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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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
  • 1893 - 1895

  • Antic Ball - Teatre Xaconet

    autoria desconeguda

    second half of the 19th century

  • 1904

  • 1908

  • 1908 - 1909

  • 1910

  • 1911

  • 1912

  • Casino Berguedà

    Ignasi M. Colomer i Oms, Roc Cot i Cot

    Casino Berguedà

    Edifici situat en una cantonada d'un carrer en desnivell que inclou una sala de cinema en una ala, i una sala de cafè i un restaurant a l'altre. La façana té un sòcol de pedres de tipus maçoneria i la part superior, arrebossada amb alguns motius decoratius a les zones altes i els ampits de les obertures amb rajola, alguns elements amb maó. La coberta és de teula àrab. Està estructurada en una sola planta i l'element més característic és poster la forma de les obertures, falsos arcs apuntats fets per aproximació de filades. Roc Cot va iniciar el projecte i Ignasi Colomer el va continuar. És una obra de l'any 1913 en el qual hi varen participar diferents arquitectes. El primer projecte fou del mestre d'obres Francesc Joan Canal (1902) remodelat després per l'arquitecte Roc Cot i Cot i acabat definitivament per l'arquitecte Ignasi M. Colomer el 1913. L'edifici fou reformat el 1940 i definitivament el 1955 al adaptar-se a cinema; d'aquests reformes són l'actual escalinata, l'entrada d'accés que funciona com a sala d'exposicions i les remodelacions de la sala que anul·laren els balcons i la decoració interior.


  • 1920 - 1922

  • 1923

  • Cinema Princesa

    autoria desconeguda

  • Coliseum Cinema

    Francesc de Paula Nebot i Torrens

    Coliseum Cinema

    The Coliseum Cinema is a building for public use designed by Francesc de Paula Nebot and completed in 1923, originally intended for the projection of films from Barcelona, and since 2006, also for the theatrical production. The Coliseum Cinema is located at 595 Gran Via de les Corts Catalanes, Barcelona, in a block of houses framed by Diputació, Balmes and Rambla Catalunya Streets. It is configured as a building between partitions, developed on a quadrangular plot and currently has a capacity for almost 1700 people. The building was designed by Francesc de Paula Nebot, in an eclectic style close to the French Beaux-Arts movement and inspired by that of the Paris Opera House. The façade stands out for the monumentality of both its composition and the decorative and structural elements that make it up. This is configured as a large arch that - like a monumental niche - is flanked by two towers with a square section and three floors. The first two levels of the towers frame the great arch itself and present a decoration of a very classicist taste, with attached pilasters that frame a small alcove covered with a pierced circular pediment, in the centre of which there is a carved mask reminiscent of the classic Greek tragedies. This first body is finished with a Doric entablature with triglyphs and metopes that mark the passage to the second body, uniquely decorated with a porthole framed by garlands and crowned by a mascaron. As for the third floor of the towers, this is arranged above the level of the cornice, giving rise to exempt towers with a square base where on each of the four sides there are half-point niches where sculptures are arranged. This first body - with attached pilasters - is finished with double pediments (triangular and circular) and serves as the basis of a second octagonal body that allows it to develop a crowning like a porticoed temple with columns and an octagonal dome. The central body, which takes the form of a monumental niche through a large lowered half-point arch with a coffered vault, houses a semicircular structure that, like a classical temple, partially protrudes from the lead of the façade. This body is configured on the ground floor as a porticoed element with pairs of Corinthian columns that support a smooth, running entablature that serves as a base on a second level, also with pairs of columns between which a stone balustrade develops. This body supports through a powerful entablature a cornice that is crowned in the central part with an element of curved shapes and four pairs of sculptures, two on each side. These sculptures - made by Pere Ricart - represent allegories of the arts, such as music and theatre. The central body of the building is finished with a large octagonal dome, the drum of which is configured with semicircular arches framed by pilasters that protrude from the line of entablature and into which portholes open surrounded by volutes and crowned by a lion's head. The interior of the building is made through the porticoed body of the ground floor, which gives access to a semicircular lobby. In this, there are five semi-circular arched doors, one on each of the two sides and three at the front, between which the cinema's two box offices are arranged. These lockers are shaped like niches with vegetal decoration and topped by an entablature, while being differentiated according to the type of entrance they sold, through plates that say: "amphitheatre" and "main floor", respectively. Even today the original woodwork is preserved in the lobby, with a convex structure in which the doors that give access to the large performance hall open. The construction of the Coliseum Cinema responds to the desire to build "a sumptuous cinema" that would be the most elegant venue in the city and that could also host other types of shows. It is for this reason that in 1919, Josep Solà and Guardiola, Victorià Saludes and the Marquis of l'Argentera set up the company "Metropolitana S.A.", promoter of the work. Designed by Francesc de Paula Nebot, it was inaugurated on October 10, 1923. The works cost four and a half million pesetas at the time. Originally, it had 1,815 seats, distributed on three levels: platform and two floors in the shape of a half horseshoe, with 50 boxes around the platform. During the Civil War, the block on which the cinema is located was one of the most affected during one of the bombings in 1937. Much of the construction surrounding the Coliseum was demolished but fortunately this building was not one of the most affected. Currently, it has capacity for 1,689 people. From 1939 to 1941 it was owned by Ufilms and from then on it was operated by Cines y Espectáculos S.A. In 1958 it was acquired by the Balañà family, who are the current owners. Even today it has a single room, large, with a single screen, where big premiere films are screening and plays are performed. One of the most representative elements of the building is the large dome that crowns it, and which was originally intended to host a casino that was never installed there. On the other hand, over time, several entities have stayed there. Craftsmen such as Fernández Casals, Gonçal Batlle and Torra Pasan participated in the luxurious decoration, while the sculptures on the façade are the work of Pere Ricart. The metal structure was made by Torres Herreries.
  • Titan Cinema

    Bienvenido Marín Espinosa

    L'edifici del Cine Titan és una construcció noucentista de 1926, ampliada al 1996 per acollir un centre cívic. El nou programa de la biblioteca requeria l'increment de superfície que s’ha resolt amb l'excavació d'un soterrani i la disposició d’un altell. La nova secció de l'edifici es complementa amb la presència de patis intercalats, una gran lluerna i l'eixamplament de les obertures de façana. La connexió visual entre dins i fora i entre dalt i baix esdevé directa i augmenta la claror de forma natural a totes les plantes. El tamisat d’aquest nou component transparent es realitza mitjançant lames i vidres especials, que garanteixen la correcta exposició solar i el control visual, i es converteixen en la nova imatge de la façana principal. Un edicle a la cantonada sud crea un element singular a l’altra banda de la torre de la rotonda. La majoria dels elements de mobiliari i baranes son bigues prefabricades de fusta, per aconseguir la màxima llum amb el menor nombre de suports.


  • Cinema Olimpia

    Josep Danés i Torras

    El carrer Àngel Guimerà, que corre paral·lel al Passeig de Pere III, la via més important de l'Eixample manresana de finals del segle XIX i del Modernisme, conté una sèrie d'edificis noucentistes de diversa estètica. El Cinema Olímpia s'adscriu al llenguatge monumentalista classicista del Noucentisme, pel seu caràcter públic. Està construït entre mitgeres, planta rectangular, i consta d'una planta i un pis a doble alçada, amb una composició unitària. La façana, ordenada simètricament, té cinc obertures per planta, organitzades segons cinc eixos verticals: tres centrals amb portals en planta baixa i balcons bombats amb balustres al pis principal i vidrieres de traça geomètrica, que corresponien a l'antic amfiteatre; els balcons es tanquen amb un arc rodó motllurat i reixeta. El coronament superior està format per un fris de finestres petites (de ventilació per a l'espai sota coberta), alternades amb permòdols, els quals sostenen una cornisa motllurada i amb dentellons, un acroteri massís i, al damunt, un conjunt escultòric amb medalló central, amb el nom del cinema i cimat amb corona, flanquejat per volutes i pinacles. La coberta és a dues aigües, de teula plana. Actualment, l'interior està totalment modificat i ocupat per una botiga de Zara. Originàriament, a la planta baixa es desenvolupava el vestíbul i platea (en desnivell), amb l'escenari al fons. Un bon tros de l'escenari i la sala ocupaven el pati interior de l'illa. La part alta de l'edifici estava ocupada per l'amfiteatre, suportada per pilars de fosa, i el foyeur.
  • 1928

  • Cinema Rialto

    autoria desconeguda

  • Cinema Paris

    autoria desconeguda

  • Fémina Cinema

    autoria desconeguda


  • 1931

  • Cinema Cortes

    autoria desconeguda


  • 1934

  • 1935

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.