ocher background. It also has tiles with a mechanical pattern that is used in uniform succession on horizontal sides. Above the door jamb there is a beautiful sign with modernist calligraphy. In the garden there is a fountain decorated with broken tiles, altering blue, white and green. The grating of the fence is formed by a metal fabric and reinforced with a handrail with a "coup de fouet" motif. On top of the façades, there are drawings of simple stucco plasterwork and following the style of Spanish Baroque plaques. The style of this can include it within the artistic phenomenon of "secession", of Viennese influence. There are also reminiscences of eclecticism. This belongs to the network of constructions that began in the last decade of the 19th century, when Cardedeu was transformed into a summer town with the construction of houses in St. Joan Square, Barcelona, Major and Molí Streets, etc., as well as around the town. This fact changed the urban structure and the character of the town, of the agricultural town, because it was transformed into a summer town and a small industrial centre.


  • Francesca Arquer Morató's House

    Manuel Joaquim Raspall i Mayol

    Francesca Arquer Morató's House

    House with ground floor and two landing facing two streets. The ground floor has been completely transformed by Banca Catalana, reducing the strength of the complex, which has a modernist character. It has a sinuous gable with the typical florets with ribbons of the Raspallian modernist stage, which fall above the lintels of the windows on the second floor. The windows on this floor are crossed by a frieze of coloured tiles. Above the frieze and below the gable there is a stucco with drawings which date to 1926, which does not correspond to the date of construction but to that of the refurbishment. The Arquer house was built at the beginning of the 20th century and although we do not know the exact date, we assume that Raspall was already the municipal architect (1904) of Cardedeu. Raspall deployed an intense construction activity in the town from this year on. On the other hand, the Arquer house belongs to the network of constructions that, since the last decade of the 19th century, Cardedeu residents established in Barcelona had built in the town, which will make Cardedeu a summer town, transforming its character and its urban layout. In 1926 the same architect renovated the façade.


  • Antoni Clavell Bot

    Manuel Joaquim Raspall i Mayol

    Antoni Clavell Bot

    House between party walls with a ground floor and two landings, with a symmetrical composition. The openings of the second floor form a composition with the gable in a cone-like shape. The roof is in the form of a terrace with a lattice railing. Due to its formal elements, this building belongs to the modernist style, specifically to Raspall's first modernist stage. Although it has undergone modifications, the building still retains the modernist spirit of the time. According to the municipal archive extracted by l'Artigues, in 1908 Antoni Clavell i Bot, resident of Barcelona, was authorised to knock down a house and build a new one, in 3-4 Major Square. This improved the composition of the square. He bought the land at 0.5 pesetas the palm. In 1933, renovations were made to the façade of the building and the façade openings were modified. Later on, the ground floor was also modified.
  • Carme Golferich Losada House

    Manuel Joaquim Raspall i Mayol

    Carme Golferich Losada House

    Housing between partitions with a battered, symmetrical façade, which is lost due to the displacement of the portal. It consists of a ground floor and two floors. On the first floor there is a curved balcony in which the grating of the sill stands out in a very typical drawing by Raspall of the first modernist stage: the motif of the coup de fouet and vegetal elements. On the second floor we can also find some very typical Raspall windows, with an elliptical arch framing a simple opening with a flat lintel with a sill. The interior of the house is preserved as it was built, with modernist doors and portals of great artistic interest. All in all, it is a great sample of the modernist language of Raspall's first stage. According to Pere Comas, the Rovellat house (Masó house) is from the beginning of the 20th century, because in 1904 Mrs. Carme Golferichs, widow of Masó, paid for the mosaic tiling of the church. 1904 is also the year in which Raspall was appointed municipal architect of Cardedeu, replacing Adrià Casademunt. From that date, Raspall began an intense construction, architectural and urban planning activity in the town.
  • Angela Gual Canudes House

    Eduard Maria Balcells Buigas

    Angela Gual Canudes House

    City-garden typology home built on a quadrangular space, surrounded by a brick fence with a combination of grating and chamfering at the corner of the door. The building is a rectangular cube with ground floor, main floor and attic, covered on two sides with an open turret that includes a staircase around which the composition revolves. The entrance angle is occupied by a porch open to the garden. It is white with a combination of stone and ceramics of different colours: mainly green, yellow, red and gold. Great vertical emphasis given by the pinion-shaped gables, windows, tower and tribune in a conical shape and triangular base. The decoration, Mackintosh type, is typical of Balcells' early modernism, which follows the same guidelines as in the Mestres house in Cerdanyola. The interior is divided into two floors: on the ground floor, there is the hall leading to the dining room, where there is a large fireplace, and in the middle, there is the staircase leading to the first floor. On one side we can find the kitchen and the toilet, and on the other a room. On the first floor, there are four bedrooms, one of them with a cabinet and a gallery. In the turret there is a spiral staircase and the materials used are stone and tile cladding. A project was made in 1910 before the existing one. When the tower was built (1912), the project was completely modified. On the other hand, Gual Tower is part of the most constructive period in the town, years 1910-1920, when Cardedeu was definitively transformed into a summer resort, one of the most important in the eastern Vallès along with La Garriga.


  • Can Llibre

    Josep Masdéu i Puigdemasa

    Can Llibre

    Building with three façades that comes from the refurbishment of an old farmhouse with ground floor and two landings. The main façade overlooks Sant Joan Square. It is asymmetrical, made of chopped stone with different types of openings: sparse arch on the ground floor, balcony windows with flat lintels with sgraffitos on the lintel, arcade in the hearth of the width of the building in a succession of semicircular arches. The façade is crowned by a cornice of sinuous profile with a porthole in the middle. The other two façades are also of an asymmetrical structure with a tribune. The whole set is eclectic in nature. It is a construction of 1644 successively renovated. In 1882 the sidewalk was built. In 1881, the garden. On August 4, 1912, Lluís Llibre renovated the façade of his house in Forn Street (the old name of this street, due to the fact that there was an oven). The refurbishment was carried out in an eclectic style and a high cornice was added. The platforms were built later than this date, they were made in the 1930s. The construction or refurbishment of the Llibre Tower is included in the task of reburshing the façades of old houses between partitions. It was given to the town a while ago by the Llibre family.
  • 1918

  • Cardedeu Municipal Cemetery

    Manuel Joaquim Raspall i Mayol

    Cardedeu Municipal Cemetery

    Set of buildings on an approximate extension of 76Ha designed by Raspall, following the same criteria in a unique set due to its formal coherence and representativeness of an era. It is composed of chapels, pantheons, well and pergola. It contains 14 pantheons, 900 granite stone niches, an iron gate with a grill and topped by two pillars on each side. The fence is also made of granite stone. In 1917, talk began of the new cemetery. Mr. Batlle states that he has obtained a written commitment from Joan Codines Terrades of some land that could be used as a new cemetery. It gives eight months for the City Council to make up its mind. The industrialist Ramon Sanesteve gave 1500pts as a donation, the price of the surface (two quarters). On August 3, 1919, Raspall drew up a cemetery project and on February 8, 1920, the civil governor returned the cemetery project because the chapel had been forgotten and the space intended for graves must be marked. On December 11, 1921, the cemetery was blessed. Burials then began.

    1918 - 1921

  • Casa Marc Viader Bas

    Manuel Joaquim Raspall i Mayol

    Casa Marc Viader Bas

    Edifici d'habitatge, resultat d'una reforma de tres edificis existents. Està compost de planta baixa i dos pisos. Tipologia típica en el casc antic doncs crea un pati a la façana limitat per edificacions. Es troba una gran barreja d'elements i formes. Les façanes estan esgrafiades. El conjunt de l'edifici, façanes i adaptació de l'interior correspon al tercer període estilístic de Raspall, en una línia acadèmica i potser amb un gust més afrancesat, d'un academicisme menys fèrtil que en altres obres seves. La Torre Viader era abans la Casa Anglada, una de les cases que sobresurten al plànol de 1777 juntament amb la Torre Lledó i la mansió dels Bell-lloch. S'engloba dins de la xarxa de reformes i noves construccions al casc antic que d'ençà finals de segle passat i principis d'aquest conformà una nova fisonomia del casc antic així com el desenvolupament de noves vies urbanes. Les reformes al casc antic foren moltes, la creació de la Plaça Sant Joan, l'obertura del carrer Sant Antoni, el carrer Ferran, etc.

    1917 - 1922

  • 1925

  • Penina House

    Studio PER, Lluís Clotet i Ballús, Oscar Tusquets Blanca

    Penina House

    In most of the so-called garden cities, of that romantic idea of living in a great palace isolated from the rest of the world and surrounded by nature, only its ridiculous caricature remains: small constructions surrounded by narrow strips a few metres wide and separated from the street and the neighbours by mandatory low and recessed fences that do not offer any type of privacy. In the case we are dealing with, the plot was small and triangular, a senseless cutout born of an unfortunate plot division. The Roman house, the Arab house, resting on the boundaries of the property, closed to the outside except in the entrance hall and open to one or several inner courtyards, intimate and silent, were intelligent compact building types, economic and which also defined precise and qualified public spaces. But all the regulations prevent this proven and admired model. The proposal for this house was born from the struggle between these opposites, it was born from trying to create a comfortable building despite having to be governed by rules that forced a model of occupying the territory so irrationally. The plan ended up adopting a filamentary shape, a succession of spaces connected by a long corridor that caused a disproportionate façade in relation to the built surface, and all in order to be able to define two open courtyards towards the south, to which all the dependencies faced through generous openings. The other façades were opaque and defined two long, narrow strips. The one facing the neighbour was used to access the surface parking lot and the one facing the street was given to the town and a public bank was built in it. Admirable clients.

    1968 - 1969

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