Intro

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Historical Archive which, thanks to its documental richness, provides a large amount of valuable –and in some cases unpublished– graphic documentation.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

2019-2024 Aureli Mora i Omar Ornaque

Documental Commission:

2019-2024 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:

2019-2024 Lluis Andreu Sergi Ballester Maria Jesús Quintero Lucía M. Villodres

External Collaborators:

2019-2024 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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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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Responsable del tractament: Col·legi d Arquitectes de Catalunya 'COAC'
Finalitat del tractament: Tramitar la sol·licitud de còpies digitals dels documents dels quals l’Arxiu Històric del COAC gestiona els drets d'explotació dels autors, a més d'aquells que es trobin en domini públic.
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Destinatari de cessions o transferències: El COAC no realitza cessions o transferències internacionals de dades personals.
Drets de les persones interessades: Accedir, rectificar i suprimir les seves dades, així com, l’exercici d’altres drets conforme a l’establert a la informació addicional.
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All works
  • Cementiri de Manresa

    Antoni Rovira i Trias

    Façana monumental amb la porta principal decorada amb pilastres i gran cornisa, sota la qual hi ha un fris amb un baix relleu que representa Jesús pujant al Calvari. Les parets laterals a dita porta estan decorades amb grans làpides. A l'interior, la porta reprodueix la façana d'un temple grec amb dues columnes de capitells dòrics i frontó triangular. A cada banda es desenvolupa un corredor amb columnes clàssiques (12 a cada costat) d'ordre toscà, fins a trobar l'església. En aquests corredors hi ha practicats els nínxols, alguns de gran valor artístic. Dins el recinte tancat pels pòrtics i l'entrada estant disseminats de manera ordenada els panteons i sepulcres familiars, alguns d'ells veritables obres d'arquitectura i escultura de gran qualitat que fan del conjunt un atractiu mostrari dels estils de finals del XIX i començaments del XX. Cal destacar: el sepulcre de la família Portabella i Argullol, construït per l'arquitecte Bernat Pejoan i l'escultor Josep Llimona; el panteó de la família Serra i Santamans, d'estil neoromànic, i el de la família Borràs, d'estil neogòtic. La capella del cementiri és de composició i formalització clàssiques, molt adient al conjunt de la façana exterior-interior. Projecte de l'edifici del 1846.

    1846

  • 1849 - 1852

  • Cementiri Municipal de Capellades

    autoria desconeguda

    El cementiri és situat en el cim del Molar o Mulà amb l'entrada orientada a nord enmig d'una zona arbrada. S'hi arriba a través d'un vial que serpenteja per la vessant nord del Mulà que surt del Parc de la Font Cuitora. Recinte de planta rectangular amb l'eix longitudinal orientat nord-sud. En una de les darreres ampliacions, la portalada del primer clos va quedar incorporada dins l'actual recinte, quedant aïllades les dues pilastres de pedra en les quals recolza un element de ferro forjat que incorpora la data "1858", corresponent a la data de construcció del cementiri. L'eix de la portalada coincideix amb l'eix de la capella. L'espai antic, conegut com el "cementiri vell", està dividit en dos àmbits de planta rectangular. En el cos central del primer, hi ha la capella, dos panteons laterals i diverses sepultures de personatges capelladins. Els laterals els tanquen sèries de nínxols de quatre filades, amb el forat del nínxol d'arc de mig punt i coberts amb teula àrab a una vessant. El cos central construït, el formen tres capellespanteó. Recinte de planta rectangular amb l'eix longitudinal orientat nord-sud. En una de les darreres ampliacions, la portalada del primer clos va quedar incorporada dins l'actual recinte, quedant aïllades les dues pilastres de pedra en les quals recolza un element de ferro forjat que incorpora la data "1858", corresponent a la data de construcció del cementiri. L'eix de la portalada coincideix amb l'eix de la capella. L'espai antic, conegut com el "cementiri vell", està dividit en dos àmbits de planta rectangular. En el cos central del primer, hi ha la capella, dos panteons laterals i diverses sepultures de personatges capelladins. Els laterals els tanquen sèries de nínxols de quatre filades, amb el forat del nínxol d'arc de mig punt i coberts amb teula àrab a una vessant. El cos central construït, el formen tres capellespanteó. És un interessant conjunt funerari del qual s'ha destacar els dosàmbits històrics, el de 1858 i el de la dècada de 1910-1920. El primer, perquè conté els sepulcres de les famílies benestants de la vila, i el segon, per la seva singular tipologia de porxades amb arqueria que protegeixen els nínxols.

    1858

  • 1861

  • Sant Nicolau Cemetery

    Josep Antoni Obrador

    Sant Nicolau Cemetery

    Funeral complex that, originally, was laid out with a Greek cross plan centred on an octagonal square, with a central department, three districts and a dissident area. Due to various subsequent extensions, the latter is organised into four quadrants or departments (Sant Oleguer, Sant Nicolau, Santa Eulàlia and Sant Salvador). External areas have also been included (departments of Sant Oriol, Sant Otó, Sant Nicodemus, Gregal and Sant Joaquim).

    1864

  • Sinera Cemetry

    autoria desconeguda

    Sinera Cemetry

    Structured in three sectors. The one corresponding to the north wing is formed by a block of niches attached to the fences of the cemetery. The remaining spaces are occupied by avenues and graves. In the central sector there is the chapel and most of the graves with the most relevant sculptural elements, while respecting a symmetrical composition in which the central corridor and the chapel are the axis of the main access. The southern sector is configured by sections of attached niches on the side walls of the east and west facades. Attached to the main façade, where the access is located, are the attached and service outbuildings. The central space is soberly landscaped with cypress trees and a symmetrical composition of avenues. The ornamental wealth of some tombs and graves made by prominent artistic personalities of the time is worth noting, among whom we must point out the sculptors Venanci Vallmitjana, Josep Llimona and Josep Carcassó -disciple of Vallmitjana-. The works stand out for their chromatic austerity in contrast to the white of the walls and the green of the cypress trees. Modernist chapel (Enric Sagnier, 1918): built by Enric Sagnier, it is a large pantheon of Iu Bosch's family. Sculpture of a woman from the Mundet Pantheon (Josep Llimona, 1900): sculpture representing a seated woman with a thinker's attitude, resting her head on one hand. She wears a dress with long skirts that cover her feet. The head is almost the same as the other statue of the same Lemon that is very close, both have the same hairstyle, long hair with a clip in the middle and pulled back towards the corner where the hand that supports it is. Also, like the other, he keeps a distant look. This one, however, has a stronger sensitivity than the other. Its state of conservation would be good if it weren't for the holes it has, which were produced by bullet shots. Woman sculpture from the Massaguer Pantheon (Josep Llimona, 1925): sculpture that represents a woman sitting on some steps, rehung in the tomb of which it is a part. It is of great beauty and refinement. When you look at it from the side, it looks a little out of proportion. Built with white marble, it gives off an air of mysticism accentuated by the lost and distant gaze of the figure represented. Holy Trinity or Eternal Father (Venanci Vallmitjana Barbany, 1909): Sculptural ensemble in white marble representing the Holy Trinity. It is made to life size and its presence impresses the visitor. The figure of the Father is represented by a welcoming image of an old, bearded man with a dove on his chest with outstretched wings representing the Holy Spirit. The son is leaning on the father, with his head at an angle, and he has, at his feet, an angel. The whole group is held in a stony mass that gives the feeling of clouds, an element which makes the whole not feel heavy and increases the feeling of magnificence. Sculpture of a woman (Josep Carcassó i Font, 19th century): Stone sculpture representing a seated girl with a bouquet of flowers in her hands. Her head is down and is looking at the ground. This attitude, together with all the movement that the dress provides, thanks to its long skirts with pleats, gives her a romantic and reserved look. It is of small height and is located behind a sculptural group by V. Vallmitjana. Virgin Mary with Jesus Christ or Piety (Venanci Vallmitjana Barbany, 1905): Sculptural group formed by the Virgin and Jesus Christ. The son is sitting on the Virgin's lap, representing the theme of Piety, inspired by Michelangelo. Built with white marble, a temple was later added to protect it from inclement weather. Tomb of the Fontcuberta i Jubany consorts (Cèsar Martinell Brunet, 1941): Tomb built in granite, with a raised base on which rests a body in the form of a sarcophagus and as background, a funerary stele with the cross in relief and the image of Christ in bronze, work of Frederic Marès. Fence vault with corner pillars finished in lantern and joined with metal chain. The Arenys de Mar cemetery is the result of three successive construction phases - from the middle of the 19th century to the second decade of the 20th century - which have formed individual sectors with different character and composition, but which maintain a harmonious and environmental balance, one of the most relevant values of this place. Located on the Pietat hill, the cemetery is the second erected in this place. Around 1813 the construction of the first cemetery began. Around 1860, it was decided to build a new one, whose works were almost finished in 1864. The chapel was not completed until December 31, 1867. The author of the project and director of the work was done by the master builder Domènec Casacuberta. The disappearance of the old cemetery was considered in the seventies of the 19th century. Twenty years later, population growth advised an extension of the site. In 1895, the reform of the path to the cemetery was inaugurated, allowing the passage of carriages, which avoids the driving of dead bodies by the weight of arms. At the end of 1917 the cemetery takes on its current configuration, when the last block of niches is built in the center of the wide area, which is decorated on the face corresponding to the ascending axis of the cemetery with the construction of ten niches luxury framed by artificial stone columns. Since then, the cemetery has not changed its layout. Its environment has, however, suffered serious attacks.

    1868

  • Sant Martí Sarroca Cemetry

    Modest Fossas i Pi

    The municipal cemetery of Sant Martí Sarroca is located near the city centre, on a level at the foot of La Roca. It is rectangular in plan, enclosed by walls with attached niches. In the centre there is a walk flanked by cypress trees that leads to the chapel. At the ends there are towers. The sculptural elements of the interior should be noted. The complex shows the characteristics of the neoclassical style. The cemetery was built according to the project carried out by the architect Modest Fossas in 1868. The documentation relating to the work is preserved in the Municipal Archive of Sant Martí Sarroca.
  • Vilafranca del Penedès Cemetery

    Raimon Raventós i Queraltó

    Complex of a rectangular plan made up of gardens, public chapel, graves and family pantheons. It has an eclectic language with some modernist details. The public chapel, with its eclectic language, should be highlighted, as well as the chapels of the Anton Jané family (Neo-Gothic), the Miret-Abad family, the Via-Oliveros family (Neo-Gothic-modernist) and the Ramon Marimon family. The Vilafranca cemetery was built in 1839 on the site where there used to be a Capuchin convent. The public chapel dates from 1878 and was done by the master builder Raimon Raventós i Queraltó, with reliefs on the façade by the sculptor Ramon Elies. Anton Jané's Pantheon was carried out by Santiago Güell i Grau and the project of the Marimon family was signed by Domènech i Estapà.

    1878

  • 1878 - 1880

  • Montjuïc Cemetery

    Leandre Albareda i Petit

    Montjuïc Cemetery

    The Montjuïc cemetery, inaugurated in 1883, is located on the southern slope of the mountain, now bounded by the Ronda del Litoral and, beyond, the port. It is the largest cemetery in Barcelona, with more than 150,000 tombs, and was located where it could not disturb (neither then, nor now) the city's urban growth. Its layout corresponds to the architect Leandre Albareda, who created a real urban plan based on named streets that meander along the slopes of the mountain, saving slopes that sometimes reach forty-five degrees. The cemetery offers many different routes, with paths made of stone from the mountain itself, which run between overgrown vegetation and gardens that give it a special character. It is especially known for its funerary architecture because for decades the most important figures of the city have been buried there, who have left their mark in the form of singularly designed tombs, some of which are profusely decorated with sculptures. Its catalog of modernist architecture is exceptional and includes the main architects of the movement, such as Puig i Cadafalch and Domènech i Montaner, as well as many of the city's main architects and sculptural jewels such as The Grief, by Josep Llimona, in the original version, before copies were made available for the sculptor at the MNAC and the Parliament of Catalonia. The sculptural catalog of the tombs is rich in names and symbolism. The walk through the cemetery offers, in addition to a tour of exceptional quality architecture, an excursion through what has been the culture of the country for decades and until today. Recently, architect Francesc Rius has built a remarkable architectural funeral home at the bottom of the cemetery, with resonances from Erik Gunnar Asplund’s Forest Cemetery mixed with great respect for the original planning.

    1883

  • Cementiri de la Pobla de Claramunt

    autoria desconeguda

    Porta d'entrada realitzada en maó que ha estat arrebossat i que presenta com a elements decoratius més remarcables els 4 obeliscs, disposats simètricament i esglaonadament (dos i dos ) com a acabament de 4 pilars, també petits, que sobresurten de l'estructura de la porta. El colera asiàtic matà 79 persones el 1185 i 46 el 1887, sorgeix de sobte un nou cementiri a la partida de Plans d'Arau, més enllà del molí de la Boixera. L'any 1892 ja s'hi construïren nínxols i es votà amb paret de tanca. El cementiri Vell fou totalment exhumat el 1903.

    1887 - 1892

  • 1899

  • Pere-Grau Maristany i Oliver Pantheon

    Bonaventura Bassegoda i Amigó

    Pere-Grau Maristany i Oliver Pantheon

    Complex building in the form of an angle, given the layout of the plots acquired. Two of the plots are occupied by the crypt and the third one is occupied by the staircase. The main volume is the outer part of the crypt. On a podium, which is accessed via a flight of four steps, stands the sculptural group of "Faith consoling pain", by Josep Llimona i Bruguera, where Faith is an angel and pain is a woman who cries inconsolably. The sculpture is made of marble, except for the angel's wings which are made of bronze. The pantheon is finished with a cross, also of bronze, richly decorated with floral and zoomorphic motifs. The perimeter is surrounded by pillars decorated with flames and crowns at the top. These pillars were attached by iron chains decorated with bronze medallions, but they were stolen. The sculptural group stands on a large marble plinth. On the front there is an inscription with the date and the name of the owner. On one side, there is a plaque placed by the City Council on the industrialist's death in 1926, in tribute to his favourite son. The staircase body is a construction created from an ogival vault. The main façade, facing north, has a pointed arched door made of wrought iron. The side walls are a continuation of the same stepped roof. At the ends there are pilasters topped by capitals in the shape of a cul-de-lampe. It is also delimited around the perimeter by the same type of pillars in the crypt sector, where they were also joined with chains that were also stolen. Pere Grau Maristany i Oliver is one of the most illustrious characters in the town of El Masnou. He made his fortune as a wine exporter in the Americas (Brazil, Argentina, Uruguay, ...). He was very present in the economic, social and cultural life of the Catalan capital. He was president of the Chamber of Commerce, royal delegate of the Provincial Development Council, juror of the Universal Exhibition of Barcelona in 1888. Fund XII decorated him with the Grand Cross and Alfonso XIII granted him the noble title of Count of Lavern. He bought two more plots from the cemetery to annex them to the one he already had and build a new pantheon, the design of which he commissioned Bonaventura Bassegoda i Amigó.

    1901

  • Via Oliveras Family Pantheon

    Santiago Güell i Grau

    Via Oliveras Family Pantheon

    Pantheon with a Latin cross plan that ends its eight angles with buttresses. The roof is gabled with glazed ceramic flakes on each arm. On the main façade, the gate is an ornamental wrought-iron grille and breakwater, above which is a representation of angels ascending to heaven. The crowning is with perimeter blind arches, steps and cross. The side façades have the same crowning. On the rear façade there is a half point window of leaded glass. The interior is covered with corner vaults, with side niches and two marble bas-reliefs with scenes from the life of Jesus. In the background there is an altar, sgraffito walls and a marble sculpture of Christ.

    1902

  • Francesc Guixeras Viñas Cemetery

    Joan Amigó i Barriga

    Francesc Guixeras Viñas Cemetery

    Grave with stone pit and iron elements that support chains. The decorative lines show Secessionist geometric figures with Gothic-Naturalist elements. The slab, located in an eccentric position, bears the inscription "Property of Francisco/ de A. Guixeras/ Viñas y familia".

    1904

  • Sentmenat New Cemetery

    Antoni de Falguera i Sivilla

    Sentmenat New Cemetery

    This complex has a rectangular plan with an entrance pavilion, formed by three symmetrical bodies located in the centre of one of the sides and three groups of nine niches located in the centre of the other three sides. The central body is covered by a hip roof whilst the lateral ones are covered by gable roofs. The roof of the central body is supported by a wooden truss. In the centre of the enclosure there is a cross on a plinth. The crowning of the walls and niches is made of mosaic. On the façade there are glazed ceramic gargoyles. Currently, the site has been greatly modified. It was built in 1909 to replace the cemetery that was next to the church which, with the expansion of the town, had remained within the town. The project is carried out by the architect Antoni de Falguera, who also built the one in Castellar del Vallès. When it was expanded to build more niches they did not destroy the previous ones. In 1988, a new extension was made that tried to follow the original style.

    1905

  • Monument Funerari a Víctor Balaguer

    Bonaventura Pollés i Vivó

    Monument Funerari a Víctor Balaguer

    Monument funerari compost d'una base rectangular que descansa sobre un paviment de pedra que forma un graó, un pedestal de planta rectangular de cares llises i les inscripcions següents: Víctor Balaguer. Sin amor para mi lo tuve para todos. Més un coronament format per un altar i un sarcòfag. La base conté dues làpides inclinades treballades en relleu i amb motius florals. Aquestes contenen inscripcions en llatí de les dades de naixement i mort de Víctor Balaguer i la seva esposa Manuela Carbonell. L'altar està ornamentat amb traceria ogival, plecs de roba i escuts amb les barres de Catalunya, la creu de Sant Jordi, Vilanova i inicials. El sarcòfag -rectangular i amb la coberta a dues vessants- està dividit en bandes, treballat amb motius florals i amb inscripcions. L'any 1905 es traslladen les despulles de Víctor Balaguer del panteó de la família Samà al nou panteó monumental, erigit a la seva memòria pels seus hereus. Aquest monument fou projectat per Bonaventura Pollés i Vivó, arquitecte, tallat per Alfons Juyol i enlairat pel constructor Joan Sas i Gorgori.
  • Panteó Família Bosch

    Joan Amigó i Barriga

    Panteó Família Bosch

    Panteó de grans dimensions. La base, de pedra, amb motius vegetals, escuts i imatges representant la mort, enclou la cambra sepulcral, semi-soterrània, tancada per una reixa de ferro forjat. Unes escales laterals porten a la plataforma superior, de marbre, on es dreça un fals sarcòfag, també de marbre, molt treballat amb garlandes de roses i corones, d'estructura gòtica i un crucifix de bronze. Llúcia Costa, vídua de Bosch, sol·licità el permís d'obres per a construir el panteó l'any 1907.

    1907

  • 1906 - 1909

  • Panteó de la Família Gordi

    autoria desconeguda

    first half of the 20th century

  • 20th century

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