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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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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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.
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Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
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All works
  • Sant Pere de Gelida Church

    Isidre Puig Boada, Francesc Vallès i Cuchí

    Church of a single nave with side chapels between buttresses. Torral arches with vault between the arch in the nave and barrel vault in the side chapels. Gable roof of Arabic tile. Access by central staircase. Annex chapel of El Santíssim, rectangular plan with small dome and lantern, with Arabic tile roofs. Octagonal bell tower with glazed tile roof. The style of the building is neoclassicism, with some historicist elements. The roof and dome of El Santíssim chapel are organised following the guidelines of the Gaudí tradition and form parabolic arches and an eight-pointed star in the middle of which opens a skylight with coloured glass. The walls are decorated with coloured mosaics with floral (lilies) and symbolic (the symbols of the four evangelists) representations. The altarpiece composed of an arched niche with a semicircular arch, with the image of Saint Peter (in polychrome wood) dressed in tunic and mantle and wearing his attributes, framed by bronze reliefs in quadrangular frames, with the representations of scenes from the Saint's life (the miracles, the stay in prison, the escape from the city, etc.). It also preserves mural paintings, polychrome and figurative, where two scenes from the life of Saint Peter are represented, to whom the church is dedicated. One scene represents Peter fishing and Christ calling him in the foreground, against a background of a seascape. The other, arranged in an architectural interior, where Peter receives the functions of Saint Peter, surrounded by the other apostles and disciples. Both scenes are framed with an ornate border of stylised foliage. On June 14, 1857, the first stone of the parish church of Sant Pere was laid. On November 16, 1860, one of the arches of the central nave collapsed (the architects Josep Simó i Fontcuberta and Elies Rogent visited Gelida in order to open the responsibility file for the fall of the arch). In 1862 the works were resumed under the direction of Josep Simó i Fontcuberta, and in 1871 (June 25) they were finished and the tabernacle was moved. On April 24, 1916, the first stone of El Santíssim chapel was laid. The project of the church is by the architect Francesc Vallès. The direction of the works was entrusted to Josep Nolla and Ramon Urpí. From 1862 it was managed by Josep Simó. El Santíssim chapel is by the architect Isidre Puig i Boada.

    1857

  • Cultural and Recreational Centre

    autoria desconeguda

    Large house between partitions, with a gable roof, two floors, a setback floor and a more sunken space at the back. Based on the classical forms of the façade, there is a large room with pilasters and vaults and a staircase leading to the upper floor where there is a spacious room with mouldings, paintings and a flat ceiling from 1877, and several annexed services. Dances, cultural events, theatre, etc., were held in the Cultural and Recreational Centre of Gelida until 1933, year in which a new café was inaugurated (the current Café de la Pista del Casal Gelidenc). The ground floor was occupied by the café, presided over by a painting evoking the reapers of the Corpus de Sang of 1640. In 1939, it was occupied by the "Frente de Juventudes" and later acquired by the Gelida City Council.

    1877

  • Vila de Gelida House

    Laureà Arroyo i Velasco

    Vila de Gelida House is located at the end of the block that forms a chamfer with Barceloneta and Colom Streets. It is a public building consisting of a basement, ground floor and two floors, covered by an Arabic tile roof. The building has undergone several refurbishments. It is a brilliant example of the eclectic style. The chronology of the Vila de Gelida House began in 1879, the year the foundation stone was laid, and the author of the initial project was the architect Laureà Arroyo i Velasco. Only a part of this project was carried out. In 1924, the interior was redistributed, making it suitable for housing, under the project of the architect Josep Ros i Ros.

    1879

  • The Parish House

    Laureà Arroyo i Velasco

    Building between partitions that forms part of the Plaça de la Església. It consists of a ground floor and a main floor, with an upper roof. The façade has four facings. All the openings have semicircular arches, with archivolts. The language used in this work is historicism. The building of the parish house was built in 1881, according to the project of Laureà Arroyo i Velasco, which is still preserved in the parish house.

    1881

  • Tower of Monturiol

    autoria desconeguda

    Large house reminiscent of a small French palace from the 18th century. It consists of three floors, a basement and an elevated viewpoint. In some places, despite being built in 1888 in the decadent style of French classicism, one begins to see modernism pop up. Some paintings with a nautical theme and two large paintings on canvas with a historical theme of great artistic value, placed in the three-nave hall, also decorated with Viennese-style furniture and a painting with a view of the house in 1915 are to be noted. In the splendid park – which seems straight out from a house in Versailles - there is a monument to Narcís Monturiol, installed in 1941 with his bust and the legend "Monturiol, 1819-1886", a very beautiful fountain, the huge stump of a large acacia tree that died in 1964, and a well that communicates with the house. The vox populi has always related this tower to the inventor of the submarine, despite having died in 1886, two years before the house was inaugurated, claiming that he had been in Gelida. We attribute the relationship of this house to the construction of the monument, built in 1941 in the garden.

    1888

  • School and Convent of Our Lady of Montserrat

    Joan Pascual i Batlle

    Spacious, solid, U-shaped house, consisting of cellars with tile vaults, three floors and an attic. The interiors are divided between the toilets in the basement and the classrooms, interns' rooms and cloisters on the upper floors, arranged around the aforementioned U-shaped courtyard. The monumental harmony of the chamfered façade, the attic arches, and the single nave chapel with belfry, attached to the building, should be highlighted. The Franciscan Nuns, at the request of Rector Josep Perera, who saw the lack of education among the girls in the town, began classes on January 2, 1888. Two years later, during the Festa Major of 1890, the first stone of the Franciscan College and public chapel was blessed.

    1890

  • Can Valls

    Joan Pascual i Batlle

    Large quadrangular house, with a flat roof, vaulted floor plan and two floors. The main floor has a tribune added in the modernist period, with five sides and stairs at the back. The interior offers large, illuminated spaces. With the last Republic, the house became a national school and then all the old interior layout was altered. It is worth highlighting the remains of the large garden that surrounds it, in the garage – today converted into the farmer’s home – and the cave of fantastic invention, now hidden. For many years, this house was the summer house of the Valls family. In 1932, the then republican city council leased the building to convert it into a school although it did not function as a national school until the 1940s. This school use was maintained until 1976, when the Escola Montcau was inaugurated. Shortly afterwards it was saved from demolition to make flats, thanks to the campaign to save buildings and green spaces carried out by the Democratic Assembly of Gelida and other people sensitised by art. At the beginning of the 1990s, the secondary school was temporarily located there until the inauguration of the Gelida Institute in 2004. On October 15, 2013, the City Council approved in the ordinary meeting the contract file for the rehabilitation works of the building, which will host the Municipal Music School.

    1891

  • Comelles House

    autoria desconeguda

    Building between partitions, with a garden and rear galleries It consists of a basement, a ground floor and a main floor, with a roof and terrace. The façade has a symmetrical composition, with a running balcony and a finish with a lot of ornamentation, in the centre of which there is the inscription of the year 1892. The work responds to the formal characteristics of eclecticism. Casa Comelles was built in 1892, according to the inscription on the façade. Initially it was a single-family home. Subsequent renovations turned one of the windows into an access door to the upper floor.

    1892

  • Bonaventura Coma House

    autoria desconeguda

    Building between partitions that occupies the chamfer of Carrer de la Barceloneta and Carrer de Colom. It consists of a basement, first floor and three additional floors. The roof is made of Arabic tiles. The height of the slabs decreases as the street level increases. The construction responds to the characteristics of eclecticism. The Bonaventura Coma House is located in front of the Casa de la Vila, in the Eixample from the end of the 19th century.

    second half of the 19th century

  • Pallejà House

    autoria desconeguda

    Farmhouse that is part of the Gelida summer area. Built at the end of the last century, it consists of two floors, cellars and a viewpoint, a very large terrace, garden and orchards. As details, we should mention the voluptuous headboards of brown ceramic mosaic with a Gaudí taste, the clearly serrated bars, a dovecote - in the garden - of a very special design, covered with multicoloured mosaics, and contemporary paintings and drawings made by the Pallejà family. Since the end and beginning of the century, this house has been the scene of modernist festivals in Gelida, where the Barcelona bourgeoisie who spent the summers in Gelida met, with some prominent members of Gelida society, celebrating floral games, theatrical performances in the theater of the house, performances by the Gelida Choir, etc, and at the same time, residence of the poet Ramon Pallejà i Camaló.
  • Mr. Font's House

    autoria desconeguda

    Building between partitions of three corridors. It consists of a basement, ground floor and a floor. The roof is made of Arabic tiles. At the top of the façade there is an image of the Sacred Heart. The building presents a structure that fits into the aesthetics of eclecticism, although the ornamentation expresses small modernist insinuations.
  • Ca la Sara

    Pere Ros i Tort

    Ca la Sara

    Quadrangular house with a single floor and basement, built in the modernist style, with railings and reliefs with characteristic flowers of this period. The interior, arranged around a central corridor finished with a gallery and rooms on either side, had period furniture, now gone, and a gazebo with Doric columns that overlooks the garden. A very important part of the gardens was destroyed in the 60s to build a factory. It consisted of a pine forest, a small pavilion and stairs, becoming an essential green space in the centre of the population of total interest.

    1909

  • Delgado House

    Joan Rubió i Bellver

    Delgado House

    House built between partitions, with two floors and basements facing Passeig Circumvallació. The supporting pillar of the façade as a sculptural element, divides a porch into two equal volumes, dressed with special wrought iron bars, feverishly modernist. The part of the upper façade of the building consists of a rotunda and two tribunes with ceramic and iron overhangs. The basis of applied materials are: the seen billet, the ceramics used as an ornament, and the stream pallets. The predominant one is iron as projection and embellishment. This work is the most relevant representative of Modernism in Gelida.

    1910

  • Cal Boada

    Marià Mas Civil

    Cal Boada

    Edifici entre mitgeres d'una crugia, de soterrani i planta baixa, amb sortida posterior. La coberta és de teula àrab. Les característiques formals de la casa responen al llenguatge modernista popular, amb reminiscències d'un cert medievalisme.
  • Cal Jové

    Arnau Calvet i Peyronill

    Cal Jové

    Built around 1911 by Joaquim Jové i Costa, Marquis of Gelida, and main character of one of the golden eras of the La Gelidense paper factory. It is a four-bay building with two-sided roofs and an attic, following both a modernism and noucentista style. There three floors and an elevated body, decorated externally with fantasy ceramic details that decorate medievalist openings. The interior main floor has a civic atmosphere with a general lobby and large rooms where we should highlight the ceramic tiles, some paintings and furniture and the lamp in the dining room. The large garden - surrounded by a specially designed fence- is very interesting, although it has been mutilated in order to build flats, losing much of its original charm and vegetation, such as a very tall fir tree.
  • 1912

  • Sant Lluís Street

    autoria desconeguda

    Urban tour of primitive summer houses surrounded by large gardens. Coexistence with houses of popular origin and more recent summerhouses. Connection with a promenade with trees and a bridge over the Funicular and Montserrat. Eclectic, modernist and noucentista architecture. The buildings on this street were built between the 1880s and 1920s.

    1880 - 1920

  • Ca l'Aleix

    Marià Mas Civil

    Building between partitions located in the corner between Plaça de l'Església and Marquès de Gelida Street. It consists of a basement, ground floor and two floors, with an Arabic tile gable roof. It has a side body with turret and rooftop. This house is an important element in the square’s landscape. The work responds to the formal characteristics of eclecticism.

    first half of the 20th century

  • Casal Gelidenc Café

    autoria desconeguda

    Large rectangular building with a gable roof. It has with two floors, the first one is covered by tiled vaults and the second by a flat roof and "art déco" decoration. The extraordinary luminosity due to the large windows and the longitudinal balcony on the left of the building, where the coat of arms of Catalonia appears on the railing, is worth noting, a motif that is repeated in the two attic windows, where on one of them has disappeared.

    20th century

  • Gaynés House

    Lluís Gonzaga Colomer Ballot

    Detached house with garden in the Noucentista style. It is on the corner with Font-freda Street. It consists of a ground floor and a main floor. The roof is made of Arabic tiles. The access stairs and the balustrades of the terraces are remarkable elements of this construction, as well as the wealth of volumes and shapes in reduced dimensions. The house is in a context of summer residences.
  • Can Castells

    Amadeu Llopart i Vilalta

    It is one of the first summer towers built in Gelida within the urban core. It occupies a large chamfer with stepped bodies forming four floors, large terraces and a garden. It is crowned by a gablw roof and a viewpoint. Being in the middle of other towers of the same period and also within modernist and noucentista trends, this house offers a magnificent overall aesthetic. At the end of the 19th century and the beginning of the 20th, Gelida became fashionable among Barcelona's upper class that needed to escape the big city. This bourgeoisie, taking advantage of the climate, the tranquility, the landscape and the springs of the town, built a group of villas or towers in the most up-to-date trends of the time. This house is the result of that movement, which at the same time also organised modernist parties, writing contests and dances and music festivals like in Sitges, which attracted poets, painters and music to Gelida.
  • Ràfols House

    autoria desconeguda

    Building between the partitions of a corridor. It consists of a raised main floor and another floor, under an Arabic tile roof. As a remarkable element we can mention the large window on the main floor, with modernist decoration, and the gable with sgraffitos and glazed tiles.
  • Font Country House

    Josep Masdéu i Puigdemasa

    Monumental building, reproduction of a basilica-type Catalan country house, that is, with a gable roof and a higher central body. It consists of basements, 2 floors and the aforementioned central body that acts as a viewpoint, and galleries, following the traditional Catalan style of vaulted door, large windows and arches, sundial and ceramic panels on the façade. There is a large entrance with lounges on both sides - one of which has a fireplace - and a staircase leading to the second floor where the rooms are, divided by a central corridor, from which another staircase leads up to the viewpoint. Built by the Barcelona novelist Alexandre Font with the desire to recover our traditional architecture after spending many summers in Gelida, where he was part of the nucleus that arrived at the end and beginning of the century. Its construction and inauguration were well known in the Barcelona literary circles of the Athenaeum and Café Colom, since the best writers and poets of the time, friends of the owner, offered him a booklet (edition of 33 copies) entitled " La Casa Nova" in April 1929. This group of friends were Ferran Agulló, Joaquim Cabot, Enrich de Fuentes, Ramon Garriga, pvre., Joan M. Guasch, Francesc Masferrer, Francesc Matheu, n, Puget, Joan Ruic and Porta, Joan Santamaria, Lluís Via, and a song with lyrics by J.M. Gouache and music by Amadeu Vives, entitled "Cançó del viure feliç".
  • House of Monsignor Jaume Via

    autoria desconeguda

    Rectangular house with a gable roof, two floors, cellar, attic, two viewpoints towards the west, and a garden. Its most notable aspect is the symmetrical and severe distribution façade, divided by a longitudinal balcony with three openings. As details, the wrought iron bars of semi-industrial origin, the Tudor style gate and the almost intact interior, with interesting ceramics and furniture, should be highlighted.

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