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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2025 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2025 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:

2019-2025 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres Montse Viu

External Collaborators:

2019-2025 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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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
  • Fountain of Neptune

    Francesc Vallès i Cuchí

    Fountain of Neptune

    The Fountain-Monument has three parts: a base, a column and a statue. The base is square with eight springs, which are reliefs of human faces. The column is Doric in style, with the lower part of the shaft fluted and the upper part featuring girls dancing with water jugs in their hands (a symbol of civic joy). The base has garlands on the sides and animals on the corners. The statue represents King Neptune crowned and holding a trident in his right hand. The Espelt water gate had a spectacular effect on the town, and the best evidence of this can be seen in the monuments erected to commemorate the event. The monument was part of a group of four public fountains designed as the culmination of the water gate. The fountain was designed by Francesc Vallès, an engineer of French descent, and the artistic work was carried out by the sculptor Damià Campeny. It was inaugurated on 11 June 1832. In 1970, the town council had the monument rebuilt. The work was carried out by Hugo Pratch under the direction of the architect Joan Bassegoda Nonell.

    1832

  • Igualadina Cotton

    autoria desconeguda

    The site where the complex was located, known as ‘Godó colony’ and a manufacturing centre, had an area of 15,000 m2 with two longitudinal warehouses with a large number of openings on the outside to facilitate the entry of air into the warehouses. The power station measures 50 x 14 m with an approximate surface area of 700 m2 and is five storeys high. Part of the foundations are made of solid brick, forming arcades that are understood to be on sandy ground due to the proximity of the river. The four-storey warehouses have a very simple structure that is determined by the rectangular structure of the building. Three rows of cast iron pillars support the ceilings - on the first floors they are interspersed with wooden pillars of the same shape. The ceilings are made of wooden boards with reinforcing planks to support the weight of the looms. The roof has two slopes, leaving a central nave with a row of wooden pillars and trusses, and there are skylights in the ceiling. Next to the west façade stands the square brick chimney. The most remarkable element of the whole complex is the entrance gate to the enclosure, formed by a segmental arch made of smooth stone voussoirs and a triangular finial that is like a recreation of the Roman triumphal arch. Founded in 1842, under the promotion of the Godó family, it was in its beginnings one of the most important cotton manufacturing industries in Catalonia, both for the diversity of its production and for the number of workers employed there. It was also the first textile factory in Igualada to use a steam engine and the first to install electric lighting in 1885. Its most famous owner was Joan Godó i Llucià, after whom the street is named. As well as being a businessman he was a politician and the head of Sagasta's party in Igualada, becoming a member of parliament for the district of Igualada, where he had also been mayor. This company was known by different names depending on the owner: between 1842-1853, Fabril Igualadina Cotonera; 1853-1868, Compañía Fabril Igualadina Algodonera; 1868-1873, Igualadina Cotonera S. A.; 1873-1876, ceased operations; 1880-1936, Joan Godó i Llucià took over; 1936-1939, during the Spanish Civil War it was collectivised; 1939-1957, Joan Godó i Pelegrí recovered it; 1957-1967, S.A. Textil Igualadina. Finally, in 1967, the company disappeared, leaving the building and annexes abandoned. It would suffer subsequent demolitions, with the central nave and the steam chimney still remaining intact. It is included in the Inventory of Spanish Architectural Heritage of a Historical and Artistic Nature. [Province of Barcelona, 1979-1980, r.:1095]

    1842

  • second half of the 19th century

  • Cal Boyer

    autoria desconeguda

    Fàbrica coneguda com el "Vapor Nou", data de l'any 1897 i esdevé un exemple molt característic de la indústria tèxtil cotonera. Formada per dues grans naus longitudinals de dues plantes d'alçada, amb grans obertures exteriors sobre les quals descansen uns arcs escarsers coberts d'estuc vermell a fi i efecte de donar una nota de color i aconseguir la dinamització del conjunt. Destaca la gran xemeneia construïda amb totxo cuit i que presideix majestuosament tot el conjunt. En Joan Boyer i Ferrer era propietari d'una fàbrica tèxtil a mitjans del s. XIX. Arran de l'arribada del tren a Igualada, que permeté portar carbó i així utilitzar la màquina de vapor, traslladà la fàbrica l'any 1897 a la zona del Rec. El 1910 es fa una ampliació en el mateix carrer del Rec. El 1978-79 es tancà aquesta indústria. El 1981 aquest edifici el comprà l'ajuntament d'Igualada per instal·lar-hi el Museu Comarcal.
  • Cercle Mercantil

    Francesc de Paula Sellés Vilaró

    L'edifici del Mercantil pertany a un estil eclèctic. La façana la podem dividir en cinc parts: en la central, més avançada, és on trobem l'entrada principal; en la part alta hi ha el nom de l'entitat i en el centre l'any de la seva fundació; una galeria coberta uneix els dos cossos extrems amb el central. Els elements decoratius són els esgrafiats, col·locats en els timpans de les dues obertures que flanquegen l'edifici, i la ceràmica de reflexes metàl·lics a mode de fris. De l'interior cal destacar el teatre; entrant trobem l'amfiteatre de platea, després la platea voltada lateralment per llotges. Els primer pis té una zona central amb butaques i dues de laterals amb grades. Tot voltat per un jardí molt ben cuidat. El "Centro Mercantil, Industrial y Agrícola" havia estat fundat l'any 1899 com a conseqüència d'una desavinença entre diversos membres de l'antic "Casino de Recreo", uns, partidaris dels "Godó" i els altres, dels "Boyer". El local social de l'entitat va ésser edificat en el solar on antigament hi havia hagut el teatre Tívoli, i la seva inauguració coincidí amb el dia de la Festa Major de l'any 1899. El Cercle Mercantil celebrà el seu cinquantenari l'any 1949. Conté un teatre, un saló-café, una sala de festes i un jardí. Construït seguint un projecte de l'arquitecte Francesc de B. Galtés; dirigides les obres per Francesc Sellés; la decoració a càrrec de Frederic Brunet i la pintura pe Bartomeu Camps i Antoni Tomàs.

    1893 - 1899

  • Ateneu Igualadí de la Classe Obrera

    Pau Riera i Galtés, Pau Salvat i Espasa

    Edifici de planta i un pis. La façana és dividida en tres cossos, un de central amb tres portalades i tres finestres i dos de laterals amb quatre obertures cadascun. Un cop pujades les escales de l'entrada, ens trobem davant un gran atri, en altres temps teatre, i que avui fa de distribuïdor de es diferents dependències: biblioteca, teatre, cafè i secretaria. Vidrieres emplomades de tipus modernista sobre a porta en els que s'alternen les representacions florals amb les al·legories de l'entitat. El teatre, atribuït a l'arquitecte Pau Salvat i Espasa, és la dependència més important. Estructuralment té forma de ferradura i consta i consta d'una platea i dos pisos. A nivell decoratiu destaca la sanefa que rodeja el sostre i les baranes de ferro, decoració realitzada per l'escenògraf igualadí Pere Valls i Bofarull. A l'exterior hi ha l'escola Municipal de Música a l'esquerra de l'edifici i el jardí a la dreta amb una font -peixera de trencadís. L'ateneu nasqué a l'escalf de l'ambient de progressisme romàntic que estava en voga a Catalunya durant la segona meitat del segle passat, i ne la seva conjunció d'activitats culturals, docents i recreatives jugà un paper fonamental en la difusió de l'ideari progressista i de culturització popular. Després de l'incendi de 1873 de l'antiga seu social es construí durant l'any 1877 l'actual edifici. En l'etapa vuitcentista mantingué una escola primària, un teatre i una biblioteca. Durant els anys 1919- 1935 l'entitat prengué una gran embranzida amb l'erecció d'un grup escolar inserit en el moviment pedagògic català, d'un conservatori de música, d'una escola de teixits i d'un camp d'esports. Amb posterioritat a l 1939 les forces nacionals embargaren l'edifici i passà a anomenar-se "Centro Nacional".

    1900

  • Cal Fanalé

    Bonaventura Bassegoda i Musté

    Edifici destinat a planta baixa comercial i quatre plantes d'habitatges. El seu interès es troba en la composició de la façana que és una interpretació lliure dels elements racionalistes. Destaca el tractament molt pla de la façana -trencat només pel balcó corregut de la primera planta- en la que la verticalitat que li donen les tres franges i les finestres allargades dels extrems queda compensada per l'horitzontalitat de la finestra central. Horitzontalitat que queda remarcada pel tractament de les baranes i l'especejament dels vidres (especialment la franja de vidre glaçat). La finestra està rematada per una sòbria cornisa. A la planta baixa, actualment transformada, hi havia una botiga i un vestíbul que eren la màxima expressió del racionalisme igualadí. 19-04-1939 Projecte de remodelació de l'edifici afectat pel bombardeig de la Guerra Civil. 31-12-1939 Permís de llicència per construir de nou la façana, fa obres a l'interior de les plantes i n'aixequen una de més. Promotor: Ignasi Castelltort i Llambès. 1972 Reforma de la façana de la botiga i de la planta baixa (vestíbul) amb la qual cosa els valors racionalistes es perden. 1994 Remodelació total a la botiga

    first half of the 20th century

  • Cal Senyor Magí

    Ignasi M. Colomer i Oms

    Edifici de tres plantes construït amb carreus de pedra, on destaca la decoració de la façana feta a base dels propis elements estructurals de l'edifici, com són les dues portes d'entrada a la planta baixa, sustentades sobre dos pilars amb capitells decorats amb motius heràldics i florals, i les finestres, així com la sanefa que cobreix la part més alta de l'edifici. Obra promoguda per el Sr. Magí Castellfort i Llambés, comerciant.
  • Habitatge a la Rambla General Vives, 39

    Josep Masdéu i Puigdemasa

    Edifici d'estatges de quatre pisos d'alçada. Destaca la verticalitat que agafa la composició en sentit ascendent. A la part alta de totes les finestres es col·loquen els elements ornamentals amb uns acabaments en forma de capitells de temàtica floral. També és remarcable la decoració de la porta principal amb dos cercles fets de pedra que agafen la sinuositat dels típics "cops de fuet" del modernisme. L'acabament de l'edifici està fet amb totxo cuit i forma una petita balustrada. A la façana exterior es pot veure també una petita capelleta adossada al mur, col·locada a sis metres d'alçada i dedicada a un sant d'antiga devoció per part dels membres de les famílies ocupants (Verge de Montserrat). A l'entrada hi ha un sostre pintat d'estil modernista, amb una disposició asimètrica de tipus florals.
  • Valls i Brufau House

    Joan Alsina i Arús

    The building has a symmetrical composition with two axes of parallel openings. On the ground floor, ashlar masonry is used; here, we find segmental arches with large springers that contrast with the lintels on the first floor and with the stepped battlements that crown the building. The openings on the first floors are lintelled and the upper part has a stepped breakwater, which, with wide mouldings, seems to imprison Gothic-style floral reliefs that surround some ceramics with metallic reflections. In the centre of the façade we see the initials of the owner. Thus, the sinuous forms of the ground and third floors alternate with the rectilinear forms of the first and first floors and the battlements at the end. This is the first building in Igualdada with an overall Catalan Art Nouveau structure. Promoter of the work: Francesc Valls Brufau, weaver.
  • Cal Blay

    Isidre Gili i Moncunill

    The façade of this building is decorated with floral ornamentation in the form of a garland above the openings. The importance of this façade lies in its finials (now disappeared) as well as in the rampant arch with a lateral opening on the ground floor. A. Cirici Pellicer comments on the strong influence exerted in this case by Puig i Cadafalch. The wrought-iron railings on the balconies and a small tribune on the first floor are noteworthy. The façade of this building reflects the two currents of Catalan Art Nouveau: neo-Gothic and decorativism. It was built with poor materials, but even so, the wrought ironwork on the first floor and the arch and column on the ground floor stand out. Owner and promoter of the work: Josep Ferrer i Llopart.
  • Habitatges a la Rambla General Vives, 1-3

    Antonio Facerias i Marimon

    Arranjament de façana d'estil modernista. Està decorada amb esgrafiats que omplen els espais entre els balcons. És un esgrafiat floral de composició simètrica basada en el tema dels lliris. Les flors són pintades de color de foc i els fons és clar (a l'inrevés dels esgrafiats tradicionals catalans). També destaquen les portes d'entrada i el sostre de l'entrada amb decoració floral. L'acabament de façana es trenca amb una barana balustrada de falsa pedra també de tema florals. És de planta baixa i dos pisos. El propietari i promotor de l'obra va ser Llorens Farrer.
  • Massegué House

    Antonio Facerias i Marimon

    The façade of this building has a symmetrical composition determined by the openings. It is particularly notable for the ornamental elements that crown it. These are the balustrade railing on the roof, with a floral theme, and the mouldings, which end in the form of pinnacles. Also noteworthy is the wooden entrance door with asymmetrical floral decoration with a certain Japanese influence. The same applies to the balcony railings, which also have undulating forms. The ground floor has a more austere treatment than the rest of the façade. Owner and promoter of the work: Pere Massagué i Esteve, merchant and tanner.
  • Balcells House

    Ignasi M. Colomer i Oms

    The composition is limited by the parallel axes of the openings. The decorative system is based on the shapes used in the openings and the materials used in them. Thus we see how the architect has used the sharp arch and ashlar on the ground floor, while on the first floor and the other floors he has used exposed brick and green ceramic. The most important element of this building is the barbican, also made of brick, which crowns the building. Promoter of the work: Joan Balcells i Gubern, tanner.
  • Cal Sistaré

    Isidre Gili i Moncunill

    The most outstanding feature of this building is the façade, where we find the elements that were to be repeated almost invariably in all the buildings of its author, the architect Isidre Gili i Moncunill. Thus we find floral ornamentation on the lintels and jambs of the openings, based on reliefs, ceramics with metallic reflections and decorated tiles, as well as the use of ashlar on the ground floor, and wrought ironwork. Promoter of the work: Franciscano Sisteré i Gabarró.
  • Ramon Enrich i Tudó House

    autoria desconeguda

    Ground floor and two-storey building with a façade divided into three horizontal and two clearly differentiated vertical strips. The ground floor, divided into a semi-basement and mezzanine, is highly ornamented. It has three pilasters crowned by capitals with vegetal elements and small volutes. On the first floor there is a tribune, also highly ornamented with interesting glass and iron elements on the railings. On the top we can see elements of chevron and vegetal garlands.
  • Casadesús House

    autoria desconeguda

    House with ground floor and two landings. The façade is highly ornamented. The thresholds of the doorways are well worked with stone and the upper floors are ornamented with plant motifs, stucco and relief. The façade is crowned by a pediment and plaster mouldings with a plant theme. The work was promoted by Francesc Casadesús i Ros, a doctor.
  • Godó House

    Josep Pausas I Coll

    Building between partitions with neoclassical elements and a grandstand which, although it is at the back, is fully integrated into the building. Building between partitions with façades on the Rambla and Carrer de Sant Cristòfol. The main façade, with an eclectic style that mixes neoclassical elements with others closer to the Catalan Art Nouveau style prevailing at the time of the project (especially floral elements, garlands, lintels, sgraffito, wrought iron railings, etc.), is now very much modified by the tribune located on the first floor, which acts as a terrace on the first floor, built later. The wrought ironwork of the balcony railings is different from that which appears in the project. The rear façade is arranged along five axes, marked by the openings, and with a cornice and balustrade at the top that reflects the turn of the alignment of the street. Above the entrance door, on the boulevard, there is the medallion with the initials of the owner (J.G.).
  • Garatges de la Hispano Igualadina

    Josep Pausas I Coll

    Edifici d'estil modernista on el més interessants és la majòlica que trobem a la façana amb el nom de l'empresa "Hispano Igualadina". És important de destacar el color de la façana en la qual l'arquitecte juga principalment amb el blanc de l'estucat del fons i el vermell del totxo amb una composició d'estructura força amanerada, i la cornisa de coronament que amaga la teulada a dues vessants.
  • Cal Monets

    Josep Pausas I Coll

    En l'estructura general de la façana podem apreciar unes clares diferencies entre la primera i la resta de les plantes (segona i tercera) en el que fa referència als balcons i finestres. Si bé en les dues plantes superiors són allargats i amb balcó volat, en la primera i degut a la manca d'alçada i a l'estret del carrer , fa que l'arquitecte busqui unes solucions diferents. L'alçada és resolta amb una finestra-balcó i l'estret del carrer, que representa una insuficiència de llum amb un eixamplament de les finestres incorporat a la part central dues parts més estretes a una i altra banda, separades del cos central per una petita columna. Per les decoracions en la façana(capitells, dintells) i per la decoració amb temes animalístics de l'interior de les escales, de l'edifici és digne d'interès i consideració.(...) Propietari promotor de l'obra: Ramon Vives Maixenchs, adober.
  • Cal Farran

    Josep Pausas I Coll

    A building currently with a partition, a ground floor, mezzanine and first floor, as well as a rooftop. It has an almost symmetrical façade which is only altered by the modification of one of the ground floor doors. This is very low and visually forms a single floor with a mezzanine – a fact that is reinforced by the continuous balcony on the first floor. The façade is organised around three axes corresponding to the three openings on the ground floor (which become four on the first floor) with the central axis reinforced by the entrance door, at two levels, and by the corbels that support the central part of the continuous balcony. Interesting roof railing formed by a balustrade highlighted by two vases.
  • Poncell House

    Ignasi M. Colomer i Oms

    Compositionally, the building is divided into three parts: a central, wider one, which is flanked by two protruding parts, both in depth and in height. The building is crowned by stepped battlements, very typical of this author, and which remind us of the influence of Puig i Cadafalch's Macaya House. Brick is also used in the barbican – a construction method that is very characteristic of this architect. The barbican on the window in the living room and on the entrance door are also noteworthy. Promoter of the work: Nicolau Poncell i Sitges, typographer.
  • Roca i Clos Factory-Warehouse

    Salvador Valeri i Pupurull

    A simple industrial construction of the second period of Catalan Art Nouveau, where the most remarkable feature is the exterior façade built with ochre-coloured stucco-covered stone that highlights the red brick that dominates the decoration with sinuous lines that reach the upper end of the building. The openings with an excellent brick finish also stand out. The architect's concern to hide the roof tiles by raising the upper part of the building is worth noting. The Amor façade has a more rational character.
  • Munguet House

    Pau Riera i Galtés

    Two-storey house. The façade follows a compositional rhythm of openings – three on each floor – thus defining three main axes. The central axis is larger and rises one more floor. On the first floor, the balconies have a continuous railing. It is decorated with plaster mouldings on the first floor thresholds and on the balconies (corbels). On the second floor the balconies are also decorated with plasterwork arches. PAU RIERA I GALTÉS. Master builder born in Igualada. He built the Casadesús house and the façade of the Escola Pía, among other works. Work promoted by Mariano Munguet i Mullerachs.
  • Dwellings on Rambla Nova, 27

    Pau Riera i Galtés

    The façade features floral sgraffito covering the last two floors. The motif is a fleur-de-lis surrounded by curved lines with foliage. In addition to this decoration, the building also has doors decorated with asymmetrical pseudo-floral borders and sgraffito on the entrance plinth. The staircase railing is also decorated, creating a rather remarkable ensemble. The wrought ironwork on the balconies and rooftop railings is also noteworthy. Developer: Aleix Gabarró, merchant.

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