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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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
  • 1840

  • Habitatges al Carrer Avinyó 58

    autoria desconeguda


  • 1850

  • 1851

  • Hotel Lloret

    autoria desconeguda


  • 1849 - 1865

  • 1882

  • Graphic Arts Factory and Workshops Henrich i Cia.

    Domènec Balet i Nadal

    The building is located on a plot of land between party walls, with the main façade facing Còrsega Street. It integrates a large building within the urban fabric of the Eixample. To achieve this, we have proposed three different types of façades that respond to different conditions of its immediate environment: the façade on Còrsega Street, the façade in the interior of the block and the façades of the hotel's courtyards. The façade is split into two floor plans, one of glass and the other one of ceramic. On the main façade, the openings are carried out with respect to the façade plan by means of brass boxes, creating a game of light and shadow that reduces the screen effect of the building, achieving a better proportion on a city scale. Following the same principle, the two large galleries recall the "skyline" of the old Bayer factory. At night, these boxes are illuminated, achieving the effect that the boxes float on a black canvas. These mechanisms help to divide the longitudinal view of the façade, which occupies almost the entire block. On the ground floor, the double-height metal portico structure helps to build a foundation that seeks the view of the interior garden and gives presence to the building. The façade here is proposed in reverse, this time with the glass set back, reaching a depth of up to 1 m from the base to its crowning. It is a façade that recognises its visual foreshortening and emerges from this condition with the maximum possible advantage, building a façade with thickness, with shadows, which from its complexity in this case allows simplification to integrate into the environment. The rear façade, with joinery also located on the interior floor plan, generates a game of voids and groups the first two floors into a single opening, to obtain greater verticality. The inner courtyards of the hotel take on a special relevance and not only provide ventilation to some simpler rooms, but open to the interior distribution corridors. To solve the possibility of visual interference between corridors and rooms, a skin of vertical metal tubes in the shape of a diamond has been constructed which, like large curtains, solves this problem. At night, lines of hidden LEDs backlit the tubes, offering an image of the suspension of the light metal element in front of its enclosure or patio façades. One of the main challenges has been the industrialisation of the entire construction solution. It is a very light ventilated façade built from large modules of almost 5x3 metres that were finished at the workshop. This solution has had many advantages, including absolute control over its finish and faster assembly. The fact of minimising the number of different materials (black ceramic panel, glass and structure lined with brass) has allowed to simplify not only its formal solution, but also its construction.


  • Gran Hotel Internacional

    Lluís Domènech i Montaner

    Gran Hotel Internacional

    Per tal de disposar de suficients places hoteleres durant l’Exposició Universal de 1888, l’Ajuntament de Barcelona va convocar un concurs per construir un gran hotel, de caràcter efímer, que es va adjudicar al promotor Ricard Valentí, amb un projecte de Domènech i Montaner. L’Hotel Internacional no presentava grans innovacions estètiques, però va despertar molta admiració per la velocitat d’execució: 53 dies per acabar l’estructura i un total de 83 per tenir l’edifici enllestit. Domènech va idear una construcció seriada per tal de poder complir els terminis establerts. L’edifici presentava una planta rectangular, de 150 m per 35m, amb un eix de simetria central i cossos sortints als dos extrems i a la part central. Tenia cinc plantes als cossos allargats i sis al cos central i a les torres. Disposava d’ascensor, portes d’accés per vianants i per cotxes, cafè, restaurant, camiseria i guanteria, estanc, telègraf, pati d’honor i grans lluernaris que il·luminaven els passadissos. Podia donar servei a 2000 hostes, amb 600 habitacions i 30 apartaments per famílies. Per tal de poder construir sobre un terreny tan inestable com el terraplè que s’havia format amb l’enderroc de la muralla de Mar, on la fonamentació convencional hauria sigut molt costosa i lenta d’executar, es va fer servir un enginyós sistema. Consistia en una graella de bigues metàl·liques (que en realitat eren rails de tren llogats que es podien recuperar un cop enderrocat l’edifici després de l’exposició) sobre les que recolzaven voltes de maó de pla invertides, creant una llosa contínua de fonamentació. Totes els murs eren de fàbrica de maó, amb un dimensionat dels espais ajustats al format de la peça per minimitzar els talls de la ceràmica. Per tal d’accelerar la construcció es treballava les 24 hores del dia, fent torns dels operaris i dividits en especialitzacions. En el torn de nit es va fer servir il·luminació elèctrica, fet que despertava l’admiració a l’època. Una estructura laboral moderna on Bonaventura Pollés i Vivó i el recent titulat Josep Forteza i Ubach actuaven d’arquitectes ajudants. L’obra comptà amb estucats decoratius a partir de dibuixos d’Alexandre de Riquer, Joan Llimona i Dionís Baixeras, motllures ornamentals, empaperat dels interiors… La pintura va anar a càrrec de l’empresa Bassegoda, i la decoració Saumell i Vilaró. El conjunt decoratiu volia assolir la difícil síntesi d’una arquitectura nacional i moderna, tal i com Domènech havia determinat en el seu article “En busca d’un arqutiectura nacional”. Hi ha clares referències medievals, però també conserva alguns deixos acadèmics i, a la vegada, un aire art nouveau. Un cop acabada l’exposició, malgrat les peticions del promotor per conservar-lo, l’edifici fou enderrocat.


  • 1896

  • 1898

  • 1902

  • Suís Hotel

    Juli Batllevell Arús

    Suís Hotel

    Corner building with ground floor and two floors. The façade has a modernist language and combines exposed brick, sgraffitos with floral motifs, worked stone and ceramics. In the chamfer there is a large balcony that rests on a pilaster. The wrought iron of the balconies and the entrance should also be highlighted. The entrance forms a gate separated from the street by a gate. The building, as it was in 1982, came from the refurbishment of a series of houses between partitions that were transformed into a hotel, while changing the interior distribution but preserving the curves and openings of the façade.
  • Gran Hotel Peninsular

    Lluís Muncunill i Parellada

    Gran Hotel Peninsular

    Building between partitions, ground floor and three landings. The façade has a very flat composition, symmetrical and with two openings per floor. The ground floor has a double portal, the first floor has a double iron balcony supported by corbels and rounded edges, and on the upper floors there are individual balconies of wavy shapes also made of iron. The top of the building is made with a cornice and toothed gables that reinforce the vertical composition of the openings. The façade is made of stucco and it has ornaments of floral motifs on the lintels and under the balconies. The tax line is at the level of the balconies on the top floor, with an attempt to integrate with the neighbouring buildings.


  • 1905

  • 1906

  • Harbour Works Board Palace

    Julio Valdés Humaran

    Harbour Works Board Palace

    The Port Works Board is located in an open space in Pla de Palau Square, next to Bosch i Alsina Pier. It is an isolated building designed by Julio Valdés at the beginning of the 20th century. It has a rectangular plan, with a ground floor and two floors above. The different façades, and especially the main one, are characterised by a very important accumulation of decorative features following an eclectic style. On the ground floor we find a series of semi-circular arched openings flanked by pilasters with a very simple capital. Above, new smooth pilasters continue the same vertical axis and surmount a decorated balustrade located in the central section of the building. On this level, new multiple openings also half-point with awnings in half-vault. In the last floor, which is like an attic but with a significant height, the openings are smaller and quadrangular. Balustrades and balconies are combined. Throughout the façade, the forging used is very variegated. One of the most defining features of this building is the presence of four large towers with a quadrangular plan located at each of the vertices of the building. Two other smaller towers are located between these and the cornice of the front and back façades. This front cornice is quite prominent and is surmounted by three main sculptures with marine icons flanked by winged lions. It has a wide profusion of applied ornamentation, highlighting the rich cresting of the roof area. The building was seriously affected by bombing during the Civil War, for this reason it had to be restored from the year 1940. More recently it suffered the construction of a rise that has disfigured the effect of the tower system angles, cresting and pumped roof. It is currently in a good state of conservation. Both its location in a much wider space than the railway landing and its function as a gateway for travelers arriving by sea to the city allowed the construction of a building, which once again appeals to the typology of the palace, and which takes French architecture as a model. In the same way as the headquarters of Gas Lebón, we find the typical four angular towers with a very inclined roof and a profusion of applied ornamentation, highlighting the rich cresting of the roof area, in addition to a bold combination of the openings of semicircular arch, on the columns on the main fçcade, following the model of the Grand Opéra in Paris, as well 18th-century windows following the Catalan tradition on the lateral and rear façades. The terminal, which housed the "El Mundial" restaurant on the upper floor and its own offices such as customs and post offices on the ground floor, was severely affected by the bombings of the civil war.

    1903 - 1907

  • Casa Manuel Planas Carbonell

    Gaietà Miret Raventós

    Casa Manuel Planas Carbonell

    Edifici entre mitgeres de planta baixa i dos pisos, que fa cantonada entre les carrers Illa de Cuba i Sant Gaudenci. El xamfrà se soluciona mitjançant una tribuna que ocupa els dos pisos, amb interessants vidres acolorits. Les obertures dels pisos són balcons amb barana de ferro i emmarcats a la part superior per motllures amb decoració floral. L'acabament de l'edifici és recte amb estilitzats frontons d'arc amb palmeta centrada. A la façana que dóna al carrer Sant Gaudenci hi ha una galeria coberta amb un gran finestral de forma arrodonida. La documentació localitzada sobre aquest edifici no és prou explícita. La fitxa de l'inventariï del Col·legi d'Arquitectes de Barcelona, atribueix l'obra al mestre d'obres Gaietà Miret i Reventós i en situa la construcció al 1908. En canvi l'Arxiu Municipal de Sitges conserva un plànol del projecte (amb el nom de "Casa Ollé") signat per l'arquitecte Josep Pujol i Brull l'any 1907. És possible que per algun motiu el mestre d'obres Gaietà Miret s'encarregués de dur a terme el projecte original de J. Pujol. Fa pocs anys la casa es trobava en un estat d'abandó considerable, però actualment ha estat restaurada. En tot cas, les obres corresponents a aquestes dates, sembla que es van fer a sobre d'un edifici preexistent construït el 1881.

    1907 - 1908

  • 1908 - 1922

  • 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".

    20th century

  • Hotel Bruc

    autoria desconeguda

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