Bcn noteguide by papersdoc

My own vision of Barcelona

Noteguide

I’m not just a guidebook. Together with a selection of the city’s best architecture, you’ll find blank pages for your writing and sketches, just waiting for you to add unique voice to your experience. Walk around, stop to take it all in, enjoy.. your journey will end, but on my pages, your memories will last forever.

Modern Architecture

Noteguide

Index

pp. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Modernist Architecture (1880- 1910) Parc de la Ciutadella Expiatory Temple Sagrada Familia Tàpies Foundation Casa Amatller Casa Batlló Casa Lleó Morera Mulleras Building Casa de les Punxes Comalat Building Casa Milà - La Pedrera Planells Building Santa Creu & Sant Pau Hospital Parc Güell Roviralta House- El Frare Blanc Palau de la Música Catalana

16 17

Noucentisme & institutionalism (1920-1930) “La Caixa” Bank Head Office Parc de Montjuïc - Plaça Espanya Ensemble

18 19 20 21

Pre-rationalism & Rationalism (1930-1936) The Mies van der Rohe Pavilion Casa Bloc Antituberculosis Clinic Rationalist Apartment Buildings

22 23 24 25 26

Group R, realism and modernity (1950-1960) Casa de la Marina COAC Headquarters Law Faculty Meridiana Dogtrack Villa La Ricarda

pp. 27 28

Functionalism and Revisionism (1960-1975) Meridiana Apartment Building Joan Miró Foundation

29 30 31 32 33

Reconstruction and retrofitting works Olympics (1980-1992) Horta Velodrome Collserola Tower Montjuïc Olympic Ring Olympic Village The Vall d´Hebron Area

34 35 36 37 38

Post-olympic Management (1995-2000) Illa Diagonal Multifunctional Building MACBA-CCCB Museums Picasso Museum Remodelling Carrer del Carme Apartment Building Botanical Gardens

39 40 41 42 43 44

Recycling and urban acupuncture (2000-2010) Santa Caterina’s Market Mare de Déu del Port Housing Jaume Fuster Library Teresa Pàmies Cultural Center Residential Building & Equipments Mercabarna Flor

45 46 47 48 49

The renovation of the main axes (2000-2010) Diagonal Mar Park Illa de la Llum Housing Tower CCIB Building & AC Hotel Diagonal ZeroZero Fòrum Builging (Blue Museum)

50 51 52 53 54 55 56 57 58 59

Forum Esplanade Litoral Park and Auditoriums Agbar Tower Habitat ME Hotel Plug-In Building Media-TCI Building City of Justice in Barcelona and Hospitalet de Llobregat Hesperia Hotel EI05 Tower Porta Fira II & Realia Towers

BCN routes by the area plans

Parc de la Ciutadella, 1880-1910

<M> L1 Arc de Triomf L4 Jaume I hours Mon-Sun 10.00 a.m. to dusk

Pg. de Pujades, n/n | BCN1 1

2 4

5 6 7

Josep Fontserè (initial project), Pere Falqués (remodeling of the Arsenal), J. C. N. Forestier (Parade Ground gardens) 1. The Cascade 2. Parade Ground gardens: J. C. N. Forestier 3. Reservoir: Josep Fontserè col Antoni Gaudí rem/amp Lluís Clotet, Ignasi Paricio, 1989-2000 4. The Park Café-Restaurant Zoology Museum: Lluís Domè nech i Montaner rem/amp Josep Bonet, Cristian Cirici, Carles Bassó, 1989 5. Winter Garden: Antoni Rovira i Trias 6. Umbracle:Josep Fontserè rem Jaume Gustà, 1886 rest Josep Amargós, 1888 7. Martorell Museum: Josep Amargós

The Park Café-Restaurant Zoology Museum

The proposal to demolish the ancient walls of the citadel and to convert its grounds into a large urban park dates from 1869, and accords with the city plan promoted by the new industrial bourgeoisie, who had little sympathy for the military function of the old fortress. From the convocation of the first competition in 1869 until its final configuration, the site underwent different revisions to Fontserè’s basic scheme, which 1

converted the park into an articulated pivot between the right side of the Eixample and the old town. After various linking operations, Forestier’s interventions revalorized certain residual spaces like the Parade Ground gardens, laid out in an oval around a pool dominated by Josep Llimona’s sculpture El desconsol [Despair], opposite the old Arsenal, current seat of the Catalan Parliament.

Expiatory Temple Sagrada Família, 1882-1926 Pl. de la Sagrada Família - C. de la Marina, 253 | BCN 2

<M> L2, L5 Sagrada Família opening times October-March 9.00-18.00 April-September 9.00-20.00

An unfinished Gaudí opus, the architect began intervening in the project in 1884, substantially modifying the original conception of the crypt designed by F. de P. del Villar. Following this, he decided to embark on an ambitiously programmed design. His general conception is an adaptation of neo-Gothic premises –a basilical ground plan with five naves, transept and a spacious apse–, although with certain innovations such as the perimetral ambulatory and the huge main entrances, which have tremendous figurative impact. A wide range of Biblical myths, characters and concepts, represented hermetically, are incorporated in the planimetric organization. At the foot of the tall towers the author constructed a number of small buildings intended as local church schools, the buckled roofs of which much interested Le Corbusier, who drew them during his stay in Barcelona.

Antoni Gaudí or Francesc de Paula del Villar, 1882 dir D. Sugrañes i Gras, 1927-1935 2

rest/amp F. Quintana, Ll. Bonet i Garí, I. Puig i Boada, F. de P. Cardoner, J. M. Subirachs, 1935-2000

Tàpies Foundation, 1881-1886 C. d’Aragó, 255 | BCN2

<M> L3 Passeig de Gràcia hours Tue.-Sun. 10.00-19.00

Lluís Domènech i Montaner Roser Amadó, Lluís Domènech i Girbau, sc Antoni Tàpies, 1987-1990 2nd ref Iñaki Ábalos, Renata Sentkiewicz, 2010 rem/amp

Slightly predating the park’s CaféRestaurant, the Montaner i Simon editorial office building allowed Domènech i Montaner to combine his theoretical researches with the possibility of their practical and programmatic realization. Roofed over by a glass skylight, the huge workshop sits happily in the new Eixample layout. The use of iron technology is combined with 3

the rehabilitation of the facade through the elaborate artisanal handling of its patterned brickwork, blended with wrought ironwork and large glass facings, thus initiating the modernista rejection of antiquated academic notions. The remodellation in 1987 was in charged to Roser Amadó and Lluís Domènech i Girbau.

Casa Amatller, 1898-1900 Passeig de Gràcia, 41 | BCN 2

<M> L2, L3, L4 Passeig de Gràcia Information Center for the Modernista Route

Josep Puig i Cadafalch

Product of the remodeling of an existing building, along with using certain devices already tried out by its author (such as the combination of symmetries and asymmetries or the free treatment of the facade crowns), it also blends Gothic elements and vernacular solutions, all of which give it a domestic character. Its

symmetry proceeds from a highly unusual stepped crown of ceramic tiles, while the more singular elements appear at the junction with the ground floor. The extremely complex and lightweight wroughtironwork supporting the balconies, frequent in Puig i Cadafalch’s work, is worthy of note.

Casa Batlló, 1905-1907 Pg. de Gràcia, 43 | BCN2

<M> L2, L3, L4 Passeig de Gràcia hours Mon-Sun 9.00-9.00

The outcome of remodeling the facades, staircases and first floor of an existing building, the Casa Batlló incorporates, in mature form, all of its author’s personal preoccupations: the naturalist and symbolist literalness of the formal options (bones, husks, skull-like masks and shells); an interest in capturing the nuances of light (in the treatment of the interior open courtyards); a taste for exuberant polychrome (in the treatment of the facade, the glass elements and the copings); the urban complicity of the volumetry (in the way it is aligned with the Casa Amatller); plus a theatrical sensibility (in the first-floor interiors).

Antoni Gaudí col Josep M. Jujol

Casa Lleó Morera, 1902-1906 Pg. de Gràcia, 35 | BCN2

<M> L2, L3, L4 Passeig de Gràcia

Lluís Domènech i Montaner 1st rem Raimon Duran i Reynals, 1943 rest Òscar Tusquets, Carles Bassó, 1986-1988

This project represents the author’s particular response to the typical Eixample residential building, in which dramatic solutions are proposed to a generic typological problem. In this instance the building’s location on a chamfered corner helps focus attention on the composition of the corner itself, resolved by means of mono-

chrome sculptural procedures. Completely symmetrical, the two sections of the respective streets emphasize the cylinder (topped off by a pergola) which acts as a hinge and also supports the main tribune. Each floor has a different window system, conceived in relation to the balanced entry of light at that particular level.

Casa Fuster, 1908-1911

<M> L2, L3 FGC Diagonal

Pg. de Gràcia, 132 | BCN2

One of the last examples of the truly modernista town house, the building incorporates certain of its author’s most successful formal innovations, which attain perfect synthesis here. The rhetorical flourish of the cylindrical bodies at the corners, the use of freeranging, reworked historical references in the ornamental motifs, and the employment of heterogeneous materials in the different parts of the building all blend with the clear organization of the floor plan, based on the disposition of perimetral functional bands, and on maximum simplification of the resulting central area. The bareness of the rear facade lends its surface unusual expressiveness.

Lluís Domènech i Montaner rem Hotels Center, 2004

Casa de les Punxes, 1903-1905

<M> L4, L5 Verdaguer

Av Diagonal, 416-420 | BCN2

Josep Puig i Cadafalch rem Francisco Javier Asarta, Albert Pla, 2000

Josep Puig i Cadafalch had to adapt to a large irregular block appearing at the intersection of the Eixample grid and the av. Diagonal. The adopted solution is rigorously rational in conception, given that the whole perimeter is covered by a continuous gallery, generating cylindrical bodies in the critical points of the corners, and resolving the rest of the 8

interior by means of functional parallel bands with the minimum number of courtyards. The volumetry relies on the combination of unusual elements such as the main turret, Go足thic in inspiration, with serried elements like the stretches of facade between the cylinders.

Comalat Building, 1909-1011

<M> L3, L5 fgc Diagonal

Av. Diagonal, 442 - C. CĂ˛rsega, 316 | BCN2

The author Salvador Valeri i Pupurull makes good use of the particular location of this house, which has independent facades on two streets, converting it into a manifesto on the aesthetics of the urban representation of the building. Thus, the facade which overlooks the av. Diagonal willfully exaggerates the weight of ornamental motifs, especially in 9

its crown, with Rococo references, even; while the facade overlooking the c. de CĂ˛rsega resolves its curvilinear alignment with a screen of shutters which is so deliberately neutral that it all but predicts the future curtain wall, albeit that the numerous variations present within it lend it extra expressiveness.

Salvador Valeri i Pupurull

Casa Milà. La Pedrera, 1906-1910 Pg de Gràcia, 92 - C. Provença | BCN2

In this enormous volume strategically sited on a chamfered corner, Gaudí manages to avoid all historicist reference and freely develops his abstractionist, naturalist and hermetic sensibility. Formally conceived as a huge mass of monochrome worked stone, and crowned with a different order in the outstandingly resolved roof, La Pedrera contains references which refer its solid, rock-like forms to volatile, weightless element (waves, sand, water), allusions to 10

naval aesthetics, veiled sexual references, biblical cryptography, the whole thing embellished with voluble balconies with wrought-iron balustrades, the work of Josep M. Jujol. The floor plan is organized in an open-plan arrangement around two courtyards (corresponding to each of the two apartment blocks within), thanks to its structural system of pillars and metal bridging joists connected to the selfsupporting facade.

<M> L3, L5 Diagonal fgc Provença HOURS

10.00 - 20.00

Antoni Gaudí col Josep M. Jujol rem Francisco J. Barba i Corsini (attics), 1954 rest Josep Emili HernándezCros, Rafael Vila (facades), 1990-1994

Planells Building, 1923-1924

<M> L2, L5 Sagrada FamĂlia

Av. Diagonal, 332 - C. SicĂlia | BCN2

A residential project realized with scant resources on a small, almost triangular site, the building articulates a difficult layout with tremendous constructional sensibility, while at the same time asserting its expressive presence in the urban fabric. Jujol is conscious of the necessary separation between the basic order of any building and the added quality of its expressive or generic aspects. With the incorporation of a sinuous design superimposed on a conventional planimetric conception, he appears to diaphanously resolve, in this already late work, all that modernista experimentation had been striving for during thirty years, reconciling this, however, with a new, partly rational, partly expressionistic logic.

Josep M. Jujol

Santa Creu & Sant Pau Hospital, 1902-1911 C. Sant Antoni M. Claret, 167-171 | BCN3

Extremely innovatory and advanced in conception, the design, based on autonomous functional elements separated by open, interstitial spaces, proposes a new typological solution for the program of a large model hospital beyond the old city boundaries. The ensemble consists of 46 small out-buildings, laid out in parallel and on the bias in accordance with the geometry of the macro-block, and relative to the best possible

insolation. The vestibule of the administration block, the conference hall, library, secretary’s office, main entrance, church and the convalescent home are worthy of note. This is without doubt one of the emblematic works of Modernisme, for its size, its reading of the Cerdà Plan, its particular relationship with the Sagrada Família, and for the city idea implicit in the scheme.

<M> L4, L5 Hospital de Sant Pau

Lluís Domènech i Montaner col Pere Domènech i Roura, 1913-1930 rem/amp Víctor Argentí (La Mercè Pavilion), 1979-1980 amp E. Bonell, J. M. Gil, F. Rius, S. Barberà, J. L. Canosa, 1997-2005

Parc Güell, 1900-1914 C. d’Olot, n/n | BCN3

The park as currently laid out was originally intended to be a garden city with 60 plots of land, which began with the construction of the road infrastructure and main entrances. Gaudí addresses his favorite theme here: the structure of forms within Nature. During the ascent of the park different geographical experiences are recreated, from the aqueducts which enable the original topography to be preserved to the structural play with

<M> L3 Lesseps/Vallcarca hours From 10 until dusk

the telluric energies of the ground itself. The entire organization of the park revolves around a large panoramic plaza, situated on top of a hypostyle space that was to be used as a covered market, and fringed by a serpentine bench faced with trencadís, in whose design Josep M. Jujol took part.

Antoni Gaudí col Josep M. Jujol rest Elías Torres, José Antonio Martínez Lapeña, 1984-1993

Roviralta House - El Frare Blanc, 1903-1913

fgc Av. del Tibidabo

Av. Tibidabo, 31 | BCN3

Joan Rubió i Bellver rem/amp Antoni de Moragas i Spa, Vicenç Bonet, Miquel Milà, 1987-1988

El frare blanc occupies a plot of land urbanized by El Tibidabo Inc., the promotor of a garden city laid out along the line of the tram route. Of significance are its Lshaped planimetry, highly efficient from the programmatic point of view and above all the utilization, infrequent at the time, of white stucco as an expressive element

for bringing out the elaborate patterned treatment of the brickwork and paving. Other interesting buildings in the surrounding are the Rotonda Hotel in Pg de St Gervasi 51, the Arnús House in Pl. del Funicular n/n and the Casacuberta & Alemany House in Av. Tibidabo 56.

Palau de la Música Catalana, 1905-1908

<M> L1, L4 Urquinaona

C. del Palau de la Música 4-6 | BCN1

Faced with the challenge of constructing an auditorium for the Catalan Choral Society on a small and irregular site abutting onto the already planned opening of the Via Laietana, Domènech i Montaner manages to reconcile symbolic needs with a considerable functional efficiency. The building is organized around the auditorium, resolved by means of a metalframe load-bearing structure. The whole entity is devised via the integration of the minor arts and the architecture, in an atmosphere of constant spatial fluidity based on polychrome augmentation, both decorative and ornamental, culminating in the enormous glass dome inverted over the orchestra pit, and in the sculptural treatment of the stage.

Lluís Domènech i Montaner rem/amp Òscar Tusquets, Carles Díaz, 1983 amp Òscar Tusquets, Carles Díaz, 2001 15

“La Caixa” Bank Head Office, 1917-1918

<M> L1, L4 Urquinaona

Via Laietana, 56-58 | BCN1

This is a stylistically late grouping in which, through the articulation of two facing buildings, a focal point of particular interest is nevertheless created, one favored by a semantic heterodoxy that mixes the modernista attempt at Gothic evocation with an incipient North-European input having clear echoes of the Glasgow School. Its critical and hybrid eclecticism probably anticipates the change of scale required in a major

thoroughfare with cosmopolitan aspirations. Other notable buildings from this period can be attributed to the opening of Via Laietana are: The Office Building by Albert Juan in Via Laietana 17, The Tobacco Leasing Company building by Francesc Guàrdia i Vial, the Cambó Apartment Building by Adolf Florensa and The head Office of The Bank of Spain in Via Laietana 35 by Luis Menéndez Pidal.

Enric Sagnier i Villavecchia

Plaça Espanya & Parc de Montjuïc, 1917-1930 Pl. d’Espanya | BCN4

Formally undefined over a long period, the resolution of this enormous space as a traffic intersection is due largely to the scheme proposed by Puig i Cadafalch for the 1929 International Exhibition, even though its strategic location within the nexus of the city’s main thoroughfares was already foreseen by the Cerdà Plan. This made it the object of very different schemes, such as that of Rubió i Tudurí and Duran i Reynals for the

new nerve center of a hypothetical Barcelona of the future. Belonging to their scheme were the Hotel (no longer extant) and Institut Francesc Macià buildings, located either side of the square. Note in the urbanizing of Montjuïc the Exhibition Entrance Towers and the Commmmorative Fountain, the National Palace Museu Nacional d’Art de Catalunya and the Labor, and Alfonso XII & Victoria Eugenia Palaces.

<m> L1, L3 fgc renfe Espanya

Josep Amargós, 1916 (first design) Josep Puig i Cadafalch, 1917 (second design)

The Mies van der Rohe Pavilion, 1929 Av. del Marquès de Comillas | BCN4

The building stands on a levelled area of 53 x 17 meters, parallel to the central axis of the exhibition displays. The design consists of a composition of vertical and horizontal rectangles which consistently valorize the quality and color of the different materials: the roof is a single flat plane independent of the walls, and held up by eight X-section steel pillars. The walls appear as laminae that articulate the space without closing it off.

The pavement defines a large flat surface of travertine into which two ponds are set, one outside and the other inside. The pavilion as a whole is one of the emblematic works of the Modern Movement.

<M> L1, L3 fgc renfe Espanya opening times 10.00-20.00

Ludwig Mies van der Rohe, 1929 rec Ignasi de Solà-Morales i Rubió, Cristian Cirici, Fernando Ramos, 1986

Casa Bloc, 1932-1936

<M> L1 Torras i Bages

Pg. de Torras i Bages, 91-105 | BCN7

A complex conceived as a prototype for workers’ housing, this design constitutes the first real confrontation with the theoretical ideas elaborated by Le Corbusier for his immeubles-villas. The apartments are deployed as duplexes, encouraging the potential flexibility of use of each unit. Four stairwells with elevator provide access to an extended corridorstreet running along the least favorable facade, and onto which

the kitchens and services abut. The building was modified after the Civil War, with the addition of a block located in one of the two reversed U which define the overall ground plan.

Josep Lluís Sert, Josep Torres i Clavé, Joan Baptista Subirana, GATCPAC rem/rest Jaume Sanmartí, 1985-1997 Víctor Seguí, 1999

Anti-tuberculosis Clinic, 1934-1938

<m> L1, L2 Universitat

Ptge. Sant Bernat, 10 | BCN1

Bending the regulations in force at the time, the complex is laid out on the site in a virtual U made up of three differentiated bodies. One of these, separated from the other two, is intended for the porter’s office; connected by an L-shaped passage, the other two form the base of the clinic and are supported on a metal gantry structure. This is independent of the enclosures, defined with lightweight materials and using a preplanned

modulation. Three blind blocks, positioned at each end, allow for vertical communication. The building emblematically summarizes the rationalist theories promulgated by the GATCPAC.

Josep Lluís Sert, Joan Baptista Subirana, Josep Torres i Clavé, GATCPAC rem/rest Mario Corea, Francisco Gallardo, Edgardo Mannino, Raimon Torres, 1982-1992

Apartment Building, 1930-1931

<m> Fontana, fgc Gràcia

Via Augusta, 61 | BCN2

The project responds to the programming of a party-wall building, with two apartments per floor. Although emphatically ascribing to the rationalist codes promulgated by the GATCPAC –of which Rodríguez Arias was co-founder–, the strict formulation of the facade alternates here with an expressive ambition manifested in the rhythmic variation (and almost imperceptible asymmetry) of the apertures, and in the zigzagging setbacks of the two top floors. Other interesting rationalism builgings in this area are at C. de Muntaner 342-348, C. Pàdua 96, C. Camp d’en Vidal 16, PlMolina 1-7 and C. de Paris, 139-199.

Germán Rodríguez Arias

Casa de la Marina, 1952-1954

<m> L4 Barceloneta

Pg. de Joan de Borbó / Comte de Barcelona, 43 | BCN1

The floor plan of the project, a building given over to modest small-sized apartments, is resolved by means of an oblique grid. This increases the spatial possibilities –by means of the particular disposition of the dividing elements– and permits the elimination of dead areas. The alternation of wide vertical bands on the facade –blank surfaces of orange tile and window components protected by louvered shutters– characterizes and lends rhythm to the central body of the building. This is differentiated from both the stone socle and the large roof canopy that rings and crowns the building.

José Antonio Coderch de Sentmenat, Manuel Valls rem Gustavo Coderch, Carles Fochs, Jaume Avellaneda, 1992

COAC Hadquarters, 1958-1962 Pl. Nova, 5 | BCN1

Today emblematic, the building is composed of two clearly differentiated parts: a low body, trapezoidal in form, which accomodates the public activities; and an eightstory tower where the offices are located. The metal structure, left exposed in the handling of the tower’s skin, contrasts with the large blank surfaces enclosing the conference hall, faced with sgraffiti realized after drawings by Pablo Picasso. Its language, at

odds with environmental, historical or contextual factors, contrasts with the greater wish for dialogue of the adjoining building, constructed according to the winning design in a 1976 competition for the enlargement of the COAC.

<m> L1, L3 fgc renfe Catalunya L1, L4 Urquinaona opening times Mon-Fri 10.0021.00, Sat 10.00-13.00

Xavier Busquets Josep Roselló (Adjoining building), 1988-1993

Law Faculty, 1958-1959

<m> L3 tram Palau Reial opening times Mon-Fri 8.00-21.00

Av. Diagonal, 684 | BCN9

The building, paradigm of an attempted linkup with the modern investigation of the immediate postwar period, is organized by being divided into two sectors: one given over to teaching, and the other to generic and administrative functions and to study. The first consists of two parallel rectangular bodies, slightly staggered and separated by three interior courtyards. Structurally distinct, the second is composed of a

low body and a five-story tower. Emphatically subscribing to the International Style, the vocabulary used is founded on the structural grid, which is left exposed, and the neoplasticist handling of the enclosures, with recourse to glazed sections and prefabricated reinforced walls faced with white sandstone.

Guillermo Giráldez, Pedro López Iñigo, Xavier Subias amp Josep Llinás (1998)

Meridiana Dogtrack, 1962-1963

<m> L1 Fabra i Puig

C. de Concepci贸 Arenal, 165 | BCN6

The asset of there being an emphatic object in the landscape, one capable of assuming the main role in the urban development of the area, led to the adoption of a circular form as the basic shape. This decision is underscored with the designing of a continuous facade that clearly lends itself to the differing topographic conditions of the terrain. The interior space is defined by the exterior circle and the quasi-elliptical

form of the cycle track. Access to the plaza level is intended for the spectators, while in the lower part of the site another entrance leads to the changing rooms, baths and storerooms. A visual poem by Joan Brossa presides over the exterior garden.

Antoni Bonet i Castellana, Josep Puig i Torn茅

Villa La Ricarda, 1953-1962 Camí de l’ Albufera | BCN4

<m> El Prat de Llobregat bus PR3 ( every 30” Sat & 15” Sun) renfe Aeroport

Antoni Bonet i Castellana

Built on a platform with a view of the sea, the house seeks to interrelate the new house and the territory around it. The organization proceeds from a single element with its vaulted roof of concrete supported by four pillars, which modulates the whole and encourages a play of combinations intended to create, succes-

sively, internal spaces, external spaces (verandahs and porches) and intermediary spaces (patios between the modules). In the landscape, the whiteness of the concrete contrasts with the dark stone used in the paving and in the facing of various exterior elements.

Meridiana Apartment Building, 1960-1964

<m> L1, L5, L9, L10 Sagrera

Av. Meridiana, 312-318 | BCN6

Posited as a linguistic reinterpretation of the â&#x20AC;&#x153;MediterraÂneanâ&#x20AC;? constructional tradition, the building configures a rectangular block with three stairwells that give access to, respectively, four 76 m2 apartments on each floor. In order to maximize insolation and render the views private, all the windows are conceived as galleries with apertures towards the south and closed to the north. The handling of the facade, faced with

dark-colored ceramic tiles, makes it possible to individualize each unit through the variation elicited by the different positions of the apertures, and lends a special planimetric vibration to the whole.

Oriol Bohigas, Josep M. Martorell, David Mackay

Joan Miró Foundation, 1972-1975 Pl. de Neptú - Parc de Montjuïc | BCN4

The building is developed around a series of courtyards, both interior and exterior, which articulate different top-lit exhibition spaces. Beginning at the entrance, dominated by a tower containing the main hall, bar and library, the visitor’s tour through the building goes full circle. The expressive aspect of the materials –bare concrete for the load-bearing elements, prefabricated panels for the ones that divide the spaces– characterizes the final image.

<m> L1, L3 fgc renfe Espanya L2, L3 Paral·lel - Funicular de Montjuïc

Josep Lluís Sert, Jackson & Ass. dir Estudi Anglada-Gelabert-Ribas amp Jaume Freixa, 1987 rem Jaume Freixa, 2000-2001 opening times: Tue-Sat 10.00-19.00 October-June 10.00-20.00 July-September Thu 10.00-21.30 Sun and holidays 10.00-14.30

Horta Velodrome, 1984 Pg. Vall dâ&#x20AC;&#x2122;Hebron - Pg. Castanyers | BCN3

<m> L3 Mundet opening times Mon-Fri 17.30-20.00

Esteve Bonell, Francesc Rius sc Joan Brossa

Collserola Tower, 1989-1992 Turó de Vilana (Tibidabo) | BCN3

FGC Peu de Funicular + Funicular de Vallvidrera + bus 111

The outcome of a restricted competition, the scheme’s main contribution and innovation is in siting the constructed body midway between the base and the tip of the antenna, generating a structural system in which the entire “needle” pushes down on the terrain through the tension of three massive cables that are anchored to the mountain and work by traction. The semiburied service building is situated in the base. The complex strategically dominates the city and is glimpsed, now and then, along many of its different trajectories.

Norman Foster & Partners col Ramon Pedrerol, Julio Martínez Calzón

Montjuïc Olympic Ring, 1985-1992 Av. de l’Estadi - Pg. de Minici Natal | BCN4

The outcome of a restricted competition, the project substitutes the ring road idea by that of a large central precinct developed along the axis of the stadium, via which the other installations can be reached. Arata Isozaki was entrusted with the new Sports Palace, and Vittorio Gregotti, together with the competition prizewinners, with remodeling the old Municipal Stadium, whose facade was restored to its original look. The transverse axis

of the old Olympic Stadium, which culminates at the other end in the INEFC building, a work by Ricardo Bofill (the Press Center during the Games), and in the circular Plaça d’Europa, structures the layout of the different buildings according to a system of secondary axes at right-angles to the main one, and incorporates the remodeling of the Picornell baths, the responsibility of F. Fernández and M. Gallego, within this system.

<M> L1, L3 renfe Espanya Funicular de Montjuïc

Development plan for the area: Federico Correa, Alfons Milà, Carles Buxadé, Joan Margarit

Olympic Village1, 1989-1992

<M> L4 tram Ciutadella/Vila Olímpica

Pl. Tirant lo Blanc - Vila Olímpica | BCN5 3

Other rellevant buildings in this area are: 2 Apartment blocks at Av. Icària 210 3 Nova Icària Sports Center & Municipal Library, Av. Icària 185 4 Telephone Exchange, c/Joan Miró/Av. Icària 5 Eurocity 2, 3 & 4 Office Buildings, c/Rosa Sensat/Av. Icària 6 Eurocity 1 Office Builbing, c/Joan Miró/Av. Icària 7 Arts Hotel, c/Marina 19 8 Torre Mapre, c/Marina 16 9 Remodelling & enlarging of The Hospital del Mar, Pg. Marítim 25-29 10 Weather Center & Coastal Demarcation Building, Pg. Marítim

Based on the Development Plan for the Olympic Village, the project slightly alters the originally conceived outline, deforming it in order to arrive at a complex that is both livable in and coherently related to the site. Constructed of regular, conventional materials, the building permits itself the licence to “disarrange” the facades by means of partially arrised planes and a system of sliding shutters, creating an 32

apparent instability at one with the dynamic spirit governing the whole. Thus, the three entities which define the central plaza are situated in an incomplete circle, in such a way that the two largest blocks, of narrow breadth and conventional typology, are each dotted by a small end tower whose longitudinally resolved floor plan tends to the elliptical and whose prow or banner-like form gives a final flourish to the complex.

Elías Torres, José Antonio Martínez Lapeña

The Vall d’Hebron Area, 1990-1991

<M> L3 Montbau

C. de les Basses d’Horta - Av. de Martí Codolar 1 | BCN3 5 4 3 1

Other rellevant buildings in this area are: 1 Installations for the archery 2 Pavilion of The Spanish Republic (reconstruction), C. de Jorge Manrique, n/n/Av. del Cardenal Vidal i Barraquer, n/n 3 New Vall d’Hebron Housing Complex Olympic Games Press Center, C. de Berruguete/Pl. de Joan Cornudella 4 Teixonera Tennis Club, C. del Pare Mariana, n/n 5 Vall d’Hebron Sport Pavilion, Pg. de la Vall d’Hebron

The scheme for the installations for the archery proposes two long and narrow, modest constructions, one intended for actual competitions and the other for training, erected on a slope below the Sports Pavilion, which service the archery ranges fanning out before them. The first is basically made up of tunnel-like, prefabricated concrete components that

function as both walls and roof; the second, of a series of inclined roof shelters supported by pillars perpendicular to them. Both constructions, then, explore a type of structure that is devoid of any notion of verticality or gravitational pull.

Enric Miralles, Carme Pinós

L’Illa Diagonal Multifunctional Building, 1986-1993

<M> L3 tram Maria Cristina

Av. Diagonal, 555-559 | BCN8

The building, the outcome of a restricted competition, sets out to resolve a varied program of diverse and undefined functions at a bigger than usual scale for the city, due to which it has been dubbed a “horizontal skyscraper”. The resolving of the problem is focussed in this instance by thinking about the urban volumetry: the extended block connects, along its entire length, an urban frontage to a number of irregularly

sized buildings, taking these same irregularities to be a major part of its interest. The result is thus offered as a metaphor for an urban architecture capable of interiorizing a representation of the city itself.

Rafael Moneo, Manuel de Solà-Morales i Rubió

CCCB & MACBA Museums, 1994 & 1995 C. de Montalegre, 5 | BCN1

<m> L1, L2 Universitat fgc renfe L3 Catalunya

The rehabilitation of an old convent and orphanage as a cultural center and setting for different artistic and educational events encountered its leading motif in the proposal to close off the central courtyard on its fourth side by means of a huge glass pane, on a scale with the earlier bodies. This great interior screen wall is bent forward at the line of the crown and acts as a kind of mirror reflecting the city. In this way the new structure fulfils the function of simultaneously catalyzing and organizing the new center, to which one accedes by an ever-darker ramp to the underground entrance hall. Through the courtyard “Pati de les Dones” reach the MACBA. The entrance appears in a cleft which aims at replicating the tiny narrow streets of the neighborhood, and via which one accedes to a cylinder connecting the two wings of the building.

CCCB Helio Piñón, Albert Viaplana, col Ricard Mercadé

MACBA Richard Meier & Partners Fernando Ramos, Isabel Bachs dir

opening times

Tue-sat 11.00-20.00

Picasso Museum Remodeling, 1981-1986/1996-2002

<M> L4 Jaume I OPENING TIMES Tue-Sun 10.00-

C. de Montcada, 15-23 | BCN1

20.00

The project intervenes on five adjacent medieval mansions, the Meca, Castellet, Berenguer, Finestres & Mauri mansions. The scheme establishes a central corridor that connects these on every floor, unifies their courtyards and organizes the interior layouts and spaces. The works done on the ground floors, intended for the center’s public services, present the visitor with an itinerary parallel to the street, an itinerary that

1st phase Jordi Garcés, Enric Sòria 2nd phase J. Garcés, 1986-2003

links the different superficial interventions on the ancient structure. Facing this interior street, a new sightline opens up that will transversally connect the street with the garden via the preexisting apertures of the building.

Apartment Building, 1992-1995 C. del Carme, 55 | BCN1

<M> L2 Sant Antoni L3 Liceu

The innovatory ambition of the building is to tackle an apartment program on a street corner in the old town by maintaining its basic urban scale and alignments, and trying, by means of volumetric tricks, to arrive at lesser density and greater insolation. The author opts, therefore, to break up the homogeneity of the apartment block, which is decomposed into three lesser elements, and to open up the corner between the two streets by means of an extended cantilever. The lower body keeps to the perimeter of the site, while the treatment of the facades consistently ruptures their continuity so as to adapt to the smallest possible visual scale. In this scheme the interstitial voids are as important as the solids, thereby provoking a surprising edificatory vibration.

Josep Llinรกs

Botanical Gardens, 1989-2001 Muntanya de Montju誰c | BCN4

The project proposes the utilization of a topologically deformed triangular grid as a basic structure capable of diversifying the various orientations with the minimum of earth-moving, facetting the different botanical varieties in sectors and facilitating the creation of local microclimates intended to distribute the units of vegetation according to their ecological needs and their orien足tation. The ordering of the

garden is established by interrelating mosaics (plants) and transepts (sections) in accordance with natural criteria. The main phyto-geographical units are set out radially, according to a unique discourse that enables the garden to be organized and to unfold in a clear manner.

<M> L1, L3 renfe Espanya Funicular de Montju誰c

Carlos Ferrater, with Josep Llu鱈s Canosa and Elisabeth Figueras

Santa Caterina’s Market, 1997-2005

<m> L4 Jaume I

Av. Francesc Cambó, 16 | BCN1

This urban project is part of a historical route that runs from Santa María del Mar and reaches the Plaça de la Catedral. Specifically, the design improves market’s relationship with Avinguda Cambó from Via Laietana, allowing access to the interior of the neighbourhood with the contribution of new public spaces in the form of small squares between the constructions. Inside, the market stalls area has been completely renovated with the inclusion of a complementary supermarket, 39

while car parks have been built underground to improve accessibility to homes and provide areas for loading and unloading. The market’s tiled roof (projecting an abstract and colourful still-life image in hexagonal modules) unifies the entire operation underneath it while offering a stimulating landscape for the neighbourhood. The new buildings overlap, mix and merge with the existing buildings to stand as a useful and contemporary hybrid that offers us a view of the whole site development.

EMBT arquitectes associats Enric Miralles, Benedetta Tagliabue Mon 8.00-14.00, Tue, Wed, Sat 8.00-15.30 Thu, Fri 8.00-20.30

HOURS

Mare de Déu del Port Housing, 2008-2009

fgc Magòria-La Campana

C. Mare de Déu del Port, 179 | BCN4

This complex, which is five storeys high, has its nerve centre in a diagonal sequence of concatenated voids, in other words, social spaces on an intermediate scale (terraces, covered courtyards and community rooms), which act as links between the city setting and the private domain. The programme of homes for young people is completed with a nursery and an occupational centre; both facilities are located on the ground floor. The fact that it houses uses 40

and timetables of groups with such different age ranges and lifestyles, guarantees civil coexistence and social sustainability. The originating principle of the façade must, firstly, reduce the sun’s impact, and secondly act as a receiver for solar energy. Thus, the protective slats are also photovoltaic panels, which move like a sunflower over the course of the day, seeking maximum exposure to the solar radiation.

Blanca Lleó

Jaume Fuster Library, 2001-2005

<M> L3 Lesseps

Plaça de Lesseps, 20-22 | BCN2

On an unoccupied plot, following the demolition of the old train sheds, the new building reorganises a large part of the nothern front of the Plaça Lesseps with the recovery of the geometrical structure that can be identified starting from the “green channel” that descends from the foothills of the Collserola mountain range and meets with the northern front of the square, reincorporating it once more into the urban structure. The design proposal emerged from two considerations: understanding the

importance of the façade as the backdrop to the library plot, being the sum of the large rear façades of the buildings with access via the Avinguda República Argentina; and secondly, include the radical change that the direct connection of the green corridor with the Plaça Lesseps will have for the use and understanding of this part of the city. Expressing the Plaza Lesseps’s condition as a mountaincity boundary led to the volume configuration of the library, based around its roofs.

Josep Llinàs Mon-Sat: 10.00-14.00 & 16.00-21.00, Tue-Fry: 10.00-21.00, Sun: 11.0014.00

hours

Teresa Pàmies Cultural Center, 2009-2011

<m> L5 Hospital Clínic

C. Comte Urgell, 145-147 | BCN2

The Cultural Centre is organised by horizontal strata, it is a vertical city design in which each of the floors has a relationship with the others by way of perforations and openings. A “Collage” building, this is architecture of proximity, related with the urban landscape and the social needs of the city of Barcelona. As an urban facility, it groups together several public uses: a nursery, a library, a play centre, a civic centre and an auditorium. It has five programmes and a single 42

ground floor. All of them maintain a close relationship with the exterior and with the street level. The centre finds mechanisms to tackle the different uses and activities, offering changing relationships with the exterior that are adapted to the programme and the floor level occupied. This is a collage of urban episodes, piled up and ordered into an infill block and linked with the interior courtyard of the street block.

Rahola Vidal Arquitectes Víctor Rahola, Jorge Vidal Mon-Fri 9.00-21-00, Sat 10.00-14.00 & 16.0020.00

hours

Residential Building & Equipments, 2001-2006

<m> L5 Hospital Clínic

C. Villarroel, 200 | BCN2

The design project recovers a typology little used in the Eixample, the “Mediterranean” block of Antonio Bonet. A hybrid that did not so much seek to break with the rules of Cerdà, but rather to explore the true potential of certain regulations that were never approved, regulations that allowed accidents to be standardised as a habitual rather than an exceptional component of the Eixample. The project thus widened the pavements and distanced the pedestrian from the traffic. Carrer Londres broadens its 20 metres of width, connecting it visually and physically with a park on the inside of the street block, recovering an idea of permeability that is in the origin of the Eixample. Furthermore, the building is fragmented into narrow, parallel structures that are stepped from north to south, allowing the sun to reach both the dwellings and the children’s classrooms, avoiding compactness and the air shafts typical of the Eixample, and it manages to achieve the coexistence and dialogue of two different programmes (school and housing).

Coll-Leclerc - Jaime Coll, Judith Leclerc

Mercabarna Flor, 2002-2008 Ctra. antiga de València, 1 | BCN8

Sant Boi de Llobregat hours Tue-Sun 6.00-9.00

WMA - Willy Müller Architects - Willy Müller, Fred Guillaud

The market design project maintains for its exterior envelope the archetypal image of traditional markets, where the roof becomes the true protagonist. The roof is a combination of folds between the floor, the wall and the roof, which on dissolution forms access points, loading and unloading areas, and protected spaces. The interior houses three conceptually different markets, each with its specifics and logistical and technical conditioning factors, according to the products sold. The zinc 44

strips that make up the roof are inspired by the aerial view image of interwoven lines and tones that are preconfigured by the agricultural plots of the Baix Llobregat, where the new Market is located. The coloured strips symbolise the chromatic variety of the flowers and plants. Mercabarna-Flor will become a reference point on the Gran Vía-Autovía dual carriageway route together with the Plaça Europa, the Fira Barcelona trade fair site and the new facilities.

Diagonal Mar Park, 1997-2002 Passeig de Garcia FĂ ria, 81 | BCN5

<m> L4 Selva de Mar tram El Maresme

<M> L1 Arc de Triomf - L4 Jaume I / BUS 14, 39, 40, 41, 42, 51, 100, 141

Diagonal Mar Park is a large park that in its expanse connects Avinguda Diagonal and the beach. The Park is ordered in line with a series of paths, rather similar to the branches of a tree, ramifying out in all directions. The main walkway, a kind of boulevard, directly connects the Diagonal with the nearby beach, crossing the coastal ring road via a pedestrian bridge to be completed 45

shortly. In turn, this walkway joins the rest of the paths crossing the park which are gradually transformed into a series of areas for recreation: skating, train, bikes, etc. A place for walking. The main promenade follows the edge of a large lake and it is perhaps this, together with the tree-covered area, that gives the park its character...

Miralles Tagliabue EMBT Enric Miralles, Benedetta Tagliabue

Illa de la Llum Tower Building, 2002-2005

<m> L4

tram

Selva de Mar

Passeig de Garcia FĂ ria, 77 | BCN5

Although the entrance to the residential complex lies on the Passeig de GarcĂa Faria, the Illa de la Llum is defined by two towers on both sides of this point, while the opposite part configures a union between Carrer Selva de Mar and Carrer Taulat. The design of this building, as its very name indicates, advocates ceding an important exterior space in each home created to catch all the light possible which can then be toned down as appropriate. In this way, the architectural techniques used 46

encouraged making the most of the natural light, the design of the enclosures to convert closed spaces into open ones and vice-versa, and the great cantilevers on the balconies. Tower A has 123 homes, which are distributed around the perimeter of the structural core, occupied by the vertical transport. In this module, communal services are also included for the tower and commercial premises. The homes in Tower B are on three sides of the quadrilateral.

LluĂs Clotet, Ignacio Paricio

CCIB Building & AC Hotel, 2000-2004