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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

Suggestion box

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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
  • Sant Antoni Market

    Josep Maria Cornet i Mas, Antoni Rovira i Trias

    The Sant Antoni market is located outside the gate of the wall that bore its name, on a spontaneous market that exists outside the walls and adjacent to what used to be the Madrid road (now Mistral Avenue). Rovira i Trias, who lost the competition for the Eixample district in Barcelona, takes over Ildefons Cerdà’s winning proposal by arranging, in the middle of the whole square that the market occupies, a dome in the form of a covered square, designed in collaboration with Josep M. Cornet i Mas and with analogous dimensions to those of a junction of the Eixample. Four symmetrical pavilions face the chamfers, as arranging them turned ninety degrees from the direction of the streets (i.e., diagonally) allows them to reach the maximum inscribable length on a square. The perimeter of the square is closed and the spaces between the fence and the façades of the market are treated as yards for unloading goods. Leaning on this perimeter fence, a perimeter canopy is set up where a well-known foreign market takes place. There you can find everything on Sunday mornings, and it is a sight to behold and a place to take in the city. The refurbishment has two underground floors under the archeologically restored market, with the refurbished stalls. Excavations for the site have uncovered remains of the bastion of the wall, which have been incorporated into the project. It demolishes the perimeter fence, preserving the canopy to open the old courtyards of goods and turn them into public squares. One of these depresses an entire floor to allow access to the remains of the bastion and becomes an access to a new commercial plinth. The refurbishment will show the whole of the perfectly restored old market and will value its side façades, which were initially closed, a service architecture that has been dignified over the years. The new architecture will strengthen the civic character and, at the same time, enhance the historical memory of the place.

    1872 - 1882

  • Roman Baths Museum

    Arriola & Fiol Arquitectes, Andreu Arriola Madorell, Carme Fiol i Costa

    Roman Baths Museum

    The Roman Baths Permanent Exhibition project is integrated into the future Museum of Sant Boi de Llobregat - the remains of the Roman thermal building will be one of the most important exhibits of the new museum installation promoted by the Barcelona City Council and Sant Boi City Council. This project is considered as a first phase of the Sant Boi Museum installation with two primary objectives: to enable the completion of the archaeological research and to build the cover that will guarantee the definitive consolidation of the remains. The accessibility to the ruins as well as the visit routes have been conditioned by the organisation of the functional programme. This program projects a museum installation staffed by at least one or two permanent people. The entrance to the new building is through the intersection of Carrer Hospital and Avinguda Maria Girona and access to the thermal complex is from the apoditerium. There is a gentle step that saves the difference in level and configures some stands to contemplate the scene of the ruins and some stairs that accompany the route.

    1990 - 1998

  • 1993 - 1998

  • Intervenció al Poblat Ibèric de la Moleta del Remei

    Jordi Segura i Torres

    Intervenció al Poblat Ibèric de la Moleta del Remei

    La Moleta del Remei és un jaciment ibèric ubicat en el terme d’Alcanar, a la comarca del Montsià, en un puig pròxim a l’ermita de la Mare de Déu del Remei, patrona de la localitat. El poblat, conegut des de principis del segle XX, ha estat objecte de diverses campanyes d’excavació, programades des del 1985. Les intervencions han descobert un poblat fortificat, amb estructura ovalada, que presenta una ocupació en tres fases entre el segle VII i el II aC. L’última excavació, a finals de 1995, ha permès arribar a un nivell de coneixement del jaciment del que es pot procedir a la seva consolidació, ordenació i senyalització. L'objectiu de la intervenció té, a més de la voluntat de conservació de les restes, la finalitat de presentar al visitant, de manera pedagògica, les estructures i continguts que configuren el lloc. Seguint en tot cas les normes bàsiques d’intervenció en el patrimoni immoble: 1) Respectar la ubicació original de les restes, 2) que els materials utilitzats siguin fàcilment reversibles i 3) distingir les restes afegides de les restes originals. Sota aquests paràmetres els plantejaments de la intervenció son els següents: Considerar l’àmbit el projecte, com un “parc arqueològic”, no sols la fortificació pròpiament dita, sinó el conjunt paisatgístic del turó. Definint tant el recorregut d’accés a dalt el poblat, com l’accés i recorregut interior, integrant-los en l’entorn paisatgístic. Consolidació de les restes arqueològiques, apropant-nos als sistemes constructius emprats en la seva construcció original, segons els diferents tipus de murs. Potenciant l’esquema urbà de funcionament a l’interior i el protagonisme perimetral de la muralla, que es converteix en un autèntic passeig arquitectònic.. Evocació del lloc, amb una visió dinàmica. Mitjançant el diàleg entre nous elements puntuals, com morfologia d’estructures constructives, i les restes arqueològiques existents, aproximar el visitant a la reflexió espacial, històrica, social, i fins i tot poètica. Col·locació d’una plataforma amb plafons explicatius a la zona més alta del recinte, coincidint amb la part central sense excavar, amb connotacions del lloc públic i simbòlic que podria haver-hi hagut al lloc, com element icònic. Aquesta plataforma també fa de mirador, des d’on poder observar la totalitat del recinte i el conjunt del paisatge circumdant, des de la costa fins les muntanyes llunyanes dels Ports de Beseit.

    20th century

  • 2003 - 2004

  • 2006

  • Vila de Madrid Square

    BCQ Arquitectes, David Baena i Asencio, Antoni Casamor i Maldonado

    Vila de Madrid Square

    We must bear in mind that the Vila de Madrid Square is a very special space within the system of squares and free spaces in the old town. That is why we proposed the revitalisation of the square as an urban space for pedestrians, maintaining its specificity as a "different" place within the streets and squares that surround it, and to celebrate the archaeological site that the square hosts: a Roman necropolis, one of the most important vestiges of Catalonia in the Roman era. The square is presented as an urban public garden, partly because it is the way to respond to its uniqueness as an archaeological site, partly because it continues the same concept of intervention, and finally because we always imagine it as a different place in urban spaces of commercial activity (sometimes frantic) surrounding it. A central grassy square is proposed at the level of Canuda Street and the eastern front of the square. The central area of the square is covered with grass and most of the existing trees are maintained. The surface of the lawn is depressed with a slight slope to the level of the Roman necropolis. Approximately in front of the façade of the Palau Sabassona building, the headquarters of the Ateneu Barcelonès, there is a paved strip with a portico-viewpoint towards the area of the tombs. A pedestrian walkway "flies over" the archeological remains until the extension of the Duc de la Victòria passage (connected to the Rambla through the commercial passage). This walkway has, at the bottom, a system of doors that protect the access to the archeological area. In the perimeter area of the square, the usual building materials and street furniture in the historic centre of Barcelona are used. In the central area, however, turf, basalt stone and weathering steel are introduced. With the latter, walls that allow the permanence of pre-existing trees are built.

    1998 - 2008

  • 2007 - 2008

  • 2005 - 2010

  • 2010

  • Restoration of El Born Market (Stage 3: Born CC)

    Rafael de Cáceres Zurita, Enric Sòria i Badia

    Restoration of El Born Market (Stage 3: Born CC)

    The open debate on the Born’s use and the work done on the compatibility between the ruins and the Provincial Library concluded with the municipal decision to propose a Cultural Centre that would incorporate the site as an active part of the new facility. Decided for this purpose, the building attached to the Born was built on 5 Comercial Street, and it becomes essential in order to locate the technical elements of the facilities (air conditioning, power supply, transformer station, etc.). In parallel with the construction of the annex building, a platform was built inside the Old Market to protect the site and to recover the work plan on which to proceed with the restoration and construction of the cultural centre. Broadly speaking, the main restoration tasks focused on the construction of the new roof and its structural consolidation, the restoration of the cast elements (pillars, channels, structural and ornamental elements, the set of the central lantern, the stairs and exterior walkways, the interior staircase for access to the roof, etc.), the closure of façades (cast iron elements, glass, skylights, brick walls, etc.), and the evacuation system of waters. The project included structural operations aimed at reusing the Market as a Cultural Centre, in particular the structure of the slabs that make up the upper level of the site and which is directly related to the outdoor space of the Cultural Centre and the network of stormwater drainage of the whole. In July 2010, the architect Rafael de Cáceres resigned from the work for the reasons set out in the document Carta al Born, which you can find on the blog:

    2006 - 2012

  • Reorganisation of the Roman Archaeological Site of Can Tacó

    Toni Gironès i Saderra

    Reorganisation of the Roman Archaeological Site of Can Tacó

    The Roman site of Can Tacó is located on the Turó d'en Roina, facing south and 50 metres above the confluence of the Congost and Mogent rivers, at the source of the Besós river and about 20 km away from its mouth in the Mediterranean Sea. Forming part of the Tres Creus Hills complex, this natural and genuine enclave structures biodiversity in a very fragmented and man-made environment. The idea is to recover and enhance both the natural and archaeological heritage. Passing through a small forest, submerged among the mass of oaks, we discover the Roman site at the end of a quiet and winding route; the remains of a Roman palace with a clear geometry of the spaces that formed it, with areas of great interest that must be highlighted. Built by successive earthworks and partly with local slate stone, what had been an important settlement prior to the construction of the Via Augusta is currently a natural viewpoint towards the Vallès regions. It intervenes in the transfer of the Roman traces, reinforcing the content (the space) and highlighting the continent (the walls). We work with the earth that over time covered the remains and that accumulated outside the site as a result of the archaeological excavation. These lands and gravels from the old licorice quarry are sieved and straightened again but in a different position, giving them a new meaning. A first steel mesh contains the new stones, and these contain the land and gravel that together will reproduce the successive horizontal planes at the level where the Romans traveled. A second mesh, denser and thinner, is arranged as a curtain in time, as a backdrop on which the different archaeological remains are projected. In this way, stone and steel, mountain and industry coexist in these landscapes of accumulation and, nevertheless, dynamic due to the contact between fragments, interpreting the pre-existing, valuing and activating, incorporating and not erasing, and at the same time co-evolving with the natural environment by optimising resources to the maximum.

    2008 - 2012

  • Restauració del Sector Central o Cenobític de la Cartoixa d'Escala Dei

    Carles Brull Casadó

    Restauració del Sector Central o Cenobític de la Cartoixa d'Escala Dei

    L’actuació té per objecte protegir mitjançant cobertes les restes ornamentals conservades a l’anomenat sector cenobític del complex monàstic, dotar-lo d’estabilitat estructural i possibilitar la seva visita pública. La proposta planteja cobertes de teula per al volums original recuperats i de planxa de zinc per aquells amb nivells superiors irrecuperables. Per a la reconstrucció dels elements de fàbrica s’ha emprat maó massís manual que permet refer voltes, arcs, murs o pilars de manera flexible i adient marcant diferències subtils amb els element originals que s’han consolidat i restaurat integrament. Cal destacar la reconstrucció, pràcticament des de zero, del claustre menor, d’estil renaixentista primerenc, a partir d’un 70% dels elements arquitectònics i paviments originals, a més de la seva magnifica font central. El gran espai del refetor servirà per a usos culturals polivalents compatibles amb la seva visita.


  • Reorganization of the Domus Avinyó Roman Site for the MUHBA

    Vora Arquitectura, Pere Buil Castells, Antoni Riba Galí

    Reorganization of the Domus Avinyó Roman Site for the MUHBA

    The discovery of a Roman site at the bottom of a municipal building, a Domus on the edge of the wall, has made this adaptation project necessary to make it open to visitors simultaneously with the normal use of the building. The space containing the site has been turned into a museum, and the ground floor has been redistributed to configure the spaces for approaching the site from the building's lobby. Spaces that have a dual use: circulation and building services during the week, and vestibule of the site when it is open to the public. The approach takes place through a sequence of vestibules that refers to the system of articulation of the main spaces of the domus and villas. The halls, with sensibly square proportions and varying heights, are connected by thick, low doorways that refer to the massiveness of Roman architecture. This sequence of spaces defines a circular route, with a strong theatric character, which incorporates elements of anticipation of the site's content. Each hall is located on a different stratum (outside the wall-wall-intervallum) which is manifested in different pavements and in bas-reliefs of Roman characters on the walls, accompanying the visitor. Through stairs in the dark, like a tunnel, you can access a longitudinal loft like a lookout, raised above the site. The entire space disappears, painted black, revealing the archaeological remains and a large mural that had been on the ceiling of one of the rooms. The loft is an enclosure with glass facings on the walls, floor and ceiling, which multiply the perception and expand the space. The walls and floor hide parts of the site and interpretive elements on display that appear behind the glass in a game of illusionism when the lighting is turned on.

    2013 - 2015

  • Adequació de les Restes Arqueològiques de l'Antic Teatre Romà de Tàrraco

    Toni Gironès i Saderra

    Adequació de les Restes Arqueològiques de l'Antic Teatre Romà de Tàrraco

    Les restes arqueològiques de l’antic Teatre de Tàrraco es descobreixen l’any 1885. Al llarg del sXX, hi han hagut importants transformacions que han anat construint una nova condició contemporània com a sediment i dipòsit de temps i matèria. Transformar el gran buit urbà de 6000m2 en un nou espai públic atravesable és el que es pretén amb les successives fases. En aquesta primera, la construcció d’una estructura de barres d’acer corrugat complementada per un pla horitzontal de sauló, dibuixen les directrius i generatrius que activen en geometria i escala part de les restes de la càvea original. La idea clàssica de visió semi-panoràmica desapareix. La centralitat es desplaça, desapareix la simetria. L’escenari s’amplia, els límits es desdibuixen. Entren en joc els diferents elements i, com un engranatge la història i l’obra de teatre es reordenen, oferint infinites versions d’acord amb els nous actors i les seves mirades que, poc a poc, harmonitzaran amb el pes i el pas del temps.

    2013 - 2018

Bústia suggeriments

Et convidem a ajudar-nos a millorar la difusió de l'arquitectura catalana mitjançant aquest espai, on podràs proposar-nos obres, aportar o esmenar informació sobre obres, autors i fotògrafs, a més de fer-nos tots aquells comentaris que consideris.