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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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
  • 1833 - 1834

  • 1846

  • 1856

  • 1853 - 1857

  • 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.


  • 1846 - 1860

  • La Divina Pastora

    autoria desconeguda

    El convent, de planta rectangular i coberta plana és format d'un altre cos, més alt, afegit a la part posterior, també amb cobertura plana i, a més, l'edifici de la capella, a un costat i mirant també a la façana principal. Tots els murs es presenten arrebossats (en algun sector es veu la pedra que hi ha sota). Les finestres són remarcades per un guardapols de mig punt (menys a les de la part posterior al primer i segon pis). Tota la cornisa, que a la part posterior fa ondulacions, descansa damunt d'una nombrosa sèrie de mènsules. La capella presenta un acabament amb una mena de frontó. Té un rosetó semicircular i damunt la porta un arrebossat d'arc de mig punt forma una mena de timpà. No es veu com és la coberta. Fou aixecat el 1862 al lloc dels estricadors de la confraria de Sant Sebastià. Ja el 1858 s'establí a Capellades la segona comunitat de terciàries caputxines de l'institut de la Mare del Diví Pastor, dedicat a l'ensenyament i fundat per l'igualadí P.Josep Tous i Soler (1811-1871).


  • 1863

  • 1863 - 1865

  • 1868

  • 1870

  • 1866 - 1880

  • 1878 - 1881

  • Sagrada Família Expiatory Temple

    Francesc de Paula del Villar i Lozano

    Sagrada Família Expiatory Temple

    Josep Maria Bocabella i Verdaguer founded the Spiritual Association of Devotees of Saint Joseph in 1866, at a time when the phenomenon of de-Christianisation was being driven by the Industrial Revolution and social change. From 1874 onwards, the association considered the construction of a new expiatory temple, following the trend of other religious associations that were erecting temples in Europe, such as those in Rome (Sacro Cuore de Gesù, 1870) or Paris (Basilica of the Sacred Court of Montmatre, 1873). The temple was to be a copy of the Basilica of Loreto (Marche, Italy), including a reproduction of the Holy House of Nazareth, which is where the Holy Family lived and to whom the Temple is dedicated. To build such a monumental work, the association commissioned the project from the diocesan architect Francisco de Paula del Villar y Lozano. The renowned architect does not agree to make a copy of an existing project and carries out a neo-Gothic style with a Latin cross project with considerable dimensions (44x97m), a large dome above the transept and a tower above the main façade, with heights of 80 and 100 metres respectively. These dimensions show us that it was not a conventional church, as the project surpassed the cathedral of Barcelona itself in terms of height, where the current subsequent dome only reaches 70 meters. On March 19, 1882, Saint Joseph's day, the patron saint of the association, work began on the crypt and at the beginning of the following year, when the walls were halfway up, discrepancies arose over the construction system. The Josephine association wanted to execute it in a more economical way, which eventually led to Villar's resignation.

    1882 - 1883

  • 1882 - 1885

  • 1884 - 1887

  • 1871 - 1888

  • 1884 - 1888

  • New Church of Sant Miquel d'Olèrdola

    autoria desconeguda

    The church of Sant Miquel is in the town centre of Sant Miquel d'Olèrdola (La Plana Rodona), near the road from Vilafranca to Sitges. It is a single-nave building, with a semicircular apse and a gable roof. The façade is crowned with an octagonal bell tower, with a ceramic pavilion roof. On the side walls there are buttresses and ogival windows. On the tympanum of the entrance portal there is a mosaic with the inscription "1889-1984" and the figure of Saint Michael the Archangel. Sant Miquel d'Olèrdola was built at the end of the last century in the centre of La Plana Rodona as a replacement for the castle.

    second half of the 19th century

  • 1882 - 1903

  • Sanctuary of Our Lady of Health

    Miquel Pascual i Tintorer

    Sanctuary of Our Lady of Health

    Eclectic church, surrounded by a forest and located on the remains of the Roman villa and the hermitage of Sant Iscle. It has a good arrangement of volumes, emphasised by the roofs at different levels and by the arches under the cornices. The bell tower, from the modernist period, combines the visible work with the wall and is topped by a glazed ceramic pinnacle. In front of the entrance there is an atrium supported by columns. From the interior, the most holy altar with sculptures and reliefs by Enric Monjo (1946) should be noted. There are also sculptures by Camil Fàbregas. The high altar altarpieces were carried out by Antoni Vila Arufat and the stained-glass windows were made by Jeroni Granell. According to tradition, around the year 1652, an image of the Virgin of Health was found touching the fountain of the Torrent de Canyomeres, and from that moment it began to be venerated in the Hermitage of Sant Iscle, a place where they were driven away from the city. The current temple is the work of M. Pascual Tintorer, it was finished on April 23, 1882, and cost 53,947.86 pesetas. Later, the bell tower was built (1907) and in 1945 the church was renovated by F. Folguera, who reinforced the vaults and foundations, as well as building the entrance atrium.

    1882 - 1907

  • Sagrada Família Expiatory Temple

    Antoni Gaudí i Cornet

    Sagrada Família Expiatory Temple

    THE TEMPLE’S BEGINNINGS AND GAUDÍ’S PROJECT After the resignation of Villar, Joan Martorell, who advised the Josefina Association and was one of the most prestigious architects of the time, proposed Antoni Gaudí as a continuation of the works begun. At the time, Gaudí was a young architect, with 31 years of age, and he accepted the position of managing director on November 3, 1883. Gaudí continued the works designed by Villar and, as he gained prestige as an architect - and at the same time the confidence of the Josephine association -, he gradually transformed the initial project to the point of reaching a large, monumental temple around 1890. The new conception of the building is no longer limited to a typical Latin cross church. It increases the scale and projects a main body of five naves with a transept of three, and a monumental façade at each end, dedicated to the Nativity - east transept -, the Passion - west transept - and the Glory, located at the foot of the main nave. To join the three façades, there is a perimeter cloister, which surrounds the nave and the surrounding island, with a building on each corner dedicated to sacristies, a baptistery and a chapel of the Sacrament and Penance. The new building has a great symbolic value as a manifestation of the Christian faith - which is inseparable from art and architecture - and gains in verticality. The three façades contain four towers each, about 100 metres high, dedicated to the twelve apostles. In the centre of the transept is a large dome, consisting of six towers even taller than the previous ones, dedicated to the Virgin Mary - on the apse -, the four Evangelists - one on each corner of the transept - and the large central tower of Jesus Christ, about 170 feet. Gaudí devoted the rest of his life to the design and construction of the Temple, and exclusively from 1914, when he ceased his professional activity outside the Sagrada Família. During Gaudí’s lifetime, the crypt, the façade of the apse and much of the Nativity Façade were built.

    1883 - 1926

  • Església de Valldaura

    Antoni Calvet, Josep Firmat i Serramalera, Josep Torres Argullol

    Edifici construït en pedra, amb una nau i capelles laterals comunicades entre si mitjançant arcs apuntats. Coberta a dues vessants. La façana principal és de composició ordenada, llisa, amb predomini del buit sobre el ple: portal en arc rodó i gran finestral tripartit que segueix la línia de façana formant el capcer. Una torre poligonal amb coberta piramidal resol la cantonada i serveix de nexe d'unió amb la façana lateral, plana, amb petites obertures i contraforts. El conjunt exterior utilitza un llenguatge formal divers de l'interior. Les façanes denoten unes certes influències centreeuropees, la qual cosa no és estranya si pensem que estan fetes posteriorment a l'interior i de mans d'un arquitecte més jove. A l'interior, la nau està separada de les capelles laterals mitjançant arcs formers, rebaixats en planta baixa i apuntats al pis superior. Absis poligonal. Cor al tester, a nivell de planta pis. Coberta amb estructura de fusta. Paraments arrebossats. A la capçalera, i damunt de l'altar, hi ha el cambril de la Verge.

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