The architecture of Barcelona has had an evolution parallel to that of the rest of Catalan and Spanish architecture, and has followed in a diverse way the multiple trends that have been produced in the context of the history of Western art. Throughout its history, Barcelona has welcomed various cultures and civilizations, which have contributed their concept of art and have left their legacy for posterity, from the first Iberian settlers, through the Roman colonizers, the Visigoths and a brief Islamic period, to the emergence in the Middle Ages of Catalan art, language and culture, with a first period of splendor for Catalan art, in which the Romanesque and the Gothic were very fruitful periods for the artistic development of the region.
During the Modern Age, a time when Barcelona was linked to the Hispanic Monarchy, the main styles were the Renaissance and the Baroque, developed from the proposals coming from the countries that spread these styles, mainly Italy and France. These styles were applied with various local variants, and although some authors affirm that it was not a particularly splendid period in the artistic development of the city, the quality of the works was in line with that of the state as a whole, while in quantity it was a quite productive period, although most of the achievements have not survived to the present day.[2].
The century brought about a certain economic and cultural revitalization, which was reflected in one of the most fruitful periods in the city's architecture, modernism. It should be noted that until the century the city was restricted by its walls of medieval origin, as it was considered a military plaza, so its growth was limited. The situation changed with the demolition of the walls and the donation of the Citadel Fortress to the city, which led to the expansion of the city across the adjoining plain, a fact that was reflected in the Ensanche project prepared by Ildefonso Cerdá, which represented the largest territorial expansion of Barcelona. Another significant increase in the area of the Catalan capital was the annexation of several neighboring municipalities between the end of the century and the beginning of the . All of this meant the adaptation of the new urban spaces and an increase in municipal artistic commissions on public roads, which were also favored by various events held in the city, such as the Universal Exhibition of 1888 "Exposition Universale de Barcelona (1888)") and the International Exhibition of 1929 "International Exhibition of Barcelona (1929)") or, more recently, by the 1992 Olympic Games and the Universal Forum of the Cultures of 2004.
Ramblas architecture
Introduction
The architecture of Barcelona has had an evolution parallel to that of the rest of Catalan and Spanish architecture, and has followed in a diverse way the multiple trends that have been produced in the context of the history of Western art. Throughout its history, Barcelona has welcomed various cultures and civilizations, which have contributed their concept of art and have left their legacy for posterity, from the first Iberian settlers, through the Roman colonizers, the Visigoths and a brief Islamic period, to the emergence in the Middle Ages of Catalan art, language and culture, with a first period of splendor for Catalan art, in which the Romanesque and the Gothic were very fruitful periods for the artistic development of the region.
During the Modern Age, a time when Barcelona was linked to the Hispanic Monarchy, the main styles were the Renaissance and the Baroque, developed from the proposals coming from the countries that spread these styles, mainly Italy and France. These styles were applied with various local variants, and although some authors affirm that it was not a particularly splendid period in the artistic development of the city, the quality of the works was in line with that of the state as a whole, while in quantity it was a quite productive period, although most of the achievements have not survived to the present day.[2].
The century brought about a certain economic and cultural revitalization, which was reflected in one of the most fruitful periods in the city's architecture, modernism. It should be noted that until the century the city was restricted by its walls of medieval origin, as it was considered a military plaza, so its growth was limited. The situation changed with the demolition of the walls and the donation of the Citadel Fortress to the city, which led to the expansion of the city across the adjoining plain, a fact that was reflected in the Ensanche project prepared by Ildefonso Cerdá, which represented the largest territorial expansion of Barcelona. Another significant increase in the area of the Catalan capital was the annexation of several neighboring municipalities between the end of the century and the beginning of the . All of this meant the adaptation of the new urban spaces and an increase in municipal artistic commissions on public roads, which were also favored by various events held in the city, such as the Universal Exhibition of 1888 "Exposition Universale de Barcelona (1888)") and the International Exhibition of 1929 "International Exhibition of Barcelona (1929)") or, more recently, by the 1992 Olympic Games and the Universal Forum of the Cultures of 2004.
The century saw the updating of the various styles produced by Barcelona architects, which connected with international trends and put the city at the forefront of the avant-garde. The architectural development in recent years and the commitment to design and innovation, as well as the linking of urban planning with ecological values and sustainability, have turned the Catalan capital into one of the most cutting-edge European cities in the architectural field, a fact that has been recognized with numerous awards and distinctions, such as the Gold Medal of the Royal Institute of British Architects (RIBA) in 1999 and the Venice Biennale award in 2002.[3] In 2022, Barcelona was chosen as World Capital of Architecture for the year 2026 by the International Union of Architects (UIA).[4].
The architectural heritage of the city enjoys special protection under Law 9/1993 on Catalan Cultural Heritage, which guarantees the protection, conservation, research and dissemination of cultural heritage, with various degrees of coverage: level A (Cultural Asset of National Interest), level B (Cultural Asset of Local Interest), level C (Asset of Urban Planning Interest) and level D (Asset of Documentary Interest).[5].
Location
Barcelona, capital of the autonomous community of Catalonia, is located in the Spanish Levant, on the Mediterranean coast. It is located on a plain about 6 meters long and 6 meters wide, limited on its sides by the sea and the Collserola mountain range - with the summit of Tibidabo (516.2 m) as the highest point - as well as by the deltas of the Besós and Llobregat rivers. Above the coastline and separating the city from the Llobregat delta is the Montjuic mountain (184.8 m).[6] Likewise, from the Collserola mountain range several hills advance on the plain that follow a line parallel to the coastal mountain range: they are the Peira hills (133 m), the Rovira (261 m), the Carmelo "Mount Carmelo (Barcelona)") (267 m), the Creueta del Coll (249 m), the Putget (181 m) and Monterols (121 m).[7].
The Barcelona plain is located on a fault that runs from Montgat to Garraf, originating in the Paleozoic. The terrain is made up of slate substrates "Slate (rock)") and granitic formations, as well as clays and calcareous stones.[8] The coast was formerly occupied by marshes and lagoons, which disappeared as the coastline advanced thanks to the sedimentation provided by the rivers and torrents that flowed into the beach; It is estimated that from the century BC. C. the coastline has been able to advance about 5 km.[9] The plain area was formerly crisscrossed by numerous torrents and streams, which were grouped into three river sectors: the Horta stream in the area near the Besós river (or eastern area); the Riera Blanca and the Gornal torrent in the Llobregat area (or western area); and, in the central area of the plain, a set of streams from the southern slope of Tibidabo, such as the Sant Gervasi, Vallcarca, Magòria and Collserola streams.[10].
The climate is Mediterranean, with mild winters thanks to the protection that the terrain's orography offers to the plain, which is sheltered from the north winds. The temperature usually ranges between 9.5 °C and 24.3 °C, on average. It has little rainfall, about 600 mm annually, and most precipitation occurs in spring and autumn. This shortage meant that in the past numerous works had to be carried out to supply the city with water, including wells, canals and irrigation ditches. The vegetation of the area is mainly composed of pines and oaks, and undergrowth of heather, durillo, strawberry tree and climbing plants. In the past, both dryland and irrigated agriculture was practiced - mainly vineyards and cereals - although today practically the entire surface is built.[11].
Barcelona, with a population of 1,604,555 inhabitants in 2015,[12] is the most important urban center in Catalonia at a demographic, political, economic and cultural level. It is the seat of the autonomous government and the Parliament of Catalonia, as well as the Provincial Council, the archbishopric and the IV Military Region, and has a port, an airport and an important network of railways and roads.[13].
Antique
Prehistory
There are few vestiges of prehistoric times in the city. Although the human presence in the Paleolithic is confirmed, the first remains in terms of architecture come from the Neolithic, a time when human beings became sedentary and went from a subsistence based on hunting and gathering to an agrarian and livestock economy. These first vestiges come from the end of the Neolithic (3500 BC-1800 BC), and are mainly manifested by funerary practices with pit tombs, which used to be quite deep and covered with slabs. An example of this is the tomb discovered in 1917 on the southwest slope of the Monterols hill, between Muntaner and Copérnico streets; of imprecise dating, it is 60 cm high and 80 cm wide, and was made up of flat slabs of irregular shape. As far as habitations are concerned, from this period only a cabin back has been found in what is the current San Andrés Condal station.[14].
From the Bronze Age (1800 BC-800 BC) there are also few remains preserved regarding the plain of Barcelona. The main ones come from a site discovered in 1990 on San Pablo Street, where remains of fireplaces and individual burial graves have been found. The remains found in 1931 in Can Casanoves, behind the San Pablo Hospital, are also surely from this period, where remains of stone walls and the bottoms of three circular cabins of about 180 cm in diameter have been found. On the other hand, there are written testimonies of two megalithic monuments, located in Montjuic "Montjuic (Barcelona)") and Campo del Arpa, of which, however, no material trace has remained. Finally, from the late Chalcolithic there are few remains of the so-called "urn field culture", found in the Can Don Joan farmhouse, in Horta, and on the southeastern slope of the Montjuic mountain, between the Molí Antic and Font de la Mamella roads.[15].
Iberian period
Between the century BC. C. and the century BC. C. the plain of Barcelona was occupied by the Layetans, an Iberian people who occupied the current regions of Barcelonés, Vallés "Vallés (Catalonia)"), Maresme and Bajo Llobregat.[16] Iberian architecture was based on rammed earth walls, with a lintel system, with false arches and vaults made by approximation of courses. The cities were usually located on an acropolis, with towers and solid walls for defense, within which the houses were located, with an irregular distribution, generally with a rectangular plan.[17].
In Barcelona there are hardly any Iberian architectural remains: the main vestiges of this culture were found in the hills of Rovira, Peira and Putget, as well as in Santa Cruz de Olorde - in Tibidabo -, but they have not allowed us to establish special characteristics with regard to habitations or funerary tombs.[18] The main remains come from Rovira, where in 1931 vestiges of a Iberian town that, unfortunately, were destroyed when anti-aircraft batteries were installed during the Civil War. Apparently, it had a wall with two entrances, while located outside the walls a set of silos with 44 tanks excavated in the rock was found.[19].
Apparently, the main Iberian settlement in the area was in Montjuic—possibly the Barkeno named after two coins minted at the end of the century BC. C.—, although the recent urbanization of the mountain and its intensive use as a stone quarry throughout the city's history has caused the loss of most of the remains. In 1928, nine large-capacity silos were discovered in the Magòria area, which were probably part of a warehouse for agricultural surpluses. On the other hand, in 1984 remains of a settlement were found on the southwest slope of the mountain, on a piece of land measuring about 2 or 3 hectares.[20].
Roman period
In the century BC. C. the Romans arrived in the Iberian Peninsula, during the Second Punic War between Rome and Carthage, which began a colonizing process that culminated with the incorporation of all of Hispania into the Roman Empire. In the century BC. C. Barcino was founded,[note 1] a small walled city projected from the beginning with a monumental air, and which took the urban form of castrum initially, and oppidum later, settled on the Mons Taber (16,9). The maximum splendor of the Roman era occurred during the century, with a population that must have ranged between 3,500 and 5,000 inhabitants.[21].
The Romans were great experts in civil architecture and engineering, and provided the territory with roads, bridges, aqueducts and cities with a rational layout and basic services, such as sewage, as well as buildings such as temples, baths, circuses and theaters. Roman architecture was based on the use of ashlar, brick and masonry rigs, and compared to the Greek architrave system they introduced the use of the arch "Arch (architecture)"), the vault and the dome. They adopted from the Greeks the use of the Ionic and Corinthian orders, to which they added the Tuscan and the Composite.[22].
The Barcino enclosure was walled, with a perimeter of , which protected an area of 10.4 hectares.[23] The first wall of the city, of simple masonry, began to be built in the century BC. C. It had few towers, only in the corners and at the doors of the walled perimeter. However, the first incursions by the Franks and Alemanni starting in the 250s gave rise to the need to reinforce the walls, which were expanded in the 19th century. The new wall was built on the foundations of the first, and was formed by a 2-meter double wall, with space in the middle filled with stone and mortar "Mortar (construction)"). The wall consisted of 74 towers about 18 meters high, most of them with a rectangular base.[24].
The center of the city was the forum, the central square dedicated to public life and business. It was located at the confluence between the cardus maximus "Cardo (street)") (Llibreteria and Call streets) and the decumanus maximus (Bisbe, Ciutat and Regomir streets), approximately in the center of the walled enclosure.[25] In the forum, constructions dedicated to business, justice, the baths and other public buildings were concentrated, and it was the place where the authorities met in the Curia and the Basilica. The forum area has not been clearly delimited, but it appears to approximately coincide with the current Plaza de San Jaime.[26] In the forum was the Temple of Augustus "Temple of Augustus (Barcelona)"), the first emperor and founder of the Roman Barcino. It was built a few years after the founding of the city, probably at the beginning of the century AD. C. It was a rectangular building, on a , hexastyle and peripteral, about 35 meters long by 17.5 meters wide. Between the Corinthian colonnade was located the , a room that contained the image or sculpture of the Emperor Augustus, accessible from the forum. Only three columns "Column (architecture)") remain from this temple, still located in their original location, although they are currently inside the building of the Excursionist Center of Catalonia, on Paradís Street.[27].
Middle Ages
Contenido
Las primeras construcciones intactas que se conservan en la ciudad proceden de la Edad Media, época en que Barcelona se constituyó como condado y posteriormente pasó a formar parte de la Corona de Aragón, convirtiéndose en un importante eje marítimo y comercial del mar Mediterráneo. En el siglo surgió el Consejo de Ciento, una de las primeras instituciones públicas de Barcelona. El recinto de la ciudad fue creciendo desde el primitivo núcleo urbano —lo que hoy día es el Barrio Gótico—, y en el siglo surgió el barrio de El Raval. Barcelona tenía entonces unos 25 000 habitantes.[36].
Pre-Romanesque
The first style produced in the field of medieval art is the so-called pre-Romanesque, located between the fall of the Roman Empire and the creation of the Hispanic Brand. During this period Barcelona was integrated into the Visigoth kingdom and, after a brief Islamic occupation, into the Carolingian Empire.
Visigothic architecture was characterized by the use of the ashlar wall, the horseshoe arch and the barrel or groin vault. The churches used to have a basilica plan with one or three naves "Nave (architecture)"), or a Greek cross, generally with free-standing chapels and an entrance porch.[37] In Barcelona there are few remains of the Visigothic period, in which the city remained within the walls. There are known remains of a palace built in the century on the old Roman forum, later an episcopal palace. Another palace, perhaps where Ataúlfo was murdered, was discovered under the current Salón del Tinell, in the Plaza del Rey "Plaza del Rey (Barcelona)"), where a necropolis of the time (- centuries) was also discovered.[38] The cathedral continued to be the early Christian basilica, and there is evidence that churches such as San Pablo del Campo, Santos Justo y Pastor "Basilica de los Santos Justo y Pastor (Barcelona)") and Santa María de las Arenas—later del Mar—.[39] It is likely that for a time the cathedral was attached to the Arian cult practiced by the first Visigoths, until the Catholic conversion of Recaredo in the year 587.[40].
The brief Islamic occupation of the city, lasting just 83 years, did not leave a special mark. The population of the Muslim Barshilūna (برشلونة) remained predominantly Christian, as the invaders did not attempt to convert them to Islam. The Arab wali set up a military garrison in the city, and possibly converted the cathedral into a mosque, as happened in other cities, although there is no evidence of this.[41]
Later the city fell under dependence on the Carolingian Empire, which spanned from the conquest of Ludovico Pío in 801 to the offensive led by Almanzor in 985. During this time the cathedral was restored, thanks to the initiative of Bishop Frodoí around the year 877, on the occasion of the transfer of the remains of Saint Eulalia to the crypt of the cathedral.[42] During the approximately two centuries that Carolingian influence lasted in Barcelona, the city also had the cathedral with the urban churches of San Jaime "Iglesia de San Jaime (Barcelona)"), San Miguel "Iglesia de San Miguel (Barcelona)") and Santos Justo y Pastor "Basilica de los Santos Justo y Pastor (Barcelona)"), in addition to those located outside the walls of Santa María del Pino, Santa María del Mar and the monasteries of San Pablo del Campo and San Pedro de las Puellas; All of these churches were later renovated in other styles.[43] Around the century, various parishes and population centers were also formed in the vicinity of the city, such as San Ginés dels Agudells, San Andrés de Palomar, San Juan de Horta, San Gervasio de Cassoles and San Martín de Provensals.[44].
During the medieval period, Barcelona had a Jewish neighborhood, Call, located between the current streets of Fernando, Baños Nuevos, Palla and Obispo. Founded in 692, it survived until its destruction in 1391 in a xenophobic assault. It was separated from the rest of the city by a wall, and had two synagogues (Major, currently a museum, and Minor, today the parish of San Jaime), baths, schools and hospitals.[45].
The development of agriculture in the plain of Barcelona was consolidated with the construction, in the middle of the century - and probably by Count Miró - of two canals that directed the waters of the Llobregat river "Llobregat (river)") and the Besós to the outskirts of the city: the Besós was known as Acequia Condal or Regomir, and was parallel to the Strata Francisca, a road that was a variant of the old Via Augusta Roman, and which was built by the Franks to better bring the city closer to the center of the Carolingian Empire.[46].
Romanesque
Romanesque art, developed from around the year 1000 to the 19th century, is linked to the creation of the Catalan counties—of which the County of Barcelona acquired preeminence over the rest—which progressively gained autonomy from the Carolingian Empire, while at the same time recovering ground from the Islamic kingdoms. Feudalism was established as the prevailing regime, and Romanesque languages emerged, including Catalan.[47] In the County, the main influences came from Lombardy and the Provencal and Toulouse schools, although new typologies were created in the use of stone and in the covering of large surfaces with vaults that allow us to speak of an authentically Catalan Romanesque.[48] Romanesque architecture stands out for the use of barrel vaults and semicircular arches, with stone walls carved in ashlars on a masonry core. The churches have one or three naves, with a wide transept and ambulatory in some cases, in addition to the presence of one or more apses in the back.[49].
Little is known about the Romanesque cathedral, except that it was consecrated in 1058, which suggests that it must have been a different building from the early Christian or pre-Romanesque one. It probably occupied the central space of the current Gothic cathedral, and if it followed the model of other churches of the time it must have had three naves with three stepped apses and an entrance portico. It had a bell tower that bordered the Count's Palace.[50] The church of Nuestra Señora del Coll "Iglesia de Nuestra Señora del Coll (Barcelona)") is also from the century, located at the foot of Mount Carmel "Monte Carmelo (Barcelona)"), of which the central body and the bell tower are preserved, while the other current elements of the church are from the century.[51].
The main exponent of Romanesque art in Barcelona is the monastery of San Pablo del Campo, completely renovated between the 19th and 2nd centuries. The façade has a tympanum "Tympanum (architecture)") with an image of Jesus between Saints Peter and Paul, with the Tetramorphs and the hand of God.[53].
In the century the monastery of San Pedro de las Puellas was also renovated, founded in 945 by Count Sunyer, but rebuilt in Romanesque style before 1147, the date on which the church was consecrated. It had a cross-shaped plan, with an atrium, cloister and several monastic rooms.[54] In the middle of the century the monastery of Santa Ana "Monasterio de Santa Ana (Barcelona)") was created, with a Latin cross plan with a nave and a rectangular head; The cloister is from the 19th century, with two floors, with a lower gallery of pointed arches with quadrilobed columns.[55] Also from the 19th century are: the chapel of San Lázaro, in Plaza del Pedró, which was part of an old leper colony; and the Marcús chapel, belonging to an old hospital for the poor, with a rectangular plan and an apse that was demolished in 1787.[56] The church of San Juan de Horta was probably also from this period, around which the municipality of Horta "Horta (Barcelona)") was created, destroyed in the events of the Tragic Week "Semana Trágica (Spain)") of 1909.[57].
Gothic
Developed between the and centuries, it was a time of economic development and geographical expansion: Barcelona became one of the main political, economic, social, cultural and commercial centers of the Crown of Aragon, and would become one of the main Mediterranean powers in the centuries, and, in competition with Genoa and Venice.[63] Architecture underwent a profound transformation, with lighter, more dynamic forms, with a better structural analysis that allowed for more stylized buildings, with more openings. and, therefore, better lighting. New typologies appeared, such as the pointed arch and the ribbed vault, and the use of buttresses and buttresses to support the structure of the building, which allowed larger interiors decorated with stained glass and rose windows.[64].
From the middle of the century, fully Gothic churches were introduced in Barcelona, characterized by the plan of a nave with a polygonal head flanked by side chapels between buttresses. These churches were initially promoted mainly by Franciscans and Dominicans, and their first exponents were the churches-monastery of Santa Catalina and San Francisco. and heptagonal head.[66] The church of San Francisco "Convento de San Francisco (Barcelona)") (1247-1297) had a nave with seven sections, with side chapels and a polygonal apse; It was located in the current Plaza del Duque de Medinaceli, until it was demolished in 1837.[67] Between the 13th and 14th centuries, the convent of Carmen "Convento del Carmen (Barcelona)") was also built - demolished in 1875 -, with a single nave with a polygonal head and side chapels, covered with diaphragm arches that were later replaced by a ribbed vault.[68].
In 1298 the Gothic reform of the Barcelona Cathedral began, with a three-nave structure with an ambulatory and double chapels, and a crypt with the tomb of Saint Eulalia. The head is inspired by the Narbonne Cathedral, with an ambulatory and a crown of radial chapels. The initial project is by an unknown author, while between 1317 and 1339 Jaume Fabre completed the chevet and the crypt; Between 1365 and 1388, Bernat Roca was in charge of the transept and the bell towers, as well as the vaults of the naves up to the rear choir; between 1398 and 1405 Arnau Bargués built the chapter house; In the following years the cloister was built, with master builders Jaume Solà), Bartomeu Gual and Andreu Escuder. The façade was built in the 19th century, in the neo-Gothic style.[69].
Next to the cathedral a large group of churches emerged, the first being that of Santa María del Pino, begun in 1319 and practically completed at the end of the century. It has a single nave with seven sections with cross vaults, with chapels between the buttresses, following the type of churches of mendicant orders. The façade stands out for its large rose window with radial traceries, comparable to those of Sant Cugat del Vallès and the Cathedral of Tarragona. Next to the church is the octagonal bell tower. Master builders such as Guillem Abiell, Francesc Basset and Bartomeu Mas took part in its layout.[70]
Modern Age
En este período Barcelona pasó a formar parte del nuevo reino de España surgido de la unión de las coronas de Castilla y Aragón. Fue una época de alternancia entre períodos de prosperidad y de crisis económicas, especialmente por las epidemias de peste en el siglo y por conflictos sociales y bélicos como la Guerra dels Segadors y la Guerra de Sucesión entre los siglos y , aunque en este último siglo repuntó la economía gracias a la apertura del comercio con América y al inicio de la industria textil. La ciudad seguía encorsetada en sus murallas —la única ampliación fue en la playa, el barrio de la Barceloneta—, pese a que al final del período tenía casi 100 000 habitantes. Artísticamente fue la época del Renacimiento y el Barroco, estilos en los que se construyeron numerosos palacios e iglesias.[92].
Renaissance
Artistically, although some authors speak of a certain decadence, it was a fairly productive time, although there was no truly indigenous creation, since both the artistic forms and styles, and often the artists themselves, came from outside. In any case, the innovations of the Italian Renaissance arrived late, towards the end of the century, and meanwhile the Gothic forms survived.[93] Renaissance architecture stood out for the return to classical forms, with the use of semicircular arches, "Column (architecture)" columns of classical orders, barrel vaults with coffered ceilings and half-orange domes. The floor plan used to be central, with open spaces and harmonious shapes based on strict mathematical proportions.[94].
The survival of the Gothic is denoted in examples such as the façade of the church of San Miguel "Iglesia de San Miguel (Barcelona)") (1519)—currently attached to a side wall of the Basilica of La Merced "Basilica de la Merced (Barcelona)")—, by the master builders Gabriel Pellicer") and Pau Mateu") and by the French sculptor René Ducloux"), with a Gothic portal with Corinthian pilasters sides and niches of Gothic tracery.[95] At this time, numerous reforms and additions were also made to the church of the Dominican convent of Santa Catalina "Convento de Santa Catalina (Barcelona)"): the Nativity chapel was added to the Gothic building in 1529; in 1534 the chapel of the hatters' brotherhood; in 1545 the high choir and a tabernacle were added; del Rosario; and in 1602 the chapel of San Raimundo de Peñafort, the work of Pere Blai, already in a fully Renaissance classicism.[96] Between 1540 and 1587 the church of Santa María de Vallvidrera was rebuilt on an old Romanesque building of the century; quadrangular.[97].
Renaissance innovations slowly penetrated, resulting in hybrid buildings between Gothic and Renaissance, such as the Convent of the Angels and the Foot of the Cross "Convent of the Angels (Barcelona)") (1562-1566), by Bartomeu Roig"): the church had a nave with three vaulted rooms and a polygonal apse; it currently houses the institution Fomento de las Artes Decorativas.[98] In 1566 The chapel of San Cristóbal was built on the ground floor of Mateu Roig's house, on Sant Pere més Alt street, which combines Gothic windows with a classicist rectangular portal, framed by Ionic columns and a triangular pediment "Fronton (architecture)") crowned by acroteras with stone spheres.[99].
At a civil level, during the century numerous works were carried out in the Hospital of the Holy Cross: between 1509 and 1512 the Hall of Santa Magdalena was built in the east wing, and between 1511 and 1518 work was done in the west wing, where the new access portal was located, the work of Antoni Cuberta") and Antoni Papiol"), a Gothic-Renaissance hybrid; between 1568 and 1575, the monumental stairs that connected the upper floors with the patio were built, by Joan Safont. 1843.[101] In 1546, the Pia Almoina "Casa de la Pia Almoina (Barcelona)") - currently the Diocesan Museum of Barcelona - was built, a charitable institution for assistance to the poor, located next to the cathedral. The building rested on remains of the Roman wall, and the body with a gabled roof is preserved from the original building, where the continuous gallery on the upper floor stands out, and the semicircular portal.[102] Among them. Between 1549 and 1557 the Lloctinent Palace (current Archive of the Crown of Aragon, work of Antoni Carbonell) was built. It has a Gothic façade with a pointed tower and mixtilinear windows, aligned horizontally and vertically. The building is quadrangular, with an equally square patio, with carpanel arches, and an upper gallery of semicircular arches on Tuscan columns.[103] In this century, the renovation work on the Royal Palace culminated with the construction of the Mirador de Martín el Humano (1555), a five-story rectangular tower with galleries of semicircular arches that protrude from the body of the building, above the Salón del Tinell.[104].
One of the first buildings with a fully Renaissance spirit was the Trentenary Hall of the City House (1559), which featured a gallery with a classicist portico, to which a door of Serlian influence was added in 1580, composed of a semicircular arch framed by attached pilasters and a frieze with triglyphs and metopes, with decoration of shields and trophies. The Trentenario was destroyed in 1830 during the construction of the new neoclassical façade, and partially rebuilt in 1929.[105] During this period the building of the Barcelona town hall was also expanded with the chapel, the writing offices and the interior patio with an upper gallery (1577).[106].
The main exponent of the new style was the new façade of the Generalitat Palace (1596-1619), by Pere Blai, inspired by Roman models taken from Antonio da Sangallo and Michelangelo.[107] The palace was expanded between 1526 and 1600 with several adjacent buildings, until it occupied the entire block. The Golden Chamber (1526), the Patio de los Naranjos (1532, Antoni Carbonell") and Pau Mateu"), the Poniente market (1536-1544), the Levante market (1547) and the New Town Hall (1570-1577, Pere Ferrer") were then built. Between 1596 and 1619 Blai built the new façade of the Plaza de San Jaime and renovated the chapel of San Jorge - current Hall of San Jorge -, with three naves of equal height - in the hallenkirche or "hall plan" style -, with quadrangular pillars of the Doric-Tuscan order, groin vaults and an elliptical dome over the transept "Cross (architecture)"). Corinthian pilasters, and with four levels: one with a padded base, another with an entablature and windows with alternating curved and triangular pediments, another with a cornice and small windows - some blind -, and another with an entablature and balustrade. The portal is Doric with a semicircular arch, with an entablature and a niche with the coat of arms of the Generality; in the century a sculpture of Saint George, by Andreu Aleu, was added. with a dome with a lantern "Lantern (architecture)"), covered with green and yellow tiles.[108].
As for private palaces, they present a typology based on an interior patio with a staircase, entrance hall and upper gallery, with decoration of grotesques and Gothic traceries. Exemplary of this are the Bassols house, currently linked to the Pignatelli palace and headquarters of the Royal Artistic Circle; the Centelles palace (1514); and the Gralla house (1506, by Mateu Capdevila), demolished in 1856. Casa Clariana-Padellàs (1497-1515), current Museum of History of Barcelona, which was moved from Carrer de Mercaderes to Plaza del Rey "Plaza del Rey (Barcelona)") during the opening works of the Via Layetana; and the Casa de l'Ardiaca (1490-1514), which once housed the archdeacon of the cathedral and is currently the headquarters of the Municipal Institute of History and the Historical Archive. of the City, after joining this building with the adjacent Casa del Degà in the 19th century, a time when the interior cloister through which the building is currently accessed was created.[111].
In the century the farmhouses continued to be built preferably in the Gothic style, although little by little the new style was introduced, mainly in parts of the façade such as doors, windows, galleries and arcades, which incorporated sculptural decoration, generally grotesques.[112] Between the centuries and many of them were fortified, due to piracy and banditry. On the other hand, the enrichment of the owners thanks to the Guadalupe ruling that put an end to the War of the Remensas led to the beautification of numerous farmhouses.[113] Some exponents are: Can Mestres, in Vallvidrera —renovated in the century—; Ca l'Armera, in San Andrés "District of San Andrés (Barcelona)"); Can Valent, also in San Andrés; and Can Planas, in San Martín "San Martín District (Barcelona)").
In terms of urban planning, in the first half of the century the Sea Wall was built, where the bastions of Levante, Torre Nueva, San Ramón and Mediodía were located.[114] For the rest, the main urban reform was in the area around the cathedral, where the Plaza de la Seo was opened, in front of the main portal of the cathedral (1546), as well as the Plaza de San Ivo, with a space cut off from the Royal Mayor Palace. A part of the same palace was dismembered (the patio and the north and east wings), which was given by the Crown to serve as headquarters for the Inquisition - currently the Frederic Marès Museum -, while the rest was converted into the Royal Court in 1542.[115].
On the other hand, over the centuries an artificial port was built to finally cover the needs of the important commercial center that was Barcelona: paradoxically, during the period of splendor of Catalan trade in the Mediterranean, Barcelona did not have a port prepared for the port volume that was common in the city. The old port at the foot of Montjuic "Montjuic (Barcelona)") had been abandoned, and the city only had the beach to receive passengers and goods. Deep draft ships had to unload using boats and porters. Finally, in 1438 royal permission was obtained to build a port: first, a ship loaded with stones was sunk to serve as a base for the wall that joined the beach to the island of Maians; The wall was reinforced in 1477, it was lengthened into a breakwater in 1484. In the middle of the century the port was expanded in response to the campaign initiated by Charles I against Tunisia. At the end of the century, the pier was 180 m long and 12 m wide. New improvement works in the century finally provided a port in good condition for the city.[116].
• - Church of San Miguel "Iglesia de San Miguel (Barcelona)") (1519).
• - Church of Santa María de Vallvidrera (1540-1587).
• - Convent of the Angels and the Foot of the Cross "Convent of the Angels (Barcelona)") (1562-1566), by Bartomeu Roig").
• - Lloctinent Palace (1549-1557), by Antoni Carbonell").
• - Clariana-Padellàs House (1497-1515).
• - House of l'Ardiaca (1490-1514).
• - Can Mestres farmhouse.
Baroque
As in the Renaissance, the art of the time followed the currents coming from outside. As happened with the Renaissance innovations, the Baroque in Catalonia gradually penetrated, with the survival of the previous typologies and a new stylistic mix in the execution of the works.[118] Even so, the Catalan Baroque has simpler lines, simple structures, not as ornate as in the Italian Baroque, and it is more evident in the decoration than in the layouts, which follow the classical line. Renaissance classicism survived practically until 1660, which was replaced by a "decorativist Solomonic" Baroque until 1705, when architecture became more academic until leading to neoclassicism.[119].
Baroque architecture assumed more dynamic forms, with exuberant decoration and a scenographic sense of shapes and volumes. The modulation of space became relevant, with a preference for concave and convex curves, paying special attention to optical games (trompe-l'œil) and the viewer's point of view. In coexistence with the counter-reformist ideology, art became propagandistic and was put at the service of the ostentation of power, both political and religious.[120].
The first works of the century were still in Renaissance classicism, as would be the case of the convent of San Francisco de Paula (1597-1644), with a church with a single nave with side chapels, a rectangular bell tower and a two-story cloister with Doric columns on the lower one and Ionic on the upper one. It was followed by the convent of La Merced "Convento de la Merced (Barcelona)") (1637-1651), where the cloister stands out - currently incorporated into the building of the Captaincy General of Catalonia -, the work of Jeroni Santacana), with four semicircular arches with Tuscan columns, an upper gallery with twice as many arches as the lower one, with Ionic columns, and a level of balconies.[121].
Other exponents are: the convent of the Holy Trinity "Iglesia de San Jaime (Barcelona)") (1619), of the shod trinitarians, a reform of the Gothic church - currently the parish of San Jaime -, in which the Jesuit plan was added, with a transept, presbytery and interconnected side chapels; the Augustinian convent of Santa Mónica (1626-1636), whose church—renovated in 1887 by Joan Martorell and destroyed in 1936—followed the same scheme as the previous one, while the cloister—the only part that is preserved, currently an art center—has two floors with arcades on pillars;[122] the Servite convent of Buen Suceso (1626-1635), current headquarters of the district of Ciutat Vella "District of Ciutat Vella (Barcelona)");[123] and the church of San Ginés de Agudells (1671), which replaced one from the 19th century, with a nave with a transept and a square bell tower with a pyramidal roof, with a rectory and a cemetery.[124].
The incorporation of baroque forms was more successful in ornamentation than in the architectural language itself, as can be seen in the generalization of the use of Solomonic columns. Good examples are the Convalescent House of the Hospital de la Santa Cruz (1629-1680) and the church of Bethlehem "Iglesia de Belén (Barcelona)") (1681-1732). the second level.[126] The Jesuit church of Our Lady of Bethlehem, the work of Josep Juli"), has a congregational plan - in the style of the Gesù -, a longitudinal nave with a barrel vault, an entrance narthex under the choir and intercommunicating chapels, each with an elliptical dome with a lantern "Lantern (architecture)"). The façade has a rhomboidal padded facing, a square door, a rose window and a doorway-altarpiece with Solomonic columns and a classical entablature, but treated baroquely, with recesses and projections, flanked by two statues of Saint Ignatius of Loyola and Saint Francis of Borja, by Andreu Sala. Arnaudies") so it corresponds to the original layout and to Jeroni Escarabatxeres in the conclusion of the façade and the interior decoration. It is of small proportions (23 x 12 m), divided into three vertical bodies by large pilasters, with a taller central body that houses a niche with the image of the saint.[128].
19th century
En este período hubo una gran revitalización económica, ligada a la Revolución Industrial —especialmente la industria textil—, lo que comportó a su vez un renacimiento cultural. Entre 1854 y 1859 se produjo el derribo de las murallas, por lo que la ciudad pudo expandirse, motivo por el que se impulsó el proyecto de Ensanche elaborado por Ildefonso Cerdá en 1859. Asimismo, gracias a la revolución de 1868 se consiguió el derribo de la Ciudadela, cuyos terrenos fueron transformados en un parque público. La población fue creciendo, especialmente gracias a la inmigración del resto del estado, llegando a finales de siglo a los 400 000 habitantes.[162] Artísticamente, el siglo vio la sucesión de diversos estilos de diferente signo, como el neoclasicismo, el historicismo y el modernismo.[163].
Neoclassicism
Neoclassicism, developed between the end of the century and the beginning of the 19th century, marked a return to classical Greco-Roman art, driven by the discovery of the remains of Pompeii and Herculaneum and the theoretical work of the art historian Johann Joachim Winckelmann. In Catalonia, the impetus of the Barcelona School of Fine Arts (the Llotja) was decisive for the consolidation of Catalan art, as well as its distancing from its guild and artisan aspect. If until then the construction was entrusted to master builders with union training, from now on the new architects will already have an academic qualification.[164][note 5].
Neoclassical architecture was not very productive, highlighting the name of Antoni Cellers, academic architect and great theorist of classicism. He was the author of the currently missing church of the Calzados Carmelitas (1832), as well as the Alòs i Dou palace (1818), in which he made a neoclassical interpretation of the traditional Catalan patio, with Serlian arches on Ionic columns, and a façade behind the garden with an Ionic tetrastyle.[170].
His disciple was José Mas Vila, author of the new façade of the City House (1830), fully classicist and monumental in nature, with a central body standing out from the rest, where four Ionic columns stand out that support an attic with the city's coat of arms.[171] Mas Vila, master of houses and fountains at the City Hall, was also in charge of the remodeling of the Plaza de San Jaime and the urbanization of Fernando Street, as well as the construction of the market. La Boquería (1836-1846), initially a porticoed square with an Ionic colonnade, although halfway through construction iron was chosen to cover it, instead of the stone planned by Mas.[172] Together with Josep Buxareu") he was also in charge of the conversion of the convent of Santa Catalina "Convento de Santa Catalina (Barcelona)") into the market of the same name (1844-1848).[173].
It is also worth mentioning the presence of the Italian architect Antonio Ginesi, author of the chapel of the Eastern Cemetery (1818), of a somewhat eclectic style "Eclecticism (art)"), which mixes the new classical language with elements that endure from the Baroque, as well as influences from Egyptian art.[174].
In 1828, the parish church of Santa María de Sants was built, the work of Francisco Renart of a programmatic classicism, with a semicircular arch doorway flanked by two Ionic columns, on which there is a rose window and a triangular pediment, and on the side a 70 m high bell tower. The church was destroyed in 1936, and rebuilt between 1940 and 1965 by Raimundo Durán Reynals.[175].
An emblematic building of the time was the Casa Xifré (1835-1840), the work of Josep Buxareu") and Francesc Vila"), a residential building located in front of the Lonja palace, which stands out for its ground floor porticos with semicircular arches. The façade has a decoration close to the so-called Elizabethan style, with reliefs by the sculptor Damià Campeny.[176] It was the first building in Barcelona with running water.[177].
Between 1844 and 1848, the Portal de Mar was built, a monumental access portico to Barceloneta from the Pla de Palau, the work of Josep Massanès, which was demolished in 1859. Eclectic in style, it mixed classical, Gothic and oriental elements, and was formed by a door with four Ionic columns, a stepped pediment and a dome, while on the sides there were monumental arches of ultra-past horseshoe supported on double columns.[178] Massanès was also the author of a widening plan in 1838, which included the triangle located between Canaletas, the University Square "Plaza de la Universidad (Barcelona)") and Urquinaona Square, and which already outlined what would be the Plaza de Cataluña, located in the center of the triangle.[175].
One of the last exponents of neoclassicism was the Teatro Principal "Teatro Principal (Barcelona)") (1847), by Francisco Daniel Molina, built to replace the old Teatro de la Santa Cruz - originally from 1568 -. It has a classicist façade with a romantic Elizabethan air, with three large balconies with triangular pediments embedded in semicircular arches.[179].
As far as urban planning is concerned, the most notable event of these years was the confiscation "Spanish Confiscation") of 1836, which left numerous plots of land that were built or converted into public spaces: thus, at the location of the Carmelite convent of San José, on the Rambla, the Boquería market was built; The Liceo theater was built on the convent of Nuestra Señora de la Buenanueva of the barefoot Trinitarians; The Plaza Real was located on the site of the Capuchin convent of Santa Madrona; the Franciscan convent-school of San Buenaventura gave way to the Hotel Oriente; A barracks of the Barcelona Urban Guard was located above the convent-school of the Carmelites of San Ángel Mártir; and the convent of Santa Catalina "Convento de Santa Catalina (Barcelona)") was replaced by the market of the same name.[180] Likewise, the new health provisions enacted at this time meant the disappearance of numerous parish cemeteries, whose plots were developed as new public squares; Thus, squares such as Santa María, del Pino, San José Oriol, San Felipe Neri, San Justo, San Pedro and San Jaime emerged.[181].
Historicism
The architecture of the middle of the century was impregnated with the new romantic spirit and, following the guidelines of theorists such as John Ruskin and Eugène Viollet-le-Duc, it was framed within the so-called historicism, a current that advocated the revitalization of previous architectural styles, especially medieval, which is why various currents called with the prefix "neo" were created: neo-Gothic, neo-Romanesque, neo-Mudejar, neo-baroque, etc.[182].
One of its first prominent figures was Elías Rogent, first director of the recently created Higher Technical School of Architecture of Barcelona. He was the author of the headquarters of the University of Barcelona (1862-1873), in the University Square "Plaza de la Universidad (Barcelona)"), a sober building with a religious appearance despite its civil character, especially in the interior cloisters, which have an almost monastic appearance. It has an axial plan, highlighting in its central part the staircase of honor and the auditorium, an eclectic hall that mixes Romanesque, Gothic and Islamic elements, on whose sides are the patios in the shape of a cloister, also of medieval inspiration. the center, from which the dome protrudes.[183].
Another exponent was Josep Oriol Mestres, author of the remodeling of the Gran Teatro del Liceo (1862), a building by Miquel Garriga i Roca from 1847 that had to be rebuilt after a fire; Of Mestres's intervention, the façade and the large interior room stand out, an original composition of rows of shops unfortunately lost in the fire of 1994.[184] Mestres was also the author of the new façade of the Barcelona Cathedral (1887-1890), in a neo-Gothic style inspired by French Gothic; The façade was completed with a dome designed by Augusto Font Carreras.[185] Other works by Mestres were: the church of Santa María del Remedio (1846-1849), which was the parish church of Les Corts after separating from Sarrià; the Theater of the Champs Elysées "Teatro de los Champs Elysées (Barcelona)") (1853), on Paseo de Gracia - now disappeared -, which stood out for its metal structure; the Casa Jover (1856), built on the Renaissance Casa Gralla; and the building of the Philippine Tobacco Company (1880), on the site of the old Jesuit school of Cordellas, on the Rambla.
Joan Martorell was the author of various churches inspired by the Gothic, such as that of the Salesas "Church and convent of the Salesas (Barcelona)"), on Paseo de San Juan (1882-1885), and that of the Sacred Heart of the Jesuits, on Caspe street (1883-1889). The first is eclectic in style, with evident medieval influences, but expressed in a personal way; It has a single nave plan in the shape of a Latin cross, with side chapels and a pentagonal apse with an ambulatory, as well as a transept that protrudes volumetrically on the outside, while on the façade it stands out for a tall tower finished in a point and with two lateral pinnacles. The second denotes a certain Romanesque-Byzantine influence, and presents a centralized plan with a dome on a drum "Drum (architecture)") surrounded by smaller domes to distribute the weight; The façade is sober, and stands out for the chromatic effects of the materials used.[186] Martorell was responsible for the transfer of the Gothic church of Santa María de Montsió "Iglesia de San Raimundo de Peñafort (Barcelona)") —belonging to an Augustinian convent and originally from 1388— from the Portal del Ángel to the Rambla de Cataluña, and he designed its new neo-Gothic façade. (1882-1890); It is the current parish of San Raimundo de Peñafort.[187] He was also the author of the Güell Palace in Pedralbes, later the Royal Palace (1862); of the church and convent of the Adoratrices (1875); and the Jesuit school of San Ignacio (1893-1896).
World's Fair of 1888
At the end of the century, an event was held that had a great economic and social as well as urban, artistic and cultural impact for the city, the Universal Exhibition of 1888. It took place between April 8 and December 9, 1888, and was held in the Ciudadela park, land previously belonging to the army and won for the city in 1868. The incentive of the fair events led to the improvement of the infrastructure of the entire city, which gave an enormous leap towards modernization and development.[210].
The remodeling project of the Ciudadela park was entrusted to José Fontseré in 1872, who designed large gardens for the recreation of citizens, and together with the green area he planned a central square and a ring road, as well as a monumental fountain and various ornamental elements, two lakes and a forest area, in addition to various auxiliary buildings and infrastructure, such as the Borne Market (1874-1876), a water tank - currently the UPF Library -, a slaughterhouse, an iron bridge over the railway lines and several service booths.[211].
The entrance to the Exhibition was through the Arc de Triomphe, a monument created for the occasion that still remains in its original place, designed by Josep Vilaseca. Of neo-Mudejar inspiration, it has a height of 30 meters, and is decorated with rich sculptural ornamentation, the work of Josep Reynés, Josep Llimona, Antoni Vilanova, Torquat Tasso, Manuel Fuxà and Pere Carbonell.[212].
Next came the Salón de San Juan – current Lluís Companys promenade –, a long avenue 50 meters wide where the wrought iron balustrades, the pavement mosaics and large street lamps stood out, all designed by Pere Falqués. The first building after access through the Arc de Triomphe was the Palace of Fine Arts, the work of Augusto Font Carreras, in a neoclassical style. On the opposite side was the Science Palace, the work of Pere Falqués, in a neo-Greek style, where there was also a large room for holding conferences.[213].
Once past these two buildings, one entered the enclosure itself, at the entrance of which the Monumental Waterfall stood out, designed by Fontserè in collaboration with Antoni Gaudí, who intervened in the hydraulic project and designed an artificial grotto under the Waterfall. The architectural complex presents a central structure in the shape of a triumphal arch with two pavilions on its sides and two side wings with stairs, which house a pond divided into two levels. The monument stands out for its sculptural profusion, in which several of the best sculptors of the moment participated, such as Rossend Nobas, Venancio Vallmitjana, Josep Gamot, Manuel Fuxá, Joan Flotats and Rafael Atché.[214].
To the right of the waterfall was the restaurant, known as the Castle of the Three Dragons - currently the Museum of Zoology -, the work of Lluís Domènech i Montaner, in a neo-Gothic style, but with innovative structural solutions that already pointed to modernism, especially due to the use of iron and exposed brick. Next to it were the Círculo del Liceo and the Greenhouse, the work of Josep Amargós, made of iron and glass following the example of the Crystal Palace at the London Exhibition of 1851. Next came the Martorell Museum of Geology, by Antonio Rovira y Trías; the Umbraculo, by José Fontserè; the Press pavilion, work of Jaume Comerma"); and the pavilion of the Spanish Colonies, by Jaume Gustà i Bondia.[215].
Modernism
Modernism "Modernism (art)") was an international movement that developed throughout the Western world,[note 6] and that advocated the creation of a new architectural language detached from previous styles—especially in opposition to historicism—, placing special emphasis on the relationship of architecture with the applied arts, in parallel to the Arts and Crafts phenomenon.[220] Developed between the century and the century,[note 7] in Catalonia it had enough of its own personality. to talk about Catalan modernism, due to the large quantity and quality of works produced and the large number of first-class artists who cultivated this style. Stylistically it was a heterogeneous movement, with many differences between artists, each one with their personal stamp, but with the same spirit, a desire to modernize and Europeanize Catalonia.[221].
Some essential features of modernism were: an anti-classical language inherited from romanticism, with a tendency towards a certain lyricism and subjectivism; decisive linkage of architecture with the applied arts and artistic crafts (glassmaking, forging, ceramics, cabinetmaking, marquetry, enamel, sgraffito), creating a remarkably ornamental style; use of new materials, creating a mixed construction language rich in contrasts, in search of the plastic effect of the whole; strong feeling of optimism and faith in progress, which produces an exalted and emphatic art, a reflection of the climate of prosperity of the moment, especially in the bourgeois class.[222].
The first modernism, developed in the 1890s, was still a style not especially defined, whose main component was an embodied Gothicism already detached from historicism, with the survival of certain classicist and medievalist features, practiced mainly by Lluís Domènech i Montaner, Josep Puig i Cadafalch and Antoni Maria Gallissà.[223] In these first years there was a certain feeling of indefinition, as seen shown in the work Modern Architecture of Barcelona (1897), by Francesc Rogent, where he defends the use of the "neo-Greek style" for public buildings, "neo-Gothic" for private buildings and "neo-Romanesque" for churches.[224] At the same time, an academic architecture outside of modernist innovations continued to be practiced, as seen in the work of architects such as Salvador Viñals, Cayetano Buigas, Joan Baptista Pons i Trabal, Francisco de Paula del Villar y Carmona, etc.[225].
At the turn of the century, modernism evolved towards a certain stylistic formalism of secessionist influence, practiced by a second generation of architects such as Josep Maria Jujol, Manuel Raspall, Josep Maria Pericas, Eduard Maria Balcells, Salvador Valeri, Alexandre Soler, Antoni de Falguera, Bernardí Martorell, etc.[226] These architects propose architecture as a support for exultant ornamentation, entering a phase mannerism of modernism.[227] On the other hand, neo-Gothic and classicist eclecticism tendencies continued, practiced mainly by Enric Sagnier, José Doménech y Estapá, Manuel Comas i Thos, Augusto Font Carreras, Joan Josep Hervàs, etc.[228].
20th century
El panorama artístico en el siglo estuvo condicionado por la convulsa situación política, con el fin de la monarquía en 1931 y la llegada de la Segunda República, finalizada con la Guerra Civil y sustituida por la dictadura franquista, hasta el restablecimiento de la monarquía y la llegada de la democracia. Socialmente, este siglo vio la llegada masiva de inmigración a la ciudad, con el consecuente aumento de la población: si en 1900 había 530 000 habitantes, en 1930 casi se habían doblado (1 009 000 hab), para llegar entre 1970 y 1980 al pico máximo (1 754 900) y a finales de siglo a 1 500 000 habitantes.[278].
El inicio del siglo estuvo marcado por la expansión geográfica de la ciudad: en 1897 Barcelona se anexionó seis poblaciones limítrofes, hasta entonces independientes: Sants, Les Corts, San Gervasio de Cassolas, Gracia, San Andrés de Palomar y San Martín de Provensals. Igualmente, en 1904 fue anexionado Horta "Horta (Barcelona)"); en 1921, Sarrià; en 1924, Collblanc y la Zona Franca "Zona Franca (Barcelona)"); y en 1943 El Buen Pastor "El Buen Pastor (Barcelona)") y el Baró de Viver, segregados de Santa Coloma de Gramanet.[279] La anexión de los nuevos municipios planteó la necesidad de un plan de enlaces de la ciudad, que salió a concurso público en 1903, resultando ganador el urbanista francés Léon Jaussely: el Plan Jaussely preveía grandes infraestructuras viarias (paseos de ronda, diagonales, paseos marítimos), parques, enlaces ferroviarios y áreas de servicios. Aunque solo se realizó parcialmente, inspiró el urbanismo barcelonés durante gran parte del siglo.[280].
Noucentism
Noucentisme represented an attempt to renew Catalan culture, bringing it closer to the innovations produced in the recently released century, in parallel to a political ideology of vindication of Catalanism advocated by Enric Prat de la Riba. The main theorist of the movement was Eugeni d'Ors, who from the newspaper La Veu de Catalunya wrote a series of articles praising the work of young Catalan creators at the beginning of the century. The first of them, published in 1906, marked the beginning of Noucentisme, coexisting for a few years with the latest modernist works, and which would last practically until the 1940s, in parallel with the emergence of new currents such as rationalism in the 1930s.[281].
Contrary to the Nordic and medieval values defended by modernism, Noucentisme returned to the Mediterranean world, to classical Greco-Latin culture. They were also based on Renaissance classicism, with special influence from Filippo Brunelleschi, while their sober and refined sense of forms brought them closer to the rationalist architecture that was beginning to emerge in Europe.[282] They were also inspired by other styles of the past, but detached from the medievalism to which the modernists had turned, such as the Baroque.[283] On the other hand, the more academic current of this movement practiced an eclectic monumentalism influenced by the Beaux Arts style "Beaux Arts (architecture)"), with a special reference in French and English architecture, as well as the American Chicago School "Chicago School (architecture)").[284]
Within Noucentisme, various currents are perceived: a "Gaudinian" Noucentisme, practiced by Gaudí's disciples such as Juan Rubió or Cèsar Martinell; a "neobrunelleschian" noucentisme, inspired by Florentine Renaissance architecture and, especially, by Brunelleschi, developed by Josep Goday or Nicolás María Rubió y Tudurí; a "pro-rationalist" noucentisme, more influenced by international currents, which combines functionalism "Functionalism (architecture)") with Art Deco ornamentation, and has exponents such as the brothers Ramon and Antoni Puig i Gairalt, Ramon Reventós, Francesc Folguera, Raimundo Durán Reynals and Jaume Mestres i Fossas; an "eclectic" noucentisme, with versatile language and monumentalist tendency, exemplified by Enric Sagnier, Josep Maria Pericas and Eduard Ferrés; and an "academic" Noucentisme, which follows a traditional classicist line that will survive in post-war architecture, with representatives such as Francesc Nebot, Eusebi Bona, Adolf Florensa and Eugenio Cendoya.[285].
The first current was represented by Juan Rubió and Cèsar Martinell, both disciples of Gaudí. Rubió evolved from modernism, the style in which he produced his best works - as seen in the previous section -, until leading to a classicism with a baroque air; His best production in this period was the reform of the Barcelona Industrial School (1927-1931). Martinell kept modernist forms alive, especially through the use of brick and tile, as denoted in his main specialty, agrarian architecture, with a set of wineries spread throughout Catalonia that have been called the "cathedrals of wine"; In Barcelona its production was scarce, although the Durán Clinic (1924), the building at 11 Benavent Street (1928) and the Masllorens factory (1929-1930) can be mentioned.[286].
In the Brunelleschian current, Josep Goday and Nicolás María Rubió y Tudurí stood out. The first recovered classic forms such as "Fronton (architecture)" pediments and pilasters, combined with a baroque resource such as the sgraffito technique,[287] as is evident in works such as the Post Office and Telegraph building (1914-1927), in a classical baroque style of great monumentality;[288] and in numerous public schools promoted by the Barcelona City Council: Ramon Llull (1919-1923), Lluís Vives (1919), Baixeras (1917-1920), Pere Vila (1921-1930), Milà i Fontanals (1930), Collaso i Gil (1932).[289] Rubió y Tudurí was especially dedicated to landscape architecture: director of Parks and Gardens of Barcelona between 1917 and 1937, he was the main promoter of the "Mediterranean garden",[note 9] which is denoted in his works such as the Tamarita gardens (1918), those of Francesc Macià square (1925), the Font del Racó park (1926), the gardens of the Royal Palace of Pedralbes (1927), those of Salvador Espriu (1929) and those of Turó Park (1933). Its main building was the church of Santa María Reina "Iglesia de Santa María Reina (Barcelona)") (1922-1936), a subsidiary of the monastery of Montserrat - it was initially called the church of Santa María de Montserrat de Pedralbes -, which denotes the influence of Brunelleschi's Pazzi chapel, as well as the baptistery of San Juan "Baptistery of San Juan (Florence)") Florence.[290] Other of his works, the Radio Barcelona pavilion (1922-1929) and the Metro Goldwyn Mayer offices (1934), are already pre-rationalist.[291].
The eclectic and academic trend followed a monumentalist line whose main exponent was the Via Layetana, which was the main testing ground for this trend after its opening in 1908. Influenced by the Beaux Arts "Beaux Arts (architecture)") and the Chicago School "Chicago School (architecture)"), it would be the architecture that would reemerge in the postwar period. Its main exponents were Enric Sagnier, Josep Maria Pericas, Eduard Ferrés, Francesc Nebot, Eusebi Bona, Adolf Florensa and Eugenio Cendoya. From Sagnier, analyzed in the previous section, it would be appropriate to remember at this stage the building of the Barcelona Pension Fund on Vía Layetana (1914-1917), the Basilica of San José Oriol (1915-1931) and the Ribas Board of Trustees (1920-1930). Pericas evolved from modernism to a sober classicism (Diagonal house, 1920). Eduard Ferrés maintained a post-secessionist style and was a pioneer in the use of reinforced concrete, as seen in the Damians house, later Almacenes El Siglo (1913-1915), built with Lluís Homs and Ignasi Mas, where its spherical skylight dome of expressionist influence stands out.[292] Francesc Nebot and Eusebi Bona were the authors of the Royal Palace of Pedralbes. (1919-1929), formed by a central body and two side wings that open in a curve to the main façade, with porches with Tuscan columns and semicircular arches.[293] Alone, Nebot built the Cine Coliseum "Coliseum (Barcelona)") (1923), a Beauxarti style building "Beaux Arts (architecture)") inspired by the Paris Opera;[294] and the headquarters of the Bank of Spain in the Plaza de Cataluña (1927-1928).[295] For his part, Bona designed the building of La Unión y el Fénix Español (1927-1931), of French and American influence, which stands out for its high drum dome "Drum (architecture)") with a sculpture of the abduction of Ganymede "Ganymede (mythology)").[296] Adolf Florensa He was the author of the Casa Cambó (1921-1930), the General Captaincy building (1926), the New City House building (1927-1933, with Joaquim Vilaseca and Antoni de Falguera), the Casal del Metge (1930), the Nautical School (1930-1933, with Joaquim Vilaseca) and the National Labor Promotion building (with Josep Goday, 1931-1936). Finally, Eugenio Cendoya was the author of the church of San Miguel de los Santos and several headquarters for banks, such as those in Bilbao and Vizcaya, although his main work was the National Palace of Montjuic "Palacio Nacional (Barcelona)") for the Barcelona International Exhibition of 1929, with Enric Catà and Pere Domènech i Roura.[297].
The most innovative line of Noucentisme was the one that leaned towards the rationalism that was beginning to develop in Europe with architects such as Le Corbusier and Ludwig Mies van der Rohe. It was mainly represented by Ramon and Antoni Puig i Gairalt, Ramon Reventós, Francesc Folguera, Raimundo Durán Reynals and Jaume Mestres i Fossas. Antoni Puig i Gairalt was the author of the Myrurgia factory (1928-1930), which synthesizes elements of classicist Noucentisme, Art Deco and rationalism.[298] His brother Ramon built the Pidelaserra house (1932), with exuberant eclecticism.[299] Ramon Reventós designed the first multi-residential complex in Barcelona, the Masana house. (1928), of Bauhausian influence.[300] Francesc Folguera built the Ritz Hotel (1917-1919), although his most interesting work was the Casal de Sant Jordi (1928-1932), which reflects the teachings of the German magazine Moderne Bauformen, defender of a modern, but moderate, bourgeois architecture.[301] Raimundo Durán Reynals approached him. rationalism in works such as the residential building at 243 Aribau Street (1933-1935) or the Casa Cardenal (1935), although in the post-war period he practiced academic classicism.[302] Finally, Jaume Mestres i Fossas built the Blanquerna school (1930-1933), halfway between Noucentisme and rationalism.[303].
From this period it is also worth mentioning architects such as: Ignasi Mas i Morell (David building, 1929-1931), Miquel Madorell (Tívoli Theatre, 1917-1919), Arnau Calvet (Jorba house "Casa Jorba (Barcelona)"), 1926), Francesc Guàrdia i Vial (Tobacco Tenant Company building, current Treasury Delegation, 1929), Josep Domènech i Mansana (church of Santa Teresa del Niño Jesús, 1932-1940) and Juan Guardiola (Casa Ferran Guardiola or “Casa China”, 1929). Also worth noting is the construction of two railway stations: the North Station "Estación del Norte (Barcelona)") (1910-1914), the work of Demetrio Ribes consisting of a renovation of a previous building from 1861 by Pere Andrés i Puigdoller), consisted of two buildings that were joined by Ribes with a U-shaped structure and covered by a large metal platform, with a certain modernist influence and secessionist;[304] and the Francia Station (1925-1930), by Pedro Muguruza, Raimundo Durán Reynals, Salvador Soteras and Pelayo Martínez, with platforms covered by two large iron naves and a hall with a classicist appearance, where three coffered vaults stand out.[305].
As far as urban planning is concerned, the most important action in these years was the opening of the Vía Layetana, which connected the Ensanche with the sea - another avenue parallel to this was planned, as well as another perpendicular one, which was ultimately not executed. Emerging from an urban reform project by Àngel Baixeras (Barcelona Interior Reform Plan, 1884), the works were carried out in 1908, with the desire to create an avenue with a uniform appearance, so the majority of buildings have a Noucentista appearance, with a certain influence of the Chicago School. with the mountain, which was occupied by single-family houses in the style of English garden cities.[note 10] For transportation, a tram was installed on the avenue and a funicular to ascend to the top of the mountain, where the Tibidabo Amusement Park was located.[307].
• - Damians House (1913-1915), by Eduard Ferrés, Lluís Homs and Ignasi Mas.
• - Cine Coliseum "Coliseum (Barcelona)") (1923), by Francesc Nebot.
• - National Labor Promotion Building (1931-1936), by Adolf Florensa and Josep Goday.
• - Myrurgia Factory (1928-1930), by Antoni Puig i Gairalt.
• - Casa Jorba "Casa Jorba (Barcelona)") (1926), by Arnau Calvet.
• - Can Guardiola or “Casa China” (1929), by Juan Guardiola.
International Exposition of 1929
In 1929 the International Exhibition "International Exhibition of Barcelona (1929)") was held in Montjuic "Montjuic (Barcelona)"). For this event, the entire area of the Plaza de España "Plaza de España (Barcelona)") and Montjuic Mountain were urbanized, and the pavilions that currently host the Barcelona Fair were built. The Exhibition took place from May 20, 1929 to January 15, 1930, on an area of , and had a cost of 130 million pesetas.[308].
The Exhibition site was built according to a project by Josep Puig i Cadafalch. The complex began in the Plaza de España, designed by Puig i Cadafalch and Guillem Busquets, who created a monumental complex around a hemicycle formed by a baroque-style colonnade, inspired by San Pedro Square in the Vatican. The Exhibition hotels were built here, the work of Nicolás María Rubió y Tudurí, and in the center was a monumental fountain "Fountain of the Plaza de España (Barcelona)") designed by Josep Maria Jujol. At the entrance to the square that leads to the Avenida de la Reina María Cristina, two tall towers in the shape of campaniles were located, the work of Ramon Reventós, inspired by the campanile of San Marcos in Venice.[309].
The official section was located on Avenida de la Reina María Cristina, where various pavilions were located: the Palace of Communications and Transportation, the work of Félix de Azúa and Adolf Florensa; the Palace of Dress (or Work), by Josep Maria Jujol and Andrés Calzada; the palace of Metallurgy, Electricity and Motive Power, by Amadeu Llopart and Alexandre Soler i March; the palace of Textile Art, by Joan Roig&action=edit&redlink=1 "Joan Roig (architect) (not yet written)") and Emili Canosa"); and the palace of Projections, by Eusebi Bona and Francisco Aznar. Closing the avenue were the palaces of Alfonso At the foot of the mountain, the famous Magic Fountain of Montjuic was built, the work of Carles Buïgas, as well as the Four Columns of Puig i Cadafalch. The main building of the Exhibition was the National Palace "Palacio Nacional (Barcelona)") - current headquarters of the MNAC -, the work of Eugenio Cendoya, Enric Catà and Pere Domènech i Roura.[297].
Scattered across the mountain were the rest of the pavilions, such as the one in Barcelona, by Josep Goday; the Press Palace – current headquarters of the Urban Police –, by Pere Domènech i Roura; the Palace of Decorative and Applied Arts, by Manuel Casas&action=edit&redlink=1 "Manuel Casas (architect) (not yet written)") and Manuel Puig&action=edit&redlink=1 "Manuel Puig (architect) (not yet written)"); the Palace of Graphic Arts - current Museum of Archeology "Museo de Arqueología de Catalunya (Barcelona)" - by Raimundo Durán Reynals and Pelayo Martínez; the Palace of Agriculture – current Fabià Puigserver Theater –, by Josep Maria Ribas i Casas and Manuel Maria Mayol; the Spanish pavilion, by Antoni Darder; the Palace of the Provincial Councils, by Enric Sagnier; the Palace of Chemistry, by Antoni Sardà; the Royal pavilion - currently known as Palacete Albéniz -, by Juan Moya; the Palace of Modern Art and the Palace of the Missions, both by Antoni Darder.
Rationalism
In the 1930s, a strong desire to approach the European architectural avant-garde arose, where rationalism was emerging, a style practiced in central Europe since the early 1920s by architects such as Le Corbusier, Ludwig Mies van der Rohe, Walter Gropius and J.J.P. Oud. It was a style that combined functionality and aesthetics, giving predominance to volume over mass, with forms based on the rectangle and horizontal lines, without hiding the structure of the building, with smooth walls and metal windows, without ornamental overload.[317] In Catalonia, the influence of international architecture was expressed in two lines: a more purist rationalism inspired by Le Corbusier, and an eclecticism that accepted other references, such as art deco or German expressionism, with a special reference in the Bauhaus.[318].
In 1930, the GATCPAC group (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture) emerged in Barcelona,[note 12] with a desire to renew and liberate Noucentista classicism, as well as to introduce in Spain the new international currents derived from rationalism. The GATCPAC defended the carrying out of scientific calculations in construction, as well as the use of new materials, such as fiber cement boards or uralite, as well as lighter materials such as glass.[319] It was founded by Josep Lluís Sert, Josep Torres Clavé, Germán Rodríguez Arias, Sixte Illescas, Cristòfor Alzamora, Ricardo de Churruca, Manuel Subiño, Pere Armengou and Francesc pear trees; Later, other architects such as Raimon Duran i Reynals, Antoni Bonet i Castellana, Jaume Mestres i Fossas, Antoni Puig i Gairalt, Ramon Puig i Gairalt, Alexandre Soler i March, Francesc Fàbregas and Joan Baptista Subirana joined. Unfortunately, his work was cut short with the outbreak of the Civil War.[320].
Catalan rationalism had special qualities, such as the departure from formalism, a certain expressionist tendency and a clear political connection with the Second Republic,[321] as denoted in the creation in 1936 of the SAC (Union of Architects of Catalonia), directed by Torres Clavé y Fàbregas, which defended intervention in the control of construction, the collectivization of housing and the orientation of the teaching.[322] Torres Clavé was director of the magazine A. C. Documents of Contemporary Activity (1931-1937), based on avant-garde magazines such as Das Neue Frankfurt, directed by Ernst May, or L'Esprit Nouveau, by Le Corbusier and Amédée Ozenfant.[323].
Among its members, Josep Lluís Sert, an internationally famous architect who settled in the United States after the Civil War, stood out. He was a disciple of Le Corbusier, with whom he worked in Paris and whom he invited to visit Barcelona in 1928, 1931 and 1932.[324] His two main works in Barcelona in these years were the Bloc house (1932-1936) and the Central Anti-tuberculous Dispensary (1934-1938), both in collaboration with Torres Clavé and Subirana. The first is based on the housing project by Le Corbusier (1922), and is a set of S-shaped houses, made of long, narrow blocks with a two-bay metal structure, with access to the houses through covered corridors; Spanish for the 1937 Paris International Exhibition, where Picasso's was exhibited for the first time, which was reconstructed in Barcelona in 1992 by Miquel Espinet"), Antoni Ubach") and Juan Miguel Hernández León.[327].
Postwar period
The beginning of the Franco dictatorship caused a break in the avant-garde integration of Catalan architecture, since the new regime opted for a more academic style. The absence of a conceptual program led to the work being subordinated to the expertise of its author, although the prevailing ideological discourse promoted monumentalism and the classroom character of the achievements of the moment. In the first postwar years, the Noucentista style reemerged, with a marked academic component, in a neoclassical style influenced by American eclecticism "Architecture in the United States") and Mediterranean neo-Renaissanceism.[330].
Given the failed attempts to formulate a new architecture of the regime, only initially visible due to the passing influence of Italian and German architecture with a historicist and regionalist tendency "Regionalism (architecture)"), and due to the lack in Catalonia of official commissions from the new authorities, the constructions in Barcelona were linked to the monumentalist Noucentisme of the 1920s, with the survival even of a certain attenuated rationalism.[331].
Among the architects and works of these years we can mention: Raimundo Durán Reynals (church of Santa María de Sants, 1940-1965; headquarters of Fabra & Coats, 1941-1944; Clip homes, 1949-1952; Julio Muñoz palace, 1949-1952); Eusebi Bona (Spanish Credit Bank in Plaza Cataluña, 1940-1950; Pirelli commercial building, 1948); Francesc Nebot (residential building at 368 Balmes Street on the corner of Ronda General Miter, 1946); Adolf Florensa (building in Plaza Villa de Madrid, 1946); Lluís Bonet i Garí (Life Bank of Spain, 1942-1950; National Pension Institute, 1947); Francesc Mitjans (residential buildings at 182 Balmes Street, 1941-1948; 76 Amigó Street, 1941-1944; and 140 General Miter Roundabout, 1947-1949); Manuel de Solà-Morales i de Rosselló (Officers' Residence, 1939-1940); Francisco Juan Barba Corsini (homes on Paseo de la Bonanova 105-107, 1946); Joaquim Lloret i Homs (El Rancho Grande housing, 1944); Pere Benavent de Barberà (homes at Calle de la Reina Victoria 26 and Ronda del General Miter 55, 1946-1950); and Josep Soteras (Olivetti Factory, 1940-1953; Industrial Building, 1947; monumental fountain on Paseo de Gracia, 1952).
At this time, numerous churches destroyed or damaged during the war were restored, while new ones were created, most in a Florentine Renaissance style continuing the line started by Rubió and Tudurí: church of Nuestra Señora de la Bonanova (1942-1962), by Josep Danés i Torras; church of the Capuchin convent of Sarrià (1940-1944), by Pere Benavent de Barberà; Church of Our Lady of the Angels (1942-1957), by Josep Danés i Torras; Church of Perpetual Help (1950), by Joaquim Porqueras Bañeres"); Church of San Miguel de los Santos (1950-1963), by Antoni Fisas.[332].
The years of the dictatorship were characterized by urban developmentalism, which consisted of the unbridled construction of cheap housing, largely officially protected, to absorb the population coming above all from Spanish regions such as Andalusia, Murcia, Extremadura or Galicia. The massive influx of immigration led to a rise in shanty towns, mainly in Montjuic "Montjuic (Barcelona)"), Somorrostro, Pueblo Nuevo "Pueblo Nuevo (Barcelona)") and El Carmelo, places where at the end of the 1960s there were about 10,000 shacks. Although protected housing was encouraged, this did not stop speculation.[333] The construction of housing was carried out, in many cases, without prior urban planning, and using cheap materials that, over the years, would cause various problems such as aluminosis. The construction fever caused a notable demographic increase and the creation of new neighborhoods, such as El Carmelo, Nou Barris, El Guinardó, El Valle de Hebron, La Sagrera, El Clot or Pueblo Nuevo "Pueblo Nuevo (Barcelona)").[334].
Group R
In the 1950s there was a renewal of the architectural panorama thanks to the R Group (1951-1961),[338] a group of architects who connected the experience of rationalism and GATCPAC with new international currents, such as Neoliberty, neoempiricism and organicism, with the influence of architects such as Alvar Aalto, Oscar Niemeyer, Bruno Zevi and Gio Ponti.[339] They considered themselves post-functionalists, starting from rationalist functionalism "Functionalism (architecture)"), but surpassed on the basis of humanist criteria.[340] The architecture of Group R increasingly distanced itself from the regime's own style, acquiring a vindictive nuance, in which the commitment to modernity was considered an opposition to the regime.[341].
Among its initial members were José Antonio Coderch, Antoni de Moragas, Josep Maria Sostres, Manuel Valls"), Joaquim Gili, Oriol Bohigas, Josep Martorell and Josep Pratmarsó"); In 1953, Coderch and Valls left, while Manuel Ribas i Piera, Josep Anton Balcells, Francesc Bassó and Guillermo Giráldez joined; in 1958 Pablo Monguió and Francesc Vayreda entered").[342] These architects gained a new awareness due to Alberto Sartoris's conference at the Barcelona Athenaeum in 1949, where he called for the search for a new national architecture, which was supported by Oriol Bohigas in his article Possibilities of a Barcelona architecture.[343] However, over time the diversity The tendencies of these authors, who moved between neo-popularism, Miesian neo-rationalism, informalism and neo-functionalism, led to the dissolution of the group.[344].
In this generation, José Antonio Coderch stood out, one of the Spanish architects of the time with the most international prestige. Influenced by Aalto, his works show a high degree of simplicity and volumetric purity, while the curvilinear and articulated forms denote a certain expressionist component.[345] He was a defender of traditional Catalan architecture, and showed great concern for interior design and adaptation to the environment.[346] He worked associated with Manuel Valls since 1942; In 1960 he joined the international group Team 10.[347] Among his works are: the La Maquinista Workers' Cooperative (1951-1953), the Navy House (1952-1954), the residential building at 7 Johann Sebastian Bach Street (1957-1961) and the Tàpies House (1960-1963).
Josep Maria Sostres was a disciple of Sixte Illescas, and later received the influence of Giuseppe Terragni, while declaring himself an admirer of Gaudí, to whom he alluded to highlight the overcoming of rationalist functionalism.[348] He was the author of the Moratiel house (1956-1957), the Iranzo house (1957), and the offices of El Noticiero Universal (1963-1965).
Antoni de Moragas was in favor of industrial design over artisanal work; "He worked associated with Francesc de Riba i Salas"): Park Hotel (1950-1954), Fémina cinema (1950-1952), residential building at 125 Vallcarca Avenue (1953), Bullfighting House (1960-1962).
Barcelona School
Between the years 1960 and 1970, the so-called Barcelona School "Barcelona School (architecture)") emerged, according to the name proposed by Oriol Bohigas in his article A possible Barcelona School, published in the magazine Arquitectura in 1968. Heir to the R Group, the new school was inspired by the Italian neorealism "Neorealism (architecture)") that was triumphing at the time internationally, combining a rationalist constructive language with functionality and design.[367] The Barcelona School once again revalued modernism, and placed emphasis on the educative and communicative role of architecture, to which they granted a social commitment as a dynamic element of social and urban structures. Likewise, they valued craftsmanship and the use of traditional materials of Catalan architecture, such as brick and ceramics.[368] They also placed special emphasis on attention to design and interest in detail.[369].
Various members of Group R were also included in the Barcelona School. David Mackay joined the Bohigas-Martorell tandem in 1962, forming the MBM firm. Furthermore, a new generation of architects emerged, among which stood out: Federico Correa, Alfons Milà, Ricardo Bofill, Lluís Cantallops"), Lluís Nadal"), Albert Viaplana, Helio Piñón, Esteve Bonell or the Studio PER group, formed by Lluís Clotet, Òscar Tusquets, Cristian Cirici and Josep Bonet. Over time the School suffered some important splits, such as that of Ricardo Bofill and his Taller de Arquitectura; the members of Studio PER, immersed in postmodern currents; the Viaplana-Piñón tandem and its orientation towards an abstracting formalism; and the personal and eclectic career of Esteve Bonell.[370] It is worth noting that at the beginning of the 1960s, the first women architects in Barcelona were qualified, such as Margarita Brender, Roser Amadó and Anna Bofill.[371].
In this period, some architects of the previous generation continued to work: José Antonio Coderch approached minimalism,[372] with works such as the Trade towers (1965-1969), drawn on circle segments in such a way that the façade, a black glass curtain wall, runs along the profile of the building in a continuous line;[373] other works of his were the Raset residential complex (1968-1973), the French Institute (1972-1974, without the collaboration of Manuel Valls")), the La Caixa offices on Diagonal Avenue (1974-1979) and the expansion of the Barcelona School of Architecture (1978-1984).
Antoni Bonet i Castellana, trained in the GATCPAC and exiled after the war, a period in which he carried out his work preferably in Argentina and Uruguay, upon his return he built the Meridiana Canódromo (1962-1963, with Josep Puig i Torné"), a light building formed by two paraboloid floors on steel pillars, with cantilevered stands covered with a concrete brise-soleil closed at the ends by an aluminum structure glazed.[374] He was also the author of the Urquinaona tower (1966-1973).
Transition and democracy
The end of the dictatorship and the arrival of democracy marked a new development in the architectural panorama of the city, increasingly immersed in international avant-garde currents. The new socialist councils of Narcís Serra and Pasqual Maragall opted for art and architecture as hallmarks of the city, and began an extensive program of urban reforms, which culminated with the celebration of the Olympic Games. The new public commissions were reflected in the increase in facilities such as schools, parks and gardens, roads and urban spaces, civic, cultural and sports centers.[391].
At a stylistic level, the last decades of the century saw a rapid succession of styles, sometimes complementary and sometimes contrasting, which on various occasions coexisted simultaneously. From the 1970s until the end of the century, the following trends are mainly perceived:
• - Eclectic rationalism: direct heir of rationalist architecture, they understand their task as a discipline, defending the relationship between construction and architecture, with special emphasis on composition; They highlight the commitment between tradition and modernity, as well as the urban character of the architecture. Its main representatives were: Rafael Moneo, Josep Llinàs, Josep Lluís Mateo and the tandems Jaume Bach / Gabriel Mora and Esteve Bonell / Francesc Rius.[392].
• - Neotraditionalism: it is a trend that is nourished mainly by historical models, considering traditional construction as a pure architectural language, with influence from popular and regional architecture, as well as Noucentisme and modern classicism - such as that represented by Otto Wagner -, while having Robert Venturi and Aldo Rossi as contemporary models, as well as the Italian group Tendenza. Due to its attempt to reconvert classicism into a contemporary project, this trend represents a precursor to postmodern architecture. It was mainly represented by the members of Studio PER: Òscar Tusquets, Lluís Clotet, Cristian Cirici and Josep Bonet.[393].
• - Postmodern architecture: they defend the free use of historical styles, with a tendency towards eclecticism "Eclecticism (art)"), separating the architectural language from its resulting image, the principles of appearance, the construction of form. The main exponent of this current was Ricardo Bofill.[394].
• - Neoorganicism: it emerged in opposition to eclectic rationalism, with a strong figurative component and a taste for plastic values, which is denoted in a certain baroque style of forms. Santiago Calatrava and some works by Josep Llinàs are part of this trend.[395].
• - Neomodern architecture (or contemporary avant-garde): in opposition to neotraditionalism and postmodernism, they present a greater interest in the conceptual and abstracting figuration, and assume the inheritance of modern language as experimentation. They denote the influence of Alvar Aalto, Frank Lloyd Wright and Russian constructivism "Constructivism (art)") and, at a more current level, of Frank Gehry and Álvaro Siza. Enric Miralles, Carlos Ferrater and the tandems Elías Torres / José Antonio Martínez Lapeña and Helio Piñón / Albert Viaplana could be included in this trend.[396].
1992 Olympic Games
Another of the profound transformations of Barcelona came on the occasion of the 1992 Olympic Games. The event involved the remodeling of part of the Montjuic mountain, where the so-called Olympic Ring was located (1985-1992), designed by Carles Buxadé, Joan Margarit, Federico Correa and Alfons Milà,[433] a large venue located between the Lluís Companys Olympic Stadium —rehabilitated between 1986 and 1989 by Buxadé, Margarit, Correa and Milà themselves together with Vittorio Gregotti—and the Plaza de Europa, with buildings such as the Palau Sant Jordi by Arata Isozaki (1984-1990), the Bernat Picornell Swimming Pools (1988-1991, Moisés Gallego") and Franc Fernández"), the Montjuic Telecommunications Tower (1991) in Santiago Calatrava and the National Institute of Physical Education "National Institute of Physical Education of Catalonia (Barcelona)") (1985-1992), by Ricardo Bofill.[434].
To accommodate the athletes, a new neighborhood was built, the Poblenou Olympic Village (1985-1992), with a general layout of the Martorell-Bohigas-Mackay-Puigdomènech team, and the intervention in various residential buildings by a wide range of architects, such as Ricardo Bofill, Carlos Ferrater, Esteve Bonell / Francesc Rius, Xavier Vendrell") / Manuel Ruisánchez"), Albert Viaplana / Helio Piñón, Elías Torres / José Antonio Martínez Lapeña, Òscar Tusquets / Carlos Díaz"), Federico Correa / Alfons Milà, Jordi Garcés / Enric Sòria, Lluís Clotet / Ignacio Paricio, etc.[435] Various buildings and facilities were built in the same area, such as the Eurocity 1 office buildings (1989-1992), by Roser Amadó and Lluís Domènech i Girbau, and Eurocity 2, 3 and 4 (1989-1992), by Viaplana and Piñón; the Central Telefónica (1989-1992), by Jaume Bach and Gabriel Mora; (1990-1992), by Álvaro Siza; the Nova Icària Sports Pavilion and Municipal Library (1989-1992, by Franc Fernández") and Moisés Gallego"); Ortiz") and Enrique de León").[436].
Another area of action was the El Valle de Hebron neighborhood, organized according to a project by Eduard Bru") (1989-1991), which included buildings and infrastructure such as: the archery facilities "Campo Olympic de Tiro con Arco (Barcelona)") (1990-1991), by Enric Miralles and Carme Pinós; the Palacio de Deportes del Valle de Hebron (1990-1991), by Jordi Garcés and Enric Sòria; the La Teixonera Tennis Club (1989-1992), by Antoni Sunyer"); and the Olympic Press Village (1989-1991), by Carlos Ferrater.[437].
A notable element was the Collserola telecommunications tower (1989-1992), by Norman Foster, located in Tibidabo. 288 m high, it has a cylindrical concrete shaft supported by three post-tensioned braces anchored to the mountain with three struts placed at 120° from each other; In its central part it contains a metal structure with a curvilinear triangular shape, which houses a viewpoint.[438].
For the event, a multi-denominational religious center was also built, the parish of Patriarch Abraham (1990-1992), the work of Agustí Mateos" and Josep Benedito"). The new building accommodated the spiritual needs of all participants in the games, whatever their beliefs, and subsequently became the parish of the new Olympic Village neighborhood. The floor plan therefore moves away from traditional Catholic shapes, and presents an almond-shaped design based on curved lines of great geometric simplicity.[439].
21st century
The turn of the century did not bring about a substantial change in the future of the city, which continued to focus on innovation and design as future projects, along with the use of new technologies and a commitment to environmental sustainability. Stylistically, the transition of the century has been marked again by the eclecticism derived from postmodern theories, while the influence of international currents such as high-tech, a style based on the intensive use of high technology, and deconstructivism, a current based on non-Euclidean geometry and antilinearism, with curved and "soft" forms with an apparently chaotic appearance, have gained strength.[459] It is also worth highlighting the progressive importance acquired by computing. in architectural design, with programs such as CAD and Power Point that have replaced the old ways of preparing architectural projects.[460].
One of the most notable events of the new millennium was the celebration of the Universal Forum of Cultures in 2004, which allowed new urban changes in the city: the entire Besós area was recovered, until then populated by old disused factories, the entire Pueblo Nuevo neighborhood "Pueblo Nuevo (Barcelona)") was regenerated and the new Diagonal Mar neighborhood was built, while the city was provided with new parks and spaces for leisure. citizens.[461] The profile of the city changed after the construction of a large cylindrical skyscraper, the Torre Agbar, as well as the W Barcelona hotel, which modified the appearance of the Port of Barcelona and, therefore, its seafront.[462].
The Agbar Tower (2000-2005), the work of Jean Nouvel, is one of the most emblematic buildings built in the new millennium, and has significantly changed the Barcelona skyline.[463] High-tech style, it is 145 m high and shaped like an oval cylinder, inspired according to the author in the bell towers of Gaudí's Sagrada Familia. The façade has a double skin of concrete and glass, with a set of 4,000 LED devices of different colors that light up at night, creating particular polychrome effects.[464].
Around the same time, the new Gas Natural headquarters was built (1999-2006), the work of Enric Miralles and Benedetta Tagliabue, a building broken down into four bodies: the "tower" is the tallest, with an H shape composed of two bodies of different heights; The "bracket" is a body attached to the tower that acts as access to the building; The "aircraft carrier" is a cantilevered body that protrudes from the central tower and provides horizontality to the layout of the complex; The "waterfall" is a low body with a stepped façade that restores the elevation of the surrounding buildings. The entire building has a glass roof, whose play of reflections between the four bodies generates a somewhat dematerialized image of the complex.[465].
Other buildings from these early years were: the Jaume Fuster Library (2001-2004), by Josep Llinàs, with a rhomboidal floor plan and a complex and sinuous layout that interacts with an irregular-looking urban environment; diaphanous;[467] the Illa de la Llum residential complex (2002-2005), by Lluís Clotet and Ignacio Paricio, with three bodies: a 5-story block flanked by two towers, one with 26 floors and another with 18, resolved with modules of aluminum ceilings that are repeated on the façade, while the entire complex is supported by tube pre-frames galvanized;[468] and the rehabilitation of the Barceloneta market (2002-2007, by Josep Miàs"), with an organic conception that structures different spaces in a dynamic and integrative way.[469].
The main building impulse of these years was the celebration of the Universal Forum of Cultures in 2004. The venue was designed by Elías Torres and José Antonio Martínez Lapeña, which includes a 16-hectare multipurpose esplanade culminated at one end by a large photovoltaic panel that became one of the emblems of the event.[470] The main construction was the Forum building (2000-2004), by Jacques Herzog and Pierre de Meuron - current headquarters of the Museum of Natural Sciences of Barcelona -, with a low-profile triangular floor plan with a distribution of several interior patios that generate open spaces, and a rough-looking façade of indigo blue, furrowed by various stripes of glass. irregular and undulating shapes that hide the supporting elements, generating large open spaces with a flexible layout inside.[472] The space of the enclosure and its adjacent areas have subsequently been used to locate various public parks, such as the Linear Park by Garcia Fària, by Pere Joan Ravetllat and Carme Ribas; the Auditoriums park, by Alejandro Zaera; and the Diagonal Mar park, by Enric Miralles and Benedetta Tagliabue.
Among the constructions of the following years, it is worth highlighting: the Biomedical Research Park (2006), by Manuel Brullet and Alberto de Pineda, a truncated-conical building with wooden slat cladding; another;[474] the W Barcelona hotel —also known as Hotel Vela— (2009), by Ricardo Bofill, a 99 m high building shaped like a ship's sail, with a glazed curtain wall façade;[475] the Telecommunications Market Commission headquarters building (2008-2010), by Enric Batlle and Joan Roig, with an asymmetrical longitudinal planimetry profile and a double façade of horizontal slats that offers solar protection;[476] the Media-TIC building (2010), by Enric Ruiz-Geli, has a cubic shape and is supported by iron girders covered by a translucent coating of inflatable bubble plastic, which allows us to distinguish the fluorescent structure inside the building;[477] the Diagonal Zero Zero tower of Telefónica (2008-2011, by Enric Massip-Bosch"), by 110 m high and with a rhomboidal floor plan, with a white aluminum ribbed façade; Catalanas;[479] and the Bellcaire Fair or Old Encantes (2013), by Fermín Vázquez Huarte-Mendicoa, a canopy-shaped structure that covers the Encantes open-air market, made up of various modules with different inclinations to reflect the light and the surrounding landscape.[480].
Other works from these years are: the International Center for Advanced Medicine (2004), by Luis Alonso and Sergio Balaguer"); the expansion of CosmoCaixa Barcelona (2004, by Esteve") and Robert Terradas"); the Hilton Diagonal Mar hotel (2005), by Òscar Tusquets; the Colegio Mayor Sant Jordi (2006), by Josep Lluís Mateo;[481] the departmental building of the UPF (1996-2007), by Juan Navarro Baldeweg ; Martí Galí");[484] the Illa del Mar residential building (2008), by Adolf Martínez"), Josep Lluís Martínez"), Jorge Muñoz&action=edit&redlink=1 "Jorge Muñoz (architect) (not yet written)") and Enrique Albin"); the Can Framis Museum (2007-2009, by Jordi Badia");[485] the entire City of Justice of Barcelona and Hospitalet de Llobregat (2009), by David Chipperfield and Fermín Vázquez Huarte-Mendicoa; the Suites Avenue building (2009), by Toyoo Itō; the Institute of Ocular Microsurgery (2009), by Josep Llinàs;[486] the Blau building (2009), by Antoni de Moragas, Eva Mercader Oliver") and Susanna Itarte Rubió");[487] the Blood Bank (2006-2010), by Joan Sabaté Picasó"), Àlex Cazurra Basté") and Horacio Espeche Sotailo");[488] the Can Travi Civic Center (2008-2010), by Sergi Serrat"), Ginés Egea") and Cristina García&action=edit&redlink=1 "Cristina García (architect) (not yet written)");[489] the GAES headquarters (2008-2010), by Jorge Mestre") and Iván Bercedo"); the reconversion of the Arenas bullring in a shopping center (2005-2011), by Richard Rogers; the Bassat headquarters (2010-2011, by Alexa Plasencia"), Antonio Buendía") and Albert Arraut");[490] the Distrito 38 building (2011), by Arata Isozaki, Alejandro Zaera and Farshid Moussavi;[491] the Vodafone building (2012), by Dominique Perrault;[492] and the Antares building (2020), by Odile Decq.[493].
On the other hand, the economic crisis that began in 2008 paralyzed numerous architectural projects, some as emblematic as the La Sagrera Tower, by Frank Gehry, or the Spiral Tower, by Zaha Hadid, putting an end to a few years of construction in the city of great projects commissioned from internationally famous authors.[494].
In 2022, the Cirerers building, the tallest wooden building in Spain, was inaugurated, the work of the Celobert architectural cooperative, a sustainable project based on an industrialized construction system in cross-laminated wood.[495].
In terms of landscape architecture, it is worth mentioning the Central Park of Nou Barris (1997-2007), by Carme Fiol and Andreu Arriola, structured on several levels in which pergolas that act as lighting panels stand out, as well as the presence of water, through three lakes with fountains; In 2007 he received the International Urban Landscape Award in Frankfurt (Germany).[496] Another green space of interest is the Poblenou Center park (2008), by Jean Nouvel, divided into various thematic spaces, with avant-garde design, among which stand out: the Island under the dome, a space surrounded by a water channel that houses a metal dome surrounded by laurels; and the Well of the World, a crater formed by several spirals of earth.[497].
The urban planning of the new millennium has reinforced the polynuclear grid structure promoted since the 1990s, which has favored the appearance of new urban centers such as the Forum, 22@ and La Sagrera.[498] In 2025 the new Plaza de las Glorias Catalanas was inaugurated after several years of works, in which traffic was buried and a new park was installed for the enjoyment of citizens.[499].
Communications have improved with the arrival of high speed, which links the Catalan capital with Madrid and Paris; The port and airport of El Prat have been expanded, with the aim of turning Barcelona into the logistics center of southern Europe. The metro network has also been expanded, with the extension of several lines (3 and 5), and the creation of some new ones (lines 9, 10 and 11), some of them fully automated. In 2012, an orthogonal reorganization of the bus network began to create a rapid transit bus network.[500] The construction of a new ring road is also planned to improve communications in the metropolitan area.
• - Diagonal Mar Park (1999-2002), by Enric Miralles and Benedetta Tagliabue.
• - Barcelona International Convention Center (2000-2004), by Josep Lluís Mateo.
• - Jaume Fuster Library (2001-2004), by Josep Llinàs.
• - Biomedical Research Park (2006), by Manuel Brullet and Alberto de Pineda.
• - Hotel Habitat Sky (2004-2007), by Dominique Perrault.
• - Can Framis Museum (2007-2009), by Jordi Badia").
• - Suites Avenue Building (2009), by Toyoo Itō.
• - Blau Building (2009), by Antoni de Moragas, Eva Mercader Oliver") and Susanna Itarte Rubió").
• - Telecommunications Market Commission (2008-2010), by Enric Batlle and Joan Roig.
• - GAES building (2008-2010), by Jorge Mestre") and Iván Bercedo").
• - Media-TIC Building (2010), by Enric Ruiz-Geli.
• - Diagonal Zero Zero Tower of Telefónica (2008-2011), by Enric Massip-Bosch").
• - Vodafone Building (2012), by Dominique Perrault.
• - Bellcaire Fair or Old Charms (2013), by Fermín Vázquez Huarte-Mendicoa.
• - Art of Catalonia.
• - History of Barcelona.
• - Urban planning of Barcelona.
• - Districts of Barcelona.
• - Former municipalities of Barcelona.
• - Municipal aggregations of Barcelona.
• - Public art in Barcelona.
• - Urban art from Barcelona.
• - Urban furniture from Barcelona.
• - Fountains of Barcelona.
• - Parks and gardens of Barcelona.
• - Odononymy of Barcelona.
• - Catalan modernism.
• - Architecture of Spain.
• - Architecture of Madrid.
• - Annual competition for artistic buildings (Barcelona) "Annual competition for artistic buildings (Barcelona)").
• - FAD Award.
• - Mies van der Rohe Contemporary Architecture Prize.
• - District 22@.
• - Annex: Basilicas of Barcelona.
• - Annex:Skyscrapers in Barcelona.
• - Annex: Tallest buildings in the metropolitan area of Barcelona.
• - Annex:Architectures of Spain.
• - World Heritage Site in Catalonia.
• - Assets of cultural interest of the Barcelonés region "Annex: Assets of cultural interest of the Barcelonés region (province of Barcelona)").
• - Apple of discord "Apple of discord (Barcelona)").
• - Wikimedia Commons hosts a multimedia category on Architecture of Barcelona.
• - Barcelona official website Archived December 23, 2014 at the Wayback Machine.
[17] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 50.
[18] ↑ AA.VV., 1991, p. 124-125.
[19] ↑ AA.VV., 1991, p. 127.
[20] ↑ AA.VV., 1991, p. 128-129.
[21] ↑ AA.VV., 1998, p. 46-48.
[22] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 79.
[23] ↑ AA.VV., 1998, p. 47.
[24] ↑ AA.VV., 1998, p. 61.
[25] ↑ AA.VV., 1998, p. 47-48.
[26] ↑ AA.VV., 1991, p. 206.
[27] ↑ Soler et al., 1999, p. 48-51.
[28] ↑ AA.VV., 1991, p. 218.
[29] ↑ AA.VV., 1991, p. 215.
[30] ↑ Roig, 1995, p. 8.
[31] ↑ AA.VV., 1998, p. 43-44.
[32] ↑ AA.VV., 1998, p. 59-60.
[33] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 97.
[34] ↑ Roig, 1995, p. 5.
[35] ↑ Soler et al., 1999, p. 63-64.
[36] ↑ Lecea et al., 2009, p. 19.
[37] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 106.
[38] ↑ AA.VV., 1991, p. 101.
[39] ↑ AA.VV., 1992, p. 28.
[40] ↑ Barral i Altet et al., Jornet, p. 46.
[41] ↑ AA.VV., 1992, p. 27.
[42] ↑ AA.VV., 1992, p. 312-313.
[43] ↑ AA.VV., 1992, p. 29-30.
[44] ↑ Barral i Altet et al., Jornet, p. XI.
[45] ↑ Rubio, 2009, p. 19.
[46] ↑ AA.VV., 1992, p. 39.
[47] ↑ Galofré, 1992, p. 1-33.
[48] ↑ AA.VV., 1997, p. 26.
[49] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, pp. 188-189.
[50] ↑ AA.VV., 1992, p. 314-315.
[51] ↑ Barral i Altet et al., Jornet, p. 298.
[52] ↑ AA.VV., 1992, p. 315.
[53] ↑ Bahamón y Losantos, 2007, p. 14.
[54] ↑ AA.VV., 1992, p. 313-314.
[55] ↑ Soler et al., 1999, p. 147.
[56] ↑ Bahamón y Losantos, 2007, p. 15.
[57] ↑ Barral i Altet et al., Jornet, p. 325.
[58] ↑ Soler et al., 1999, p. 111.
[59] ↑ AA.VV., 1998, p. 79-82.
[60] ↑ AA.VV., 1998, p. 82.
[61] ↑ AA.VV., 1992, p. 320.
[62] ↑ Roig, 1995, p. 16-17.
[63] ↑ Galofré, 1992, pp. 49-75.
[64] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 244.
[65] ↑ Soler et al., 1999, p. 164.
[66] ↑ Soler et al., 1999, p. 171.
[67] ↑ Soler et al., 1999, p. 169-170.
[68] ↑ Soler et al., 1999, p. 176.
[69] ↑ Soler et al., 1999, p. 192-193.
[70] ↑ Soler et al., 1999, p. 212-213.
[71] ↑ Soler et al., 1999, p. 170.
[72] ↑ Roig, 1995, p. 60.
[73] ↑ Soler et al., 1999, p. 213.
[74] ↑ Bahamón y Losantos, 2007, p. 18.
[75] ↑ Bahamón y Losantos, 2007, p. 19.
[76] ↑ Jordi Monner i Faura (1992). BCN 92. Guía de La Vanguardia. 3: Del Auditori a la Plaça de la Palmera. Meridiana (revista|formato= requiere |url= (ayuda)). Barcelona: La Vanguardia. p. 30.
[77] ↑ Dalmases y José i Pitarch, 1998, p. 82.
[78] ↑ Permanyer, 1994, p. 11.
[79] ↑ AA.VV., 1998, p. 138-139.
[80] ↑ Soler et al., 1999, p. 225.
[81] ↑ AA.VV., 1998, p. 139.
[82] ↑ Barral i Altet et al., Jornet, p. 92.
[83] ↑ Barral i Altet et al., Jornet, p. 82.
[84] ↑ AA.VV., 1998, p. 141-142.
[85] ↑ AA.VV., 1998, p. 143-147.
[86] ↑ AA.VV., 1998, p. 158-159.
[87] ↑ AA.VV., 1998, p. 156.
[88] ↑ AA.VV., 1998, p. 150-153.
[89] ↑ AA.VV., 1998, p. 132.
[90] ↑ Bahamón y Losantos, 2007, p. 100.
[91] ↑ Roig, 1995, pp. 44-45.
[92] ↑ Lecea et al., 2009, p. 29.
[93] ↑ AA.VV., 1997, p. 83.
[94] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 349.
[95] ↑ Barral i Altet et al., Jornet, p. 229.
[96] ↑ Triadó y Barral i Altet, 1999, p. 44.
[97] ↑ Barral i Altet et al., Jornet, p. 268.
[98] ↑ Triadó y Barral i Altet, 1999, p. 28-29.
[99] ↑ Triadó y Barral i Altet, 1999, p. 47.
[100] ↑ AA.VV., 1998, p. 183-185.
[101] ↑ AA.VV., 1998, p. 186.
[102] ↑ Bahamón y Losantos, 2007, p. 20.
[103] ↑ AA.VV., 1998, p. 180-181.
[104] ↑ Rubio, 2009, p. 34.
[105] ↑ AA.VV., 1998, p. 181-182.
[106] ↑ Barral i Altet et al., Jornet, p. 82-83.
[107] ↑ Triadó y Barral i Altet, 1999, p. 32.
[108] ↑ AA.VV., 1998, p. 177-180.
[109] ↑ AA.VV., 1998, p. 187-189.
[110] ↑ Rubio, 2009, p. 48-49.
[111] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 4: De la plaza de la Mercè a la iglesia de Santa Anna. Barcelona: La Vanguardia. p. 26.
[112] ↑ Garriga, 1986, p. 81.
[113] ↑ Gran Enciclopèdia Catalana 14 llas-Maup, p. 461.
[114] ↑ AA.VV., 1998, p. 175.
[115] ↑ Garriga, 1986, p. 92-93.
[116] ↑ Roig, 1995, p. 75.
[117] ↑ Giorgi, 2007, p. 82.
[118] ↑ AA.VV., 1997, p. 96.
[119] ↑ AA.VV., 1998, p. 196.
[120] ↑ Albert de Paco, 2007, pp. 280-281.
[121] ↑ Triadó y Barral i Altet, 1999, p. 62-65.
[122] ↑ Triadó y Barral i Altet, 1999, p. 65.
[123] ↑ Rubio, 2009, p. 170.
[124] ↑ Bahamón y Losantos, 2007, p. 57.
[125] ↑ Triadó y Barral i Altet, 1999, p. 77-82.
[126] ↑ AA.VV., 1998, p. 210-214.
[127] ↑ Triadó y Barral i Altet, 1999, p. 80-82.
[128] ↑ Triadó y Barral i Altet, 1999, p. 82.
[129] ↑ AA.VV., 1998, p. 206-207.
[130] ↑ Triadó y Barral i Altet, 1999, p. 72.
[131] ↑ AA.VV., 1998, p. 219.
[132] ↑ Rubio, 2009, p. 131.
[133] ↑ Barral i Altet et al., Jornet, p. 126.
[134] ↑ Barral i Altet et al., Jornet, p. 130.
[135] ↑ Triadó, 1984, p. 27-28.
[136] ↑ AA.VV., 1998, p. 197-198.
[137] ↑ Triadó, 1984, p. 21.
[138] ↑ Triadó y Barral i Altet, 1999, p. 92.
[139] ↑ AA.VV., 1998, p. 226-228.
[140] ↑ Barral i Altet et al., Jornet, p. 215.
[141] ↑ Roig, 1995, pp. 86-87.
[142] ↑ AA.VV., 1998, p. 226-227.
[143] ↑ Triadó y Barral i Altet, 1999, p. 102-104.
[144] ↑ Triadó y Barral i Altet, 1999, p. 102.
[145] ↑ a b Triadó y Barral i Altet, 1999, p. 104.
[148] ↑ Barral i Altet et al., Jornet, p. 234-235.
[149] ↑ Triadó y Barral i Altet, 1999, p. 108.
[150] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 27.
[151] ↑ Bahamón y Losantos, 2007, p. 65.
[152] ↑ AA.VV., 1998, p. 228-229.
[153] ↑ Barral i Altet et al., Jornet, p. 231.
[154] ↑ AA.VV., 1998, p. 233-234.
[155] ↑ Rubio, 2009, p. 200.
[156] ↑ AA.VV., 1998, p. 231-232.
[157] ↑ Magda Mària i Serrano y Joan Claudi Minguell i Font. «El Palau Episcopal de Barcelona. Cronologia arquitectònica d'un edifici de vint segles d'història» (en catalán). Consultado el 5 de marzo de 2015.: http://www.raco.cat/index.php/locus/article/viewFile/242042/324642
[158] ↑ AA.VV., 1998, p. 230.
[159] ↑ Roig, 1995, p. 91.
[160] ↑ Triadó, 1984, p. 220.
[161] ↑ Villoro y Riudor, 1984, p. 31.
[162] ↑ Lecea et al., 2009, p. 73.
[163] ↑ AA.VV., 1997, pp. 114-149.
[164] ↑ AA.VV., 1997, p. 114.
[165] ↑ AA.VV., 1998, p. 194-195.
[166] ↑ Fontbona, 1997, p. 52.
[167] ↑ AA.VV., 1998, p. 247-248.
[168] ↑ AA.VV., 1998, p. 265.
[169] ↑ a b AA.VV., 1998, p. 269.
[170] ↑ Navascués Palacio, 2000, p. 164.
[171] ↑ AA.VV., 1998, p. 252.
[172] ↑ Gausa, Cervelló y Pla, 2002, p. A4.
[173] ↑ Fontbona, 1997, p. 68.
[174] ↑ Triadó y Barral i Altet, 1999, p. 130.
[175] ↑ a b Fontbona, 1997, p. 53.
[176] ↑ AA.VV., 1998, p. 258-259.
[177] ↑ Navascués Palacio, 2000, p. 229-230.
[178] ↑ Fontbona, 1997, p. 76-77.
[179] ↑ Rubio, 2009, p. 152.
[180] ↑ Barral i Altet et al., Jornet, p. XIV.
[181] ↑ Fontbona, 1997, p. 64.
[182] ↑ Triadó y Barral i Altet, 1999, p. 174.
[183] ↑ Rubio, 2009, p. 218.
[184] ↑ AA.VV., 1998, p. 262.
[185] ↑ Triadó y Barral i Altet, 1999, p. 176.
[186] ↑ Triadó y Barral i Altet, 1999, p. 177-184.
[187] ↑ Barral i Altet et al., Jornet, p. 185.
[188] ↑ Bahamón y Losantos, 2007, p. 86.
[189] ↑ Barral i Altet et al., Jornet, p. 283.
[190] ↑ Barral i Altet et al., Jornet, p. 319-320.
[191] ↑ Barral i Altet et al., Jornet, p. 319.
[192] ↑ Rubio, 2009, p. 221.
[193] ↑ Bahamón y Losantos, 2007, p. 102.
[194] ↑ Rubio, 2009, p. 136.
[195] ↑ Gausa, Cervelló y Pla, 2002, p. B8.
[196] ↑ Bahamón y Losantos, 2007, p. 25.
[197] ↑ Gausa, Cervelló y Pla, 2002, p. A7.
[198] ↑ Rubio, 2009, p. 198.
[199] ↑ Navascués Palacio, 2000, p. 343-347.
[200] ↑ Barral i Altet et al., Jornet, p. 326-327.
[242] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 11: Las diez joyas de la capital. Barcelona: La Vanguardia. p. 8-10.
[243] ↑ Lacuesta y González, 1997, p. 69.
[244] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 7: De la plaza Catalunya a la plaza Lesseps. Eixample. Barcelona: La Vanguardia. p. 9.
[245] ↑ Midant, 2004, p. 749-750.
[246] ↑ Huertas, Capilla y Maspoch, 2005, p. 74.
[247] ↑ Fontbona y Miralles, 2001, p. 152-153.
[248] ↑ Miralles, 2008, p. 73.
[249] ↑ Lacuesta y González, 1997, p. 49.
[250] ↑ Fontbona y Miralles, 2001, p. 57.
[251] ↑ Maspoch, 2008, p. 214.
[252] ↑ Maspoch, 2008, p. 88.
[253] ↑ Lacuesta y González, 1997, p. 33.
[254] ↑ Maspoch, 2008, p. 80-81.
[255] ↑ AA.VV., 2007, p. 15.
[256] ↑ Barjau, 1992, p. 12.
[257] ↑ Maspoch, 2008, p. 40-41.
[258] ↑ Lacuesta y González, 1997, p. 41.
[259] ↑ Miralles, 2001, p. 78.
[260] ↑ Maspoch, 2008, p. 189.
[261] ↑ Montaner, 2005, p. 37.
[262] ↑ AA.VV., 1998, p. 306.
[263] ↑ Montaner, 2005, p. 39-40.
[264] ↑ Maspoch, 2008, p. 155.
[265] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 7: De la plaza Catalunya a la plaza Lesseps. Eixample. Barcelona: La Vanguardia. p. 20.
[266] ↑ Maspoch, 2008, p. 208.
[267] ↑ Maspoch, 2008, p. 87.
[268] ↑ Maspoch, 2008, p. 115.
[269] ↑ Maspoch, 2008, p. 116.
[270] ↑ Maspoch, 2008, p. 217.
[271] ↑ Maspoch, 2008, p. 34.
[272] ↑ Maspoch, 2008, p. 175.
[273] ↑ Lacuesta y González, 1997, p. 29.
[274] ↑ Fontbona y Miralles, 2001, p. 153.
[275] ↑ Maspoch, 2008, p. 55-56.
[276] ↑ Barral i Altet et al., Jornet, p. 140.
[277] ↑ Huertas, Capilla y Maspoch, 2005, p. 150-162.
[278] ↑ Lecea et al., 2009, p. 127.
[279] ↑ AA.VV., 1999, p. 23.
[280] ↑ Montaner, 2005, p. 65.
[281] ↑ Montaner, 2005, p. 49.
[282] ↑ AA.VV., 1998, p. 310-311.
[283] ↑ Lacuesta y González, 1999, p. 11.
[284] ↑ Miralles, 2001, p. 102.
[285] ↑ Montaner, 2005, p. 51.
[286] ↑ Maspoch, 2008, p. 133.
[287] ↑ Montaner, 2005, p. 53.
[288] ↑ Bahamón y Losantos, 2007, p. 45.
[289] ↑ AA.VV., 1998, p. 311.
[290] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 24-25.
[291] ↑ Gausa, Cervelló y Pla, 2002, p. H2.
[292] ↑ Gausa, Cervelló y Pla, 2002, p. E16.
[293] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 17-19.
[327] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 1: Del Velòdrom d’Horta a la Creueta del Coll. Barcelona: La Vanguardia. p. 16-19.
The century saw the updating of the various styles produced by Barcelona architects, which connected with international trends and put the city at the forefront of the avant-garde. The architectural development in recent years and the commitment to design and innovation, as well as the linking of urban planning with ecological values and sustainability, have turned the Catalan capital into one of the most cutting-edge European cities in the architectural field, a fact that has been recognized with numerous awards and distinctions, such as the Gold Medal of the Royal Institute of British Architects (RIBA) in 1999 and the Venice Biennale award in 2002.[3] In 2022, Barcelona was chosen as World Capital of Architecture for the year 2026 by the International Union of Architects (UIA).[4].
The architectural heritage of the city enjoys special protection under Law 9/1993 on Catalan Cultural Heritage, which guarantees the protection, conservation, research and dissemination of cultural heritage, with various degrees of coverage: level A (Cultural Asset of National Interest), level B (Cultural Asset of Local Interest), level C (Asset of Urban Planning Interest) and level D (Asset of Documentary Interest).[5].
Location
Barcelona, capital of the autonomous community of Catalonia, is located in the Spanish Levant, on the Mediterranean coast. It is located on a plain about 6 meters long and 6 meters wide, limited on its sides by the sea and the Collserola mountain range - with the summit of Tibidabo (516.2 m) as the highest point - as well as by the deltas of the Besós and Llobregat rivers. Above the coastline and separating the city from the Llobregat delta is the Montjuic mountain (184.8 m).[6] Likewise, from the Collserola mountain range several hills advance on the plain that follow a line parallel to the coastal mountain range: they are the Peira hills (133 m), the Rovira (261 m), the Carmelo "Mount Carmelo (Barcelona)") (267 m), the Creueta del Coll (249 m), the Putget (181 m) and Monterols (121 m).[7].
The Barcelona plain is located on a fault that runs from Montgat to Garraf, originating in the Paleozoic. The terrain is made up of slate substrates "Slate (rock)") and granitic formations, as well as clays and calcareous stones.[8] The coast was formerly occupied by marshes and lagoons, which disappeared as the coastline advanced thanks to the sedimentation provided by the rivers and torrents that flowed into the beach; It is estimated that from the century BC. C. the coastline has been able to advance about 5 km.[9] The plain area was formerly crisscrossed by numerous torrents and streams, which were grouped into three river sectors: the Horta stream in the area near the Besós river (or eastern area); the Riera Blanca and the Gornal torrent in the Llobregat area (or western area); and, in the central area of the plain, a set of streams from the southern slope of Tibidabo, such as the Sant Gervasi, Vallcarca, Magòria and Collserola streams.[10].
The climate is Mediterranean, with mild winters thanks to the protection that the terrain's orography offers to the plain, which is sheltered from the north winds. The temperature usually ranges between 9.5 °C and 24.3 °C, on average. It has little rainfall, about 600 mm annually, and most precipitation occurs in spring and autumn. This shortage meant that in the past numerous works had to be carried out to supply the city with water, including wells, canals and irrigation ditches. The vegetation of the area is mainly composed of pines and oaks, and undergrowth of heather, durillo, strawberry tree and climbing plants. In the past, both dryland and irrigated agriculture was practiced - mainly vineyards and cereals - although today practically the entire surface is built.[11].
Barcelona, with a population of 1,604,555 inhabitants in 2015,[12] is the most important urban center in Catalonia at a demographic, political, economic and cultural level. It is the seat of the autonomous government and the Parliament of Catalonia, as well as the Provincial Council, the archbishopric and the IV Military Region, and has a port, an airport and an important network of railways and roads.[13].
Antique
Prehistory
There are few vestiges of prehistoric times in the city. Although the human presence in the Paleolithic is confirmed, the first remains in terms of architecture come from the Neolithic, a time when human beings became sedentary and went from a subsistence based on hunting and gathering to an agrarian and livestock economy. These first vestiges come from the end of the Neolithic (3500 BC-1800 BC), and are mainly manifested by funerary practices with pit tombs, which used to be quite deep and covered with slabs. An example of this is the tomb discovered in 1917 on the southwest slope of the Monterols hill, between Muntaner and Copérnico streets; of imprecise dating, it is 60 cm high and 80 cm wide, and was made up of flat slabs of irregular shape. As far as habitations are concerned, from this period only a cabin back has been found in what is the current San Andrés Condal station.[14].
From the Bronze Age (1800 BC-800 BC) there are also few remains preserved regarding the plain of Barcelona. The main ones come from a site discovered in 1990 on San Pablo Street, where remains of fireplaces and individual burial graves have been found. The remains found in 1931 in Can Casanoves, behind the San Pablo Hospital, are also surely from this period, where remains of stone walls and the bottoms of three circular cabins of about 180 cm in diameter have been found. On the other hand, there are written testimonies of two megalithic monuments, located in Montjuic "Montjuic (Barcelona)") and Campo del Arpa, of which, however, no material trace has remained. Finally, from the late Chalcolithic there are few remains of the so-called "urn field culture", found in the Can Don Joan farmhouse, in Horta, and on the southeastern slope of the Montjuic mountain, between the Molí Antic and Font de la Mamella roads.[15].
Iberian period
Between the century BC. C. and the century BC. C. the plain of Barcelona was occupied by the Layetans, an Iberian people who occupied the current regions of Barcelonés, Vallés "Vallés (Catalonia)"), Maresme and Bajo Llobregat.[16] Iberian architecture was based on rammed earth walls, with a lintel system, with false arches and vaults made by approximation of courses. The cities were usually located on an acropolis, with towers and solid walls for defense, within which the houses were located, with an irregular distribution, generally with a rectangular plan.[17].
In Barcelona there are hardly any Iberian architectural remains: the main vestiges of this culture were found in the hills of Rovira, Peira and Putget, as well as in Santa Cruz de Olorde - in Tibidabo -, but they have not allowed us to establish special characteristics with regard to habitations or funerary tombs.[18] The main remains come from Rovira, where in 1931 vestiges of a Iberian town that, unfortunately, were destroyed when anti-aircraft batteries were installed during the Civil War. Apparently, it had a wall with two entrances, while located outside the walls a set of silos with 44 tanks excavated in the rock was found.[19].
Apparently, the main Iberian settlement in the area was in Montjuic—possibly the Barkeno named after two coins minted at the end of the century BC. C.—, although the recent urbanization of the mountain and its intensive use as a stone quarry throughout the city's history has caused the loss of most of the remains. In 1928, nine large-capacity silos were discovered in the Magòria area, which were probably part of a warehouse for agricultural surpluses. On the other hand, in 1984 remains of a settlement were found on the southwest slope of the mountain, on a piece of land measuring about 2 or 3 hectares.[20].
Roman period
In the century BC. C. the Romans arrived in the Iberian Peninsula, during the Second Punic War between Rome and Carthage, which began a colonizing process that culminated with the incorporation of all of Hispania into the Roman Empire. In the century BC. C. Barcino was founded,[note 1] a small walled city projected from the beginning with a monumental air, and which took the urban form of castrum initially, and oppidum later, settled on the Mons Taber (16,9). The maximum splendor of the Roman era occurred during the century, with a population that must have ranged between 3,500 and 5,000 inhabitants.[21].
The Romans were great experts in civil architecture and engineering, and provided the territory with roads, bridges, aqueducts and cities with a rational layout and basic services, such as sewage, as well as buildings such as temples, baths, circuses and theaters. Roman architecture was based on the use of ashlar, brick and masonry rigs, and compared to the Greek architrave system they introduced the use of the arch "Arch (architecture)"), the vault and the dome. They adopted from the Greeks the use of the Ionic and Corinthian orders, to which they added the Tuscan and the Composite.[22].
The Barcino enclosure was walled, with a perimeter of , which protected an area of 10.4 hectares.[23] The first wall of the city, of simple masonry, began to be built in the century BC. C. It had few towers, only in the corners and at the doors of the walled perimeter. However, the first incursions by the Franks and Alemanni starting in the 250s gave rise to the need to reinforce the walls, which were expanded in the 19th century. The new wall was built on the foundations of the first, and was formed by a 2-meter double wall, with space in the middle filled with stone and mortar "Mortar (construction)"). The wall consisted of 74 towers about 18 meters high, most of them with a rectangular base.[24].
The center of the city was the forum, the central square dedicated to public life and business. It was located at the confluence between the cardus maximus "Cardo (street)") (Llibreteria and Call streets) and the decumanus maximus (Bisbe, Ciutat and Regomir streets), approximately in the center of the walled enclosure.[25] In the forum, constructions dedicated to business, justice, the baths and other public buildings were concentrated, and it was the place where the authorities met in the Curia and the Basilica. The forum area has not been clearly delimited, but it appears to approximately coincide with the current Plaza de San Jaime.[26] In the forum was the Temple of Augustus "Temple of Augustus (Barcelona)"), the first emperor and founder of the Roman Barcino. It was built a few years after the founding of the city, probably at the beginning of the century AD. C. It was a rectangular building, on a , hexastyle and peripteral, about 35 meters long by 17.5 meters wide. Between the Corinthian colonnade was located the , a room that contained the image or sculpture of the Emperor Augustus, accessible from the forum. Only three columns "Column (architecture)") remain from this temple, still located in their original location, although they are currently inside the building of the Excursionist Center of Catalonia, on Paradís Street.[27].
Middle Ages
Contenido
Las primeras construcciones intactas que se conservan en la ciudad proceden de la Edad Media, época en que Barcelona se constituyó como condado y posteriormente pasó a formar parte de la Corona de Aragón, convirtiéndose en un importante eje marítimo y comercial del mar Mediterráneo. En el siglo surgió el Consejo de Ciento, una de las primeras instituciones públicas de Barcelona. El recinto de la ciudad fue creciendo desde el primitivo núcleo urbano —lo que hoy día es el Barrio Gótico—, y en el siglo surgió el barrio de El Raval. Barcelona tenía entonces unos 25 000 habitantes.[36].
Pre-Romanesque
The first style produced in the field of medieval art is the so-called pre-Romanesque, located between the fall of the Roman Empire and the creation of the Hispanic Brand. During this period Barcelona was integrated into the Visigoth kingdom and, after a brief Islamic occupation, into the Carolingian Empire.
Visigothic architecture was characterized by the use of the ashlar wall, the horseshoe arch and the barrel or groin vault. The churches used to have a basilica plan with one or three naves "Nave (architecture)"), or a Greek cross, generally with free-standing chapels and an entrance porch.[37] In Barcelona there are few remains of the Visigothic period, in which the city remained within the walls. There are known remains of a palace built in the century on the old Roman forum, later an episcopal palace. Another palace, perhaps where Ataúlfo was murdered, was discovered under the current Salón del Tinell, in the Plaza del Rey "Plaza del Rey (Barcelona)"), where a necropolis of the time (- centuries) was also discovered.[38] The cathedral continued to be the early Christian basilica, and there is evidence that churches such as San Pablo del Campo, Santos Justo y Pastor "Basilica de los Santos Justo y Pastor (Barcelona)") and Santa María de las Arenas—later del Mar—.[39] It is likely that for a time the cathedral was attached to the Arian cult practiced by the first Visigoths, until the Catholic conversion of Recaredo in the year 587.[40].
The brief Islamic occupation of the city, lasting just 83 years, did not leave a special mark. The population of the Muslim Barshilūna (برشلونة) remained predominantly Christian, as the invaders did not attempt to convert them to Islam. The Arab wali set up a military garrison in the city, and possibly converted the cathedral into a mosque, as happened in other cities, although there is no evidence of this.[41]
Later the city fell under dependence on the Carolingian Empire, which spanned from the conquest of Ludovico Pío in 801 to the offensive led by Almanzor in 985. During this time the cathedral was restored, thanks to the initiative of Bishop Frodoí around the year 877, on the occasion of the transfer of the remains of Saint Eulalia to the crypt of the cathedral.[42] During the approximately two centuries that Carolingian influence lasted in Barcelona, the city also had the cathedral with the urban churches of San Jaime "Iglesia de San Jaime (Barcelona)"), San Miguel "Iglesia de San Miguel (Barcelona)") and Santos Justo y Pastor "Basilica de los Santos Justo y Pastor (Barcelona)"), in addition to those located outside the walls of Santa María del Pino, Santa María del Mar and the monasteries of San Pablo del Campo and San Pedro de las Puellas; All of these churches were later renovated in other styles.[43] Around the century, various parishes and population centers were also formed in the vicinity of the city, such as San Ginés dels Agudells, San Andrés de Palomar, San Juan de Horta, San Gervasio de Cassoles and San Martín de Provensals.[44].
During the medieval period, Barcelona had a Jewish neighborhood, Call, located between the current streets of Fernando, Baños Nuevos, Palla and Obispo. Founded in 692, it survived until its destruction in 1391 in a xenophobic assault. It was separated from the rest of the city by a wall, and had two synagogues (Major, currently a museum, and Minor, today the parish of San Jaime), baths, schools and hospitals.[45].
The development of agriculture in the plain of Barcelona was consolidated with the construction, in the middle of the century - and probably by Count Miró - of two canals that directed the waters of the Llobregat river "Llobregat (river)") and the Besós to the outskirts of the city: the Besós was known as Acequia Condal or Regomir, and was parallel to the Strata Francisca, a road that was a variant of the old Via Augusta Roman, and which was built by the Franks to better bring the city closer to the center of the Carolingian Empire.[46].
Romanesque
Romanesque art, developed from around the year 1000 to the 19th century, is linked to the creation of the Catalan counties—of which the County of Barcelona acquired preeminence over the rest—which progressively gained autonomy from the Carolingian Empire, while at the same time recovering ground from the Islamic kingdoms. Feudalism was established as the prevailing regime, and Romanesque languages emerged, including Catalan.[47] In the County, the main influences came from Lombardy and the Provencal and Toulouse schools, although new typologies were created in the use of stone and in the covering of large surfaces with vaults that allow us to speak of an authentically Catalan Romanesque.[48] Romanesque architecture stands out for the use of barrel vaults and semicircular arches, with stone walls carved in ashlars on a masonry core. The churches have one or three naves, with a wide transept and ambulatory in some cases, in addition to the presence of one or more apses in the back.[49].
Little is known about the Romanesque cathedral, except that it was consecrated in 1058, which suggests that it must have been a different building from the early Christian or pre-Romanesque one. It probably occupied the central space of the current Gothic cathedral, and if it followed the model of other churches of the time it must have had three naves with three stepped apses and an entrance portico. It had a bell tower that bordered the Count's Palace.[50] The church of Nuestra Señora del Coll "Iglesia de Nuestra Señora del Coll (Barcelona)") is also from the century, located at the foot of Mount Carmel "Monte Carmelo (Barcelona)"), of which the central body and the bell tower are preserved, while the other current elements of the church are from the century.[51].
The main exponent of Romanesque art in Barcelona is the monastery of San Pablo del Campo, completely renovated between the 19th and 2nd centuries. The façade has a tympanum "Tympanum (architecture)") with an image of Jesus between Saints Peter and Paul, with the Tetramorphs and the hand of God.[53].
In the century the monastery of San Pedro de las Puellas was also renovated, founded in 945 by Count Sunyer, but rebuilt in Romanesque style before 1147, the date on which the church was consecrated. It had a cross-shaped plan, with an atrium, cloister and several monastic rooms.[54] In the middle of the century the monastery of Santa Ana "Monasterio de Santa Ana (Barcelona)") was created, with a Latin cross plan with a nave and a rectangular head; The cloister is from the 19th century, with two floors, with a lower gallery of pointed arches with quadrilobed columns.[55] Also from the 19th century are: the chapel of San Lázaro, in Plaza del Pedró, which was part of an old leper colony; and the Marcús chapel, belonging to an old hospital for the poor, with a rectangular plan and an apse that was demolished in 1787.[56] The church of San Juan de Horta was probably also from this period, around which the municipality of Horta "Horta (Barcelona)") was created, destroyed in the events of the Tragic Week "Semana Trágica (Spain)") of 1909.[57].
Gothic
Developed between the and centuries, it was a time of economic development and geographical expansion: Barcelona became one of the main political, economic, social, cultural and commercial centers of the Crown of Aragon, and would become one of the main Mediterranean powers in the centuries, and, in competition with Genoa and Venice.[63] Architecture underwent a profound transformation, with lighter, more dynamic forms, with a better structural analysis that allowed for more stylized buildings, with more openings. and, therefore, better lighting. New typologies appeared, such as the pointed arch and the ribbed vault, and the use of buttresses and buttresses to support the structure of the building, which allowed larger interiors decorated with stained glass and rose windows.[64].
From the middle of the century, fully Gothic churches were introduced in Barcelona, characterized by the plan of a nave with a polygonal head flanked by side chapels between buttresses. These churches were initially promoted mainly by Franciscans and Dominicans, and their first exponents were the churches-monastery of Santa Catalina and San Francisco. and heptagonal head.[66] The church of San Francisco "Convento de San Francisco (Barcelona)") (1247-1297) had a nave with seven sections, with side chapels and a polygonal apse; It was located in the current Plaza del Duque de Medinaceli, until it was demolished in 1837.[67] Between the 13th and 14th centuries, the convent of Carmen "Convento del Carmen (Barcelona)") was also built - demolished in 1875 -, with a single nave with a polygonal head and side chapels, covered with diaphragm arches that were later replaced by a ribbed vault.[68].
In 1298 the Gothic reform of the Barcelona Cathedral began, with a three-nave structure with an ambulatory and double chapels, and a crypt with the tomb of Saint Eulalia. The head is inspired by the Narbonne Cathedral, with an ambulatory and a crown of radial chapels. The initial project is by an unknown author, while between 1317 and 1339 Jaume Fabre completed the chevet and the crypt; Between 1365 and 1388, Bernat Roca was in charge of the transept and the bell towers, as well as the vaults of the naves up to the rear choir; between 1398 and 1405 Arnau Bargués built the chapter house; In the following years the cloister was built, with master builders Jaume Solà), Bartomeu Gual and Andreu Escuder. The façade was built in the 19th century, in the neo-Gothic style.[69].
Next to the cathedral a large group of churches emerged, the first being that of Santa María del Pino, begun in 1319 and practically completed at the end of the century. It has a single nave with seven sections with cross vaults, with chapels between the buttresses, following the type of churches of mendicant orders. The façade stands out for its large rose window with radial traceries, comparable to those of Sant Cugat del Vallès and the Cathedral of Tarragona. Next to the church is the octagonal bell tower. Master builders such as Guillem Abiell, Francesc Basset and Bartomeu Mas took part in its layout.[70]
Modern Age
En este período Barcelona pasó a formar parte del nuevo reino de España surgido de la unión de las coronas de Castilla y Aragón. Fue una época de alternancia entre períodos de prosperidad y de crisis económicas, especialmente por las epidemias de peste en el siglo y por conflictos sociales y bélicos como la Guerra dels Segadors y la Guerra de Sucesión entre los siglos y , aunque en este último siglo repuntó la economía gracias a la apertura del comercio con América y al inicio de la industria textil. La ciudad seguía encorsetada en sus murallas —la única ampliación fue en la playa, el barrio de la Barceloneta—, pese a que al final del período tenía casi 100 000 habitantes. Artísticamente fue la época del Renacimiento y el Barroco, estilos en los que se construyeron numerosos palacios e iglesias.[92].
Renaissance
Artistically, although some authors speak of a certain decadence, it was a fairly productive time, although there was no truly indigenous creation, since both the artistic forms and styles, and often the artists themselves, came from outside. In any case, the innovations of the Italian Renaissance arrived late, towards the end of the century, and meanwhile the Gothic forms survived.[93] Renaissance architecture stood out for the return to classical forms, with the use of semicircular arches, "Column (architecture)" columns of classical orders, barrel vaults with coffered ceilings and half-orange domes. The floor plan used to be central, with open spaces and harmonious shapes based on strict mathematical proportions.[94].
The survival of the Gothic is denoted in examples such as the façade of the church of San Miguel "Iglesia de San Miguel (Barcelona)") (1519)—currently attached to a side wall of the Basilica of La Merced "Basilica de la Merced (Barcelona)")—, by the master builders Gabriel Pellicer") and Pau Mateu") and by the French sculptor René Ducloux"), with a Gothic portal with Corinthian pilasters sides and niches of Gothic tracery.[95] At this time, numerous reforms and additions were also made to the church of the Dominican convent of Santa Catalina "Convento de Santa Catalina (Barcelona)"): the Nativity chapel was added to the Gothic building in 1529; in 1534 the chapel of the hatters' brotherhood; in 1545 the high choir and a tabernacle were added; del Rosario; and in 1602 the chapel of San Raimundo de Peñafort, the work of Pere Blai, already in a fully Renaissance classicism.[96] Between 1540 and 1587 the church of Santa María de Vallvidrera was rebuilt on an old Romanesque building of the century; quadrangular.[97].
Renaissance innovations slowly penetrated, resulting in hybrid buildings between Gothic and Renaissance, such as the Convent of the Angels and the Foot of the Cross "Convent of the Angels (Barcelona)") (1562-1566), by Bartomeu Roig"): the church had a nave with three vaulted rooms and a polygonal apse; it currently houses the institution Fomento de las Artes Decorativas.[98] In 1566 The chapel of San Cristóbal was built on the ground floor of Mateu Roig's house, on Sant Pere més Alt street, which combines Gothic windows with a classicist rectangular portal, framed by Ionic columns and a triangular pediment "Fronton (architecture)") crowned by acroteras with stone spheres.[99].
At a civil level, during the century numerous works were carried out in the Hospital of the Holy Cross: between 1509 and 1512 the Hall of Santa Magdalena was built in the east wing, and between 1511 and 1518 work was done in the west wing, where the new access portal was located, the work of Antoni Cuberta") and Antoni Papiol"), a Gothic-Renaissance hybrid; between 1568 and 1575, the monumental stairs that connected the upper floors with the patio were built, by Joan Safont. 1843.[101] In 1546, the Pia Almoina "Casa de la Pia Almoina (Barcelona)") - currently the Diocesan Museum of Barcelona - was built, a charitable institution for assistance to the poor, located next to the cathedral. The building rested on remains of the Roman wall, and the body with a gabled roof is preserved from the original building, where the continuous gallery on the upper floor stands out, and the semicircular portal.[102] Among them. Between 1549 and 1557 the Lloctinent Palace (current Archive of the Crown of Aragon, work of Antoni Carbonell) was built. It has a Gothic façade with a pointed tower and mixtilinear windows, aligned horizontally and vertically. The building is quadrangular, with an equally square patio, with carpanel arches, and an upper gallery of semicircular arches on Tuscan columns.[103] In this century, the renovation work on the Royal Palace culminated with the construction of the Mirador de Martín el Humano (1555), a five-story rectangular tower with galleries of semicircular arches that protrude from the body of the building, above the Salón del Tinell.[104].
One of the first buildings with a fully Renaissance spirit was the Trentenary Hall of the City House (1559), which featured a gallery with a classicist portico, to which a door of Serlian influence was added in 1580, composed of a semicircular arch framed by attached pilasters and a frieze with triglyphs and metopes, with decoration of shields and trophies. The Trentenario was destroyed in 1830 during the construction of the new neoclassical façade, and partially rebuilt in 1929.[105] During this period the building of the Barcelona town hall was also expanded with the chapel, the writing offices and the interior patio with an upper gallery (1577).[106].
The main exponent of the new style was the new façade of the Generalitat Palace (1596-1619), by Pere Blai, inspired by Roman models taken from Antonio da Sangallo and Michelangelo.[107] The palace was expanded between 1526 and 1600 with several adjacent buildings, until it occupied the entire block. The Golden Chamber (1526), the Patio de los Naranjos (1532, Antoni Carbonell") and Pau Mateu"), the Poniente market (1536-1544), the Levante market (1547) and the New Town Hall (1570-1577, Pere Ferrer") were then built. Between 1596 and 1619 Blai built the new façade of the Plaza de San Jaime and renovated the chapel of San Jorge - current Hall of San Jorge -, with three naves of equal height - in the hallenkirche or "hall plan" style -, with quadrangular pillars of the Doric-Tuscan order, groin vaults and an elliptical dome over the transept "Cross (architecture)"). Corinthian pilasters, and with four levels: one with a padded base, another with an entablature and windows with alternating curved and triangular pediments, another with a cornice and small windows - some blind -, and another with an entablature and balustrade. The portal is Doric with a semicircular arch, with an entablature and a niche with the coat of arms of the Generality; in the century a sculpture of Saint George, by Andreu Aleu, was added. with a dome with a lantern "Lantern (architecture)"), covered with green and yellow tiles.[108].
As for private palaces, they present a typology based on an interior patio with a staircase, entrance hall and upper gallery, with decoration of grotesques and Gothic traceries. Exemplary of this are the Bassols house, currently linked to the Pignatelli palace and headquarters of the Royal Artistic Circle; the Centelles palace (1514); and the Gralla house (1506, by Mateu Capdevila), demolished in 1856. Casa Clariana-Padellàs (1497-1515), current Museum of History of Barcelona, which was moved from Carrer de Mercaderes to Plaza del Rey "Plaza del Rey (Barcelona)") during the opening works of the Via Layetana; and the Casa de l'Ardiaca (1490-1514), which once housed the archdeacon of the cathedral and is currently the headquarters of the Municipal Institute of History and the Historical Archive. of the City, after joining this building with the adjacent Casa del Degà in the 19th century, a time when the interior cloister through which the building is currently accessed was created.[111].
In the century the farmhouses continued to be built preferably in the Gothic style, although little by little the new style was introduced, mainly in parts of the façade such as doors, windows, galleries and arcades, which incorporated sculptural decoration, generally grotesques.[112] Between the centuries and many of them were fortified, due to piracy and banditry. On the other hand, the enrichment of the owners thanks to the Guadalupe ruling that put an end to the War of the Remensas led to the beautification of numerous farmhouses.[113] Some exponents are: Can Mestres, in Vallvidrera —renovated in the century—; Ca l'Armera, in San Andrés "District of San Andrés (Barcelona)"); Can Valent, also in San Andrés; and Can Planas, in San Martín "San Martín District (Barcelona)").
In terms of urban planning, in the first half of the century the Sea Wall was built, where the bastions of Levante, Torre Nueva, San Ramón and Mediodía were located.[114] For the rest, the main urban reform was in the area around the cathedral, where the Plaza de la Seo was opened, in front of the main portal of the cathedral (1546), as well as the Plaza de San Ivo, with a space cut off from the Royal Mayor Palace. A part of the same palace was dismembered (the patio and the north and east wings), which was given by the Crown to serve as headquarters for the Inquisition - currently the Frederic Marès Museum -, while the rest was converted into the Royal Court in 1542.[115].
On the other hand, over the centuries an artificial port was built to finally cover the needs of the important commercial center that was Barcelona: paradoxically, during the period of splendor of Catalan trade in the Mediterranean, Barcelona did not have a port prepared for the port volume that was common in the city. The old port at the foot of Montjuic "Montjuic (Barcelona)") had been abandoned, and the city only had the beach to receive passengers and goods. Deep draft ships had to unload using boats and porters. Finally, in 1438 royal permission was obtained to build a port: first, a ship loaded with stones was sunk to serve as a base for the wall that joined the beach to the island of Maians; The wall was reinforced in 1477, it was lengthened into a breakwater in 1484. In the middle of the century the port was expanded in response to the campaign initiated by Charles I against Tunisia. At the end of the century, the pier was 180 m long and 12 m wide. New improvement works in the century finally provided a port in good condition for the city.[116].
• - Church of San Miguel "Iglesia de San Miguel (Barcelona)") (1519).
• - Church of Santa María de Vallvidrera (1540-1587).
• - Convent of the Angels and the Foot of the Cross "Convent of the Angels (Barcelona)") (1562-1566), by Bartomeu Roig").
• - Lloctinent Palace (1549-1557), by Antoni Carbonell").
• - Clariana-Padellàs House (1497-1515).
• - House of l'Ardiaca (1490-1514).
• - Can Mestres farmhouse.
Baroque
As in the Renaissance, the art of the time followed the currents coming from outside. As happened with the Renaissance innovations, the Baroque in Catalonia gradually penetrated, with the survival of the previous typologies and a new stylistic mix in the execution of the works.[118] Even so, the Catalan Baroque has simpler lines, simple structures, not as ornate as in the Italian Baroque, and it is more evident in the decoration than in the layouts, which follow the classical line. Renaissance classicism survived practically until 1660, which was replaced by a "decorativist Solomonic" Baroque until 1705, when architecture became more academic until leading to neoclassicism.[119].
Baroque architecture assumed more dynamic forms, with exuberant decoration and a scenographic sense of shapes and volumes. The modulation of space became relevant, with a preference for concave and convex curves, paying special attention to optical games (trompe-l'œil) and the viewer's point of view. In coexistence with the counter-reformist ideology, art became propagandistic and was put at the service of the ostentation of power, both political and religious.[120].
The first works of the century were still in Renaissance classicism, as would be the case of the convent of San Francisco de Paula (1597-1644), with a church with a single nave with side chapels, a rectangular bell tower and a two-story cloister with Doric columns on the lower one and Ionic on the upper one. It was followed by the convent of La Merced "Convento de la Merced (Barcelona)") (1637-1651), where the cloister stands out - currently incorporated into the building of the Captaincy General of Catalonia -, the work of Jeroni Santacana), with four semicircular arches with Tuscan columns, an upper gallery with twice as many arches as the lower one, with Ionic columns, and a level of balconies.[121].
Other exponents are: the convent of the Holy Trinity "Iglesia de San Jaime (Barcelona)") (1619), of the shod trinitarians, a reform of the Gothic church - currently the parish of San Jaime -, in which the Jesuit plan was added, with a transept, presbytery and interconnected side chapels; the Augustinian convent of Santa Mónica (1626-1636), whose church—renovated in 1887 by Joan Martorell and destroyed in 1936—followed the same scheme as the previous one, while the cloister—the only part that is preserved, currently an art center—has two floors with arcades on pillars;[122] the Servite convent of Buen Suceso (1626-1635), current headquarters of the district of Ciutat Vella "District of Ciutat Vella (Barcelona)");[123] and the church of San Ginés de Agudells (1671), which replaced one from the 19th century, with a nave with a transept and a square bell tower with a pyramidal roof, with a rectory and a cemetery.[124].
The incorporation of baroque forms was more successful in ornamentation than in the architectural language itself, as can be seen in the generalization of the use of Solomonic columns. Good examples are the Convalescent House of the Hospital de la Santa Cruz (1629-1680) and the church of Bethlehem "Iglesia de Belén (Barcelona)") (1681-1732). the second level.[126] The Jesuit church of Our Lady of Bethlehem, the work of Josep Juli"), has a congregational plan - in the style of the Gesù -, a longitudinal nave with a barrel vault, an entrance narthex under the choir and intercommunicating chapels, each with an elliptical dome with a lantern "Lantern (architecture)"). The façade has a rhomboidal padded facing, a square door, a rose window and a doorway-altarpiece with Solomonic columns and a classical entablature, but treated baroquely, with recesses and projections, flanked by two statues of Saint Ignatius of Loyola and Saint Francis of Borja, by Andreu Sala. Arnaudies") so it corresponds to the original layout and to Jeroni Escarabatxeres in the conclusion of the façade and the interior decoration. It is of small proportions (23 x 12 m), divided into three vertical bodies by large pilasters, with a taller central body that houses a niche with the image of the saint.[128].
19th century
En este período hubo una gran revitalización económica, ligada a la Revolución Industrial —especialmente la industria textil—, lo que comportó a su vez un renacimiento cultural. Entre 1854 y 1859 se produjo el derribo de las murallas, por lo que la ciudad pudo expandirse, motivo por el que se impulsó el proyecto de Ensanche elaborado por Ildefonso Cerdá en 1859. Asimismo, gracias a la revolución de 1868 se consiguió el derribo de la Ciudadela, cuyos terrenos fueron transformados en un parque público. La población fue creciendo, especialmente gracias a la inmigración del resto del estado, llegando a finales de siglo a los 400 000 habitantes.[162] Artísticamente, el siglo vio la sucesión de diversos estilos de diferente signo, como el neoclasicismo, el historicismo y el modernismo.[163].
Neoclassicism
Neoclassicism, developed between the end of the century and the beginning of the 19th century, marked a return to classical Greco-Roman art, driven by the discovery of the remains of Pompeii and Herculaneum and the theoretical work of the art historian Johann Joachim Winckelmann. In Catalonia, the impetus of the Barcelona School of Fine Arts (the Llotja) was decisive for the consolidation of Catalan art, as well as its distancing from its guild and artisan aspect. If until then the construction was entrusted to master builders with union training, from now on the new architects will already have an academic qualification.[164][note 5].
Neoclassical architecture was not very productive, highlighting the name of Antoni Cellers, academic architect and great theorist of classicism. He was the author of the currently missing church of the Calzados Carmelitas (1832), as well as the Alòs i Dou palace (1818), in which he made a neoclassical interpretation of the traditional Catalan patio, with Serlian arches on Ionic columns, and a façade behind the garden with an Ionic tetrastyle.[170].
His disciple was José Mas Vila, author of the new façade of the City House (1830), fully classicist and monumental in nature, with a central body standing out from the rest, where four Ionic columns stand out that support an attic with the city's coat of arms.[171] Mas Vila, master of houses and fountains at the City Hall, was also in charge of the remodeling of the Plaza de San Jaime and the urbanization of Fernando Street, as well as the construction of the market. La Boquería (1836-1846), initially a porticoed square with an Ionic colonnade, although halfway through construction iron was chosen to cover it, instead of the stone planned by Mas.[172] Together with Josep Buxareu") he was also in charge of the conversion of the convent of Santa Catalina "Convento de Santa Catalina (Barcelona)") into the market of the same name (1844-1848).[173].
It is also worth mentioning the presence of the Italian architect Antonio Ginesi, author of the chapel of the Eastern Cemetery (1818), of a somewhat eclectic style "Eclecticism (art)"), which mixes the new classical language with elements that endure from the Baroque, as well as influences from Egyptian art.[174].
In 1828, the parish church of Santa María de Sants was built, the work of Francisco Renart of a programmatic classicism, with a semicircular arch doorway flanked by two Ionic columns, on which there is a rose window and a triangular pediment, and on the side a 70 m high bell tower. The church was destroyed in 1936, and rebuilt between 1940 and 1965 by Raimundo Durán Reynals.[175].
An emblematic building of the time was the Casa Xifré (1835-1840), the work of Josep Buxareu") and Francesc Vila"), a residential building located in front of the Lonja palace, which stands out for its ground floor porticos with semicircular arches. The façade has a decoration close to the so-called Elizabethan style, with reliefs by the sculptor Damià Campeny.[176] It was the first building in Barcelona with running water.[177].
Between 1844 and 1848, the Portal de Mar was built, a monumental access portico to Barceloneta from the Pla de Palau, the work of Josep Massanès, which was demolished in 1859. Eclectic in style, it mixed classical, Gothic and oriental elements, and was formed by a door with four Ionic columns, a stepped pediment and a dome, while on the sides there were monumental arches of ultra-past horseshoe supported on double columns.[178] Massanès was also the author of a widening plan in 1838, which included the triangle located between Canaletas, the University Square "Plaza de la Universidad (Barcelona)") and Urquinaona Square, and which already outlined what would be the Plaza de Cataluña, located in the center of the triangle.[175].
One of the last exponents of neoclassicism was the Teatro Principal "Teatro Principal (Barcelona)") (1847), by Francisco Daniel Molina, built to replace the old Teatro de la Santa Cruz - originally from 1568 -. It has a classicist façade with a romantic Elizabethan air, with three large balconies with triangular pediments embedded in semicircular arches.[179].
As far as urban planning is concerned, the most notable event of these years was the confiscation "Spanish Confiscation") of 1836, which left numerous plots of land that were built or converted into public spaces: thus, at the location of the Carmelite convent of San José, on the Rambla, the Boquería market was built; The Liceo theater was built on the convent of Nuestra Señora de la Buenanueva of the barefoot Trinitarians; The Plaza Real was located on the site of the Capuchin convent of Santa Madrona; the Franciscan convent-school of San Buenaventura gave way to the Hotel Oriente; A barracks of the Barcelona Urban Guard was located above the convent-school of the Carmelites of San Ángel Mártir; and the convent of Santa Catalina "Convento de Santa Catalina (Barcelona)") was replaced by the market of the same name.[180] Likewise, the new health provisions enacted at this time meant the disappearance of numerous parish cemeteries, whose plots were developed as new public squares; Thus, squares such as Santa María, del Pino, San José Oriol, San Felipe Neri, San Justo, San Pedro and San Jaime emerged.[181].
Historicism
The architecture of the middle of the century was impregnated with the new romantic spirit and, following the guidelines of theorists such as John Ruskin and Eugène Viollet-le-Duc, it was framed within the so-called historicism, a current that advocated the revitalization of previous architectural styles, especially medieval, which is why various currents called with the prefix "neo" were created: neo-Gothic, neo-Romanesque, neo-Mudejar, neo-baroque, etc.[182].
One of its first prominent figures was Elías Rogent, first director of the recently created Higher Technical School of Architecture of Barcelona. He was the author of the headquarters of the University of Barcelona (1862-1873), in the University Square "Plaza de la Universidad (Barcelona)"), a sober building with a religious appearance despite its civil character, especially in the interior cloisters, which have an almost monastic appearance. It has an axial plan, highlighting in its central part the staircase of honor and the auditorium, an eclectic hall that mixes Romanesque, Gothic and Islamic elements, on whose sides are the patios in the shape of a cloister, also of medieval inspiration. the center, from which the dome protrudes.[183].
Another exponent was Josep Oriol Mestres, author of the remodeling of the Gran Teatro del Liceo (1862), a building by Miquel Garriga i Roca from 1847 that had to be rebuilt after a fire; Of Mestres's intervention, the façade and the large interior room stand out, an original composition of rows of shops unfortunately lost in the fire of 1994.[184] Mestres was also the author of the new façade of the Barcelona Cathedral (1887-1890), in a neo-Gothic style inspired by French Gothic; The façade was completed with a dome designed by Augusto Font Carreras.[185] Other works by Mestres were: the church of Santa María del Remedio (1846-1849), which was the parish church of Les Corts after separating from Sarrià; the Theater of the Champs Elysées "Teatro de los Champs Elysées (Barcelona)") (1853), on Paseo de Gracia - now disappeared -, which stood out for its metal structure; the Casa Jover (1856), built on the Renaissance Casa Gralla; and the building of the Philippine Tobacco Company (1880), on the site of the old Jesuit school of Cordellas, on the Rambla.
Joan Martorell was the author of various churches inspired by the Gothic, such as that of the Salesas "Church and convent of the Salesas (Barcelona)"), on Paseo de San Juan (1882-1885), and that of the Sacred Heart of the Jesuits, on Caspe street (1883-1889). The first is eclectic in style, with evident medieval influences, but expressed in a personal way; It has a single nave plan in the shape of a Latin cross, with side chapels and a pentagonal apse with an ambulatory, as well as a transept that protrudes volumetrically on the outside, while on the façade it stands out for a tall tower finished in a point and with two lateral pinnacles. The second denotes a certain Romanesque-Byzantine influence, and presents a centralized plan with a dome on a drum "Drum (architecture)") surrounded by smaller domes to distribute the weight; The façade is sober, and stands out for the chromatic effects of the materials used.[186] Martorell was responsible for the transfer of the Gothic church of Santa María de Montsió "Iglesia de San Raimundo de Peñafort (Barcelona)") —belonging to an Augustinian convent and originally from 1388— from the Portal del Ángel to the Rambla de Cataluña, and he designed its new neo-Gothic façade. (1882-1890); It is the current parish of San Raimundo de Peñafort.[187] He was also the author of the Güell Palace in Pedralbes, later the Royal Palace (1862); of the church and convent of the Adoratrices (1875); and the Jesuit school of San Ignacio (1893-1896).
World's Fair of 1888
At the end of the century, an event was held that had a great economic and social as well as urban, artistic and cultural impact for the city, the Universal Exhibition of 1888. It took place between April 8 and December 9, 1888, and was held in the Ciudadela park, land previously belonging to the army and won for the city in 1868. The incentive of the fair events led to the improvement of the infrastructure of the entire city, which gave an enormous leap towards modernization and development.[210].
The remodeling project of the Ciudadela park was entrusted to José Fontseré in 1872, who designed large gardens for the recreation of citizens, and together with the green area he planned a central square and a ring road, as well as a monumental fountain and various ornamental elements, two lakes and a forest area, in addition to various auxiliary buildings and infrastructure, such as the Borne Market (1874-1876), a water tank - currently the UPF Library -, a slaughterhouse, an iron bridge over the railway lines and several service booths.[211].
The entrance to the Exhibition was through the Arc de Triomphe, a monument created for the occasion that still remains in its original place, designed by Josep Vilaseca. Of neo-Mudejar inspiration, it has a height of 30 meters, and is decorated with rich sculptural ornamentation, the work of Josep Reynés, Josep Llimona, Antoni Vilanova, Torquat Tasso, Manuel Fuxà and Pere Carbonell.[212].
Next came the Salón de San Juan – current Lluís Companys promenade –, a long avenue 50 meters wide where the wrought iron balustrades, the pavement mosaics and large street lamps stood out, all designed by Pere Falqués. The first building after access through the Arc de Triomphe was the Palace of Fine Arts, the work of Augusto Font Carreras, in a neoclassical style. On the opposite side was the Science Palace, the work of Pere Falqués, in a neo-Greek style, where there was also a large room for holding conferences.[213].
Once past these two buildings, one entered the enclosure itself, at the entrance of which the Monumental Waterfall stood out, designed by Fontserè in collaboration with Antoni Gaudí, who intervened in the hydraulic project and designed an artificial grotto under the Waterfall. The architectural complex presents a central structure in the shape of a triumphal arch with two pavilions on its sides and two side wings with stairs, which house a pond divided into two levels. The monument stands out for its sculptural profusion, in which several of the best sculptors of the moment participated, such as Rossend Nobas, Venancio Vallmitjana, Josep Gamot, Manuel Fuxá, Joan Flotats and Rafael Atché.[214].
To the right of the waterfall was the restaurant, known as the Castle of the Three Dragons - currently the Museum of Zoology -, the work of Lluís Domènech i Montaner, in a neo-Gothic style, but with innovative structural solutions that already pointed to modernism, especially due to the use of iron and exposed brick. Next to it were the Círculo del Liceo and the Greenhouse, the work of Josep Amargós, made of iron and glass following the example of the Crystal Palace at the London Exhibition of 1851. Next came the Martorell Museum of Geology, by Antonio Rovira y Trías; the Umbraculo, by José Fontserè; the Press pavilion, work of Jaume Comerma"); and the pavilion of the Spanish Colonies, by Jaume Gustà i Bondia.[215].
Modernism
Modernism "Modernism (art)") was an international movement that developed throughout the Western world,[note 6] and that advocated the creation of a new architectural language detached from previous styles—especially in opposition to historicism—, placing special emphasis on the relationship of architecture with the applied arts, in parallel to the Arts and Crafts phenomenon.[220] Developed between the century and the century,[note 7] in Catalonia it had enough of its own personality. to talk about Catalan modernism, due to the large quantity and quality of works produced and the large number of first-class artists who cultivated this style. Stylistically it was a heterogeneous movement, with many differences between artists, each one with their personal stamp, but with the same spirit, a desire to modernize and Europeanize Catalonia.[221].
Some essential features of modernism were: an anti-classical language inherited from romanticism, with a tendency towards a certain lyricism and subjectivism; decisive linkage of architecture with the applied arts and artistic crafts (glassmaking, forging, ceramics, cabinetmaking, marquetry, enamel, sgraffito), creating a remarkably ornamental style; use of new materials, creating a mixed construction language rich in contrasts, in search of the plastic effect of the whole; strong feeling of optimism and faith in progress, which produces an exalted and emphatic art, a reflection of the climate of prosperity of the moment, especially in the bourgeois class.[222].
The first modernism, developed in the 1890s, was still a style not especially defined, whose main component was an embodied Gothicism already detached from historicism, with the survival of certain classicist and medievalist features, practiced mainly by Lluís Domènech i Montaner, Josep Puig i Cadafalch and Antoni Maria Gallissà.[223] In these first years there was a certain feeling of indefinition, as seen shown in the work Modern Architecture of Barcelona (1897), by Francesc Rogent, where he defends the use of the "neo-Greek style" for public buildings, "neo-Gothic" for private buildings and "neo-Romanesque" for churches.[224] At the same time, an academic architecture outside of modernist innovations continued to be practiced, as seen in the work of architects such as Salvador Viñals, Cayetano Buigas, Joan Baptista Pons i Trabal, Francisco de Paula del Villar y Carmona, etc.[225].
At the turn of the century, modernism evolved towards a certain stylistic formalism of secessionist influence, practiced by a second generation of architects such as Josep Maria Jujol, Manuel Raspall, Josep Maria Pericas, Eduard Maria Balcells, Salvador Valeri, Alexandre Soler, Antoni de Falguera, Bernardí Martorell, etc.[226] These architects propose architecture as a support for exultant ornamentation, entering a phase mannerism of modernism.[227] On the other hand, neo-Gothic and classicist eclecticism tendencies continued, practiced mainly by Enric Sagnier, José Doménech y Estapá, Manuel Comas i Thos, Augusto Font Carreras, Joan Josep Hervàs, etc.[228].
20th century
El panorama artístico en el siglo estuvo condicionado por la convulsa situación política, con el fin de la monarquía en 1931 y la llegada de la Segunda República, finalizada con la Guerra Civil y sustituida por la dictadura franquista, hasta el restablecimiento de la monarquía y la llegada de la democracia. Socialmente, este siglo vio la llegada masiva de inmigración a la ciudad, con el consecuente aumento de la población: si en 1900 había 530 000 habitantes, en 1930 casi se habían doblado (1 009 000 hab), para llegar entre 1970 y 1980 al pico máximo (1 754 900) y a finales de siglo a 1 500 000 habitantes.[278].
El inicio del siglo estuvo marcado por la expansión geográfica de la ciudad: en 1897 Barcelona se anexionó seis poblaciones limítrofes, hasta entonces independientes: Sants, Les Corts, San Gervasio de Cassolas, Gracia, San Andrés de Palomar y San Martín de Provensals. Igualmente, en 1904 fue anexionado Horta "Horta (Barcelona)"); en 1921, Sarrià; en 1924, Collblanc y la Zona Franca "Zona Franca (Barcelona)"); y en 1943 El Buen Pastor "El Buen Pastor (Barcelona)") y el Baró de Viver, segregados de Santa Coloma de Gramanet.[279] La anexión de los nuevos municipios planteó la necesidad de un plan de enlaces de la ciudad, que salió a concurso público en 1903, resultando ganador el urbanista francés Léon Jaussely: el Plan Jaussely preveía grandes infraestructuras viarias (paseos de ronda, diagonales, paseos marítimos), parques, enlaces ferroviarios y áreas de servicios. Aunque solo se realizó parcialmente, inspiró el urbanismo barcelonés durante gran parte del siglo.[280].
Noucentism
Noucentisme represented an attempt to renew Catalan culture, bringing it closer to the innovations produced in the recently released century, in parallel to a political ideology of vindication of Catalanism advocated by Enric Prat de la Riba. The main theorist of the movement was Eugeni d'Ors, who from the newspaper La Veu de Catalunya wrote a series of articles praising the work of young Catalan creators at the beginning of the century. The first of them, published in 1906, marked the beginning of Noucentisme, coexisting for a few years with the latest modernist works, and which would last practically until the 1940s, in parallel with the emergence of new currents such as rationalism in the 1930s.[281].
Contrary to the Nordic and medieval values defended by modernism, Noucentisme returned to the Mediterranean world, to classical Greco-Latin culture. They were also based on Renaissance classicism, with special influence from Filippo Brunelleschi, while their sober and refined sense of forms brought them closer to the rationalist architecture that was beginning to emerge in Europe.[282] They were also inspired by other styles of the past, but detached from the medievalism to which the modernists had turned, such as the Baroque.[283] On the other hand, the more academic current of this movement practiced an eclectic monumentalism influenced by the Beaux Arts style "Beaux Arts (architecture)"), with a special reference in French and English architecture, as well as the American Chicago School "Chicago School (architecture)").[284]
Within Noucentisme, various currents are perceived: a "Gaudinian" Noucentisme, practiced by Gaudí's disciples such as Juan Rubió or Cèsar Martinell; a "neobrunelleschian" noucentisme, inspired by Florentine Renaissance architecture and, especially, by Brunelleschi, developed by Josep Goday or Nicolás María Rubió y Tudurí; a "pro-rationalist" noucentisme, more influenced by international currents, which combines functionalism "Functionalism (architecture)") with Art Deco ornamentation, and has exponents such as the brothers Ramon and Antoni Puig i Gairalt, Ramon Reventós, Francesc Folguera, Raimundo Durán Reynals and Jaume Mestres i Fossas; an "eclectic" noucentisme, with versatile language and monumentalist tendency, exemplified by Enric Sagnier, Josep Maria Pericas and Eduard Ferrés; and an "academic" Noucentisme, which follows a traditional classicist line that will survive in post-war architecture, with representatives such as Francesc Nebot, Eusebi Bona, Adolf Florensa and Eugenio Cendoya.[285].
The first current was represented by Juan Rubió and Cèsar Martinell, both disciples of Gaudí. Rubió evolved from modernism, the style in which he produced his best works - as seen in the previous section -, until leading to a classicism with a baroque air; His best production in this period was the reform of the Barcelona Industrial School (1927-1931). Martinell kept modernist forms alive, especially through the use of brick and tile, as denoted in his main specialty, agrarian architecture, with a set of wineries spread throughout Catalonia that have been called the "cathedrals of wine"; In Barcelona its production was scarce, although the Durán Clinic (1924), the building at 11 Benavent Street (1928) and the Masllorens factory (1929-1930) can be mentioned.[286].
In the Brunelleschian current, Josep Goday and Nicolás María Rubió y Tudurí stood out. The first recovered classic forms such as "Fronton (architecture)" pediments and pilasters, combined with a baroque resource such as the sgraffito technique,[287] as is evident in works such as the Post Office and Telegraph building (1914-1927), in a classical baroque style of great monumentality;[288] and in numerous public schools promoted by the Barcelona City Council: Ramon Llull (1919-1923), Lluís Vives (1919), Baixeras (1917-1920), Pere Vila (1921-1930), Milà i Fontanals (1930), Collaso i Gil (1932).[289] Rubió y Tudurí was especially dedicated to landscape architecture: director of Parks and Gardens of Barcelona between 1917 and 1937, he was the main promoter of the "Mediterranean garden",[note 9] which is denoted in his works such as the Tamarita gardens (1918), those of Francesc Macià square (1925), the Font del Racó park (1926), the gardens of the Royal Palace of Pedralbes (1927), those of Salvador Espriu (1929) and those of Turó Park (1933). Its main building was the church of Santa María Reina "Iglesia de Santa María Reina (Barcelona)") (1922-1936), a subsidiary of the monastery of Montserrat - it was initially called the church of Santa María de Montserrat de Pedralbes -, which denotes the influence of Brunelleschi's Pazzi chapel, as well as the baptistery of San Juan "Baptistery of San Juan (Florence)") Florence.[290] Other of his works, the Radio Barcelona pavilion (1922-1929) and the Metro Goldwyn Mayer offices (1934), are already pre-rationalist.[291].
The eclectic and academic trend followed a monumentalist line whose main exponent was the Via Layetana, which was the main testing ground for this trend after its opening in 1908. Influenced by the Beaux Arts "Beaux Arts (architecture)") and the Chicago School "Chicago School (architecture)"), it would be the architecture that would reemerge in the postwar period. Its main exponents were Enric Sagnier, Josep Maria Pericas, Eduard Ferrés, Francesc Nebot, Eusebi Bona, Adolf Florensa and Eugenio Cendoya. From Sagnier, analyzed in the previous section, it would be appropriate to remember at this stage the building of the Barcelona Pension Fund on Vía Layetana (1914-1917), the Basilica of San José Oriol (1915-1931) and the Ribas Board of Trustees (1920-1930). Pericas evolved from modernism to a sober classicism (Diagonal house, 1920). Eduard Ferrés maintained a post-secessionist style and was a pioneer in the use of reinforced concrete, as seen in the Damians house, later Almacenes El Siglo (1913-1915), built with Lluís Homs and Ignasi Mas, where its spherical skylight dome of expressionist influence stands out.[292] Francesc Nebot and Eusebi Bona were the authors of the Royal Palace of Pedralbes. (1919-1929), formed by a central body and two side wings that open in a curve to the main façade, with porches with Tuscan columns and semicircular arches.[293] Alone, Nebot built the Cine Coliseum "Coliseum (Barcelona)") (1923), a Beauxarti style building "Beaux Arts (architecture)") inspired by the Paris Opera;[294] and the headquarters of the Bank of Spain in the Plaza de Cataluña (1927-1928).[295] For his part, Bona designed the building of La Unión y el Fénix Español (1927-1931), of French and American influence, which stands out for its high drum dome "Drum (architecture)") with a sculpture of the abduction of Ganymede "Ganymede (mythology)").[296] Adolf Florensa He was the author of the Casa Cambó (1921-1930), the General Captaincy building (1926), the New City House building (1927-1933, with Joaquim Vilaseca and Antoni de Falguera), the Casal del Metge (1930), the Nautical School (1930-1933, with Joaquim Vilaseca) and the National Labor Promotion building (with Josep Goday, 1931-1936). Finally, Eugenio Cendoya was the author of the church of San Miguel de los Santos and several headquarters for banks, such as those in Bilbao and Vizcaya, although his main work was the National Palace of Montjuic "Palacio Nacional (Barcelona)") for the Barcelona International Exhibition of 1929, with Enric Catà and Pere Domènech i Roura.[297].
The most innovative line of Noucentisme was the one that leaned towards the rationalism that was beginning to develop in Europe with architects such as Le Corbusier and Ludwig Mies van der Rohe. It was mainly represented by Ramon and Antoni Puig i Gairalt, Ramon Reventós, Francesc Folguera, Raimundo Durán Reynals and Jaume Mestres i Fossas. Antoni Puig i Gairalt was the author of the Myrurgia factory (1928-1930), which synthesizes elements of classicist Noucentisme, Art Deco and rationalism.[298] His brother Ramon built the Pidelaserra house (1932), with exuberant eclecticism.[299] Ramon Reventós designed the first multi-residential complex in Barcelona, the Masana house. (1928), of Bauhausian influence.[300] Francesc Folguera built the Ritz Hotel (1917-1919), although his most interesting work was the Casal de Sant Jordi (1928-1932), which reflects the teachings of the German magazine Moderne Bauformen, defender of a modern, but moderate, bourgeois architecture.[301] Raimundo Durán Reynals approached him. rationalism in works such as the residential building at 243 Aribau Street (1933-1935) or the Casa Cardenal (1935), although in the post-war period he practiced academic classicism.[302] Finally, Jaume Mestres i Fossas built the Blanquerna school (1930-1933), halfway between Noucentisme and rationalism.[303].
From this period it is also worth mentioning architects such as: Ignasi Mas i Morell (David building, 1929-1931), Miquel Madorell (Tívoli Theatre, 1917-1919), Arnau Calvet (Jorba house "Casa Jorba (Barcelona)"), 1926), Francesc Guàrdia i Vial (Tobacco Tenant Company building, current Treasury Delegation, 1929), Josep Domènech i Mansana (church of Santa Teresa del Niño Jesús, 1932-1940) and Juan Guardiola (Casa Ferran Guardiola or “Casa China”, 1929). Also worth noting is the construction of two railway stations: the North Station "Estación del Norte (Barcelona)") (1910-1914), the work of Demetrio Ribes consisting of a renovation of a previous building from 1861 by Pere Andrés i Puigdoller), consisted of two buildings that were joined by Ribes with a U-shaped structure and covered by a large metal platform, with a certain modernist influence and secessionist;[304] and the Francia Station (1925-1930), by Pedro Muguruza, Raimundo Durán Reynals, Salvador Soteras and Pelayo Martínez, with platforms covered by two large iron naves and a hall with a classicist appearance, where three coffered vaults stand out.[305].
As far as urban planning is concerned, the most important action in these years was the opening of the Vía Layetana, which connected the Ensanche with the sea - another avenue parallel to this was planned, as well as another perpendicular one, which was ultimately not executed. Emerging from an urban reform project by Àngel Baixeras (Barcelona Interior Reform Plan, 1884), the works were carried out in 1908, with the desire to create an avenue with a uniform appearance, so the majority of buildings have a Noucentista appearance, with a certain influence of the Chicago School. with the mountain, which was occupied by single-family houses in the style of English garden cities.[note 10] For transportation, a tram was installed on the avenue and a funicular to ascend to the top of the mountain, where the Tibidabo Amusement Park was located.[307].
• - Damians House (1913-1915), by Eduard Ferrés, Lluís Homs and Ignasi Mas.
• - Cine Coliseum "Coliseum (Barcelona)") (1923), by Francesc Nebot.
• - National Labor Promotion Building (1931-1936), by Adolf Florensa and Josep Goday.
• - Myrurgia Factory (1928-1930), by Antoni Puig i Gairalt.
• - Casa Jorba "Casa Jorba (Barcelona)") (1926), by Arnau Calvet.
• - Can Guardiola or “Casa China” (1929), by Juan Guardiola.
International Exposition of 1929
In 1929 the International Exhibition "International Exhibition of Barcelona (1929)") was held in Montjuic "Montjuic (Barcelona)"). For this event, the entire area of the Plaza de España "Plaza de España (Barcelona)") and Montjuic Mountain were urbanized, and the pavilions that currently host the Barcelona Fair were built. The Exhibition took place from May 20, 1929 to January 15, 1930, on an area of , and had a cost of 130 million pesetas.[308].
The Exhibition site was built according to a project by Josep Puig i Cadafalch. The complex began in the Plaza de España, designed by Puig i Cadafalch and Guillem Busquets, who created a monumental complex around a hemicycle formed by a baroque-style colonnade, inspired by San Pedro Square in the Vatican. The Exhibition hotels were built here, the work of Nicolás María Rubió y Tudurí, and in the center was a monumental fountain "Fountain of the Plaza de España (Barcelona)") designed by Josep Maria Jujol. At the entrance to the square that leads to the Avenida de la Reina María Cristina, two tall towers in the shape of campaniles were located, the work of Ramon Reventós, inspired by the campanile of San Marcos in Venice.[309].
The official section was located on Avenida de la Reina María Cristina, where various pavilions were located: the Palace of Communications and Transportation, the work of Félix de Azúa and Adolf Florensa; the Palace of Dress (or Work), by Josep Maria Jujol and Andrés Calzada; the palace of Metallurgy, Electricity and Motive Power, by Amadeu Llopart and Alexandre Soler i March; the palace of Textile Art, by Joan Roig&action=edit&redlink=1 "Joan Roig (architect) (not yet written)") and Emili Canosa"); and the palace of Projections, by Eusebi Bona and Francisco Aznar. Closing the avenue were the palaces of Alfonso At the foot of the mountain, the famous Magic Fountain of Montjuic was built, the work of Carles Buïgas, as well as the Four Columns of Puig i Cadafalch. The main building of the Exhibition was the National Palace "Palacio Nacional (Barcelona)") - current headquarters of the MNAC -, the work of Eugenio Cendoya, Enric Catà and Pere Domènech i Roura.[297].
Scattered across the mountain were the rest of the pavilions, such as the one in Barcelona, by Josep Goday; the Press Palace – current headquarters of the Urban Police –, by Pere Domènech i Roura; the Palace of Decorative and Applied Arts, by Manuel Casas&action=edit&redlink=1 "Manuel Casas (architect) (not yet written)") and Manuel Puig&action=edit&redlink=1 "Manuel Puig (architect) (not yet written)"); the Palace of Graphic Arts - current Museum of Archeology "Museo de Arqueología de Catalunya (Barcelona)" - by Raimundo Durán Reynals and Pelayo Martínez; the Palace of Agriculture – current Fabià Puigserver Theater –, by Josep Maria Ribas i Casas and Manuel Maria Mayol; the Spanish pavilion, by Antoni Darder; the Palace of the Provincial Councils, by Enric Sagnier; the Palace of Chemistry, by Antoni Sardà; the Royal pavilion - currently known as Palacete Albéniz -, by Juan Moya; the Palace of Modern Art and the Palace of the Missions, both by Antoni Darder.
Rationalism
In the 1930s, a strong desire to approach the European architectural avant-garde arose, where rationalism was emerging, a style practiced in central Europe since the early 1920s by architects such as Le Corbusier, Ludwig Mies van der Rohe, Walter Gropius and J.J.P. Oud. It was a style that combined functionality and aesthetics, giving predominance to volume over mass, with forms based on the rectangle and horizontal lines, without hiding the structure of the building, with smooth walls and metal windows, without ornamental overload.[317] In Catalonia, the influence of international architecture was expressed in two lines: a more purist rationalism inspired by Le Corbusier, and an eclecticism that accepted other references, such as art deco or German expressionism, with a special reference in the Bauhaus.[318].
In 1930, the GATCPAC group (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture) emerged in Barcelona,[note 12] with a desire to renew and liberate Noucentista classicism, as well as to introduce in Spain the new international currents derived from rationalism. The GATCPAC defended the carrying out of scientific calculations in construction, as well as the use of new materials, such as fiber cement boards or uralite, as well as lighter materials such as glass.[319] It was founded by Josep Lluís Sert, Josep Torres Clavé, Germán Rodríguez Arias, Sixte Illescas, Cristòfor Alzamora, Ricardo de Churruca, Manuel Subiño, Pere Armengou and Francesc pear trees; Later, other architects such as Raimon Duran i Reynals, Antoni Bonet i Castellana, Jaume Mestres i Fossas, Antoni Puig i Gairalt, Ramon Puig i Gairalt, Alexandre Soler i March, Francesc Fàbregas and Joan Baptista Subirana joined. Unfortunately, his work was cut short with the outbreak of the Civil War.[320].
Catalan rationalism had special qualities, such as the departure from formalism, a certain expressionist tendency and a clear political connection with the Second Republic,[321] as denoted in the creation in 1936 of the SAC (Union of Architects of Catalonia), directed by Torres Clavé y Fàbregas, which defended intervention in the control of construction, the collectivization of housing and the orientation of the teaching.[322] Torres Clavé was director of the magazine A. C. Documents of Contemporary Activity (1931-1937), based on avant-garde magazines such as Das Neue Frankfurt, directed by Ernst May, or L'Esprit Nouveau, by Le Corbusier and Amédée Ozenfant.[323].
Among its members, Josep Lluís Sert, an internationally famous architect who settled in the United States after the Civil War, stood out. He was a disciple of Le Corbusier, with whom he worked in Paris and whom he invited to visit Barcelona in 1928, 1931 and 1932.[324] His two main works in Barcelona in these years were the Bloc house (1932-1936) and the Central Anti-tuberculous Dispensary (1934-1938), both in collaboration with Torres Clavé and Subirana. The first is based on the housing project by Le Corbusier (1922), and is a set of S-shaped houses, made of long, narrow blocks with a two-bay metal structure, with access to the houses through covered corridors; Spanish for the 1937 Paris International Exhibition, where Picasso's was exhibited for the first time, which was reconstructed in Barcelona in 1992 by Miquel Espinet"), Antoni Ubach") and Juan Miguel Hernández León.[327].
Postwar period
The beginning of the Franco dictatorship caused a break in the avant-garde integration of Catalan architecture, since the new regime opted for a more academic style. The absence of a conceptual program led to the work being subordinated to the expertise of its author, although the prevailing ideological discourse promoted monumentalism and the classroom character of the achievements of the moment. In the first postwar years, the Noucentista style reemerged, with a marked academic component, in a neoclassical style influenced by American eclecticism "Architecture in the United States") and Mediterranean neo-Renaissanceism.[330].
Given the failed attempts to formulate a new architecture of the regime, only initially visible due to the passing influence of Italian and German architecture with a historicist and regionalist tendency "Regionalism (architecture)"), and due to the lack in Catalonia of official commissions from the new authorities, the constructions in Barcelona were linked to the monumentalist Noucentisme of the 1920s, with the survival even of a certain attenuated rationalism.[331].
Among the architects and works of these years we can mention: Raimundo Durán Reynals (church of Santa María de Sants, 1940-1965; headquarters of Fabra & Coats, 1941-1944; Clip homes, 1949-1952; Julio Muñoz palace, 1949-1952); Eusebi Bona (Spanish Credit Bank in Plaza Cataluña, 1940-1950; Pirelli commercial building, 1948); Francesc Nebot (residential building at 368 Balmes Street on the corner of Ronda General Miter, 1946); Adolf Florensa (building in Plaza Villa de Madrid, 1946); Lluís Bonet i Garí (Life Bank of Spain, 1942-1950; National Pension Institute, 1947); Francesc Mitjans (residential buildings at 182 Balmes Street, 1941-1948; 76 Amigó Street, 1941-1944; and 140 General Miter Roundabout, 1947-1949); Manuel de Solà-Morales i de Rosselló (Officers' Residence, 1939-1940); Francisco Juan Barba Corsini (homes on Paseo de la Bonanova 105-107, 1946); Joaquim Lloret i Homs (El Rancho Grande housing, 1944); Pere Benavent de Barberà (homes at Calle de la Reina Victoria 26 and Ronda del General Miter 55, 1946-1950); and Josep Soteras (Olivetti Factory, 1940-1953; Industrial Building, 1947; monumental fountain on Paseo de Gracia, 1952).
At this time, numerous churches destroyed or damaged during the war were restored, while new ones were created, most in a Florentine Renaissance style continuing the line started by Rubió and Tudurí: church of Nuestra Señora de la Bonanova (1942-1962), by Josep Danés i Torras; church of the Capuchin convent of Sarrià (1940-1944), by Pere Benavent de Barberà; Church of Our Lady of the Angels (1942-1957), by Josep Danés i Torras; Church of Perpetual Help (1950), by Joaquim Porqueras Bañeres"); Church of San Miguel de los Santos (1950-1963), by Antoni Fisas.[332].
The years of the dictatorship were characterized by urban developmentalism, which consisted of the unbridled construction of cheap housing, largely officially protected, to absorb the population coming above all from Spanish regions such as Andalusia, Murcia, Extremadura or Galicia. The massive influx of immigration led to a rise in shanty towns, mainly in Montjuic "Montjuic (Barcelona)"), Somorrostro, Pueblo Nuevo "Pueblo Nuevo (Barcelona)") and El Carmelo, places where at the end of the 1960s there were about 10,000 shacks. Although protected housing was encouraged, this did not stop speculation.[333] The construction of housing was carried out, in many cases, without prior urban planning, and using cheap materials that, over the years, would cause various problems such as aluminosis. The construction fever caused a notable demographic increase and the creation of new neighborhoods, such as El Carmelo, Nou Barris, El Guinardó, El Valle de Hebron, La Sagrera, El Clot or Pueblo Nuevo "Pueblo Nuevo (Barcelona)").[334].
Group R
In the 1950s there was a renewal of the architectural panorama thanks to the R Group (1951-1961),[338] a group of architects who connected the experience of rationalism and GATCPAC with new international currents, such as Neoliberty, neoempiricism and organicism, with the influence of architects such as Alvar Aalto, Oscar Niemeyer, Bruno Zevi and Gio Ponti.[339] They considered themselves post-functionalists, starting from rationalist functionalism "Functionalism (architecture)"), but surpassed on the basis of humanist criteria.[340] The architecture of Group R increasingly distanced itself from the regime's own style, acquiring a vindictive nuance, in which the commitment to modernity was considered an opposition to the regime.[341].
Among its initial members were José Antonio Coderch, Antoni de Moragas, Josep Maria Sostres, Manuel Valls"), Joaquim Gili, Oriol Bohigas, Josep Martorell and Josep Pratmarsó"); In 1953, Coderch and Valls left, while Manuel Ribas i Piera, Josep Anton Balcells, Francesc Bassó and Guillermo Giráldez joined; in 1958 Pablo Monguió and Francesc Vayreda entered").[342] These architects gained a new awareness due to Alberto Sartoris's conference at the Barcelona Athenaeum in 1949, where he called for the search for a new national architecture, which was supported by Oriol Bohigas in his article Possibilities of a Barcelona architecture.[343] However, over time the diversity The tendencies of these authors, who moved between neo-popularism, Miesian neo-rationalism, informalism and neo-functionalism, led to the dissolution of the group.[344].
In this generation, José Antonio Coderch stood out, one of the Spanish architects of the time with the most international prestige. Influenced by Aalto, his works show a high degree of simplicity and volumetric purity, while the curvilinear and articulated forms denote a certain expressionist component.[345] He was a defender of traditional Catalan architecture, and showed great concern for interior design and adaptation to the environment.[346] He worked associated with Manuel Valls since 1942; In 1960 he joined the international group Team 10.[347] Among his works are: the La Maquinista Workers' Cooperative (1951-1953), the Navy House (1952-1954), the residential building at 7 Johann Sebastian Bach Street (1957-1961) and the Tàpies House (1960-1963).
Josep Maria Sostres was a disciple of Sixte Illescas, and later received the influence of Giuseppe Terragni, while declaring himself an admirer of Gaudí, to whom he alluded to highlight the overcoming of rationalist functionalism.[348] He was the author of the Moratiel house (1956-1957), the Iranzo house (1957), and the offices of El Noticiero Universal (1963-1965).
Antoni de Moragas was in favor of industrial design over artisanal work; "He worked associated with Francesc de Riba i Salas"): Park Hotel (1950-1954), Fémina cinema (1950-1952), residential building at 125 Vallcarca Avenue (1953), Bullfighting House (1960-1962).
Barcelona School
Between the years 1960 and 1970, the so-called Barcelona School "Barcelona School (architecture)") emerged, according to the name proposed by Oriol Bohigas in his article A possible Barcelona School, published in the magazine Arquitectura in 1968. Heir to the R Group, the new school was inspired by the Italian neorealism "Neorealism (architecture)") that was triumphing at the time internationally, combining a rationalist constructive language with functionality and design.[367] The Barcelona School once again revalued modernism, and placed emphasis on the educative and communicative role of architecture, to which they granted a social commitment as a dynamic element of social and urban structures. Likewise, they valued craftsmanship and the use of traditional materials of Catalan architecture, such as brick and ceramics.[368] They also placed special emphasis on attention to design and interest in detail.[369].
Various members of Group R were also included in the Barcelona School. David Mackay joined the Bohigas-Martorell tandem in 1962, forming the MBM firm. Furthermore, a new generation of architects emerged, among which stood out: Federico Correa, Alfons Milà, Ricardo Bofill, Lluís Cantallops"), Lluís Nadal"), Albert Viaplana, Helio Piñón, Esteve Bonell or the Studio PER group, formed by Lluís Clotet, Òscar Tusquets, Cristian Cirici and Josep Bonet. Over time the School suffered some important splits, such as that of Ricardo Bofill and his Taller de Arquitectura; the members of Studio PER, immersed in postmodern currents; the Viaplana-Piñón tandem and its orientation towards an abstracting formalism; and the personal and eclectic career of Esteve Bonell.[370] It is worth noting that at the beginning of the 1960s, the first women architects in Barcelona were qualified, such as Margarita Brender, Roser Amadó and Anna Bofill.[371].
In this period, some architects of the previous generation continued to work: José Antonio Coderch approached minimalism,[372] with works such as the Trade towers (1965-1969), drawn on circle segments in such a way that the façade, a black glass curtain wall, runs along the profile of the building in a continuous line;[373] other works of his were the Raset residential complex (1968-1973), the French Institute (1972-1974, without the collaboration of Manuel Valls")), the La Caixa offices on Diagonal Avenue (1974-1979) and the expansion of the Barcelona School of Architecture (1978-1984).
Antoni Bonet i Castellana, trained in the GATCPAC and exiled after the war, a period in which he carried out his work preferably in Argentina and Uruguay, upon his return he built the Meridiana Canódromo (1962-1963, with Josep Puig i Torné"), a light building formed by two paraboloid floors on steel pillars, with cantilevered stands covered with a concrete brise-soleil closed at the ends by an aluminum structure glazed.[374] He was also the author of the Urquinaona tower (1966-1973).
Transition and democracy
The end of the dictatorship and the arrival of democracy marked a new development in the architectural panorama of the city, increasingly immersed in international avant-garde currents. The new socialist councils of Narcís Serra and Pasqual Maragall opted for art and architecture as hallmarks of the city, and began an extensive program of urban reforms, which culminated with the celebration of the Olympic Games. The new public commissions were reflected in the increase in facilities such as schools, parks and gardens, roads and urban spaces, civic, cultural and sports centers.[391].
At a stylistic level, the last decades of the century saw a rapid succession of styles, sometimes complementary and sometimes contrasting, which on various occasions coexisted simultaneously. From the 1970s until the end of the century, the following trends are mainly perceived:
• - Eclectic rationalism: direct heir of rationalist architecture, they understand their task as a discipline, defending the relationship between construction and architecture, with special emphasis on composition; They highlight the commitment between tradition and modernity, as well as the urban character of the architecture. Its main representatives were: Rafael Moneo, Josep Llinàs, Josep Lluís Mateo and the tandems Jaume Bach / Gabriel Mora and Esteve Bonell / Francesc Rius.[392].
• - Neotraditionalism: it is a trend that is nourished mainly by historical models, considering traditional construction as a pure architectural language, with influence from popular and regional architecture, as well as Noucentisme and modern classicism - such as that represented by Otto Wagner -, while having Robert Venturi and Aldo Rossi as contemporary models, as well as the Italian group Tendenza. Due to its attempt to reconvert classicism into a contemporary project, this trend represents a precursor to postmodern architecture. It was mainly represented by the members of Studio PER: Òscar Tusquets, Lluís Clotet, Cristian Cirici and Josep Bonet.[393].
• - Postmodern architecture: they defend the free use of historical styles, with a tendency towards eclecticism "Eclecticism (art)"), separating the architectural language from its resulting image, the principles of appearance, the construction of form. The main exponent of this current was Ricardo Bofill.[394].
• - Neoorganicism: it emerged in opposition to eclectic rationalism, with a strong figurative component and a taste for plastic values, which is denoted in a certain baroque style of forms. Santiago Calatrava and some works by Josep Llinàs are part of this trend.[395].
• - Neomodern architecture (or contemporary avant-garde): in opposition to neotraditionalism and postmodernism, they present a greater interest in the conceptual and abstracting figuration, and assume the inheritance of modern language as experimentation. They denote the influence of Alvar Aalto, Frank Lloyd Wright and Russian constructivism "Constructivism (art)") and, at a more current level, of Frank Gehry and Álvaro Siza. Enric Miralles, Carlos Ferrater and the tandems Elías Torres / José Antonio Martínez Lapeña and Helio Piñón / Albert Viaplana could be included in this trend.[396].
1992 Olympic Games
Another of the profound transformations of Barcelona came on the occasion of the 1992 Olympic Games. The event involved the remodeling of part of the Montjuic mountain, where the so-called Olympic Ring was located (1985-1992), designed by Carles Buxadé, Joan Margarit, Federico Correa and Alfons Milà,[433] a large venue located between the Lluís Companys Olympic Stadium —rehabilitated between 1986 and 1989 by Buxadé, Margarit, Correa and Milà themselves together with Vittorio Gregotti—and the Plaza de Europa, with buildings such as the Palau Sant Jordi by Arata Isozaki (1984-1990), the Bernat Picornell Swimming Pools (1988-1991, Moisés Gallego") and Franc Fernández"), the Montjuic Telecommunications Tower (1991) in Santiago Calatrava and the National Institute of Physical Education "National Institute of Physical Education of Catalonia (Barcelona)") (1985-1992), by Ricardo Bofill.[434].
To accommodate the athletes, a new neighborhood was built, the Poblenou Olympic Village (1985-1992), with a general layout of the Martorell-Bohigas-Mackay-Puigdomènech team, and the intervention in various residential buildings by a wide range of architects, such as Ricardo Bofill, Carlos Ferrater, Esteve Bonell / Francesc Rius, Xavier Vendrell") / Manuel Ruisánchez"), Albert Viaplana / Helio Piñón, Elías Torres / José Antonio Martínez Lapeña, Òscar Tusquets / Carlos Díaz"), Federico Correa / Alfons Milà, Jordi Garcés / Enric Sòria, Lluís Clotet / Ignacio Paricio, etc.[435] Various buildings and facilities were built in the same area, such as the Eurocity 1 office buildings (1989-1992), by Roser Amadó and Lluís Domènech i Girbau, and Eurocity 2, 3 and 4 (1989-1992), by Viaplana and Piñón; the Central Telefónica (1989-1992), by Jaume Bach and Gabriel Mora; (1990-1992), by Álvaro Siza; the Nova Icària Sports Pavilion and Municipal Library (1989-1992, by Franc Fernández") and Moisés Gallego"); Ortiz") and Enrique de León").[436].
Another area of action was the El Valle de Hebron neighborhood, organized according to a project by Eduard Bru") (1989-1991), which included buildings and infrastructure such as: the archery facilities "Campo Olympic de Tiro con Arco (Barcelona)") (1990-1991), by Enric Miralles and Carme Pinós; the Palacio de Deportes del Valle de Hebron (1990-1991), by Jordi Garcés and Enric Sòria; the La Teixonera Tennis Club (1989-1992), by Antoni Sunyer"); and the Olympic Press Village (1989-1991), by Carlos Ferrater.[437].
A notable element was the Collserola telecommunications tower (1989-1992), by Norman Foster, located in Tibidabo. 288 m high, it has a cylindrical concrete shaft supported by three post-tensioned braces anchored to the mountain with three struts placed at 120° from each other; In its central part it contains a metal structure with a curvilinear triangular shape, which houses a viewpoint.[438].
For the event, a multi-denominational religious center was also built, the parish of Patriarch Abraham (1990-1992), the work of Agustí Mateos" and Josep Benedito"). The new building accommodated the spiritual needs of all participants in the games, whatever their beliefs, and subsequently became the parish of the new Olympic Village neighborhood. The floor plan therefore moves away from traditional Catholic shapes, and presents an almond-shaped design based on curved lines of great geometric simplicity.[439].
21st century
The turn of the century did not bring about a substantial change in the future of the city, which continued to focus on innovation and design as future projects, along with the use of new technologies and a commitment to environmental sustainability. Stylistically, the transition of the century has been marked again by the eclecticism derived from postmodern theories, while the influence of international currents such as high-tech, a style based on the intensive use of high technology, and deconstructivism, a current based on non-Euclidean geometry and antilinearism, with curved and "soft" forms with an apparently chaotic appearance, have gained strength.[459] It is also worth highlighting the progressive importance acquired by computing. in architectural design, with programs such as CAD and Power Point that have replaced the old ways of preparing architectural projects.[460].
One of the most notable events of the new millennium was the celebration of the Universal Forum of Cultures in 2004, which allowed new urban changes in the city: the entire Besós area was recovered, until then populated by old disused factories, the entire Pueblo Nuevo neighborhood "Pueblo Nuevo (Barcelona)") was regenerated and the new Diagonal Mar neighborhood was built, while the city was provided with new parks and spaces for leisure. citizens.[461] The profile of the city changed after the construction of a large cylindrical skyscraper, the Torre Agbar, as well as the W Barcelona hotel, which modified the appearance of the Port of Barcelona and, therefore, its seafront.[462].
The Agbar Tower (2000-2005), the work of Jean Nouvel, is one of the most emblematic buildings built in the new millennium, and has significantly changed the Barcelona skyline.[463] High-tech style, it is 145 m high and shaped like an oval cylinder, inspired according to the author in the bell towers of Gaudí's Sagrada Familia. The façade has a double skin of concrete and glass, with a set of 4,000 LED devices of different colors that light up at night, creating particular polychrome effects.[464].
Around the same time, the new Gas Natural headquarters was built (1999-2006), the work of Enric Miralles and Benedetta Tagliabue, a building broken down into four bodies: the "tower" is the tallest, with an H shape composed of two bodies of different heights; The "bracket" is a body attached to the tower that acts as access to the building; The "aircraft carrier" is a cantilevered body that protrudes from the central tower and provides horizontality to the layout of the complex; The "waterfall" is a low body with a stepped façade that restores the elevation of the surrounding buildings. The entire building has a glass roof, whose play of reflections between the four bodies generates a somewhat dematerialized image of the complex.[465].
Other buildings from these early years were: the Jaume Fuster Library (2001-2004), by Josep Llinàs, with a rhomboidal floor plan and a complex and sinuous layout that interacts with an irregular-looking urban environment; diaphanous;[467] the Illa de la Llum residential complex (2002-2005), by Lluís Clotet and Ignacio Paricio, with three bodies: a 5-story block flanked by two towers, one with 26 floors and another with 18, resolved with modules of aluminum ceilings that are repeated on the façade, while the entire complex is supported by tube pre-frames galvanized;[468] and the rehabilitation of the Barceloneta market (2002-2007, by Josep Miàs"), with an organic conception that structures different spaces in a dynamic and integrative way.[469].
The main building impulse of these years was the celebration of the Universal Forum of Cultures in 2004. The venue was designed by Elías Torres and José Antonio Martínez Lapeña, which includes a 16-hectare multipurpose esplanade culminated at one end by a large photovoltaic panel that became one of the emblems of the event.[470] The main construction was the Forum building (2000-2004), by Jacques Herzog and Pierre de Meuron - current headquarters of the Museum of Natural Sciences of Barcelona -, with a low-profile triangular floor plan with a distribution of several interior patios that generate open spaces, and a rough-looking façade of indigo blue, furrowed by various stripes of glass. irregular and undulating shapes that hide the supporting elements, generating large open spaces with a flexible layout inside.[472] The space of the enclosure and its adjacent areas have subsequently been used to locate various public parks, such as the Linear Park by Garcia Fària, by Pere Joan Ravetllat and Carme Ribas; the Auditoriums park, by Alejandro Zaera; and the Diagonal Mar park, by Enric Miralles and Benedetta Tagliabue.
Among the constructions of the following years, it is worth highlighting: the Biomedical Research Park (2006), by Manuel Brullet and Alberto de Pineda, a truncated-conical building with wooden slat cladding; another;[474] the W Barcelona hotel —also known as Hotel Vela— (2009), by Ricardo Bofill, a 99 m high building shaped like a ship's sail, with a glazed curtain wall façade;[475] the Telecommunications Market Commission headquarters building (2008-2010), by Enric Batlle and Joan Roig, with an asymmetrical longitudinal planimetry profile and a double façade of horizontal slats that offers solar protection;[476] the Media-TIC building (2010), by Enric Ruiz-Geli, has a cubic shape and is supported by iron girders covered by a translucent coating of inflatable bubble plastic, which allows us to distinguish the fluorescent structure inside the building;[477] the Diagonal Zero Zero tower of Telefónica (2008-2011, by Enric Massip-Bosch"), by 110 m high and with a rhomboidal floor plan, with a white aluminum ribbed façade; Catalanas;[479] and the Bellcaire Fair or Old Encantes (2013), by Fermín Vázquez Huarte-Mendicoa, a canopy-shaped structure that covers the Encantes open-air market, made up of various modules with different inclinations to reflect the light and the surrounding landscape.[480].
Other works from these years are: the International Center for Advanced Medicine (2004), by Luis Alonso and Sergio Balaguer"); the expansion of CosmoCaixa Barcelona (2004, by Esteve") and Robert Terradas"); the Hilton Diagonal Mar hotel (2005), by Òscar Tusquets; the Colegio Mayor Sant Jordi (2006), by Josep Lluís Mateo;[481] the departmental building of the UPF (1996-2007), by Juan Navarro Baldeweg ; Martí Galí");[484] the Illa del Mar residential building (2008), by Adolf Martínez"), Josep Lluís Martínez"), Jorge Muñoz&action=edit&redlink=1 "Jorge Muñoz (architect) (not yet written)") and Enrique Albin"); the Can Framis Museum (2007-2009, by Jordi Badia");[485] the entire City of Justice of Barcelona and Hospitalet de Llobregat (2009), by David Chipperfield and Fermín Vázquez Huarte-Mendicoa; the Suites Avenue building (2009), by Toyoo Itō; the Institute of Ocular Microsurgery (2009), by Josep Llinàs;[486] the Blau building (2009), by Antoni de Moragas, Eva Mercader Oliver") and Susanna Itarte Rubió");[487] the Blood Bank (2006-2010), by Joan Sabaté Picasó"), Àlex Cazurra Basté") and Horacio Espeche Sotailo");[488] the Can Travi Civic Center (2008-2010), by Sergi Serrat"), Ginés Egea") and Cristina García&action=edit&redlink=1 "Cristina García (architect) (not yet written)");[489] the GAES headquarters (2008-2010), by Jorge Mestre") and Iván Bercedo"); the reconversion of the Arenas bullring in a shopping center (2005-2011), by Richard Rogers; the Bassat headquarters (2010-2011, by Alexa Plasencia"), Antonio Buendía") and Albert Arraut");[490] the Distrito 38 building (2011), by Arata Isozaki, Alejandro Zaera and Farshid Moussavi;[491] the Vodafone building (2012), by Dominique Perrault;[492] and the Antares building (2020), by Odile Decq.[493].
On the other hand, the economic crisis that began in 2008 paralyzed numerous architectural projects, some as emblematic as the La Sagrera Tower, by Frank Gehry, or the Spiral Tower, by Zaha Hadid, putting an end to a few years of construction in the city of great projects commissioned from internationally famous authors.[494].
In 2022, the Cirerers building, the tallest wooden building in Spain, was inaugurated, the work of the Celobert architectural cooperative, a sustainable project based on an industrialized construction system in cross-laminated wood.[495].
In terms of landscape architecture, it is worth mentioning the Central Park of Nou Barris (1997-2007), by Carme Fiol and Andreu Arriola, structured on several levels in which pergolas that act as lighting panels stand out, as well as the presence of water, through three lakes with fountains; In 2007 he received the International Urban Landscape Award in Frankfurt (Germany).[496] Another green space of interest is the Poblenou Center park (2008), by Jean Nouvel, divided into various thematic spaces, with avant-garde design, among which stand out: the Island under the dome, a space surrounded by a water channel that houses a metal dome surrounded by laurels; and the Well of the World, a crater formed by several spirals of earth.[497].
The urban planning of the new millennium has reinforced the polynuclear grid structure promoted since the 1990s, which has favored the appearance of new urban centers such as the Forum, 22@ and La Sagrera.[498] In 2025 the new Plaza de las Glorias Catalanas was inaugurated after several years of works, in which traffic was buried and a new park was installed for the enjoyment of citizens.[499].
Communications have improved with the arrival of high speed, which links the Catalan capital with Madrid and Paris; The port and airport of El Prat have been expanded, with the aim of turning Barcelona into the logistics center of southern Europe. The metro network has also been expanded, with the extension of several lines (3 and 5), and the creation of some new ones (lines 9, 10 and 11), some of them fully automated. In 2012, an orthogonal reorganization of the bus network began to create a rapid transit bus network.[500] The construction of a new ring road is also planned to improve communications in the metropolitan area.
• - Diagonal Mar Park (1999-2002), by Enric Miralles and Benedetta Tagliabue.
• - Barcelona International Convention Center (2000-2004), by Josep Lluís Mateo.
• - Jaume Fuster Library (2001-2004), by Josep Llinàs.
• - Biomedical Research Park (2006), by Manuel Brullet and Alberto de Pineda.
• - Hotel Habitat Sky (2004-2007), by Dominique Perrault.
• - Can Framis Museum (2007-2009), by Jordi Badia").
• - Suites Avenue Building (2009), by Toyoo Itō.
• - Blau Building (2009), by Antoni de Moragas, Eva Mercader Oliver") and Susanna Itarte Rubió").
• - Telecommunications Market Commission (2008-2010), by Enric Batlle and Joan Roig.
• - GAES building (2008-2010), by Jorge Mestre") and Iván Bercedo").
• - Media-TIC Building (2010), by Enric Ruiz-Geli.
• - Diagonal Zero Zero Tower of Telefónica (2008-2011), by Enric Massip-Bosch").
• - Vodafone Building (2012), by Dominique Perrault.
• - Bellcaire Fair or Old Charms (2013), by Fermín Vázquez Huarte-Mendicoa.
• - Art of Catalonia.
• - History of Barcelona.
• - Urban planning of Barcelona.
• - Districts of Barcelona.
• - Former municipalities of Barcelona.
• - Municipal aggregations of Barcelona.
• - Public art in Barcelona.
• - Urban art from Barcelona.
• - Urban furniture from Barcelona.
• - Fountains of Barcelona.
• - Parks and gardens of Barcelona.
• - Odononymy of Barcelona.
• - Catalan modernism.
• - Architecture of Spain.
• - Architecture of Madrid.
• - Annual competition for artistic buildings (Barcelona) "Annual competition for artistic buildings (Barcelona)").
• - FAD Award.
• - Mies van der Rohe Contemporary Architecture Prize.
• - District 22@.
• - Annex: Basilicas of Barcelona.
• - Annex:Skyscrapers in Barcelona.
• - Annex: Tallest buildings in the metropolitan area of Barcelona.
• - Annex:Architectures of Spain.
• - World Heritage Site in Catalonia.
• - Assets of cultural interest of the Barcelonés region "Annex: Assets of cultural interest of the Barcelonés region (province of Barcelona)").
• - Apple of discord "Apple of discord (Barcelona)").
• - Wikimedia Commons hosts a multimedia category on Architecture of Barcelona.
• - Barcelona official website Archived December 23, 2014 at the Wayback Machine.
[17] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 50.
[18] ↑ AA.VV., 1991, p. 124-125.
[19] ↑ AA.VV., 1991, p. 127.
[20] ↑ AA.VV., 1991, p. 128-129.
[21] ↑ AA.VV., 1998, p. 46-48.
[22] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 79.
[23] ↑ AA.VV., 1998, p. 47.
[24] ↑ AA.VV., 1998, p. 61.
[25] ↑ AA.VV., 1998, p. 47-48.
[26] ↑ AA.VV., 1991, p. 206.
[27] ↑ Soler et al., 1999, p. 48-51.
[28] ↑ AA.VV., 1991, p. 218.
[29] ↑ AA.VV., 1991, p. 215.
[30] ↑ Roig, 1995, p. 8.
[31] ↑ AA.VV., 1998, p. 43-44.
[32] ↑ AA.VV., 1998, p. 59-60.
[33] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 97.
[34] ↑ Roig, 1995, p. 5.
[35] ↑ Soler et al., 1999, p. 63-64.
[36] ↑ Lecea et al., 2009, p. 19.
[37] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 106.
[38] ↑ AA.VV., 1991, p. 101.
[39] ↑ AA.VV., 1992, p. 28.
[40] ↑ Barral i Altet et al., Jornet, p. 46.
[41] ↑ AA.VV., 1992, p. 27.
[42] ↑ AA.VV., 1992, p. 312-313.
[43] ↑ AA.VV., 1992, p. 29-30.
[44] ↑ Barral i Altet et al., Jornet, p. XI.
[45] ↑ Rubio, 2009, p. 19.
[46] ↑ AA.VV., 1992, p. 39.
[47] ↑ Galofré, 1992, p. 1-33.
[48] ↑ AA.VV., 1997, p. 26.
[49] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, pp. 188-189.
[50] ↑ AA.VV., 1992, p. 314-315.
[51] ↑ Barral i Altet et al., Jornet, p. 298.
[52] ↑ AA.VV., 1992, p. 315.
[53] ↑ Bahamón y Losantos, 2007, p. 14.
[54] ↑ AA.VV., 1992, p. 313-314.
[55] ↑ Soler et al., 1999, p. 147.
[56] ↑ Bahamón y Losantos, 2007, p. 15.
[57] ↑ Barral i Altet et al., Jornet, p. 325.
[58] ↑ Soler et al., 1999, p. 111.
[59] ↑ AA.VV., 1998, p. 79-82.
[60] ↑ AA.VV., 1998, p. 82.
[61] ↑ AA.VV., 1992, p. 320.
[62] ↑ Roig, 1995, p. 16-17.
[63] ↑ Galofré, 1992, pp. 49-75.
[64] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 244.
[65] ↑ Soler et al., 1999, p. 164.
[66] ↑ Soler et al., 1999, p. 171.
[67] ↑ Soler et al., 1999, p. 169-170.
[68] ↑ Soler et al., 1999, p. 176.
[69] ↑ Soler et al., 1999, p. 192-193.
[70] ↑ Soler et al., 1999, p. 212-213.
[71] ↑ Soler et al., 1999, p. 170.
[72] ↑ Roig, 1995, p. 60.
[73] ↑ Soler et al., 1999, p. 213.
[74] ↑ Bahamón y Losantos, 2007, p. 18.
[75] ↑ Bahamón y Losantos, 2007, p. 19.
[76] ↑ Jordi Monner i Faura (1992). BCN 92. Guía de La Vanguardia. 3: Del Auditori a la Plaça de la Palmera. Meridiana (revista|formato= requiere |url= (ayuda)). Barcelona: La Vanguardia. p. 30.
[77] ↑ Dalmases y José i Pitarch, 1998, p. 82.
[78] ↑ Permanyer, 1994, p. 11.
[79] ↑ AA.VV., 1998, p. 138-139.
[80] ↑ Soler et al., 1999, p. 225.
[81] ↑ AA.VV., 1998, p. 139.
[82] ↑ Barral i Altet et al., Jornet, p. 92.
[83] ↑ Barral i Altet et al., Jornet, p. 82.
[84] ↑ AA.VV., 1998, p. 141-142.
[85] ↑ AA.VV., 1998, p. 143-147.
[86] ↑ AA.VV., 1998, p. 158-159.
[87] ↑ AA.VV., 1998, p. 156.
[88] ↑ AA.VV., 1998, p. 150-153.
[89] ↑ AA.VV., 1998, p. 132.
[90] ↑ Bahamón y Losantos, 2007, p. 100.
[91] ↑ Roig, 1995, pp. 44-45.
[92] ↑ Lecea et al., 2009, p. 29.
[93] ↑ AA.VV., 1997, p. 83.
[94] ↑ Azcárate Ristori, Pérez Sánchez y Ramírez Domínguez, 1983, p. 349.
[95] ↑ Barral i Altet et al., Jornet, p. 229.
[96] ↑ Triadó y Barral i Altet, 1999, p. 44.
[97] ↑ Barral i Altet et al., Jornet, p. 268.
[98] ↑ Triadó y Barral i Altet, 1999, p. 28-29.
[99] ↑ Triadó y Barral i Altet, 1999, p. 47.
[100] ↑ AA.VV., 1998, p. 183-185.
[101] ↑ AA.VV., 1998, p. 186.
[102] ↑ Bahamón y Losantos, 2007, p. 20.
[103] ↑ AA.VV., 1998, p. 180-181.
[104] ↑ Rubio, 2009, p. 34.
[105] ↑ AA.VV., 1998, p. 181-182.
[106] ↑ Barral i Altet et al., Jornet, p. 82-83.
[107] ↑ Triadó y Barral i Altet, 1999, p. 32.
[108] ↑ AA.VV., 1998, p. 177-180.
[109] ↑ AA.VV., 1998, p. 187-189.
[110] ↑ Rubio, 2009, p. 48-49.
[111] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 4: De la plaza de la Mercè a la iglesia de Santa Anna. Barcelona: La Vanguardia. p. 26.
[112] ↑ Garriga, 1986, p. 81.
[113] ↑ Gran Enciclopèdia Catalana 14 llas-Maup, p. 461.
[114] ↑ AA.VV., 1998, p. 175.
[115] ↑ Garriga, 1986, p. 92-93.
[116] ↑ Roig, 1995, p. 75.
[117] ↑ Giorgi, 2007, p. 82.
[118] ↑ AA.VV., 1997, p. 96.
[119] ↑ AA.VV., 1998, p. 196.
[120] ↑ Albert de Paco, 2007, pp. 280-281.
[121] ↑ Triadó y Barral i Altet, 1999, p. 62-65.
[122] ↑ Triadó y Barral i Altet, 1999, p. 65.
[123] ↑ Rubio, 2009, p. 170.
[124] ↑ Bahamón y Losantos, 2007, p. 57.
[125] ↑ Triadó y Barral i Altet, 1999, p. 77-82.
[126] ↑ AA.VV., 1998, p. 210-214.
[127] ↑ Triadó y Barral i Altet, 1999, p. 80-82.
[128] ↑ Triadó y Barral i Altet, 1999, p. 82.
[129] ↑ AA.VV., 1998, p. 206-207.
[130] ↑ Triadó y Barral i Altet, 1999, p. 72.
[131] ↑ AA.VV., 1998, p. 219.
[132] ↑ Rubio, 2009, p. 131.
[133] ↑ Barral i Altet et al., Jornet, p. 126.
[134] ↑ Barral i Altet et al., Jornet, p. 130.
[135] ↑ Triadó, 1984, p. 27-28.
[136] ↑ AA.VV., 1998, p. 197-198.
[137] ↑ Triadó, 1984, p. 21.
[138] ↑ Triadó y Barral i Altet, 1999, p. 92.
[139] ↑ AA.VV., 1998, p. 226-228.
[140] ↑ Barral i Altet et al., Jornet, p. 215.
[141] ↑ Roig, 1995, pp. 86-87.
[142] ↑ AA.VV., 1998, p. 226-227.
[143] ↑ Triadó y Barral i Altet, 1999, p. 102-104.
[144] ↑ Triadó y Barral i Altet, 1999, p. 102.
[145] ↑ a b Triadó y Barral i Altet, 1999, p. 104.
[148] ↑ Barral i Altet et al., Jornet, p. 234-235.
[149] ↑ Triadó y Barral i Altet, 1999, p. 108.
[150] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 27.
[151] ↑ Bahamón y Losantos, 2007, p. 65.
[152] ↑ AA.VV., 1998, p. 228-229.
[153] ↑ Barral i Altet et al., Jornet, p. 231.
[154] ↑ AA.VV., 1998, p. 233-234.
[155] ↑ Rubio, 2009, p. 200.
[156] ↑ AA.VV., 1998, p. 231-232.
[157] ↑ Magda Mària i Serrano y Joan Claudi Minguell i Font. «El Palau Episcopal de Barcelona. Cronologia arquitectònica d'un edifici de vint segles d'història» (en catalán). Consultado el 5 de marzo de 2015.: http://www.raco.cat/index.php/locus/article/viewFile/242042/324642
[158] ↑ AA.VV., 1998, p. 230.
[159] ↑ Roig, 1995, p. 91.
[160] ↑ Triadó, 1984, p. 220.
[161] ↑ Villoro y Riudor, 1984, p. 31.
[162] ↑ Lecea et al., 2009, p. 73.
[163] ↑ AA.VV., 1997, pp. 114-149.
[164] ↑ AA.VV., 1997, p. 114.
[165] ↑ AA.VV., 1998, p. 194-195.
[166] ↑ Fontbona, 1997, p. 52.
[167] ↑ AA.VV., 1998, p. 247-248.
[168] ↑ AA.VV., 1998, p. 265.
[169] ↑ a b AA.VV., 1998, p. 269.
[170] ↑ Navascués Palacio, 2000, p. 164.
[171] ↑ AA.VV., 1998, p. 252.
[172] ↑ Gausa, Cervelló y Pla, 2002, p. A4.
[173] ↑ Fontbona, 1997, p. 68.
[174] ↑ Triadó y Barral i Altet, 1999, p. 130.
[175] ↑ a b Fontbona, 1997, p. 53.
[176] ↑ AA.VV., 1998, p. 258-259.
[177] ↑ Navascués Palacio, 2000, p. 229-230.
[178] ↑ Fontbona, 1997, p. 76-77.
[179] ↑ Rubio, 2009, p. 152.
[180] ↑ Barral i Altet et al., Jornet, p. XIV.
[181] ↑ Fontbona, 1997, p. 64.
[182] ↑ Triadó y Barral i Altet, 1999, p. 174.
[183] ↑ Rubio, 2009, p. 218.
[184] ↑ AA.VV., 1998, p. 262.
[185] ↑ Triadó y Barral i Altet, 1999, p. 176.
[186] ↑ Triadó y Barral i Altet, 1999, p. 177-184.
[187] ↑ Barral i Altet et al., Jornet, p. 185.
[188] ↑ Bahamón y Losantos, 2007, p. 86.
[189] ↑ Barral i Altet et al., Jornet, p. 283.
[190] ↑ Barral i Altet et al., Jornet, p. 319-320.
[191] ↑ Barral i Altet et al., Jornet, p. 319.
[192] ↑ Rubio, 2009, p. 221.
[193] ↑ Bahamón y Losantos, 2007, p. 102.
[194] ↑ Rubio, 2009, p. 136.
[195] ↑ Gausa, Cervelló y Pla, 2002, p. B8.
[196] ↑ Bahamón y Losantos, 2007, p. 25.
[197] ↑ Gausa, Cervelló y Pla, 2002, p. A7.
[198] ↑ Rubio, 2009, p. 198.
[199] ↑ Navascués Palacio, 2000, p. 343-347.
[200] ↑ Barral i Altet et al., Jornet, p. 326-327.
[242] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 11: Las diez joyas de la capital. Barcelona: La Vanguardia. p. 8-10.
[243] ↑ Lacuesta y González, 1997, p. 69.
[244] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 7: De la plaza Catalunya a la plaza Lesseps. Eixample. Barcelona: La Vanguardia. p. 9.
[245] ↑ Midant, 2004, p. 749-750.
[246] ↑ Huertas, Capilla y Maspoch, 2005, p. 74.
[247] ↑ Fontbona y Miralles, 2001, p. 152-153.
[248] ↑ Miralles, 2008, p. 73.
[249] ↑ Lacuesta y González, 1997, p. 49.
[250] ↑ Fontbona y Miralles, 2001, p. 57.
[251] ↑ Maspoch, 2008, p. 214.
[252] ↑ Maspoch, 2008, p. 88.
[253] ↑ Lacuesta y González, 1997, p. 33.
[254] ↑ Maspoch, 2008, p. 80-81.
[255] ↑ AA.VV., 2007, p. 15.
[256] ↑ Barjau, 1992, p. 12.
[257] ↑ Maspoch, 2008, p. 40-41.
[258] ↑ Lacuesta y González, 1997, p. 41.
[259] ↑ Miralles, 2001, p. 78.
[260] ↑ Maspoch, 2008, p. 189.
[261] ↑ Montaner, 2005, p. 37.
[262] ↑ AA.VV., 1998, p. 306.
[263] ↑ Montaner, 2005, p. 39-40.
[264] ↑ Maspoch, 2008, p. 155.
[265] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 7: De la plaza Catalunya a la plaza Lesseps. Eixample. Barcelona: La Vanguardia. p. 20.
[266] ↑ Maspoch, 2008, p. 208.
[267] ↑ Maspoch, 2008, p. 87.
[268] ↑ Maspoch, 2008, p. 115.
[269] ↑ Maspoch, 2008, p. 116.
[270] ↑ Maspoch, 2008, p. 217.
[271] ↑ Maspoch, 2008, p. 34.
[272] ↑ Maspoch, 2008, p. 175.
[273] ↑ Lacuesta y González, 1997, p. 29.
[274] ↑ Fontbona y Miralles, 2001, p. 153.
[275] ↑ Maspoch, 2008, p. 55-56.
[276] ↑ Barral i Altet et al., Jornet, p. 140.
[277] ↑ Huertas, Capilla y Maspoch, 2005, p. 150-162.
[278] ↑ Lecea et al., 2009, p. 127.
[279] ↑ AA.VV., 1999, p. 23.
[280] ↑ Montaner, 2005, p. 65.
[281] ↑ Montaner, 2005, p. 49.
[282] ↑ AA.VV., 1998, p. 310-311.
[283] ↑ Lacuesta y González, 1999, p. 11.
[284] ↑ Miralles, 2001, p. 102.
[285] ↑ Montaner, 2005, p. 51.
[286] ↑ Maspoch, 2008, p. 133.
[287] ↑ Montaner, 2005, p. 53.
[288] ↑ Bahamón y Losantos, 2007, p. 45.
[289] ↑ AA.VV., 1998, p. 311.
[290] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 24-25.
[291] ↑ Gausa, Cervelló y Pla, 2002, p. H2.
[292] ↑ Gausa, Cervelló y Pla, 2002, p. E16.
[293] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 5: De los edificios Trade a la Vil·la Amèlia. Barcelona: La Vanguardia. p. 17-19.
[327] ↑ Monner i Faura, Jordi (1992). BCN 92. Guía de La Vanguardia. 1: Del Velòdrom d’Horta a la Creueta del Coll. Barcelona: La Vanguardia. p. 16-19.
Of the rest of the preserved elements from the Roman period, it is worth highlighting the necropolis, a set of tombs located outside the walled area, in the current Plaza de la Villa de Madrid: it has more than 70 tombs from the centuries and, with remains of altars, steles "Stela (monument)") and cupas, discovered by chance in 1954.[28] There are also remains of two aqueducts that carried water to the city, one of them from the Collserola mountain range, to the northwest, and another from the north, taking water from the Besós river; Both joined in front of the Decuman gate of the city - current Plaza Nova -.[29] There are also important archaeological remains preserved in the basement of the City History Museum, in the Plaza del Rey "Plaza del Rey (Barcelona)").[30].
At a domestic level, remains of a Roman house (domus) are preserved on Lladó street, from the century BC. C. It was of an Italic model, with an entrance atrium and a constructed area of 500 m². It was excavated in 1927 by Josep Calassanç Serra i Ràfols, and some of its mosaics are preserved in the Museum of Archeology of Catalonia "Museum of Archeology of Catalonia (Barcelona)").[31] On the other hand, there are testimonies of a large thermal building located in the current Plaza de San Miguel, from around the century AD. C., on which the church of the same name "Iglesia de San Miguel (Barcelona)") was built in the Middle Ages, which preserved until its demolition in 1868 a mosaic with representations of newts "Tritón (mythology)") and other marine motifs.[32].
With the establishment of Christianity as the official religion in the 19th century, artistic production developed around religious themes, which has been defined as early Christian art. This art was born from Roman forms and typologies, but with a new content based on Christian iconography. In architecture, the church "Church (building)") stood out as a typology, heir to the Roman basilica, and new forms were incorporated such as the Latin cross plan - symbol of Jesus -, and new buildings such as the baptistery. Ivo and Calle de los Condes, as well as some sculptural remains that are preserved in the City History Museum.[34] It was a three-nave temple "Nave (architecture)"), with a square-shaped baptistery that housed an octagonal pool.[35].
During the century the Romanesque evolved towards forms that pointed to the new Gothic style.[58] In this period, the strength of the city at an administrative and economic level led to the construction of numerous public buildings and palaces for the nobility and the clergy. The main exponent was the Count's Palace, later the Royal Palace, which over the centuries was extensively remodeled, going from what at first must surely have been a fortified construction to a fully stately palace. However, of the Romanesque palace, later renovated in Gothic style, only the barrel vaults under the Hall of the Tinell, the north and south facades and the windows of the main façade, bricked up when the Tinell was built, remain.[59].
Another exponent was the Episcopal Palace of Barcelona, built between the 19th and 19th centuries. It had a three-story structure with a central patio, featuring semicircular arches on the northwest side, with columns with decorated capitals that are one of the few preserved examples of civil Romanesque sculpture in the city.[60] This palace included the chapel of Santa Lucía (1257), currently integrated into the cloister of the cathedral, small in size and square in plan, covered by a pointed vault, a fact that It already points to the Gothic.[61].
The prosperity gained with territorial expansion led to the first settlements outside the city's walls, once the danger of Muslim incursions had been removed. Various population centers (vila nova) were created, generally around churches and monasteries: this happened around the church of Santa María del Mar, where a port neighborhood was created; also in the church of San Cucufate del Riego, of an agrarian nature; the San Pedro neighborhood around San Pedro de las Puellas; The Pino neighborhood emerged around the church of Santa María del Pino; and the Mercadal, around the Portal Mayor market. The creation of these new neighborhoods forced the walled perimeter to be expanded, so in 1260 a new wall was built from San Pedro de las Puellas to the Atarazanas, facing the sea. The new section was 5,100 meters, and covered an area of 1.5 km². The enclosure had eighty towers and eight new gates, among which were several enclaves of relevance today, such as the Portal del Ángel, the Portaferrissa or the Boquería.[62].
• - Church of Our Lady of the Coll "Church of Our Lady of the Coll (Barcelona)").
• - Monastery of Santa Ana "Monastery of Santa Ana (Barcelona)").
• - Chapel of San Lázaro.
• - Marcus Chapel.
• - Chapel of Saint Lucia.
• - Portal de la Portaferrissa, in a tile of the homonymous fountain.
Shortly after, the monastery and church of Santa María de Pedralbes arose, belonging to the order of the Poor Clares, founded in 1326 at the initiative of Queen Elisenda de Montcada, with the intervention of the master builders Antoni Nató") and Guillem Abiell. The church has a single nave with a heptagonal head, with low chapels between the buttresses on the side of the head, and a choir on the lower side of the church. Later, between the 20th and 2nd centuries, the cloister, around which are the monastic rooms.[71].
It was followed by the church of Santa María del Mar "Iglesia de Santa María del Mar (Barcelona)", one of the best exponents of Gothic in the city, built between 1329 and 1384 on the primitive early Christian church of Santa María de las Arenas, with a project by Berenguer de Montagut, continued by Ramon Despuig and Guillem Metge). It presents three naves separated by octagonal columns, an ambulatory with radial chapels. and a spacious and open interior, where a magnificent glazed rose window stands out.[72].
Other churches of the period are: that of Saints Justo y Pastor (1342-1360), by Bernat Roca, with a five-section nave with a cross vault, side chapels with an apse, an octagonal bell tower and a façade featuring a pointed window instead of the usual rose window;[73] the convent and church of San Agustín (1347-1507), damaged during the siege of 1714 and which was later used as a barracks and currently as an exhibition hall and headquarters of the Municipal Photographic Archive, of which part of the cloister, the side nave of the church and the refectory are preserved; minor synagogue of the Jewish quarter, of which only the nave and the door are preserved from the Gothic period, while the chancel is from the century and the rest of the elements are neo-Gothic additions from the century.[75].
It is also worth highlighting on the outskirts of the city the church of San Martín de Provensals, of uncertain origin, although it was rebuilt between the centuries and in Gothic style, of which its façade stands out, the work of Joan Aymerich"), which presents intersecting flamboyant moldings and a tympanum "Tympano (architecture)") with a sculpture of San Martín de Tours;[76] the monastery of San Jerónimo del Valle de Hebron (1393), the work of Arnau Bargués, with a church with a nave of five sections with a cross vault and two chapels between the buttresses, destroyed in 1835; 1808.[78].
On the civil land, the Royal Mayor Palace stood out, renovated from the previous Romanesque building, in the course of whose modifications most of the previous structure was demolished - only the facades were left -, and a large hall for banquets and receptions was built, the Cámara Mayor or Salón del Tinell, built by Guillem Carbonell") between 1359 and 1370. It is a rectangular room, 33.5 m long and 17 m high, with six semicircular diaphragm arches supported on small pillars with capitals, and a polychrome wooden ceiling.[79] At this time, the chapel of Santa Ágata, built between 1302 and 1310 by Bertran Riquer"), was annexed to the palace, which consists of a single nave, with a two-sloped wooden roof, supported on diaphragm arches; On the altar is the Altarpiece of the Constable, by Jaume Huguet.[80].
Between 1367 and 1368, Carbonell himself renovated the Minor Royal Palace of Barcelona, located on the current Ataúlfo street, a building originally from the century that had belonged to the Order of the Temple, which was renovated in Gothic style with new rooms, such as the Hall of the Horses, made in imitation of the Tinell, or the White Chamber, intended for the king. This palace also stood out for a large garden with exotic animals like a small zoo.[81] Currently only the chapel remains, renovated between 1542 and 1547 by Andreu Matxí"), who replaced the previous diaphragmatic arches with ribbed vaults, and built the side chapels; in 1868 Elías Rogent renovated the façade.[82].
At this time, the City House - the seat of the City Council - was created, which initially consisted of a hall built in the interior patio of the house of the clerk of the Council of Cent, the group of prominent men who ran the city, whose meetings were held until then in the convent of Santa Catalina. façade, by Arnau Bargués, where the semicircular door and a blind archway over the openings stand out, as well as the sculptural decoration, of which a Saint Raphael made by Pere Sanglada stands out; This is the façade that faces City Street, since the current main façade, which faces San Jaime Square, is from the 19th century, in a neoclassical style.[84].
The Palace of the Generality of Catalonia was also created then - originally a tax collecting institution and current headquarters of the autonomous government -, located in an old manor house in the Call, acquired by the Catalan Cortes in 1401 after the expulsion of the Jews. Between 1416 and 1418 it was remodeled by Marc Safont, mainly in terms of the construction of a new façade on Obispo Street, executed in flamboyant Gothic with sculptural ornamentation by Pere Johan. Later, in 1425, Safont himself renovated the gallery on the noble floor, and between 1427 and 1434 he built the chapel of Saint George in the space where there was previously a tower.[85].
Other exponents of civil architecture were: the Atarazanas, built between the centuries and with a first structure around a large patio with porticos and fortified with walls and defense towers, which was expanded at the end of the century by Arnau Ferrer"), which covered the patio and expanded the porticos with two bodies of eight naves each;[86] the Lonja de Barcelona was built between 1380 and 1404 on an old portico at the open air, the work of Pere Llobet and Pere Arvei, although of the Gothic building only the Contracting Room remains, which stands out for its monumentality (16 m high), rectangular in shape with three naves and large semicircular arches that support a wooden roof, a structure reminiscent of the famous Loggia dei Lanzi in Florence;[87] the Hospital of the Holy Cross was built between 1401 and 1415 in El Raval, with a project initial by Guillem Abiell, who planned a rectangular building with four sections arranged around a central patio, with two floors, the lower one resolved with cross vaults and the upper one with a gable roof on diaphragm arches - it currently houses the Library of Catalonia and the Massana School.[88].
At this time, numerous houses of noble families also emerged, generally with a typology based on a quadrangular or rectangular module, with an interior patio that distributes the space, and two floors connected by a staircase, with construction elements based on cross vaults, pointed arches and openwork traceries. Some exponents are: the Requesens Palace (century), current Royal Academy of Good Letters; the Nadal Palace (century), current Museum of Pre-Columbian Art; the House of the Canons (century), which formerly housed canons of the cathedral and is currently the official residence of the president of the Generalitat; the Berenguer d'Aguilar Palace (mid-century), by Marc Safont, current Picasso Museum; and the Cervelló-Giudice Palace (century), current Maeght Gallery.[89].
Another typology that emerged in this period was that of the rural farmhouse, a type of manor house evolved from Roman fortified farms, which over time became authentic stately residences. They generally followed a basilica scheme, with a rectangular plan with a central body and a gallery with an arcade, composed of two floors and an attic or barn. One of the oldest that is preserved is that of Can Vinyals or Torre Rodona, in Les Corts, originally from the century - the period from which the base of the defense tower is preserved - but renovated in the 14th century. From the century they are Can Cortada, in Horta "Horta (Barcelona)"); Can Fuster, also in Horta; and Torre Llobeta, in Nou Barris.[90].
The continuous urban growth led to a new extension of the walled area, with the construction of the El Raval wall, in the western area of the city, which encompassed an area of 218 hectares, with a perimeter of 6 km. The works lasted about a century, from the middle of the century to the middle of the century. The new urban area started from the Atarazanas, following the current streets of San Pablo, San Antonio, Universidad and San Pedro, going down the current Lluís Companys promenade to the Santa Clara monastery - in the current Ciudadela park -, and to the sea, along the current Marqués de la Argentera avenue. Currently, only the Portal de Santa Madrona is preserved, in the Atarazanas.[91].
• - Santa María de Pedralbes (1326).
• - Church of Saints Justus and Shepherd (1342-1360).
• - Church of Saint Martin of Provensals (century).
• - Chapel of Saint Agatha (1302-1310).
• - Minor Royal Palace of Barcelona (1367-1368).
• - Hospital of the Holy Cross (1401-1415).
• - Masía de Can Vinyals or Torre Rodona (century).
Fray Josep de la Concepció—nicknamed the Tracist—worked in this period, a barefoot Carmelite who developed a classicist baroque style, with a certain Vitruvian influence. Between 1668 and 1688 he built the Viceroy's Palace "Palacio del Virrey (Barcelona)"), in the Pla de Palau, a renovation of an old goods warehouse known as Hala dels Draps, with a quadrangular floor plan with a central patio, three levels with balconies and a façade with Gothic elements.[129] In 1675 he adapted the chapter house of the Barcelona Cathedral as a chapel of San Olegario, in Gothic style to not breaking with the line of the temple, and a baroque tomb for the saint, with a statue of Pere Sanglada. In 1687 he built the church of the Barefoot Carmelites of Our Lady of Grace and Saint Joseph - nicknamed dels Josepets - in the Plaza de Lesseps, with a single nave, interconnected chapels, a barrel vault with lunettes, a false transept and a dome without a drum "Drum (architecture)"). The façade has three entrance arches, pediment "Frontón (architecture)"), entablature and a belfry perpendicular to the façade.[130].
There are also several palaces from this period: the Dalmases palace - current headquarters of Òmnium Cultural -, on Montcada street, of Gothic tradition due to its distribution around a central patio with a staircase and two floors, has a façade with broken molded windows and gargoyles "Gárgoyle (architecture)"), and a patio with Solomonic columns and rampant arches;[131] the Marimon palace or that of the Marquis of Caldes de Montbui It stands out for its central patio with a gallery of Tuscan-style lowered arches;[132] the Maldà palace has a curved façade due to its adaptation to the street, made of small ashlars, and a multi-story hall with Rococo decoration;[133] the house of the Resellers' Guild (1685) stands out for the sgraffito on the façade.[134].
In this period the farmhouses progressively abandoned the Gothic lines, with the introduction of new elements such as voussoir doors, mullioned windows, corbels and windowsills.[135] Some exponents are: Can Masdeu, in Horta "Horta (Barcelona)"); Can Trilla, in Gracia; Can Carabassa, in Horta; and Can Mariner, also in Horta.
At an urban planning level, in the century the city wall was expanded again with the construction of five new gates (San Severo, Talleres, San Antonio, San Pablo and Santa Madrona - the latter a reconstruction of that of the century -), streets were paved, sewers were installed, drinking water fountains were built and improvement works were carried out in the port.[136] A bridge was also built that joined the two towers of the decuman gate of the Roman wall, next to the Palace. Episcopal (1614), formed by two segmental arches, the lower one with a walkway with a balustrade and the upper one with a body with five semicircular arch balcony windows framed by Doric pilasters; It was demolished in 1823.[137].
• - Cloister of the convent of La Merced (1637-1651), by Jeroni Santacana").
• - Convalescent House, Hospital de la Santa Cruz (1629-1680), by Pere Pau Ferrer").
• - Church of San Severo (1698-1705), by Jaume Arnaudies") and Jeroni Escarabatxeres.
• - Church of Our Lady of Grace and Saint Joseph (1687), by Fray Josep de la Concepció.
• - House of the Resellers Guild (1685).
• - Can Carabassa farmhouse.
In this century the baroque forms continued, but more tempered, not as exuberant as in the previous century. The architectural language became more classicist, either with a more baroque component (San Miguel del Puerto) or more academic (Church of La Merced "Basilica de la Merced (Barcelona)"), until leading to neoclassicism that developed between the end of the century and the beginning of the century.[138].
The arrival of the Bourbons generated a series of military engineering works in architecture, such as Montjuïc Castle and the Citadel fortress, or even churches such as San Miguel del Puerto in Barceloneta (1753). pentagonal and large moats and bastions, with Vaubanian influence; In 1960 it was converted into a Military Museum, with a renovation by Joaquim de Ros i de Ramis.[140].
For the construction of the Citadel, 1,200 houses in the Ribera neighborhood were demolished—leaving 4,500 people homeless and without compensation—, as well as the convents of San Agustín and Santa Clara, and the Condal Acequia was diverted.[141] Work by Joris Prosper van Verboom, it had a pentagonal shape, also with Vaubanian influence. Of its complex, the arsenal building, current headquarters of the Parliament of Catalonia, stands out; the governor's palace, current Verdaguer Institute; and the chapel, the current military parish.[142] This chapel, designed by Alexandre de Rez") in 1727, presents a classicist portal with a semicircular front, in the style of the Church of the Visitation in Paris.[143].
The first churches were of baroque survival: between 1705 and 1716, the church of San Severo and San Carlos Borromeo—currently San Pedro Nolasco—was built in the Plaza de Castilla, belonging to the order of the Pauls. It has a single nave, with tribunes and a hemispherical dome, and a cloister of Tuscan order, with groin vaults. It has a single nave, a transept, interconnected chapels, a rectangular apse and a façade with a mixtilinear layout, with an entablature beginning and a semicircular finish.[145] Pere Bertran's church is also the church of San Agustín "Iglesia de San Agustín (Barcelona)") (1728),[note 3] with a congregational nave with interconnected chapels, a dome with a lantern, a barrel vault and an apse. semicircular. The façade is by Pere Costa (1735), with a narthex of five semicircular arches, with a mixtilinear pediment and elliptical dome, made only in its lower part, while the upper part remains unfinished.[145] In 1735 the church of Santa Marta was built, in the Riera de San Juan, attached to a pilgrim hospital of the same name; Affected by the opening of the Via Layetana, it was demolished in 1911, although the façade was preserved and moved to the building of the convent of the Hospital de la Santa Cruz y San Pablo, where it still remains.[146].
Between 1736 and 1743, the Casa de la Caridad was built - currently the Center for Contemporary Culture of Barcelona -, located on a previous medieval convent of Augustinian nuns bombed in 1651, which housed a complex of various rooms arranged around a large square courtyard and double-height cloister with Tuscan-style arches, currently known as the Manning courtyard. In the century the neo-Gothic church of Santa María de Montalegre was added, as well as another patio called Dones.[147].
The church of San Miguel del Puerto (1753), by Pedro Martín Cermeño, has Italian influence, especially Maderno and Della Porta, and presents a tripartite façade with an elevated central body with a triangular pediment - which denotes the influence of the Gesù -, and a sculpture of San Miguel by Pere Costa; The plan was square, with a central dome on four pillars, but it was renovated by Elías Rogent in 1863, when he expanded the space of the church and distributed it into three naves, with a new dome on a false transept.[148].
One of the best exponents of religious baroque was the church of La Merced "Basilica de la Merced (Barcelona)") (1765-1775), by José Mas Dordal, which replaced another Gothic one of the Mercedarian order. It has a single nave with interconnected side chapels, following the scheme of the Catalan Counter-Reformation churches, a transept with a dome and a dressing room over the presbytery. The façade denotes the influence of Bernini's Saint Andrew of the Quirinal, with curved side walls, a door with a semicircular pediment, a rose window and a triangular upper pediment. Above the dome stands out the image of Our Lady of Mercy, an original work by Maximí Sala destroyed in 1936 and replaced by a copy by the Oslé brothers (Miquel and Llucià).[149].
Also from this period are two parish churches from former neighboring municipalities of the city, today incorporated as neighborhoods: San Vicente de Sarriá, by José Mas Dordal, built between 1778 and 1816 on the remains of a previous Gothic church from 1379 - built in turn on another Romanesque one consecrated in 1147 -, it has three naves interconnected by semicircular arches, with a flat head and transept with a dome, as well as as side chapels;[150] and the sanctuary of Santa Eulalia de Vilapicina (1782), a reform of a 17th century church, has a barrel-vaulted nave and gabled roof, and a neoclassical façade decorated with sgraffito and crowned by a small bell tower.[151].
Civil architecture, carried out mainly by academic architects, gradually approached neoclassicism, as seen in the Barcelona College of Surgery (1762-1764), the work of Ventura Rodríguez, with a rectangular floor plan divided into two clearly differentiated areas: a circular amphitheater that served as an anatomy classroom and an area of administrative and service offices.[152] In 1771, the new façade of the Viceroy's palace "Palacio del Viceroy (Barcelona)"), designed by the Count of Roncali, fully neoclassical; Reformed again in 1846 on the occasion of a visit by Isabel II, when it became the Royal Palace, it was destroyed by a fire in 1875.[153] Between 1774 and 1802 the Lonja palace was completely renovated, with a project by Joan Soler i Faneca. Of the Gothic building, only the Contracting Room remained, around which a new classicist building was built that denotes a certain Palladian influence.[154] Another building linked to commerce was the Customs House - current Government Delegation -, built between 1790 and 1792 by the Count of Roncali, which presents classicist traces, although it still denotes the survival of baroque decorativeism; It has a façade with three openings, at the ends with a triangular pediment and in the center with a circular one, and a stucco decoration imitating marble.[155].
The palaces of the period usually have a quadrangular plan, with a central patio that is accessed through a main hall, which is usually highlighted by a wide staircase. Some exponents are: the Vicereina palace (1772-1778), built by Josep Ausich") on a project by Manuel de Amat y Junyent, viceroy of Peru; the Sessa-Larrard palace (1772-1778), by Josep Ribas i Margarit"); the Moja palace (1774-1789), by Josep Mas i Dordal; the Marc de Reus house (1775), by Joan Soler i Faneca; and the Savassona palace (1796), the current headquarters of the Barcelona Athenaeum.[156] Between 1782 and 1784, the Episcopal palace was also expanded, with a new building with a façade facing Plaza Nueva, the work of Josep Mas i Dordal.[157] It is also worth mentioning the Casa de la Seda or the Guild of Sailboats (1758-1763), the work of Joan Garrido"), a three-level building. which stands out for its sgraffito decoration, a good example of baroque decorativeism.[158].
The farmhouses continued with the lines outlined in the previous century, with some distinctive elements such as sgraffito decoration or the gabled roofs with mixtilinear crowning. Construction with a Catalan vault was also introduced at this time. Some examples are: Can Travi Nou, in Horta; Can Planas, in Les Corts, currently the famous Masía of the Barcelona Football Club; Can Tusquets, in Gracia; Can Fargas, in Horta; Can Raspall, in Sarrià; Can Rosés, in Les Corts; Can Canet de la Riera, in Sarrià; Can Móra, in Horta; Can Sert, in Gracia; Villa Florida, in Sant Gervasi; and Can Querol, in Horta.
At an urban level, we must highlight the construction in 1753 of the Barceloneta neighborhood, promoted by the Marquis of La Mina, who also repaired and expanded the port and promoted the installation of the first public lighting. Between 1776 and 1778, the urbanization of the Rambla was carried out, and the Paseo de San Juan and Paseo de Gracia were planned, although the first and 1820-1827 the second were not built until the turn of the century. Paseo Nuevo or the Explanada, located next to the Military Citadel, a wide avenue lined with poplars and elms and decorated with ornamental fountains - of which the Fountain of Hercules is preserved; For a time it was the main green space in the city, but it disappeared during the urbanization works of the Ciudadela park.[161].
• - Montjuic Castle (1751-1779), by Juan Martín Cermeño.
• - Church of San Severo and San Carlos Borromeo (1705-1716).
• - Manning Courtyard, House of Charity (1736-1743).
• - Sanctuary of Santa Eulalia de Vilapicina (1782).
• - Customs (1790-1792), by Juan Miguel de Roncali.
• - House of Silk (1758-1763), by Joan Garrido").
• - Can Raspall farmhouse, Sarrià.
A case analogous to that of Montsió occurred with the Gothic church of Santa María de Junqueras, original from the century and run by Benedictine nuns, which was moved in 1868 from Junqueras Street to Aragón Street. Between 1871 and 1888 Jeroni Granell i Mundet was in charge of its renovation, and it was renamed the Basilica of the Immaculate Conception and Assumption of Our Lady. It has a nave with pointed vaults and a polygonal apse, with a two-story rectangular cloister with an attached neo-Gothic chapel.[188].
Other churches of the time were: the parish of San Juan Bautista de Gracia (1878-1884), by Magí Rius"), Miquel Pascual and Francisco Berenguer, with a Latin cross plan, side chapels and neomedieval façade; with a classicist style with an eclectic air, and which stands out for its large dome 61 m high;[190] also in San Andrés and in 1881 the church of San Paciano "San Andrés de Palomar"), by Joan Torras i Guardiola, was built, with a single nave and covered with ribbed pointed vaults.[191].
On the civil land, the Batlló factory (1870-1875), by Rafael Guastavino, stands out, with an iron and brick structure of exposed work and Catalan vault roofs; Of the original work, the Clock building, the octagonal chimney and the yarn plant are preserved, while the rest was renovated between 1927 and 1931 by Juan Rubió and converted into the School of Work.[192] Antonio Rovira y Trías built the markets of San Antonio (1876-1882) and La Concepción (1888): the first is considered the best iron building in the city, and is composed of four longitudinal naves that converge diagonally on a central body with an octagonal dome; The second has three parallel naves with a gable roof, each with its own façade crowned by a triangular pediment.[193].
Other architects that should be remembered from this period are: José Doménech y Estapá, author of the Royal Academy of Sciences and Arts, current Poliorama Theater (1883-1884), with an eclectic façade that combines neomedieval and neoclassical elements; Greco-Roman,[195] and the Bruno Quadros house (1883), with an exotic façade of Egyptian and oriental motifs, where the dragon-lamp on the corner stands out;[196] Pere Falqués designed the Municipal Council of San Martín de Provensals (1876-1887) and the Aguas del Besós tower (1880); Tiberi Sabater built the Casino Mercantil or Bolsín (1881-1883), an eclectic neoclassical building that combines Renaissance elements with classical Greco-Roman orders; Hostafrancs (1893); and Mauricio Garrán") built the Palacio de Mar (1886-1900), current Museum of History of Catalonia.[198].
In addition to the neomedieval styles, orientalism became fashionable at this time, with a set of Islamic-inspired constructions—the so-called neo-Arabic or neo-Moorish—especially influenced by the Alhambra in Granada. Some exponents were: the Citadel Museum-Theater project (1872), by Carlo Maciachini"); the Oriental Baths (1872), by Augusto Font Carreras; the houses of the Spanish Theater (1872) and the Alhambra Building (1875) by Domènec Balet i Nadal"); the House of the Count of Belloch, by Jeroni Granell; the Chalet del Moro (1873), by Jaume Brossa"); and the Mudejar pavilion built in Tibidabo for the Universal Exhibition of 1888. A good example would also be the House of Waters (or Heights), current headquarters of the Horta-Guinardó district (1890, by Enric Figueras"). This fashion would continue in future years in two bullrings: Las Arenas (1899-1900), by Augusto Font Carreras; and the Monumental (1913-1915), by Manuel Raspall, Domingo Sugrañes and Ignasi Mas.[199] Another exponent is the Sobirana tower, a pleasure palace of the Marquis of Alfarràs, surrounded by large gardens that today constitute the Laberinto de Horta park.[200].
On the other hand, the century was the time of the Industrial Revolution, which had rapid consolidation in Catalonia, being a pioneer in the national territory in the implementation of manufacturing procedures initiated in Great Britain in the 19th century. In 1800 there were 150 textile factories in Barcelona, highlighting El Vapor "El Vapor (factory)"), founded by Josep Bonaplata. In 1849, the La España Industrial complex, owned by the Muntadas brothers, was opened in Sants. The textile industry had continuous growth until the crisis of 1861, caused by the shortage of cotton due to the American Civil War. The metallurgical industry also gained importance, boosted by the creation of the railroad and steam navigation. In 1836 he opened the Nueva Vulcano foundry in Barceloneta; and in 1841 La Barcelonesa started, the predecessor of La Maquinista Terrestre y Marítima (1855), one of the most important factories in the history of Barcelona. It should be noted that the first railway line in the Spanish state started from Barcelona, which connected Barcelona with the town of Mataró (1848).[201].
Parallel to the industrial processes, Barcelona experienced a wide series of urban transformations throughout the century: the Plazas Real (1848-1860) and Duque de Medinaceli (1849) were opened, both by Francisco Daniel Molina; They demolished the walls (1854-1856), after many misgivings on the part of the central government, but after the realization that it was essential due to the growth of the population and to safeguard public health.[204].
But without a doubt the great urban event in Barcelona of the century was Ildefonso Cerdá's expansion project: in 1859 the City Council appointed a commission to promote a competition for city expansion projects. The competition was won by Antonio Rovira, but the Ministry of Development intervened and imposed the project of Cerdá, author of a topographical plan of the Barcelona plain and a demographic and urban study of the city. The Cerdá Plan established an orthogonal layout between Montjuic and Besós, with a system of rectilinear streets oriented northwest-southeast, 20 meters wide, cut by others oriented southwest-northeast parallel to the coast and the Collserola mountain range. Thus, a series of square blocks were delimited on one side, of which Cerdá planned to build only two sides and leave the other spaces for gardens, although this point was not fulfilled and in the end practically all the buildable land was used; The buildings were designed with an octagonal plan characteristic of the Ensanche, with chamfers that favored circulation.[205] The plan provided for the construction of several main avenues: the Diagonal "Avenida Diagonal (Barcelona)"), the Meridiana, the Parallel, the Gran Vía and the Paseo de San Juan; as well as several large squares at their intersections: Tetuán, Glorias, Spain "Plaza de España (Barcelona)"), Jacint Verdaguer, Letamendi and University "Plaza de la Universidad (Barcelona)").[206].
It should also be noted that in the century the first public parks appeared, since the increase in urban environments due to the phenomenon of the Industrial Revolution, often in conditions of environmental degradation, advised the creation of large gardens and urban parks, which were borne by the public authorities, which gave rise to public gardening - until then preferably private - and landscape architecture.[207] The first public garden in Barcelona was created in 1816: the Jardin del General, an initiative of Captain General Francisco Javier Castaños; It was located between the current Marqués de la Argentera avenue and the Ciudadela, in front of where the Francia Station is today, and had an area of 0.4 hectares, until it disappeared in 1877 during the urbanization of the Ciudadela park.[208] In 1848 the Tivoli Gardens were created on Paseo de Gracia, between Valencia and Consejo de Ciento streets; and in 1853 the so-called Champs Elysées "Garden of the Champs Elysées (Barcelona)") were located between the streets of Aragón and Roussillon, which had a garden, a lake with boats, a theater and an amusement park with roller coasters. These gardens disappeared a few years later as Paseo de Gracia became urbanized.[209].
• - San Antonio Market (1876-1882), by Antonio Rovira y Trías.
• - Poliorama Theater (1883-1884), by José Domènech y Estapá.
• - Workshops of the Masriera painters (1882-1885), by José Vilaseca.
• - Bruno Quadros House (1883), by José Vilaseca.
• - Casino Mercantil or Bolsín (1881-1883), by Tiberi Sabater.
• - Las Arenas bullring (1899-1900), by Augusto Font Carreras.
• - Garden of the Champs Elysées.
The central area of the enclosure corresponded to the old parade ground of the Citadel, where the main building of the exhibition was located, the Palace of Industry, the work of Jaume Gustà, which housed the foreign sections of the Exhibition.[216] Behind the palace, past the railway lines, various buildings were located, such as the pavilion of the Transatlantic Company, the work of Antoni Gaudí, in the Granada Nasrid style; the pavilions of the so-called Maritime Section, those of Mining and Electricity, and the Swiss Dairy, currently a school. Likewise, on the Paseo de Colón "Paseo de Colón (Barcelona)") the International Hotel was erected, the work of Lluís Domènech i Montaner, an ephemeral work that was dismantled after the Exhibition.[217].
Outside the fairgrounds, numerous works and improvements were carried out throughout the city: the urbanization of the entire seafront of the city, between the Ciudadela park and Las Ramblas, was completed through the construction of Paseo de Colón and a new pier, La Fusta; The first streets of Barcelona were provided with electric lighting (La Rambla, Paseo de Colón, Plaza de San Jaime and the Exhibition grounds);
• - The Castle of the Three Dragons, by Lluís Domènech i Montaner.
• - Pavilion of the Transatlantic Company, by Antoni Gaudí.
• - Palace of Sciences, by Pere Falqués.
• - Palace of Fine Arts, by Augusto Font Carreras.
• - Umbraculo, by José Fontseré.
• - Martorell Museum of Geology, by Antonio Rovira y Trías.
One of the greatest representatives of Catalan modernism was Antoni Gaudí, an architect with an innate sense of geometry and volume "Volume (geometry)"), as well as a great imaginative capacity that allowed him to mentally project most of his works before transferring them to plans. Endowed with a strong intuition and creative capacity, Gaudí conceived his buildings in a global way, taking into account both structural, functional and decorative solutions, also integrating artisanal work, and introduced new techniques in the treatment of materials, such as his famous trencadís, made with pieces of waste ceramics. After beginnings influenced by neo-Gothic art, as well as certain orientalizing tendencies, Gaudí led to modernism in its most effervescent period, although the architect from Reus went beyond orthodox modernism, creating a personal style based on the observation of nature, the fruit of which was his use of regulated geometric shapes, such as the hyperbolic paraboloid, the hyperboloid, the helicoid "Helix (geometry)") and the conoid "Cone (geometry)").[229].
His first achievements, both during his student years and the first ones executed upon obtaining his degree, stand out for the great precision of the details, the use of superior geometry and the preponderance of mechanical considerations in the calculation of structures.[230] From this period, the streetlights of the Plaza Real "Farolas de la plaza Real (Barcelona)") (1878) stand out, as well as the beginning of the works on what would be his magnum opus, the Expiatory Temple of the Sagrada Familia (1883).
Later he went through an orientalist stage, with a series of works with a marked oriental taste, inspired by the art of the Near and Far East, as well as by Hispanic Islamic art, mainly Mudejar and Nasrid. He used ceramic tile decoration with great profusion, as well as the mitral arches "Arco (construction)"), exposed brick cartouches and finishes in the shape of a temple or dome.[231] His main achievements in this period are: the Vicens house (1883-1888), the Güell pavilions (1884-1887), the Güell palace (1886-1888) and the pavilion of the Transatlantic Company for the Universal Exhibition of 1888.
He then went through a neo-Gothic period, in which he was inspired above all by medieval Gothic art, which he assumed freely, personally, trying to improve its structural solutions; In his works he eliminated the need for buttresses through the use of regulated surfaces, and eliminated crests and excessive openwork.[232] In this style we could mention the Teresianas school (1888-1889) and the Bellesguard tower (1900-1909).
At the turn of the century he finally entered into his naturalist stage, in which he perfected his personal style, drawing inspiration from the organic forms of nature and putting into practice a whole series of new structural solutions originating from Gaudí's profound analyzes of regulated geometry. Starting from a certain baroque style, his works acquired great structural richness, with shapes and volumes devoid of rationalist rigidity or any classical premise. Milà house (1906-1910). These last two are among his most notable works: the Batlló house is an example of his fertile imagination, with a sandstone façade carved according to ruled surfaces in a warped shape, with bone-shaped columns and plant representations; The façade is topped by a vault formed by catenary arches covered with two layers of brick, covered with glazed ceramic in the shape of scales - in yellow, green and blue tones -, reminiscent of the back of a dragon.[234] The Milà or la Pedrera house has a façade made of limestone, except for the upper part covered with white tiles; On the roof, the staircase exits stand out, topped with the four-armed Gaudinian cross, as well as the chimneys, covered in ceramic with shapes that suggest soldiers' helmets.[235].
In the last years of his career, dedicated almost exclusively to the Sagrada Familia, Gaudí reached the culmination of his naturalistic style: after the construction of the crypt and the apse, still in neo-Gothic style, he conceived the rest of the temple in an organic style, imitating the shapes of nature, where regulated geometric shapes abound. The temple has a Latin cross plan, with five central naves and a transept with three naves, and an apse with seven chapels, with three facades dedicated to the Birth, Passion and Glory of Jesus, and 18 towers. The interior resembles a forest, with a set of inclined arborescent columns, in a helical shape, creating a structure that is both simple and resistant.[236].
Six of Antoni Gaudí's works in Barcelona have been named World Heritage Sites by UNESCO: Güell Palace, Güell Park and Milà House (1984); Casa Vicens, Casa Batlló and façade of the Nativity and crypt of the Sagrada Familia (2005, in addition to the Crypt of Colonia Güell in Santa Coloma de Cervelló).
Lluís Domènech i Montaner made a mixture of constructive rationalism and fabulous decoration with the influence of Spanish-Islamic architecture.[237] He was the creator of what he called "national architecture",[note 8] an eclectic style based on new techniques and materials, with a modern and international desire. To do this, he was inspired by architects such as Eugène Viollet-le-Duc, Karl Friedrich Schinkel and Gottfried Semper.[238] In his work he seeks constructive and aesthetic unity, with clear and orderly approaches, through a rational system that assumes decorativeness as an essential part of the work.[239].
His most relevant works were the Hospital de la Santa Cruz y San Pablo (1902-1913, completed by his son Pere Domènech i Roura) and the Palace of Catalan Music (1905-1908). The first is a vast hospital complex inherited from the old Hospital de la Santa Cruz, which occupies nine blocks of Ensanche, with a set of 46 pavilions arranged in parallel and diagonal according to the distribution in the area to have optimal solar orientation. They are autonomous pavilions separated by interstitial spaces, although connected by underground galleries, of which the administration pavilion, the assembly hall, the library, the secretariat, the church and the convalescent room stand out.[240] In this work, applied arts take on special relevance, such as sculpture—with works by Eusebi Arnau and Pablo Gargallo—, mosaic, tiles and stained glass.[241] The Palace of Music Catalana is a building articulated around the large central hall, oval in shape and with capacity for 2,000 spectators. Inside it has three sections, the entrance, the auditorium and the stage, with a lavish decoration with ceramic coverings and a large central skylight that covers the room, made of colored glass, in addition to various sculptures by Eusebi Arnau and Pablo Gargallo. The main façade covers the chamfer of Amadeu Vives and Sant Pere més Alt streets, with large access arches and a balcony that surrounds the entire façade, with columns covered in ceramic, and topped by a mosaic dome, where the sculptural group of The popular song, by Miguel Blay, stands out.[242] The San Pablo Hospital and the Palace of Catalan Music were named World Heritage Sites by UNESCO in 1997.
Also worth highlighting is the Lleó Morera house (1905), a renovation of a building built in 1864: its location on a chamfer determined the prominence of the corner, where the main stand is located and is finished off vertically with a small temple; Each floor has a different design, where the ornamental work stands out - with sculptures by Eusebi Arnau -, partially mutilated in a renovation of the ground floor carried out in 1943.[243] Other of his works are: the Montaner i Simón publishing house (current Antoni Tàpies Foundation, 1881-1886); the restaurant of the 1888 Universal Exhibition, known as Castle of the Three Dragons (current Museum of Zoology); the Thomas House (1895-1898); the Lamadrid house (1902); the Hotel España (1903); and the Fuster house (1908-1911).
Josep Puig i Cadafalch adapted modernism to certain influences of Nordic and Flemish Gothic, as well as elements of traditional rural Catalan architecture, with a strong presence of applied arts and stuccos.[244] A disciple of Domènech i Montaner, he was an architect, archaeologist, historian, professor and politician.[245] He was president of the Commonwealth of Catalonia (1917-1924), a position from which which promoted the creation of various professional schools (Nursing, Commerce, Textile Industries), scientific entities (Institute of Catalan Studies) and cultural (MNAC, Library of Catalonia).[246].
It went through various stages: in the 1890s, a certain flamboyant Germanism, which Alexandre Cirici i Pellicer called the "pink era" (Martí or Els Quatre Gats house, 1895-1896; Amatller house, 1898-1900; Macaya house, 1899-1901; Baron de Quadras palace, 1899-1906; Terrades or ”les Punxes” house, 1903-1905); in the 1900s a Mediterranean style or "white era" (Trinxet house, 1902-1904; Can Serra, headquarters of the Barcelona Provincial Council, 1903-1908; Sastre Marquès house, 1905; Muntadas house, 1910; Pere Company house, 1911); and from the 1910s a classicism with a secessionist influence that would lead to Noucentisme, its "yellow age" (Muley-Afid house, 1911-1914; Casaramona factory, current Caixa Fòrum, 1915-1939; Rosa Alemany house, 1928-1930), with the influence of the Chicago School "Chicago School (architecture)") (Pich i Pon house, 1919-1921) and with a drift towards a certain monumental baroque style (palaces of Alfonso XIII and Victoria Eugenia, 1923).[247].
Among these achievements it is worth highlighting the Amatller house and the Terrades house. The first presents a neo-Gothic-looking façade, with three different parts: a stone plinth with two doors on the left side, creating an asymmetric effect; a central body with sgraffito walls and ornamentation of floral motifs, with an upper gallery reminiscent of that of the chapel of San Jorge in the Palace of the Generalitat; and a stepped gable-shaped finish made of red and gold ceramic, with possible influence from the traditional architecture of the Netherlands.[248] The Terrades house occupies an entire block of Ensanche, with an irregular layout: it presents six facades inspired by Nordic Gothic architecture and Spanish Plateresque, topped by gables, some truncated by ceramic panels with Pre-Raphaelite style images, and flanked by six circular towers crowned with conical spiers ending in a needle, which give the building its nickname; It is built in exposed work, with sculptural ornamentation of stone and glazed ceramic, and wrought iron elements.[249].
Some architects evolved from historicism to modernism, with varying degrees of assimilation of the new style, although in general terms a certain continuity with previous forms continued to be evident in their works. Some of the most notable were: Augusto Font Carreras, José Vilaseca, Pere Falqués and José Doménech Estapá. The first was a disciple of Elías Rogent, and developed an eclectic style inspired by neo-Gothic and neo-Arabic; Among his works, the following stand out: the Heures palace (1894-1898), the headquarters of the Barcelona Savings Bank in Plaza de San Jaime (1903) and the Casa de la Caridad church (1912).[250].
Josep Vilaseca practiced a premodernism with a classicist air, as denoted in the Pia Batlló house (1891-1896), the Enric Batlló house (1892-1896), the Àngel Batlló house (1893-1896), the Cabot houses (1901-1905), the Dolors Calm house (1903) and the Comas house d'Argemir (1903-1904).[251].
Pere Falqués was municipal architect of Barcelona, so he participated in numerous urban improvements in the city; He was the author of the Clot market (1889), the Canaletas fountain (1892), the Ensanche Mayor's Office (1893), the Catalan Electricity Central (1896-1897), the streetlights of Paseo de Gracia (1900), the Laribal house (1902), the Bonaventura Ferrer house (1905-1906) and the Sants market (1913).[252].
Josep Domènech i Estapà captured in his works a personal, eclectic, functional and grandiloquent modernism.[253] He was the author of the Barcelona Model Prison (with Salvador Viñals, 1887-1904), the Montaner Palace - current Government Delegation - (1889-1893, completed by Antoni Maria Gallissà and Lluís Domènech i Montaner), the Catalana de Gas building (1895-1896), the Santa Lucía Asylum - later the Science Museum - (1904-1909), the Fabra Observatory (1904-1906), the Clinical Hospital (1904), the Costa house (1904), the church-convent of Nuestra Señora del Carmen (1909-1921) and the Magòria station (1912).[254].
Another architect with an eclectic style was Enric Sagnier, who followed a classicist personal style with great success among the Catalan bourgeois class. A prolific author, he was possibly the architect with the largest number of constructions in Barcelona, with nearly 300 documented buildings.[255] Three stages can be distinguished in his career: before 1900 he worked with an eclectic, monumental and grandiose style; From 1900 to 1910 he moved closer to modernism, which is perceived in a greater decorative sense of his work at this time, with special influence of Rococo art; and since 1910 he remained in a classicist style of French influence, far from the fashions of the moment.[256] Among his works the following stand out: the Palace of Justice of Barcelona (1887-1908, with Josep Domènech i Estapà), the Pascual i Pons house (1890-1891), the Jesús-María school (1892-1897), the Customs House of the Port of Barcelona (1896-1902, with Pere Garcia Fària), the Arnús house or “El Pinar” (1902-1904), the Expiatory Temple of the Sacred Heart (1902-1961), the Fargas house (1904), the church of Our Lady of Pompeya (1907-1910), the Ramon Mulleras house (1910-1911), the Doctor Genové house (1911) and the new church of San Juan de Horta (1911-1917).
Among the fully modernist architects, it is worth mentioning in the first place several disciples of Gaudí, such as Francisco Berenguer, Juan Rubió and Josep Maria Jujol. The first was a master builder who did not obtain the title of architect, so his projects are signed by other architects. He was the author of the Libertad market (1888-1893), the Royal Sanctuary of San José de la Montaña (1895-1902), the Burés house (1900-1905), the Moral Center of Gracia (1904), the Gracia Town Hall (1905), the Gaudí House-Museum in Park Güell (1905), the Cama house (1905) and the Rubinat house (1909).[257].
Juan Rubió practiced a Gothic eclecticism, with intensive use of brickwork and thoroughness in the design;[258] upon being appointed architect of the Provincial Council he moved to a baroque classicism, although always with Gaudinian persistence.[259] Among his works, the following stand out: the Golferichs house (1900-1901), the Alemany house (1900-1901), the house Roviralta or “Frare Blanc” (1903-1913), the Fornells house (1903), the Pomar house (1904-1906), the Casacoberta house (1907), the Manuel Dolcet house (1907), the Rialp house (1908), the Roig house (1915-1918) and the flamboyant Gothic style bridge on Obispo street (1928).[260].
Josep Maria Jujol worked with Gaudí between 1907 and 1914, a time in which he already showed a strong personality and creative genius. He developed a heterodox style, in which he mixed Catholic mysticism with an almost surrealist sense of decoration, with a taste for calligraphy, organic images - close to the work of Joan Miró - and the mystification of techniques and materials, sometimes close to collage.[261] Much of his production was carried out in Bajo Llobregat - especially San Juan Despí - and Tarragona. Of his works in Barcelona, the Planells house (1923-1924) stands out, where it shows a certain influence of German expressionism and the organicism practiced at the time by Frank Lloyd Wright.[262] Other works of his are: the Sansalvador estate (1909-1910), the Queralt house (1916-1917) and the Manyach workshops - currently the Josep Maria Jujol School - (1916-1922). In the postwar period he moved to an anti-avant-garde academicism of Franciscan inspiration, very far removed from his initial works.[263].
• - Headquarters of the Barcelona Savings Bank in Plaza de San Jaime (1903), by Augusto Font Carreras.
• - Casa Pia Batlló (1891-1896), by José Vilaseca.
• - Catalan Electricity Central (1896-1897), by Pere Falqués.
• - Asilo de Santa Lucía, later Museum of Science (1904-1909), by José Doménech y Estapà.
• - Church of Our Lady of Pompeii (1907-1910), by Enric Sagnier.
• - Golferichs House (1900-1901), by Juan Rubió.
• - Planells House (1923-1924), by Josep Maria Jujol.
Other modernist architects of interest are: Camil Oliveras, one of the pioneers of modernism, especially for the use of exposed brick and polychrome ceramics, a technique that he developed in the Provincial Maternity and Foundling House of Barcelona (1883-1924, with General Guitart);[264] Antoni Maria Gallissà, an architect closely linked to the decorative arts, as denoted in the Llopis Bofill house (1902), with a façade with sgraffito of Islamic motifs and balconies in the form of iron and glass tribunes;[265] Salvador Valeri, who received Gaudinian influence, especially in the use of the Catalan vault and the parabolic arch, as seen in the Sant Jordi tower (1908) and the Comalat house (1909-1911);[266] Antoni de Falguera was a disciple of Puig i Cadafalch, and evolved from a certain neo-Romanesque style towards a more sober style when he was appointed municipal architect (Ninot market, 1892-1894; Breastfeeding House, 1906-1913; Barcelona Municipal Conservatory of Music, 1916-1928); Mayor of Hostafrancs, current City Council of Sants-Montjuïc (1908-1915, with Ubaldo Iranzo); classicist with modernist ornamentation, as evidenced in the Juncosa house (1907-1909); 1900; Villa Helius, 1906-1909); Granell, 1902-1904; buildings at Mallorca 219, Roger de Lauria 84, Padua 75 and Gerona 122, all between 1900 and 1903); 1905-1906, with Bonaventura Conill; Sarrià market, 1911-1913, with Marceliano Coquillat); Amsterdam.[276].
• - Llopis Bofill House (1902), by Antoni Maria Gallissà.
• - Comalat House (1909-1911), by Salvador Valeri.
• - Barcelona Municipal Conservatory of Music (1916-1928), by Antoni de Falguera.
• - Pérez Samanillo House, current Equestrian Circle (1910-1911), by Joan Josep Hervàs.
• - Tosquella House (1906), by Eduard Maria Balcells.
• - Heribert Pons House (1907-1909), by Alexandre Soler.
• - Church of Carmen (1910-1930), by Josep Maria Pericas.
It is also worth mentioning architects such as: Antoni Rovira i Rabassa (Codina house, 1892; Ramon Casas house, 1898-1899); Manuel Comas i Thos (Jaume Moysi house, 1893-1895; Widow Marfà house, 1901-1905); José Pérez Terraza (Francesc Farreras house, 1899; Ignacio Portabella tower, 1905); Francisco de Paula del Villar y Carmona (Climent Arola house, 1900-1902; Santa Madrona church, 1916); Bernardí Martorell (monastery of Santa María de Valldonzella, 1900; Laplana house, 1907; convent of the Redeemer, 1926); Joan Alsina (Oller house, 1901); Telm Fernández i Janot (Felip houses, 1901 and 1905-1913); Ferran Romeu i Ribot (Roure house, 1901-1902); Salvador Soteras (Ibarz Bernat house, 1901-1904); Adolf Ruiz i Casamitjana (Llorenç Camprubí house, 1901; Andreu tower or “la Rotonda”, 1906-1918); Andreu Audet (Hotel Colón, 1902); Miquel Madorell (Santurce house, 1902-1905); Josep Amargós (Two Rius water tower, 1902-1905); Juli Batllevell (Trias house, 1903-1906; Antonia Burés house, 1903-1906; Bulart-Rialp tower, 1906-1907); Bonaventura Conill (Matas i Ramis house, 1903); Roc Cot i Cot (Antònia Puget house, 1904-1906); Julio María Fossas (Josefa Villanueva houses, 1904-1909; Marià Pau house, 1907); Miquel Pascual (Josep Barnolas house, 1905); Jaume Torres i Grau (Torres houses, 1905-1907; Ramos houses, 1906-1908); Joaquim Codina i Matalí (Malagrida house, 1905-1908); Juli Marial i Tey (Josepa Marsans house, current hostel of Our Lady of Montserrat, 1906); the brothers Bonaventura and Joaquim Bassegoda (Berenguer house, 1907; Rocamora houses, 1914-1918); Jaume Bayó (Baurier house, 1910); Josep Graner (Fajol or Butterfly House, 1912); Antoni Millàs (Maldonado house "Casa Maldonado (Barcelona)"), 1913-1914; Millàs house, 1915); Marceliano Coquillat (Josefina Bonet house, 1915); and Manuel Sayrach (Sayrach house, 1915-1918).
Lastly, it is necessary to point out in this period the interest given to commercial establishments, where, along with the architectural structure, applied arts, interior design and decoration play an essential role. A good example of this is: the Múrria grocery store (1898); the Bar Torino, decorated by Antoni Gaudí in 1902; the Antigua Casa Figueras pasta factory, decorated in 1902 by the painter and set designer Antoni Ros i Güell; the Bolós pharmacy, decorated in 1902 by Antoni de Falguera; the Grill Room restaurant, by the decorator Ricard de Campmany") (1902); the Sarret oven (1906); the Casa Teixidor fine arts store, by Manuel Joaquim Raspall (1909); the Reñé confectionery, decorated by Enric Llardent in 1910; the Puigoriol pharmacy, by Marià Pau") (1913-1914); and the El Indio lingerie, by the decorators Vilaró and Valls (1922).[277].
• - Marfà Widow House (1901-1905), by Manuel Comas i Thos.
• - Ignacio Portabella Tower (1905), by José Pérez Terraza.
• - Trias House (1903-1906), by Juli Batllevell.
• - Josefa Villanueva Houses (1904-1909), by Julio María Fossas.
• - Ramos Houses (1906-1908), by Jaume Torres i Grau.
• - Rocamora Houses (1914-1918), by Bonaventura and Joaquim Bassegoda.
From the International Section, the German Pavilion "German Pavilion (Barcelona)"), by Ludwig Mies van der Rohe, stood out, one of the best examples of international style architecture due to its formal purity, its spatial conception and its intelligent use of structures and materials, which made this pavilion the paradigm of architecture of the century. Rectangular in plan, it stood on a podium covered with travertine; The roof was supported by cruciform columns and load-bearing walls, with walls made of different materials. Demolished after the Exhibition, it was rebuilt between 1985 and 1987 in its original location by Cristian Cirici, Ignasi de Solà-Morales and Fernando Ramos"), following the plans left by Mies van der Rohe.[310][note 11].
Other relevant constructions carried out for the Exhibition were: the Teatre Grec, an open-air theater inspired by the ancient Greek theaters - especially that of Epidauro -, designed by Ramon Reventós, which currently hosts a summer festival in Barcelona, the Grec Festival; urban and architectural environments throughout the entire national territory, the work of architects Ramon Reventós and Francesc Folguera.[313].
On the occasion of the Exhibition, a good part of the Montjuic mountain was landscaped, with a project by Jean-Claude Nicolas Forestier and Nicolás María Rubió y Tudurí, who created a complex with a marked Mediterranean character and classicist taste, with a style of Hispano-Arabic inspiration like the one that Forestier had developed in the María Luisa park in Seville: thus the gardens of Laribal, those of Miramar, and those of the Teatre were created. Greek.[314].
As happened in 1888, the 1929 Exhibition had a great impact on the city of Barcelona at an urban planning level, not only in the Montjuic area, but improvement and conditioning works were carried out throughout the city: the squares of Tetuán, Urquinaona and Letamendi were landscaped; the Marina bridge was built; Plaza de Cataluña was urbanized; and the Diagonal "Avenida Diagonal (Barcelona)") was extended to the west and the Gran Vía to the southwest. Various public works were also carried out: the paving of streets and sewage was improved, public toilets were installed and gas lighting was replaced with electric ones. Likewise, various buildings were remodeled, such as the Town Hall or the Generalitat – where the flaming bridge that crosses Obispo Street was built. The Post Office building and the Francia Station, which had been under construction for several years, were completed. Likewise, the Royal Palace of Pedralbes was built as the residence of the royal family. During that time, the first skyscraper in Barcelona was also built, the Telefónica building in Plaza de Cataluña, the work of Francesc Nebot.[315].
Finally, the city's communications were improved, with the construction of the Prat Airport in the 1920s, the elimination of level crossings within the city, the improvement of links with the city's peripheral neighborhoods, the burying of the Sarrià train (Ferrocarriles de la Generalitat de Catalunya) and the electrification of public trams. The Barcelona Metro was also built, initially inaugurated in 1924 and expanded in 1926 with the service of the Metro Transversal between Bordeta and Catalunya (current L1), which linked the city center with the Exhibition site. Likewise, a funicular was built to access the top of the mountain, as well as a cable car to access it from the Port of Barcelona, the work of Carles Buïgas, although it was inaugurated later, in 1931. All of these public works led to a strong demand for employment, causing a great increase in immigration to Barcelona, coming from all parts of Spain. This increase in population led to the construction of various working-class neighborhoods of "cheap houses", such as the Aunós Group in Montjuic and the Milans del Bosch and Baró de Viver Groups in Besós.[316].
• - Press Palace.
• - Palace of Graphic Arts.
• - Palace of Agriculture.
• - Palace of Textile Art.
• - Palace of the Provincial Councils.
• - Palace of the Missions.
à redent
Guernica "Guernica (Picasso)")
In addition to Sert, it is worth highlighting: Sixte Illescas (Vilaró house, 1931; residential building at 96 Padua Street, 1934-1935; Illescas house, 1934-1935; Masana house, 1935-1940); Germán Rodríguez Arias (Astoria building, 1933-1934; Diagonal block, 1935-1940, with Churruca; Vía Augusta building "Vía Augusta (Barcelona)") 61, 1937); Ricardo de Churruca (Barangé house, 1931-1935; Conill house, 1935, Sepu warehouses, 1935-1936); Pere Benavent de Barberà (residential building at 220 Balmes Street, 1931-1932; building at 56 Gaudí Avenue, 1933; Jacinto Esteva House, 1935-1940); Jaume Mestres i Fossas (Viladot house, 1930-1933; Sans house, 1933-1936); Joaquim Lloret i Homs (Barraquer clinic, 1934-1940); Luis Gutiérrez Soto (Fàbregas building or Urquinaona Skyscraper, 1936-1944); Josep Soteras (building at 371 Balmes Street corner of Ronda General Miter, 1935-1941; building at 22 Ronda de San Pedro corner of Trafalgar Street, 1936); and Josep Maria Sagnier i Vidal (building at 392-396 Balmes Street, 1935-1942).
In the urban area, it is worth mentioning the Macià Plan (1932-1935), prepared by Sert and Le Corbusier, a project that provided for a functional distribution of the city with a new geometric order, through large backbone axes such as the Gran Vía, the Meridiana and the Parallel, and with a new maritime façade defined by Cartesian skyscrapers, in addition to the improvement of equipment and services, the promotion of public housing and the creation of a large park and leisure center next to the Llobregat delta, the so-called City of Rest and Vacations. The beginning of the Civil War cut short the project.[328] It is also worth mentioning that in 1931 the College of Architects of Catalonia, Aragon, the Balearic Islands and Logroño was created, delimited in 1933 to Catalonia and the Balearic Islands and in 1978 only to Catalonia; Since 1944, this entity has edited the magazine Cuadernos de Arquitectura - since 1981 published in Catalan as Quaderns.[329].
The war brought a halt to the city's landscape projects, and in the post-war period, actions focused more on the maintenance and restoration of existing areas than on the creation of new green areas. In 1940, Lluís Riudor i Carol, the initiator of landscaping in Catalonia, took charge of Parks and Gardens. various thematic gardens, such as the Mossèn Costa i Llobera gardens, specialized in cacti and succulents, and the Mossèn Cinto Verdaguer gardens, dedicated to aquatic, bulbous and rhizomatous plants.[336] His work was also the Mirador del Alcalde gardens and the Joan Maragall gardens, located around the Albéniz Palace; and, in the rest of Barcelona, the Putget park, the Guineueta park and the Villa Amelia park.[337].
On the other hand, the main exponents in these years of a rationalism with Miesian and Bauhausian roots were Francesc Mitjans and Francisco Juan Barba Corsini.[349] The former was the author of the La Colmena building (1950-1952), the Vallmajor housing complex and Soler Roig Clinic (1950-1954), the CYT office building (1953-1959), the Tokyo building (1954-1957), the Hotel Barcelona (1955-1962), the Seida building (1955-1967, with Josep Soteras) and the Harry Walker office building (1959). Barba Corsini built the Miter building (1959-1964) and the attic apartments of Casa Milà (1955), in the style of the study houses of Los Angeles.[350].
One of the youngest members, but who stood out quickly, was Oriol Bohigas, architect, critic, professor and politician,[351] defender of a pragmatic and functional architecture based on efficiency and profitability, with respect for traditional architecture and a special value given to materials, as denoted in his staunch defense of brick.[352] He worked in association with Josep Martorell since 1951; His works are: the Escorial housing group (1952-1955), the housing building at 215 Roger de Flor street (1954-1958), the building at 301-319 Pallars street (1955-1960), the headquarters of the Mutua Metalúrgica de Seguros (1955-1959) and the Milans del Bosch housing group (1962-1964).
In these years, a series of unique works emerged that deserve special mention: the Municipal Sports Palace (1953-1955), by Lorenzo García-Barbón and Josep Soteras, with brutalist aesthetics,[353] presents a tunned volume with a series of bays of parabolic arches, with two large rectangular screens as a brise-soleil on the walls;[354] the Camp Nou (1954-1957), by Lorenzo García-Barbón, Francesc Mitjans and Josep Soteras, a stadium with a reinforced concrete structure with capacity for 90,000 spectators,[355] with three superimposed stands arranged with a layout of four lowered curves to facilitate the proximity of the spectator to the playing field, which is located below street level to provide better access to the upper levels; Gustavo Gili (1954-1961), by Joaquim Gili and Francesc Bassó"), located inside a block in Ensanche, presents a glass façade covered by brise-soleil, with an open structure full of natural light thanks to side patios;[357] the SEAT complex (1954-1960), by Manuel Barbero"), César Ortiz Echagüe"), Rafael Echaide Itarte") and Rafael de la Joya"), a set of dining rooms, warehouses, laboratories and offices with aluminum profiles;[358] the headquarters of the College of Architects of Catalonia and the Balearic Islands (1958-1962), by Xavier Busquets"), an eight-story tower with a metal structure in a curtain wall and a trapezoidal lower body, decorated with sgraffito by Picasso;[359] and the Faculty of Law (1958-1959), by Guillermo Giráldez, Pedro López Íñigo and Xavier Subías, with a structural grid of rectangular bodies and interior patios, with glass enclosures and prefabricated white stoneware walls, of neoplasticist influence.[360].
In the 1950s, religious architecture opened up to new avant-garde architectural languages, always respecting its particular idiosyncrasy as buildings intended for faith.[361] Examples of this would be the Hogares Mundet church (1954-1957), by Manuel Baldrich, which denotes the influence of Alvar Aalto, with decoration by the sculptors Josep Maria Subirachs and Eudald Serra; the church of San Gregorio Taumaturgo (1954-1963), by Bartomeu Llongueras"), with a circular plan and classicist façade; the church of Santa Cecilia (1957), by Jordi Vidal de Llobatera"), which surprised with its bell-shaped and slightly inclined interior nave.[362].
With regard to urban planning, in 1953 the Regional Plan emerged, an attempt to integrate the city with the neighboring municipalities in order to satisfy the strong demand for housing in the years of massive immigration arrival, while trying to stop real estate speculation and improve the urban environment.[363] Although it was not carried out in its entirety, various partial plans emerged from its initial approach, especially those referring to the areas of Besós and the Diagonal limit: in the First, the new neighborhoods of La Verneda and Besós were created, while in the second, the University Zone was planned and the neighborhoods of Les Corts and Collblanc were expanded.[364].
On the other hand, in 1952 Barcelona hosted the XXXV International Eucharistic Congress, which allowed the urbanization of a new neighborhood known as Congrés, with a housing complex designed by Josep Soteras, Carles Marquès") and Antoni Pineda"). Enric Giralt i Ortet").[366] On the other hand, the housing deficit to accommodate the new immigration led to the promulgation of the Social Emergency Plan of 1958, which led to the construction of large blocks of social housing in peripheral neighborhoods, such as La Verneda, Torre Llobeta, Polvorín, Can Clos, la Trinidad and Verdún "Verdún (Barcelona)").[366].
Josep Lluís Sert, author of the residential complex Les Escales Park (1967-1973) and the Joan Miró Foundation (1972-1975), also returned, a unique building built with concrete and prefabricated plates and formed by the access tower with an assembly room, bar and library, from which a set of patios are configured that articulate the various exhibition rooms, arranged in a closed circuit.[375].
Other constructions of the time outside the scope of the School were: the Hispano Olivetti office building (1960-1964), by Lodovico Barbiano di Belgiojoso, Enrico Peressutti and Ernesto Rogers, with a glazed curtain wall façade with bodies projecting in a staggered manner towards the central part, in imitation of the typical balcony windows of the Ensanche;[376] the Banco Atlántico (1966-1967), by Francesc Mitjans and Santiago Balcells"), which denotes the influence of the Pirelli skyscraper "Torre Pirelli (Milan)") in Milan, by Gio Ponti; truncated pyramidal.[378].
The new school was led—especially in the theoretical field—by Oriol Bohigas, who in 1962 formed the MBM firm with Josep Martorell and David Mackay. In an article published in Serra d'Or in 1962, Towards a realistic architecture, Bohigas pointed out the crisis of rationalism and how new times had to adapt to the sociocultural and economic reality, with an architecture that respected traditional forms.[369] Some of his works in these years would be: the social housing on Avenida Meridiana 312-318 (1960-1964), the Pati house (1961-1964), the building at 87-89 Conde Borrell Street (1963-1966), the building at 99-101 Entenza Street (1964-1967), the Augusta Clinic (1968-1975), the Bonanova residential complex (1970-1973) and the Thau school (1972-1975).
Among the new architects, those who most revealed the Italian influence were Federico Correa and Alfons Milà, authors of the Atalaya tower (1966-1970) and the Monitor building (1968-1970), the latter inspired by the Velasca tower by Lodovico Barbiano di Belgiojoso, Enrico Peressutti and Ernesto Rogers, with a brutalist appearance and a structure based on modulations of tall and narrow openings combined in different variations.[379].
Ricardo Bofill founded his Taller de Arquitectura in 1963, a multidisciplinary experience that combined architecture with mathematics, poetry, philosophy, economics, advertising and photography.[380] He followed the guidelines of the School, but distanced himself by the treatment of the plan and volume, to which he applied a certain component of formal experimentation, while introducing technological features. This was accentuated in the late 1960s, when it denoted a strong influence from the British group Archigram.[381] In these years he was the author of the buildings on Johann Sebastian Bach 28 (1962-1963), Johann Sebastian Bach 2-4 (1962-1963) and Nicaragua 97-99 (1962-1965).
Studio PER was created in 1964 by two pairs of architects: Òscar Tusquets and Lluís Clotet, and Josep Bonet and Cristian Cirici. In their work they denote the influence of pop-art and Robert Venturi, a fact that led them towards postmodern architecture.[382] In these years, the Tusquets-Clotet tandem were the authors of the Fullà house (1967-1971) and the building at 36 San Mario Street (1969-1971); and the Tokyo building (1972-1974) by the Bonet-Cirici couple.
Albert Viaplana and Helio Piñón began their work in the city with the Can Bruixa building (1974-1976), although they immediately distanced themselves from the School and delved into conceptual and abstract art, influenced by the Five Architects group.[383].
Esteve Bonell was the author of the Frégoli building (1972-1975), a duplex residential building in a rationalist style, with various layouts that combine symmetrical and asymmetrical lines, and that create an irregular façade marked by galleries of interrupted volumes and balconies of vertical continuity.[384].
Special mention deserves Enric Tous and Josep Maria Fargas, who, outside the Barcelona School, are enthusiasts of new technologies and followers of the high-tech style, while denoting the influence of Mies van der Rohe, Richard Neutra and Craig Ellwood.[385] They are authors of the Banca Catalana building on Paseo de Gracia (1965-1968), with a façade designed with alternating prefabricated modules and glass ceilings;[386] and the office building of the Industrial Bank of Bilbao on Diagonal Avenue, current headquarters of the Planeta group (1969-1973), a set of three octagonal towers covered with vegetation.[387].
At this time, religious architecture, although not as frequent as civil architecture, showed signs of a desire to survive and renew. The Second Vatican Council favored the use of new stylistic and structural forms, in line with the international currents prevailing at the time.[388] Some examples would be: the church of San Odo (1958-1960), by Francesc Salvans") and Emili Bordoy; the church of Santa Tecla (1958), by Josep Soteras; the church of San Medin (1958-1960), by Jordi Bonet i Armengol; and two churches from the Martorell-Bohigas-Mackay group: the parish of Redeemer of Gracia (1957-1963) and the church of San Sebastián del Verdún (1958, rebuilt in 1965).[389].
The urban planning of the Porciolist era (1957-1973) stood out for its speculative debauchery, although some attempts at urban reorganization arose, such as the Master Plan for the Metropolitan Area of Barcelona (1966), which sought to make profitability and urban construction compatible, although its indicative nature did not imply a practical realization; and the so-called Plan 2000 (1970), a somewhat utopian attempt to set criteria for the future city, where the importance given to infrastructure predominates, while at the same time acquiring a realistic commitment to the disorderly nature of urban growth.[390].
• - Modern tradition: they are situated between eclectic rationalism and neo-modern architecture, influenced by the International Style; Its main values are functionalism and spatialism. The couples Jordi Garcés / Enric Sòria and Lluís Domènech / Roser Amadó can be placed along this line.[397].
Rafael Moneo held the Chair of Elements of Composition at the ETSAB for eight years (1972-1980), from where he exercised a notable teaching over the new generation of Barcelona architects. He was also on the editorial board of the magazine Arquitecturas Bis (1974-1985), together with Oriol Bohigas, Federico Correa and Helio Piñón, from where they promoted interest in international architecture.[398] In Barcelona he was the author of the Illa Diagonal building (1986-1992), together with Manuel de Solà-Morales i Rubió, a "horizontal skyscraper" by sober and elegant façade;[399] and the Barcelona Municipal Auditorium (1988-1994), a parallelepiped-shaped building with a concrete structure covered with metal panels.[400].
Esteve Bonell and Francesc Rius were the authors of the Horta Velodrome (1984), cylindrical in shape, with alternating brick walls and screened pillars, covered by a cornice in the shape of a horizontal sheet; At its entrance there is a "visual poem" by Joan Brossa.[401].
Jaume Bach and Gabriel Mora have developed an eclectic and decorative style, with designs designed for the small scale of the domestic environment: schools on Garcilaso Street (1979-1982); reform of various squares in the Gracia district (Sol, Virreina, Trilla, Diamant and Raspall, 1982-1985); Josep Maria Jujol school (1984-1987); Gracia sports center (1988-1989).[402].
Josep Llinàs has evolved from an essentialist rationalism towards contextualism and expressionism, influenced by the functionalism of Alvar Aalto and Jørn Utzon, a certain tendency towards austerity inspired by German and Dutch rationalism, while showing Gaudinian traits or the expressionism of Hans Scharoun or Frank Gehry. This multiplicity of influences generates an ambiguous work, located between visual purity and organic exuberance, and which translates into a mixture of elegance and neutrality: Library of the UPC School of Engineering (1987-1990), residential building on 55-57 Calle del Carmen (1989-1994), extension of the Faculty of Law (1996).[403].
Josep Lluís Mateo makes a conceptual treatment of architecture, questioning the idea of traditional beauty and assuming the ugliness of peripheral architecture, as reflected in the conversion of the Can Felipa factory into the Pueblo Nuevo Civic Center (1984-1991) and in the multifunctional complex on Joan Güell Street (1989-1993).[404].
The members of Studio PER have had divergent trajectories: Òscar Tusquets and Lluís Clotet worked together until 1983, in an eclectic and mannerist style (La Balsa restaurant, 1978-1979); Triomf, 1992-1993),[406] while Clotet did so with Ignacio Paricio, initiating a new classicist and monumentalist style (remodeling of the Convent of Los Angeles, 1984-1990; UPF Library, 1989-2000).[407] For their part, Cristian Cirici and Josep Bonet have continued to collaborate (remodeling of the Museum of Zoology, 1989),[408] although they have also carried out solo works: Cirici el Vapor Llull Lofts in the Pueblo Nuevo (1997);[409] Bonet the reform of Plaza del Universo (1983-1985).[410].
Ricardo Bofill practices scenographic, colorful and evocative architecture, without conventions, with a certain degree of superficiality, giving value especially to the image.[411] He has developed most of his work abroad, although in Barcelona it is worth highlighting the National Theater of Catalonia (1987-1997), a classic temple, with a portico with a single glazed intercolumn, which shows the combination of old and new elements in a mixed language and innovative.[412].
Santiago Calatrava is an internationally famous architect and engineer, specialized in large structures, with a style that denotes diverse influences, from Antoni Gaudí to Jørn Utzon and Fernando Higueras. Between 1986 and 1987 he built the Bac de Roda bridge, formed by two twin steel arches that branch when they touch the ground, from which four series of cables hang that support the bridge.[413].
The Elías Torres / José Antonio Martínez Lapeña team has developed a conceptual style influenced by traditional Mediterranean architecture and architects such as José Antonio Coderch, Federico Correa and Alfons Milà.[414] They were the authors of the gardens of Villa Cecilia (1985-1986), with a somewhat labyrinthine structure, which seeks to enhance the various small squares that dot the grounds, and with urban furniture in which the benches stand out, resembling large brightly colored scooters, and the streetlights, with shapes similar to trees.[415].
Another tandem was formed by Albert Viaplana and Helio Piñón, who practiced a conceptual and minimalist architecture, with a tendency towards dematerialization and compositional rigor, with oblique and broken geometries that brought them closer to deconstructivism,[416] with the influence of Peter Eisenman.[417] They were authors of the Plaza de los País Catalanes (1981-1983), a space located in front of the station. Sants, resolved with a pink granite pavement on which a series of metal elements of a more sculptural than architectural design are located, and which turned out to be the paradigm of the "hard plaza" developed in those years in Barcelona urban planning, although in this case justified by the underground presence of the station.[418] Other works of his were the Santa Mónica Art Center (1985-1989) and the Hilton Hotel (1986-1992).
Enric Miralles trained with Viaplana and Piñón, with whom he worked between 1973 and 1985; Between 1983 and 1991 he partnered with Carme Pinós, and since 1993 with Benedetta Tagliabue. Anticonventional, with strong expressiveness, it moved between organicism and expressionism, with fluid and dynamic forms close to sculpture, which were expressed in the taste for the use of elements such as pergolas, overhangs, curved and inclined walls, ramps and platforms.[419] From the mid-1990s it approached deconstructivism.[420] In these years its Archery Pavilion stood out. "Olympic Archery Field (Barcelona)") of the Hebron Valley (1990-1992), long, narrow structures arranged in a fan, made with prefabricated concrete pieces.[421].
Carlos Ferrater received the initial influence of Coderch, to later evolve to a certain organicism, with a relevant role of geometry and the relationship between technique and material, with juxtaposition of volumes and use of wavy and fractal shapes.[422] He was the author of the Hotel Rey Juan Carlos I (1988-1992), the Núñez Mallorca-Calabria-Rocafort building (1990-1991) and the blocks of the Can Torras gardens (1990-1992).
Lluís Domènech i Girbau—great-grandson of Domènech i Montaner—and Roser Amadó moved in a line closer to traditional rationalism. They were the authors of the reconversion of the Montaner i Simón publishing house into the Antoni Tàpies Foundation (1986-1990), as well as the new headquarters of the Archive of the Crown of Aragón (1990-1993).[402].
Jordi Garcés and Enric Sòria are defenders of the artistic nature of architecture, which is why they place special emphasis on the creativity of their works.[414] Among them are: the conversion of the old Santa Lucía Asylum into the Science Museum (1978-1980), the Pi i Molist residential complex (1978-1981), the Picasso Museum (1981-1987), the Plaza Hotel (1989-1992) and the Rubió i Balaguer agora of the UPF —which includes the secular chapel designed by Antoni Tàpies— (1994).
On the other hand, the Martorell-Bohigas-Mackay team continued its work independently, these years with the incorporation of Albert Puigdomènech: Palau Nou de la Rambla building (1990-1993, with Carles Buxadé and Joan Margarit), expansion and new facades of El Corte Inglés in Plaza de Cataluña (1990-1994, with Elías Torres and José Antonio Martínez Lapeña), facade of the Claris Hotel (1991).[423] Federico Correa was in charge with Javier Garrido Lagunilla") of the reconversion of the Can Serra building by Puig i Cadafalch into the headquarters of the Barcelona Provincial Council (1987), with a new semi-detached building with a glazed curtain wall façade.[424] Lluís Nadal") continued his work with works of simple volumes, discreet and homogeneous groups and traditional techniques and materials: Rio de Janeiro residential group (1978-1981).[425] Josep Emili Donato") practiced a purist expressionism based on geometric shapes: Eduard Fontserè school (1978-1982, with Uwe Geest"), Baró de Viver housing group (1985-1988), Teixonera nursing home (1988-1992).[426].
In these years, religious architecture continued to show signs of renewal, with buildings that went beyond their religious function to become multifunctional constructions that combined the liturgical aspect with the social and welfare aspects:[427] church of the Sant Martí industrial estate, by Joan Cusidó i Cabanes; San Juan Bautista de la Salle, by G. Sáez Aragonés and J. Santana Grajera; sanctuary of Our Lady of Mount Carmel (1985-1988), by Francesc de Paula Daumal") and Miquel Campos Pascual").[428].
The arrival of democracy favored the creation of new green areas in the city. At this time, gardening was closely linked to urban planning, with a concept that combined aesthetics with functionality, as well as recreational aspects, sports facilities and services for certain groups such as children or the elderly.[429] Numerous parks emerged converted from former municipal facilities, such as the park by Joan Miró (Antoni Solanas"), Màrius Quintana, Beth Galí and Andreu Arriola), built between 1980 and 1982 in the site of the old central slaughterhouse of Barcelona; or in industrial areas (Parque de la España Industrial, 1981-1985, Luis Peña Ganchegui, Antón Pagola") and Monserrat Ruiz"); Parque de la Pegaso, 1982-1986, Parque del Clot, 1982-1986, Daniel Freixes and Vicente Miranda")) (Sant Martí park, 1985, Antonio Armesto"), Carles Martí&action=edit&redlink=1 "Carles Martí (architect) (not yet written)") and Miquel Sodupe"); Estación del Norte park, 1988, Andreu Arriola, Carme Fiol and Enric Pericas). The Creueta del Coll park was also established on the site of an old quarry (1981-1987), in Martorell-Bohigas-Mackay.[208].
In urban planning, the General Metropolitan Plan was created (1976), an attempt to stop speculation and rehabilitate the most degraded urban spaces, placing special emphasis on social, healthcare and cultural facilities. "Areas of new centrality" were then sought, for the sake of a more polycentric and better connected city.[430] From this plan arose the current administrative division of the city into ten districts, the majority coinciding with the old municipalities added to Barcelona.[431] A good part of the municipal actions consisted of the acquisition of urban land, a fact favored by the relocation of factories and industrial complexes that were moved outside the city. This policy was favored by the socialist council that emerged from the 1979 municipal elections, which appointed Oriol Bohigas as delegate of Urban Planning, which began a period of strong public investment in the city that led to a radical change in the urban physiognomy and a new projection of Barcelona at an international level, whose launch took place with the 1992 Olympic Games.[432].
The Olympic Games also involved a process of creation, restoration and conservation of the city's parks and gardens: in Montjuic, the epicenter of the games, a new 14-hectare Botanical Garden was installed, dedicated to Mediterranean plants from around the world, the work of Carlos Ferrater and Bet Figueras, and the Sculpture Garden was established attached to the Joan Miró Foundation. Other actions related to the games were the Mirador del Migdia parks (Beth Galí, Jaume Benavent") and Andreu Arriola), the Hebron Valley park (Eduard Bru")), the Poblenou park (Manuel Ruisánchez") and Xavier Vendrell")), the Carlos I park (Pep Zazurca") and Juli Laviña")) and three designed by the Martorell-Bohigas-Mackay firm: the Cascadas park, the of the Olympic Port and that of Nueva Icaria.[440].
On the occasion of the Games, the old port (Port Vell) was also remodeled, with a project by Jordi Henrich") and Olga Tarrasó. The new space was dedicated to leisure, with the creation of the Maremàgnum leisure center (Helio Piñón, Albert Viaplana, Jordi Mir"), Rafael Coll"), linked to land by the Rambla de Mar, a pivoting bridge designed by Piñón and Viaplana; the Imax cinema is also located in this space (Jordi Garcés / Enric Sòria) and the Aquàrium (Esteve") and Robert Terradas") The World Trade Center business center, by Henry Cobb, was also built (Pei, Cobb, Freed & Partners).
Another urban action was in the El Raval neighborhood, which was remodeled with a project by Jaume Artigues") and Pere Cabrera"), which consisted of the opening of the Rambla del Raval and the adaptation of the surroundings of the Plaza de los Ángeles as a cultural center, where the Center for Contemporary Culture of Barcelona (1990-1993) and the Museum of Contemporary Art of Barcelona were located. (1987-1996).[442] The first arose from the conversion of the old Casa de la Caridad, with a project by Piñón y Viaplana, where the enclosure of the patio stands out with a glass wall that is inflected in its upper part.[443] The second is a new building designed by Richard Meier, formed by two bodies connected by a cylinder-shaped structure, the largest of which has a glass façade that overlooks the street.[444].
Finally, it should be noted that on the occasion of the Games, the city's road structure was significantly expanded, especially with the creation of ring roads, arranged in a ring road along the entire urban perimeter. Carried out between 1989 and 1992, their general planning was carried out by Josep Acebillo, technical director of the Municipal Institute for Urban Promotion, and Alfred Morales), transport and circulation coordinator of the Barcelona City Council. Hernández"), from the Heritage area of the City Council.[446].
• - Montjuic telecommunications tower (1991), by Santiago Calatrava.
• - Eurocity 2-3 (1989-1992), by Albert Viaplana and Helio Piñón.
• - Central Telefónica (1989-1992), by Jaume Bach and Gabriel Mora.
• - Center of Meteorology (1990-1992), by Álvaro Siza.
• - Center for Contemporary Culture of Barcelona (1990-1993), by Albert Viaplana and Helio Piñón.
• - Museum of Contemporary Art of Barcelona (1987-1996), by Richard Meier.
• - Balcones of Barcelona (1992), Barcelona get pretty campaign.
The last years of the century have been marked by the search for a more sustainable architecture based on ecological criteria, especially regarding the use of photovoltaic solar energy cells in architecture. This new awareness of environmentalism was also reflected in urban planning, with the search for public spaces adapted to the environment and designed for residents, with special emphasis on community facilities and services. These criteria were especially defined in the Sustainable Barcelona Civic Forum, held in 1998.[447].
Among the works of recent years, it is worth highlighting: the RACC building (1990-1996), by Enric Batlle, Joan Roig and Francesc Ribas i Barangé");[448] the renovation of the National Palace "Palacio Nacional (Barcelona)") (1990-1996), by Gae Aulenti;[297] the Nexus building (1992-1995), by Lluís Nadal");[449] the Gabriel Ferraté Library (1992-1996), by Ramon Sanabria") and Ramon Artigues");[450] the “Blanquerna” Faculty of Communication Sciences of the URL (1994-1996), by Daniel Freixes, Vicente Miranda"), Vicenç Bou and Eulàlia González");[451] the CEMIM (Marine Research Center and Environmental Studies), by Pere Riera"), Josep M. Gutiérrez"), Josep Sotorres"), Montserrat Batlle"), Bartomeu Busom") and Franc Fernández") (1996-2001); (1996-2002), by Jordi Garcés;[454] the Theater Institute (1997-2000), by Ramon Sanabria") and Luis Comerón;[455] the reform of the Santa Catalina market (1997-2004), by Enric Miralles and Benedetta Tagliabue;[456] the Arcadias ensemble (1998-2000), by Jaume Bach and Gabriel Mora;[457] and the Heron City building (1999-2001), by Juli Capella").[458].
podium
cella "Cella (architecture)")
Of the rest of the preserved elements from the Roman period, it is worth highlighting the necropolis, a set of tombs located outside the walled area, in the current Plaza de la Villa de Madrid: it has more than 70 tombs from the centuries and, with remains of altars, steles "Stela (monument)") and cupas, discovered by chance in 1954.[28] There are also remains of two aqueducts that carried water to the city, one of them from the Collserola mountain range, to the northwest, and another from the north, taking water from the Besós river; Both joined in front of the Decuman gate of the city - current Plaza Nova -.[29] There are also important archaeological remains preserved in the basement of the City History Museum, in the Plaza del Rey "Plaza del Rey (Barcelona)").[30].
At a domestic level, remains of a Roman house (domus) are preserved on Lladó street, from the century BC. C. It was of an Italic model, with an entrance atrium and a constructed area of 500 m². It was excavated in 1927 by Josep Calassanç Serra i Ràfols, and some of its mosaics are preserved in the Museum of Archeology of Catalonia "Museum of Archeology of Catalonia (Barcelona)").[31] On the other hand, there are testimonies of a large thermal building located in the current Plaza de San Miguel, from around the century AD. C., on which the church of the same name "Iglesia de San Miguel (Barcelona)") was built in the Middle Ages, which preserved until its demolition in 1868 a mosaic with representations of newts "Tritón (mythology)") and other marine motifs.[32].
With the establishment of Christianity as the official religion in the 19th century, artistic production developed around religious themes, which has been defined as early Christian art. This art was born from Roman forms and typologies, but with a new content based on Christian iconography. In architecture, the church "Church (building)") stood out as a typology, heir to the Roman basilica, and new forms were incorporated such as the Latin cross plan - symbol of Jesus -, and new buildings such as the baptistery. Ivo and Calle de los Condes, as well as some sculptural remains that are preserved in the City History Museum.[34] It was a three-nave temple "Nave (architecture)"), with a square-shaped baptistery that housed an octagonal pool.[35].
During the century the Romanesque evolved towards forms that pointed to the new Gothic style.[58] In this period, the strength of the city at an administrative and economic level led to the construction of numerous public buildings and palaces for the nobility and the clergy. The main exponent was the Count's Palace, later the Royal Palace, which over the centuries was extensively remodeled, going from what at first must surely have been a fortified construction to a fully stately palace. However, of the Romanesque palace, later renovated in Gothic style, only the barrel vaults under the Hall of the Tinell, the north and south facades and the windows of the main façade, bricked up when the Tinell was built, remain.[59].
Another exponent was the Episcopal Palace of Barcelona, built between the 19th and 19th centuries. It had a three-story structure with a central patio, featuring semicircular arches on the northwest side, with columns with decorated capitals that are one of the few preserved examples of civil Romanesque sculpture in the city.[60] This palace included the chapel of Santa Lucía (1257), currently integrated into the cloister of the cathedral, small in size and square in plan, covered by a pointed vault, a fact that It already points to the Gothic.[61].
The prosperity gained with territorial expansion led to the first settlements outside the city's walls, once the danger of Muslim incursions had been removed. Various population centers (vila nova) were created, generally around churches and monasteries: this happened around the church of Santa María del Mar, where a port neighborhood was created; also in the church of San Cucufate del Riego, of an agrarian nature; the San Pedro neighborhood around San Pedro de las Puellas; The Pino neighborhood emerged around the church of Santa María del Pino; and the Mercadal, around the Portal Mayor market. The creation of these new neighborhoods forced the walled perimeter to be expanded, so in 1260 a new wall was built from San Pedro de las Puellas to the Atarazanas, facing the sea. The new section was 5,100 meters, and covered an area of 1.5 km². The enclosure had eighty towers and eight new gates, among which were several enclaves of relevance today, such as the Portal del Ángel, the Portaferrissa or the Boquería.[62].
• - Church of Our Lady of the Coll "Church of Our Lady of the Coll (Barcelona)").
• - Monastery of Santa Ana "Monastery of Santa Ana (Barcelona)").
• - Chapel of San Lázaro.
• - Marcus Chapel.
• - Chapel of Saint Lucia.
• - Portal de la Portaferrissa, in a tile of the homonymous fountain.
Shortly after, the monastery and church of Santa María de Pedralbes arose, belonging to the order of the Poor Clares, founded in 1326 at the initiative of Queen Elisenda de Montcada, with the intervention of the master builders Antoni Nató") and Guillem Abiell. The church has a single nave with a heptagonal head, with low chapels between the buttresses on the side of the head, and a choir on the lower side of the church. Later, between the 20th and 2nd centuries, the cloister, around which are the monastic rooms.[71].
It was followed by the church of Santa María del Mar "Iglesia de Santa María del Mar (Barcelona)", one of the best exponents of Gothic in the city, built between 1329 and 1384 on the primitive early Christian church of Santa María de las Arenas, with a project by Berenguer de Montagut, continued by Ramon Despuig and Guillem Metge). It presents three naves separated by octagonal columns, an ambulatory with radial chapels. and a spacious and open interior, where a magnificent glazed rose window stands out.[72].
Other churches of the period are: that of Saints Justo y Pastor (1342-1360), by Bernat Roca, with a five-section nave with a cross vault, side chapels with an apse, an octagonal bell tower and a façade featuring a pointed window instead of the usual rose window;[73] the convent and church of San Agustín (1347-1507), damaged during the siege of 1714 and which was later used as a barracks and currently as an exhibition hall and headquarters of the Municipal Photographic Archive, of which part of the cloister, the side nave of the church and the refectory are preserved; minor synagogue of the Jewish quarter, of which only the nave and the door are preserved from the Gothic period, while the chancel is from the century and the rest of the elements are neo-Gothic additions from the century.[75].
It is also worth highlighting on the outskirts of the city the church of San Martín de Provensals, of uncertain origin, although it was rebuilt between the centuries and in Gothic style, of which its façade stands out, the work of Joan Aymerich"), which presents intersecting flamboyant moldings and a tympanum "Tympano (architecture)") with a sculpture of San Martín de Tours;[76] the monastery of San Jerónimo del Valle de Hebron (1393), the work of Arnau Bargués, with a church with a nave of five sections with a cross vault and two chapels between the buttresses, destroyed in 1835; 1808.[78].
On the civil land, the Royal Mayor Palace stood out, renovated from the previous Romanesque building, in the course of whose modifications most of the previous structure was demolished - only the facades were left -, and a large hall for banquets and receptions was built, the Cámara Mayor or Salón del Tinell, built by Guillem Carbonell") between 1359 and 1370. It is a rectangular room, 33.5 m long and 17 m high, with six semicircular diaphragm arches supported on small pillars with capitals, and a polychrome wooden ceiling.[79] At this time, the chapel of Santa Ágata, built between 1302 and 1310 by Bertran Riquer"), was annexed to the palace, which consists of a single nave, with a two-sloped wooden roof, supported on diaphragm arches; On the altar is the Altarpiece of the Constable, by Jaume Huguet.[80].
Between 1367 and 1368, Carbonell himself renovated the Minor Royal Palace of Barcelona, located on the current Ataúlfo street, a building originally from the century that had belonged to the Order of the Temple, which was renovated in Gothic style with new rooms, such as the Hall of the Horses, made in imitation of the Tinell, or the White Chamber, intended for the king. This palace also stood out for a large garden with exotic animals like a small zoo.[81] Currently only the chapel remains, renovated between 1542 and 1547 by Andreu Matxí"), who replaced the previous diaphragmatic arches with ribbed vaults, and built the side chapels; in 1868 Elías Rogent renovated the façade.[82].
At this time, the City House - the seat of the City Council - was created, which initially consisted of a hall built in the interior patio of the house of the clerk of the Council of Cent, the group of prominent men who ran the city, whose meetings were held until then in the convent of Santa Catalina. façade, by Arnau Bargués, where the semicircular door and a blind archway over the openings stand out, as well as the sculptural decoration, of which a Saint Raphael made by Pere Sanglada stands out; This is the façade that faces City Street, since the current main façade, which faces San Jaime Square, is from the 19th century, in a neoclassical style.[84].
The Palace of the Generality of Catalonia was also created then - originally a tax collecting institution and current headquarters of the autonomous government -, located in an old manor house in the Call, acquired by the Catalan Cortes in 1401 after the expulsion of the Jews. Between 1416 and 1418 it was remodeled by Marc Safont, mainly in terms of the construction of a new façade on Obispo Street, executed in flamboyant Gothic with sculptural ornamentation by Pere Johan. Later, in 1425, Safont himself renovated the gallery on the noble floor, and between 1427 and 1434 he built the chapel of Saint George in the space where there was previously a tower.[85].
Other exponents of civil architecture were: the Atarazanas, built between the centuries and with a first structure around a large patio with porticos and fortified with walls and defense towers, which was expanded at the end of the century by Arnau Ferrer"), which covered the patio and expanded the porticos with two bodies of eight naves each;[86] the Lonja de Barcelona was built between 1380 and 1404 on an old portico at the open air, the work of Pere Llobet and Pere Arvei, although of the Gothic building only the Contracting Room remains, which stands out for its monumentality (16 m high), rectangular in shape with three naves and large semicircular arches that support a wooden roof, a structure reminiscent of the famous Loggia dei Lanzi in Florence;[87] the Hospital of the Holy Cross was built between 1401 and 1415 in El Raval, with a project initial by Guillem Abiell, who planned a rectangular building with four sections arranged around a central patio, with two floors, the lower one resolved with cross vaults and the upper one with a gable roof on diaphragm arches - it currently houses the Library of Catalonia and the Massana School.[88].
At this time, numerous houses of noble families also emerged, generally with a typology based on a quadrangular or rectangular module, with an interior patio that distributes the space, and two floors connected by a staircase, with construction elements based on cross vaults, pointed arches and openwork traceries. Some exponents are: the Requesens Palace (century), current Royal Academy of Good Letters; the Nadal Palace (century), current Museum of Pre-Columbian Art; the House of the Canons (century), which formerly housed canons of the cathedral and is currently the official residence of the president of the Generalitat; the Berenguer d'Aguilar Palace (mid-century), by Marc Safont, current Picasso Museum; and the Cervelló-Giudice Palace (century), current Maeght Gallery.[89].
Another typology that emerged in this period was that of the rural farmhouse, a type of manor house evolved from Roman fortified farms, which over time became authentic stately residences. They generally followed a basilica scheme, with a rectangular plan with a central body and a gallery with an arcade, composed of two floors and an attic or barn. One of the oldest that is preserved is that of Can Vinyals or Torre Rodona, in Les Corts, originally from the century - the period from which the base of the defense tower is preserved - but renovated in the 14th century. From the century they are Can Cortada, in Horta "Horta (Barcelona)"); Can Fuster, also in Horta; and Torre Llobeta, in Nou Barris.[90].
The continuous urban growth led to a new extension of the walled area, with the construction of the El Raval wall, in the western area of the city, which encompassed an area of 218 hectares, with a perimeter of 6 km. The works lasted about a century, from the middle of the century to the middle of the century. The new urban area started from the Atarazanas, following the current streets of San Pablo, San Antonio, Universidad and San Pedro, going down the current Lluís Companys promenade to the Santa Clara monastery - in the current Ciudadela park -, and to the sea, along the current Marqués de la Argentera avenue. Currently, only the Portal de Santa Madrona is preserved, in the Atarazanas.[91].
• - Santa María de Pedralbes (1326).
• - Church of Saints Justus and Shepherd (1342-1360).
• - Church of Saint Martin of Provensals (century).
• - Chapel of Saint Agatha (1302-1310).
• - Minor Royal Palace of Barcelona (1367-1368).
• - Hospital of the Holy Cross (1401-1415).
• - Masía de Can Vinyals or Torre Rodona (century).
Fray Josep de la Concepció—nicknamed the Tracist—worked in this period, a barefoot Carmelite who developed a classicist baroque style, with a certain Vitruvian influence. Between 1668 and 1688 he built the Viceroy's Palace "Palacio del Virrey (Barcelona)"), in the Pla de Palau, a renovation of an old goods warehouse known as Hala dels Draps, with a quadrangular floor plan with a central patio, three levels with balconies and a façade with Gothic elements.[129] In 1675 he adapted the chapter house of the Barcelona Cathedral as a chapel of San Olegario, in Gothic style to not breaking with the line of the temple, and a baroque tomb for the saint, with a statue of Pere Sanglada. In 1687 he built the church of the Barefoot Carmelites of Our Lady of Grace and Saint Joseph - nicknamed dels Josepets - in the Plaza de Lesseps, with a single nave, interconnected chapels, a barrel vault with lunettes, a false transept and a dome without a drum "Drum (architecture)"). The façade has three entrance arches, pediment "Frontón (architecture)"), entablature and a belfry perpendicular to the façade.[130].
There are also several palaces from this period: the Dalmases palace - current headquarters of Òmnium Cultural -, on Montcada street, of Gothic tradition due to its distribution around a central patio with a staircase and two floors, has a façade with broken molded windows and gargoyles "Gárgoyle (architecture)"), and a patio with Solomonic columns and rampant arches;[131] the Marimon palace or that of the Marquis of Caldes de Montbui It stands out for its central patio with a gallery of Tuscan-style lowered arches;[132] the Maldà palace has a curved façade due to its adaptation to the street, made of small ashlars, and a multi-story hall with Rococo decoration;[133] the house of the Resellers' Guild (1685) stands out for the sgraffito on the façade.[134].
In this period the farmhouses progressively abandoned the Gothic lines, with the introduction of new elements such as voussoir doors, mullioned windows, corbels and windowsills.[135] Some exponents are: Can Masdeu, in Horta "Horta (Barcelona)"); Can Trilla, in Gracia; Can Carabassa, in Horta; and Can Mariner, also in Horta.
At an urban planning level, in the century the city wall was expanded again with the construction of five new gates (San Severo, Talleres, San Antonio, San Pablo and Santa Madrona - the latter a reconstruction of that of the century -), streets were paved, sewers were installed, drinking water fountains were built and improvement works were carried out in the port.[136] A bridge was also built that joined the two towers of the decuman gate of the Roman wall, next to the Palace. Episcopal (1614), formed by two segmental arches, the lower one with a walkway with a balustrade and the upper one with a body with five semicircular arch balcony windows framed by Doric pilasters; It was demolished in 1823.[137].
• - Cloister of the convent of La Merced (1637-1651), by Jeroni Santacana").
• - Convalescent House, Hospital de la Santa Cruz (1629-1680), by Pere Pau Ferrer").
• - Church of San Severo (1698-1705), by Jaume Arnaudies") and Jeroni Escarabatxeres.
• - Church of Our Lady of Grace and Saint Joseph (1687), by Fray Josep de la Concepció.
• - House of the Resellers Guild (1685).
• - Can Carabassa farmhouse.
In this century the baroque forms continued, but more tempered, not as exuberant as in the previous century. The architectural language became more classicist, either with a more baroque component (San Miguel del Puerto) or more academic (Church of La Merced "Basilica de la Merced (Barcelona)"), until leading to neoclassicism that developed between the end of the century and the beginning of the century.[138].
The arrival of the Bourbons generated a series of military engineering works in architecture, such as Montjuïc Castle and the Citadel fortress, or even churches such as San Miguel del Puerto in Barceloneta (1753). pentagonal and large moats and bastions, with Vaubanian influence; In 1960 it was converted into a Military Museum, with a renovation by Joaquim de Ros i de Ramis.[140].
For the construction of the Citadel, 1,200 houses in the Ribera neighborhood were demolished—leaving 4,500 people homeless and without compensation—, as well as the convents of San Agustín and Santa Clara, and the Condal Acequia was diverted.[141] Work by Joris Prosper van Verboom, it had a pentagonal shape, also with Vaubanian influence. Of its complex, the arsenal building, current headquarters of the Parliament of Catalonia, stands out; the governor's palace, current Verdaguer Institute; and the chapel, the current military parish.[142] This chapel, designed by Alexandre de Rez") in 1727, presents a classicist portal with a semicircular front, in the style of the Church of the Visitation in Paris.[143].
The first churches were of baroque survival: between 1705 and 1716, the church of San Severo and San Carlos Borromeo—currently San Pedro Nolasco—was built in the Plaza de Castilla, belonging to the order of the Pauls. It has a single nave, with tribunes and a hemispherical dome, and a cloister of Tuscan order, with groin vaults. It has a single nave, a transept, interconnected chapels, a rectangular apse and a façade with a mixtilinear layout, with an entablature beginning and a semicircular finish.[145] Pere Bertran's church is also the church of San Agustín "Iglesia de San Agustín (Barcelona)") (1728),[note 3] with a congregational nave with interconnected chapels, a dome with a lantern, a barrel vault and an apse. semicircular. The façade is by Pere Costa (1735), with a narthex of five semicircular arches, with a mixtilinear pediment and elliptical dome, made only in its lower part, while the upper part remains unfinished.[145] In 1735 the church of Santa Marta was built, in the Riera de San Juan, attached to a pilgrim hospital of the same name; Affected by the opening of the Via Layetana, it was demolished in 1911, although the façade was preserved and moved to the building of the convent of the Hospital de la Santa Cruz y San Pablo, where it still remains.[146].
Between 1736 and 1743, the Casa de la Caridad was built - currently the Center for Contemporary Culture of Barcelona -, located on a previous medieval convent of Augustinian nuns bombed in 1651, which housed a complex of various rooms arranged around a large square courtyard and double-height cloister with Tuscan-style arches, currently known as the Manning courtyard. In the century the neo-Gothic church of Santa María de Montalegre was added, as well as another patio called Dones.[147].
The church of San Miguel del Puerto (1753), by Pedro Martín Cermeño, has Italian influence, especially Maderno and Della Porta, and presents a tripartite façade with an elevated central body with a triangular pediment - which denotes the influence of the Gesù -, and a sculpture of San Miguel by Pere Costa; The plan was square, with a central dome on four pillars, but it was renovated by Elías Rogent in 1863, when he expanded the space of the church and distributed it into three naves, with a new dome on a false transept.[148].
One of the best exponents of religious baroque was the church of La Merced "Basilica de la Merced (Barcelona)") (1765-1775), by José Mas Dordal, which replaced another Gothic one of the Mercedarian order. It has a single nave with interconnected side chapels, following the scheme of the Catalan Counter-Reformation churches, a transept with a dome and a dressing room over the presbytery. The façade denotes the influence of Bernini's Saint Andrew of the Quirinal, with curved side walls, a door with a semicircular pediment, a rose window and a triangular upper pediment. Above the dome stands out the image of Our Lady of Mercy, an original work by Maximí Sala destroyed in 1936 and replaced by a copy by the Oslé brothers (Miquel and Llucià).[149].
Also from this period are two parish churches from former neighboring municipalities of the city, today incorporated as neighborhoods: San Vicente de Sarriá, by José Mas Dordal, built between 1778 and 1816 on the remains of a previous Gothic church from 1379 - built in turn on another Romanesque one consecrated in 1147 -, it has three naves interconnected by semicircular arches, with a flat head and transept with a dome, as well as as side chapels;[150] and the sanctuary of Santa Eulalia de Vilapicina (1782), a reform of a 17th century church, has a barrel-vaulted nave and gabled roof, and a neoclassical façade decorated with sgraffito and crowned by a small bell tower.[151].
Civil architecture, carried out mainly by academic architects, gradually approached neoclassicism, as seen in the Barcelona College of Surgery (1762-1764), the work of Ventura Rodríguez, with a rectangular floor plan divided into two clearly differentiated areas: a circular amphitheater that served as an anatomy classroom and an area of administrative and service offices.[152] In 1771, the new façade of the Viceroy's palace "Palacio del Viceroy (Barcelona)"), designed by the Count of Roncali, fully neoclassical; Reformed again in 1846 on the occasion of a visit by Isabel II, when it became the Royal Palace, it was destroyed by a fire in 1875.[153] Between 1774 and 1802 the Lonja palace was completely renovated, with a project by Joan Soler i Faneca. Of the Gothic building, only the Contracting Room remained, around which a new classicist building was built that denotes a certain Palladian influence.[154] Another building linked to commerce was the Customs House - current Government Delegation -, built between 1790 and 1792 by the Count of Roncali, which presents classicist traces, although it still denotes the survival of baroque decorativeism; It has a façade with three openings, at the ends with a triangular pediment and in the center with a circular one, and a stucco decoration imitating marble.[155].
The palaces of the period usually have a quadrangular plan, with a central patio that is accessed through a main hall, which is usually highlighted by a wide staircase. Some exponents are: the Vicereina palace (1772-1778), built by Josep Ausich") on a project by Manuel de Amat y Junyent, viceroy of Peru; the Sessa-Larrard palace (1772-1778), by Josep Ribas i Margarit"); the Moja palace (1774-1789), by Josep Mas i Dordal; the Marc de Reus house (1775), by Joan Soler i Faneca; and the Savassona palace (1796), the current headquarters of the Barcelona Athenaeum.[156] Between 1782 and 1784, the Episcopal palace was also expanded, with a new building with a façade facing Plaza Nueva, the work of Josep Mas i Dordal.[157] It is also worth mentioning the Casa de la Seda or the Guild of Sailboats (1758-1763), the work of Joan Garrido"), a three-level building. which stands out for its sgraffito decoration, a good example of baroque decorativeism.[158].
The farmhouses continued with the lines outlined in the previous century, with some distinctive elements such as sgraffito decoration or the gabled roofs with mixtilinear crowning. Construction with a Catalan vault was also introduced at this time. Some examples are: Can Travi Nou, in Horta; Can Planas, in Les Corts, currently the famous Masía of the Barcelona Football Club; Can Tusquets, in Gracia; Can Fargas, in Horta; Can Raspall, in Sarrià; Can Rosés, in Les Corts; Can Canet de la Riera, in Sarrià; Can Móra, in Horta; Can Sert, in Gracia; Villa Florida, in Sant Gervasi; and Can Querol, in Horta.
At an urban level, we must highlight the construction in 1753 of the Barceloneta neighborhood, promoted by the Marquis of La Mina, who also repaired and expanded the port and promoted the installation of the first public lighting. Between 1776 and 1778, the urbanization of the Rambla was carried out, and the Paseo de San Juan and Paseo de Gracia were planned, although the first and 1820-1827 the second were not built until the turn of the century. Paseo Nuevo or the Explanada, located next to the Military Citadel, a wide avenue lined with poplars and elms and decorated with ornamental fountains - of which the Fountain of Hercules is preserved; For a time it was the main green space in the city, but it disappeared during the urbanization works of the Ciudadela park.[161].
• - Montjuic Castle (1751-1779), by Juan Martín Cermeño.
• - Church of San Severo and San Carlos Borromeo (1705-1716).
• - Manning Courtyard, House of Charity (1736-1743).
• - Sanctuary of Santa Eulalia de Vilapicina (1782).
• - Customs (1790-1792), by Juan Miguel de Roncali.
• - House of Silk (1758-1763), by Joan Garrido").
• - Can Raspall farmhouse, Sarrià.
A case analogous to that of Montsió occurred with the Gothic church of Santa María de Junqueras, original from the century and run by Benedictine nuns, which was moved in 1868 from Junqueras Street to Aragón Street. Between 1871 and 1888 Jeroni Granell i Mundet was in charge of its renovation, and it was renamed the Basilica of the Immaculate Conception and Assumption of Our Lady. It has a nave with pointed vaults and a polygonal apse, with a two-story rectangular cloister with an attached neo-Gothic chapel.[188].
Other churches of the time were: the parish of San Juan Bautista de Gracia (1878-1884), by Magí Rius"), Miquel Pascual and Francisco Berenguer, with a Latin cross plan, side chapels and neomedieval façade; with a classicist style with an eclectic air, and which stands out for its large dome 61 m high;[190] also in San Andrés and in 1881 the church of San Paciano "San Andrés de Palomar"), by Joan Torras i Guardiola, was built, with a single nave and covered with ribbed pointed vaults.[191].
On the civil land, the Batlló factory (1870-1875), by Rafael Guastavino, stands out, with an iron and brick structure of exposed work and Catalan vault roofs; Of the original work, the Clock building, the octagonal chimney and the yarn plant are preserved, while the rest was renovated between 1927 and 1931 by Juan Rubió and converted into the School of Work.[192] Antonio Rovira y Trías built the markets of San Antonio (1876-1882) and La Concepción (1888): the first is considered the best iron building in the city, and is composed of four longitudinal naves that converge diagonally on a central body with an octagonal dome; The second has three parallel naves with a gable roof, each with its own façade crowned by a triangular pediment.[193].
Other architects that should be remembered from this period are: José Doménech y Estapá, author of the Royal Academy of Sciences and Arts, current Poliorama Theater (1883-1884), with an eclectic façade that combines neomedieval and neoclassical elements; Greco-Roman,[195] and the Bruno Quadros house (1883), with an exotic façade of Egyptian and oriental motifs, where the dragon-lamp on the corner stands out;[196] Pere Falqués designed the Municipal Council of San Martín de Provensals (1876-1887) and the Aguas del Besós tower (1880); Tiberi Sabater built the Casino Mercantil or Bolsín (1881-1883), an eclectic neoclassical building that combines Renaissance elements with classical Greco-Roman orders; Hostafrancs (1893); and Mauricio Garrán") built the Palacio de Mar (1886-1900), current Museum of History of Catalonia.[198].
In addition to the neomedieval styles, orientalism became fashionable at this time, with a set of Islamic-inspired constructions—the so-called neo-Arabic or neo-Moorish—especially influenced by the Alhambra in Granada. Some exponents were: the Citadel Museum-Theater project (1872), by Carlo Maciachini"); the Oriental Baths (1872), by Augusto Font Carreras; the houses of the Spanish Theater (1872) and the Alhambra Building (1875) by Domènec Balet i Nadal"); the House of the Count of Belloch, by Jeroni Granell; the Chalet del Moro (1873), by Jaume Brossa"); and the Mudejar pavilion built in Tibidabo for the Universal Exhibition of 1888. A good example would also be the House of Waters (or Heights), current headquarters of the Horta-Guinardó district (1890, by Enric Figueras"). This fashion would continue in future years in two bullrings: Las Arenas (1899-1900), by Augusto Font Carreras; and the Monumental (1913-1915), by Manuel Raspall, Domingo Sugrañes and Ignasi Mas.[199] Another exponent is the Sobirana tower, a pleasure palace of the Marquis of Alfarràs, surrounded by large gardens that today constitute the Laberinto de Horta park.[200].
On the other hand, the century was the time of the Industrial Revolution, which had rapid consolidation in Catalonia, being a pioneer in the national territory in the implementation of manufacturing procedures initiated in Great Britain in the 19th century. In 1800 there were 150 textile factories in Barcelona, highlighting El Vapor "El Vapor (factory)"), founded by Josep Bonaplata. In 1849, the La España Industrial complex, owned by the Muntadas brothers, was opened in Sants. The textile industry had continuous growth until the crisis of 1861, caused by the shortage of cotton due to the American Civil War. The metallurgical industry also gained importance, boosted by the creation of the railroad and steam navigation. In 1836 he opened the Nueva Vulcano foundry in Barceloneta; and in 1841 La Barcelonesa started, the predecessor of La Maquinista Terrestre y Marítima (1855), one of the most important factories in the history of Barcelona. It should be noted that the first railway line in the Spanish state started from Barcelona, which connected Barcelona with the town of Mataró (1848).[201].
Parallel to the industrial processes, Barcelona experienced a wide series of urban transformations throughout the century: the Plazas Real (1848-1860) and Duque de Medinaceli (1849) were opened, both by Francisco Daniel Molina; They demolished the walls (1854-1856), after many misgivings on the part of the central government, but after the realization that it was essential due to the growth of the population and to safeguard public health.[204].
But without a doubt the great urban event in Barcelona of the century was Ildefonso Cerdá's expansion project: in 1859 the City Council appointed a commission to promote a competition for city expansion projects. The competition was won by Antonio Rovira, but the Ministry of Development intervened and imposed the project of Cerdá, author of a topographical plan of the Barcelona plain and a demographic and urban study of the city. The Cerdá Plan established an orthogonal layout between Montjuic and Besós, with a system of rectilinear streets oriented northwest-southeast, 20 meters wide, cut by others oriented southwest-northeast parallel to the coast and the Collserola mountain range. Thus, a series of square blocks were delimited on one side, of which Cerdá planned to build only two sides and leave the other spaces for gardens, although this point was not fulfilled and in the end practically all the buildable land was used; The buildings were designed with an octagonal plan characteristic of the Ensanche, with chamfers that favored circulation.[205] The plan provided for the construction of several main avenues: the Diagonal "Avenida Diagonal (Barcelona)"), the Meridiana, the Parallel, the Gran Vía and the Paseo de San Juan; as well as several large squares at their intersections: Tetuán, Glorias, Spain "Plaza de España (Barcelona)"), Jacint Verdaguer, Letamendi and University "Plaza de la Universidad (Barcelona)").[206].
It should also be noted that in the century the first public parks appeared, since the increase in urban environments due to the phenomenon of the Industrial Revolution, often in conditions of environmental degradation, advised the creation of large gardens and urban parks, which were borne by the public authorities, which gave rise to public gardening - until then preferably private - and landscape architecture.[207] The first public garden in Barcelona was created in 1816: the Jardin del General, an initiative of Captain General Francisco Javier Castaños; It was located between the current Marqués de la Argentera avenue and the Ciudadela, in front of where the Francia Station is today, and had an area of 0.4 hectares, until it disappeared in 1877 during the urbanization of the Ciudadela park.[208] In 1848 the Tivoli Gardens were created on Paseo de Gracia, between Valencia and Consejo de Ciento streets; and in 1853 the so-called Champs Elysées "Garden of the Champs Elysées (Barcelona)") were located between the streets of Aragón and Roussillon, which had a garden, a lake with boats, a theater and an amusement park with roller coasters. These gardens disappeared a few years later as Paseo de Gracia became urbanized.[209].
• - San Antonio Market (1876-1882), by Antonio Rovira y Trías.
• - Poliorama Theater (1883-1884), by José Domènech y Estapá.
• - Workshops of the Masriera painters (1882-1885), by José Vilaseca.
• - Bruno Quadros House (1883), by José Vilaseca.
• - Casino Mercantil or Bolsín (1881-1883), by Tiberi Sabater.
• - Las Arenas bullring (1899-1900), by Augusto Font Carreras.
• - Garden of the Champs Elysées.
The central area of the enclosure corresponded to the old parade ground of the Citadel, where the main building of the exhibition was located, the Palace of Industry, the work of Jaume Gustà, which housed the foreign sections of the Exhibition.[216] Behind the palace, past the railway lines, various buildings were located, such as the pavilion of the Transatlantic Company, the work of Antoni Gaudí, in the Granada Nasrid style; the pavilions of the so-called Maritime Section, those of Mining and Electricity, and the Swiss Dairy, currently a school. Likewise, on the Paseo de Colón "Paseo de Colón (Barcelona)") the International Hotel was erected, the work of Lluís Domènech i Montaner, an ephemeral work that was dismantled after the Exhibition.[217].
Outside the fairgrounds, numerous works and improvements were carried out throughout the city: the urbanization of the entire seafront of the city, between the Ciudadela park and Las Ramblas, was completed through the construction of Paseo de Colón and a new pier, La Fusta; The first streets of Barcelona were provided with electric lighting (La Rambla, Paseo de Colón, Plaza de San Jaime and the Exhibition grounds);
• - The Castle of the Three Dragons, by Lluís Domènech i Montaner.
• - Pavilion of the Transatlantic Company, by Antoni Gaudí.
• - Palace of Sciences, by Pere Falqués.
• - Palace of Fine Arts, by Augusto Font Carreras.
• - Umbraculo, by José Fontseré.
• - Martorell Museum of Geology, by Antonio Rovira y Trías.
One of the greatest representatives of Catalan modernism was Antoni Gaudí, an architect with an innate sense of geometry and volume "Volume (geometry)"), as well as a great imaginative capacity that allowed him to mentally project most of his works before transferring them to plans. Endowed with a strong intuition and creative capacity, Gaudí conceived his buildings in a global way, taking into account both structural, functional and decorative solutions, also integrating artisanal work, and introduced new techniques in the treatment of materials, such as his famous trencadís, made with pieces of waste ceramics. After beginnings influenced by neo-Gothic art, as well as certain orientalizing tendencies, Gaudí led to modernism in its most effervescent period, although the architect from Reus went beyond orthodox modernism, creating a personal style based on the observation of nature, the fruit of which was his use of regulated geometric shapes, such as the hyperbolic paraboloid, the hyperboloid, the helicoid "Helix (geometry)") and the conoid "Cone (geometry)").[229].
His first achievements, both during his student years and the first ones executed upon obtaining his degree, stand out for the great precision of the details, the use of superior geometry and the preponderance of mechanical considerations in the calculation of structures.[230] From this period, the streetlights of the Plaza Real "Farolas de la plaza Real (Barcelona)") (1878) stand out, as well as the beginning of the works on what would be his magnum opus, the Expiatory Temple of the Sagrada Familia (1883).
Later he went through an orientalist stage, with a series of works with a marked oriental taste, inspired by the art of the Near and Far East, as well as by Hispanic Islamic art, mainly Mudejar and Nasrid. He used ceramic tile decoration with great profusion, as well as the mitral arches "Arco (construction)"), exposed brick cartouches and finishes in the shape of a temple or dome.[231] His main achievements in this period are: the Vicens house (1883-1888), the Güell pavilions (1884-1887), the Güell palace (1886-1888) and the pavilion of the Transatlantic Company for the Universal Exhibition of 1888.
He then went through a neo-Gothic period, in which he was inspired above all by medieval Gothic art, which he assumed freely, personally, trying to improve its structural solutions; In his works he eliminated the need for buttresses through the use of regulated surfaces, and eliminated crests and excessive openwork.[232] In this style we could mention the Teresianas school (1888-1889) and the Bellesguard tower (1900-1909).
At the turn of the century he finally entered into his naturalist stage, in which he perfected his personal style, drawing inspiration from the organic forms of nature and putting into practice a whole series of new structural solutions originating from Gaudí's profound analyzes of regulated geometry. Starting from a certain baroque style, his works acquired great structural richness, with shapes and volumes devoid of rationalist rigidity or any classical premise. Milà house (1906-1910). These last two are among his most notable works: the Batlló house is an example of his fertile imagination, with a sandstone façade carved according to ruled surfaces in a warped shape, with bone-shaped columns and plant representations; The façade is topped by a vault formed by catenary arches covered with two layers of brick, covered with glazed ceramic in the shape of scales - in yellow, green and blue tones -, reminiscent of the back of a dragon.[234] The Milà or la Pedrera house has a façade made of limestone, except for the upper part covered with white tiles; On the roof, the staircase exits stand out, topped with the four-armed Gaudinian cross, as well as the chimneys, covered in ceramic with shapes that suggest soldiers' helmets.[235].
In the last years of his career, dedicated almost exclusively to the Sagrada Familia, Gaudí reached the culmination of his naturalistic style: after the construction of the crypt and the apse, still in neo-Gothic style, he conceived the rest of the temple in an organic style, imitating the shapes of nature, where regulated geometric shapes abound. The temple has a Latin cross plan, with five central naves and a transept with three naves, and an apse with seven chapels, with three facades dedicated to the Birth, Passion and Glory of Jesus, and 18 towers. The interior resembles a forest, with a set of inclined arborescent columns, in a helical shape, creating a structure that is both simple and resistant.[236].
Six of Antoni Gaudí's works in Barcelona have been named World Heritage Sites by UNESCO: Güell Palace, Güell Park and Milà House (1984); Casa Vicens, Casa Batlló and façade of the Nativity and crypt of the Sagrada Familia (2005, in addition to the Crypt of Colonia Güell in Santa Coloma de Cervelló).
Lluís Domènech i Montaner made a mixture of constructive rationalism and fabulous decoration with the influence of Spanish-Islamic architecture.[237] He was the creator of what he called "national architecture",[note 8] an eclectic style based on new techniques and materials, with a modern and international desire. To do this, he was inspired by architects such as Eugène Viollet-le-Duc, Karl Friedrich Schinkel and Gottfried Semper.[238] In his work he seeks constructive and aesthetic unity, with clear and orderly approaches, through a rational system that assumes decorativeness as an essential part of the work.[239].
His most relevant works were the Hospital de la Santa Cruz y San Pablo (1902-1913, completed by his son Pere Domènech i Roura) and the Palace of Catalan Music (1905-1908). The first is a vast hospital complex inherited from the old Hospital de la Santa Cruz, which occupies nine blocks of Ensanche, with a set of 46 pavilions arranged in parallel and diagonal according to the distribution in the area to have optimal solar orientation. They are autonomous pavilions separated by interstitial spaces, although connected by underground galleries, of which the administration pavilion, the assembly hall, the library, the secretariat, the church and the convalescent room stand out.[240] In this work, applied arts take on special relevance, such as sculpture—with works by Eusebi Arnau and Pablo Gargallo—, mosaic, tiles and stained glass.[241] The Palace of Music Catalana is a building articulated around the large central hall, oval in shape and with capacity for 2,000 spectators. Inside it has three sections, the entrance, the auditorium and the stage, with a lavish decoration with ceramic coverings and a large central skylight that covers the room, made of colored glass, in addition to various sculptures by Eusebi Arnau and Pablo Gargallo. The main façade covers the chamfer of Amadeu Vives and Sant Pere més Alt streets, with large access arches and a balcony that surrounds the entire façade, with columns covered in ceramic, and topped by a mosaic dome, where the sculptural group of The popular song, by Miguel Blay, stands out.[242] The San Pablo Hospital and the Palace of Catalan Music were named World Heritage Sites by UNESCO in 1997.
Also worth highlighting is the Lleó Morera house (1905), a renovation of a building built in 1864: its location on a chamfer determined the prominence of the corner, where the main stand is located and is finished off vertically with a small temple; Each floor has a different design, where the ornamental work stands out - with sculptures by Eusebi Arnau -, partially mutilated in a renovation of the ground floor carried out in 1943.[243] Other of his works are: the Montaner i Simón publishing house (current Antoni Tàpies Foundation, 1881-1886); the restaurant of the 1888 Universal Exhibition, known as Castle of the Three Dragons (current Museum of Zoology); the Thomas House (1895-1898); the Lamadrid house (1902); the Hotel España (1903); and the Fuster house (1908-1911).
Josep Puig i Cadafalch adapted modernism to certain influences of Nordic and Flemish Gothic, as well as elements of traditional rural Catalan architecture, with a strong presence of applied arts and stuccos.[244] A disciple of Domènech i Montaner, he was an architect, archaeologist, historian, professor and politician.[245] He was president of the Commonwealth of Catalonia (1917-1924), a position from which which promoted the creation of various professional schools (Nursing, Commerce, Textile Industries), scientific entities (Institute of Catalan Studies) and cultural (MNAC, Library of Catalonia).[246].
It went through various stages: in the 1890s, a certain flamboyant Germanism, which Alexandre Cirici i Pellicer called the "pink era" (Martí or Els Quatre Gats house, 1895-1896; Amatller house, 1898-1900; Macaya house, 1899-1901; Baron de Quadras palace, 1899-1906; Terrades or ”les Punxes” house, 1903-1905); in the 1900s a Mediterranean style or "white era" (Trinxet house, 1902-1904; Can Serra, headquarters of the Barcelona Provincial Council, 1903-1908; Sastre Marquès house, 1905; Muntadas house, 1910; Pere Company house, 1911); and from the 1910s a classicism with a secessionist influence that would lead to Noucentisme, its "yellow age" (Muley-Afid house, 1911-1914; Casaramona factory, current Caixa Fòrum, 1915-1939; Rosa Alemany house, 1928-1930), with the influence of the Chicago School "Chicago School (architecture)") (Pich i Pon house, 1919-1921) and with a drift towards a certain monumental baroque style (palaces of Alfonso XIII and Victoria Eugenia, 1923).[247].
Among these achievements it is worth highlighting the Amatller house and the Terrades house. The first presents a neo-Gothic-looking façade, with three different parts: a stone plinth with two doors on the left side, creating an asymmetric effect; a central body with sgraffito walls and ornamentation of floral motifs, with an upper gallery reminiscent of that of the chapel of San Jorge in the Palace of the Generalitat; and a stepped gable-shaped finish made of red and gold ceramic, with possible influence from the traditional architecture of the Netherlands.[248] The Terrades house occupies an entire block of Ensanche, with an irregular layout: it presents six facades inspired by Nordic Gothic architecture and Spanish Plateresque, topped by gables, some truncated by ceramic panels with Pre-Raphaelite style images, and flanked by six circular towers crowned with conical spiers ending in a needle, which give the building its nickname; It is built in exposed work, with sculptural ornamentation of stone and glazed ceramic, and wrought iron elements.[249].
Some architects evolved from historicism to modernism, with varying degrees of assimilation of the new style, although in general terms a certain continuity with previous forms continued to be evident in their works. Some of the most notable were: Augusto Font Carreras, José Vilaseca, Pere Falqués and José Doménech Estapá. The first was a disciple of Elías Rogent, and developed an eclectic style inspired by neo-Gothic and neo-Arabic; Among his works, the following stand out: the Heures palace (1894-1898), the headquarters of the Barcelona Savings Bank in Plaza de San Jaime (1903) and the Casa de la Caridad church (1912).[250].
Josep Vilaseca practiced a premodernism with a classicist air, as denoted in the Pia Batlló house (1891-1896), the Enric Batlló house (1892-1896), the Àngel Batlló house (1893-1896), the Cabot houses (1901-1905), the Dolors Calm house (1903) and the Comas house d'Argemir (1903-1904).[251].
Pere Falqués was municipal architect of Barcelona, so he participated in numerous urban improvements in the city; He was the author of the Clot market (1889), the Canaletas fountain (1892), the Ensanche Mayor's Office (1893), the Catalan Electricity Central (1896-1897), the streetlights of Paseo de Gracia (1900), the Laribal house (1902), the Bonaventura Ferrer house (1905-1906) and the Sants market (1913).[252].
Josep Domènech i Estapà captured in his works a personal, eclectic, functional and grandiloquent modernism.[253] He was the author of the Barcelona Model Prison (with Salvador Viñals, 1887-1904), the Montaner Palace - current Government Delegation - (1889-1893, completed by Antoni Maria Gallissà and Lluís Domènech i Montaner), the Catalana de Gas building (1895-1896), the Santa Lucía Asylum - later the Science Museum - (1904-1909), the Fabra Observatory (1904-1906), the Clinical Hospital (1904), the Costa house (1904), the church-convent of Nuestra Señora del Carmen (1909-1921) and the Magòria station (1912).[254].
Another architect with an eclectic style was Enric Sagnier, who followed a classicist personal style with great success among the Catalan bourgeois class. A prolific author, he was possibly the architect with the largest number of constructions in Barcelona, with nearly 300 documented buildings.[255] Three stages can be distinguished in his career: before 1900 he worked with an eclectic, monumental and grandiose style; From 1900 to 1910 he moved closer to modernism, which is perceived in a greater decorative sense of his work at this time, with special influence of Rococo art; and since 1910 he remained in a classicist style of French influence, far from the fashions of the moment.[256] Among his works the following stand out: the Palace of Justice of Barcelona (1887-1908, with Josep Domènech i Estapà), the Pascual i Pons house (1890-1891), the Jesús-María school (1892-1897), the Customs House of the Port of Barcelona (1896-1902, with Pere Garcia Fària), the Arnús house or “El Pinar” (1902-1904), the Expiatory Temple of the Sacred Heart (1902-1961), the Fargas house (1904), the church of Our Lady of Pompeya (1907-1910), the Ramon Mulleras house (1910-1911), the Doctor Genové house (1911) and the new church of San Juan de Horta (1911-1917).
Among the fully modernist architects, it is worth mentioning in the first place several disciples of Gaudí, such as Francisco Berenguer, Juan Rubió and Josep Maria Jujol. The first was a master builder who did not obtain the title of architect, so his projects are signed by other architects. He was the author of the Libertad market (1888-1893), the Royal Sanctuary of San José de la Montaña (1895-1902), the Burés house (1900-1905), the Moral Center of Gracia (1904), the Gracia Town Hall (1905), the Gaudí House-Museum in Park Güell (1905), the Cama house (1905) and the Rubinat house (1909).[257].
Juan Rubió practiced a Gothic eclecticism, with intensive use of brickwork and thoroughness in the design;[258] upon being appointed architect of the Provincial Council he moved to a baroque classicism, although always with Gaudinian persistence.[259] Among his works, the following stand out: the Golferichs house (1900-1901), the Alemany house (1900-1901), the house Roviralta or “Frare Blanc” (1903-1913), the Fornells house (1903), the Pomar house (1904-1906), the Casacoberta house (1907), the Manuel Dolcet house (1907), the Rialp house (1908), the Roig house (1915-1918) and the flamboyant Gothic style bridge on Obispo street (1928).[260].
Josep Maria Jujol worked with Gaudí between 1907 and 1914, a time in which he already showed a strong personality and creative genius. He developed a heterodox style, in which he mixed Catholic mysticism with an almost surrealist sense of decoration, with a taste for calligraphy, organic images - close to the work of Joan Miró - and the mystification of techniques and materials, sometimes close to collage.[261] Much of his production was carried out in Bajo Llobregat - especially San Juan Despí - and Tarragona. Of his works in Barcelona, the Planells house (1923-1924) stands out, where it shows a certain influence of German expressionism and the organicism practiced at the time by Frank Lloyd Wright.[262] Other works of his are: the Sansalvador estate (1909-1910), the Queralt house (1916-1917) and the Manyach workshops - currently the Josep Maria Jujol School - (1916-1922). In the postwar period he moved to an anti-avant-garde academicism of Franciscan inspiration, very far removed from his initial works.[263].
• - Headquarters of the Barcelona Savings Bank in Plaza de San Jaime (1903), by Augusto Font Carreras.
• - Casa Pia Batlló (1891-1896), by José Vilaseca.
• - Catalan Electricity Central (1896-1897), by Pere Falqués.
• - Asilo de Santa Lucía, later Museum of Science (1904-1909), by José Doménech y Estapà.
• - Church of Our Lady of Pompeii (1907-1910), by Enric Sagnier.
• - Golferichs House (1900-1901), by Juan Rubió.
• - Planells House (1923-1924), by Josep Maria Jujol.
Other modernist architects of interest are: Camil Oliveras, one of the pioneers of modernism, especially for the use of exposed brick and polychrome ceramics, a technique that he developed in the Provincial Maternity and Foundling House of Barcelona (1883-1924, with General Guitart);[264] Antoni Maria Gallissà, an architect closely linked to the decorative arts, as denoted in the Llopis Bofill house (1902), with a façade with sgraffito of Islamic motifs and balconies in the form of iron and glass tribunes;[265] Salvador Valeri, who received Gaudinian influence, especially in the use of the Catalan vault and the parabolic arch, as seen in the Sant Jordi tower (1908) and the Comalat house (1909-1911);[266] Antoni de Falguera was a disciple of Puig i Cadafalch, and evolved from a certain neo-Romanesque style towards a more sober style when he was appointed municipal architect (Ninot market, 1892-1894; Breastfeeding House, 1906-1913; Barcelona Municipal Conservatory of Music, 1916-1928); Mayor of Hostafrancs, current City Council of Sants-Montjuïc (1908-1915, with Ubaldo Iranzo); classicist with modernist ornamentation, as evidenced in the Juncosa house (1907-1909); 1900; Villa Helius, 1906-1909); Granell, 1902-1904; buildings at Mallorca 219, Roger de Lauria 84, Padua 75 and Gerona 122, all between 1900 and 1903); 1905-1906, with Bonaventura Conill; Sarrià market, 1911-1913, with Marceliano Coquillat); Amsterdam.[276].
• - Llopis Bofill House (1902), by Antoni Maria Gallissà.
• - Comalat House (1909-1911), by Salvador Valeri.
• - Barcelona Municipal Conservatory of Music (1916-1928), by Antoni de Falguera.
• - Pérez Samanillo House, current Equestrian Circle (1910-1911), by Joan Josep Hervàs.
• - Tosquella House (1906), by Eduard Maria Balcells.
• - Heribert Pons House (1907-1909), by Alexandre Soler.
• - Church of Carmen (1910-1930), by Josep Maria Pericas.
It is also worth mentioning architects such as: Antoni Rovira i Rabassa (Codina house, 1892; Ramon Casas house, 1898-1899); Manuel Comas i Thos (Jaume Moysi house, 1893-1895; Widow Marfà house, 1901-1905); José Pérez Terraza (Francesc Farreras house, 1899; Ignacio Portabella tower, 1905); Francisco de Paula del Villar y Carmona (Climent Arola house, 1900-1902; Santa Madrona church, 1916); Bernardí Martorell (monastery of Santa María de Valldonzella, 1900; Laplana house, 1907; convent of the Redeemer, 1926); Joan Alsina (Oller house, 1901); Telm Fernández i Janot (Felip houses, 1901 and 1905-1913); Ferran Romeu i Ribot (Roure house, 1901-1902); Salvador Soteras (Ibarz Bernat house, 1901-1904); Adolf Ruiz i Casamitjana (Llorenç Camprubí house, 1901; Andreu tower or “la Rotonda”, 1906-1918); Andreu Audet (Hotel Colón, 1902); Miquel Madorell (Santurce house, 1902-1905); Josep Amargós (Two Rius water tower, 1902-1905); Juli Batllevell (Trias house, 1903-1906; Antonia Burés house, 1903-1906; Bulart-Rialp tower, 1906-1907); Bonaventura Conill (Matas i Ramis house, 1903); Roc Cot i Cot (Antònia Puget house, 1904-1906); Julio María Fossas (Josefa Villanueva houses, 1904-1909; Marià Pau house, 1907); Miquel Pascual (Josep Barnolas house, 1905); Jaume Torres i Grau (Torres houses, 1905-1907; Ramos houses, 1906-1908); Joaquim Codina i Matalí (Malagrida house, 1905-1908); Juli Marial i Tey (Josepa Marsans house, current hostel of Our Lady of Montserrat, 1906); the brothers Bonaventura and Joaquim Bassegoda (Berenguer house, 1907; Rocamora houses, 1914-1918); Jaume Bayó (Baurier house, 1910); Josep Graner (Fajol or Butterfly House, 1912); Antoni Millàs (Maldonado house "Casa Maldonado (Barcelona)"), 1913-1914; Millàs house, 1915); Marceliano Coquillat (Josefina Bonet house, 1915); and Manuel Sayrach (Sayrach house, 1915-1918).
Lastly, it is necessary to point out in this period the interest given to commercial establishments, where, along with the architectural structure, applied arts, interior design and decoration play an essential role. A good example of this is: the Múrria grocery store (1898); the Bar Torino, decorated by Antoni Gaudí in 1902; the Antigua Casa Figueras pasta factory, decorated in 1902 by the painter and set designer Antoni Ros i Güell; the Bolós pharmacy, decorated in 1902 by Antoni de Falguera; the Grill Room restaurant, by the decorator Ricard de Campmany") (1902); the Sarret oven (1906); the Casa Teixidor fine arts store, by Manuel Joaquim Raspall (1909); the Reñé confectionery, decorated by Enric Llardent in 1910; the Puigoriol pharmacy, by Marià Pau") (1913-1914); and the El Indio lingerie, by the decorators Vilaró and Valls (1922).[277].
• - Marfà Widow House (1901-1905), by Manuel Comas i Thos.
• - Ignacio Portabella Tower (1905), by José Pérez Terraza.
• - Trias House (1903-1906), by Juli Batllevell.
• - Josefa Villanueva Houses (1904-1909), by Julio María Fossas.
• - Ramos Houses (1906-1908), by Jaume Torres i Grau.
• - Rocamora Houses (1914-1918), by Bonaventura and Joaquim Bassegoda.
From the International Section, the German Pavilion "German Pavilion (Barcelona)"), by Ludwig Mies van der Rohe, stood out, one of the best examples of international style architecture due to its formal purity, its spatial conception and its intelligent use of structures and materials, which made this pavilion the paradigm of architecture of the century. Rectangular in plan, it stood on a podium covered with travertine; The roof was supported by cruciform columns and load-bearing walls, with walls made of different materials. Demolished after the Exhibition, it was rebuilt between 1985 and 1987 in its original location by Cristian Cirici, Ignasi de Solà-Morales and Fernando Ramos"), following the plans left by Mies van der Rohe.[310][note 11].
Other relevant constructions carried out for the Exhibition were: the Teatre Grec, an open-air theater inspired by the ancient Greek theaters - especially that of Epidauro -, designed by Ramon Reventós, which currently hosts a summer festival in Barcelona, the Grec Festival; urban and architectural environments throughout the entire national territory, the work of architects Ramon Reventós and Francesc Folguera.[313].
On the occasion of the Exhibition, a good part of the Montjuic mountain was landscaped, with a project by Jean-Claude Nicolas Forestier and Nicolás María Rubió y Tudurí, who created a complex with a marked Mediterranean character and classicist taste, with a style of Hispano-Arabic inspiration like the one that Forestier had developed in the María Luisa park in Seville: thus the gardens of Laribal, those of Miramar, and those of the Teatre were created. Greek.[314].
As happened in 1888, the 1929 Exhibition had a great impact on the city of Barcelona at an urban planning level, not only in the Montjuic area, but improvement and conditioning works were carried out throughout the city: the squares of Tetuán, Urquinaona and Letamendi were landscaped; the Marina bridge was built; Plaza de Cataluña was urbanized; and the Diagonal "Avenida Diagonal (Barcelona)") was extended to the west and the Gran Vía to the southwest. Various public works were also carried out: the paving of streets and sewage was improved, public toilets were installed and gas lighting was replaced with electric ones. Likewise, various buildings were remodeled, such as the Town Hall or the Generalitat – where the flaming bridge that crosses Obispo Street was built. The Post Office building and the Francia Station, which had been under construction for several years, were completed. Likewise, the Royal Palace of Pedralbes was built as the residence of the royal family. During that time, the first skyscraper in Barcelona was also built, the Telefónica building in Plaza de Cataluña, the work of Francesc Nebot.[315].
Finally, the city's communications were improved, with the construction of the Prat Airport in the 1920s, the elimination of level crossings within the city, the improvement of links with the city's peripheral neighborhoods, the burying of the Sarrià train (Ferrocarriles de la Generalitat de Catalunya) and the electrification of public trams. The Barcelona Metro was also built, initially inaugurated in 1924 and expanded in 1926 with the service of the Metro Transversal between Bordeta and Catalunya (current L1), which linked the city center with the Exhibition site. Likewise, a funicular was built to access the top of the mountain, as well as a cable car to access it from the Port of Barcelona, the work of Carles Buïgas, although it was inaugurated later, in 1931. All of these public works led to a strong demand for employment, causing a great increase in immigration to Barcelona, coming from all parts of Spain. This increase in population led to the construction of various working-class neighborhoods of "cheap houses", such as the Aunós Group in Montjuic and the Milans del Bosch and Baró de Viver Groups in Besós.[316].
• - Press Palace.
• - Palace of Graphic Arts.
• - Palace of Agriculture.
• - Palace of Textile Art.
• - Palace of the Provincial Councils.
• - Palace of the Missions.
à redent
Guernica "Guernica (Picasso)")
In addition to Sert, it is worth highlighting: Sixte Illescas (Vilaró house, 1931; residential building at 96 Padua Street, 1934-1935; Illescas house, 1934-1935; Masana house, 1935-1940); Germán Rodríguez Arias (Astoria building, 1933-1934; Diagonal block, 1935-1940, with Churruca; Vía Augusta building "Vía Augusta (Barcelona)") 61, 1937); Ricardo de Churruca (Barangé house, 1931-1935; Conill house, 1935, Sepu warehouses, 1935-1936); Pere Benavent de Barberà (residential building at 220 Balmes Street, 1931-1932; building at 56 Gaudí Avenue, 1933; Jacinto Esteva House, 1935-1940); Jaume Mestres i Fossas (Viladot house, 1930-1933; Sans house, 1933-1936); Joaquim Lloret i Homs (Barraquer clinic, 1934-1940); Luis Gutiérrez Soto (Fàbregas building or Urquinaona Skyscraper, 1936-1944); Josep Soteras (building at 371 Balmes Street corner of Ronda General Miter, 1935-1941; building at 22 Ronda de San Pedro corner of Trafalgar Street, 1936); and Josep Maria Sagnier i Vidal (building at 392-396 Balmes Street, 1935-1942).
In the urban area, it is worth mentioning the Macià Plan (1932-1935), prepared by Sert and Le Corbusier, a project that provided for a functional distribution of the city with a new geometric order, through large backbone axes such as the Gran Vía, the Meridiana and the Parallel, and with a new maritime façade defined by Cartesian skyscrapers, in addition to the improvement of equipment and services, the promotion of public housing and the creation of a large park and leisure center next to the Llobregat delta, the so-called City of Rest and Vacations. The beginning of the Civil War cut short the project.[328] It is also worth mentioning that in 1931 the College of Architects of Catalonia, Aragon, the Balearic Islands and Logroño was created, delimited in 1933 to Catalonia and the Balearic Islands and in 1978 only to Catalonia; Since 1944, this entity has edited the magazine Cuadernos de Arquitectura - since 1981 published in Catalan as Quaderns.[329].
The war brought a halt to the city's landscape projects, and in the post-war period, actions focused more on the maintenance and restoration of existing areas than on the creation of new green areas. In 1940, Lluís Riudor i Carol, the initiator of landscaping in Catalonia, took charge of Parks and Gardens. various thematic gardens, such as the Mossèn Costa i Llobera gardens, specialized in cacti and succulents, and the Mossèn Cinto Verdaguer gardens, dedicated to aquatic, bulbous and rhizomatous plants.[336] His work was also the Mirador del Alcalde gardens and the Joan Maragall gardens, located around the Albéniz Palace; and, in the rest of Barcelona, the Putget park, the Guineueta park and the Villa Amelia park.[337].
On the other hand, the main exponents in these years of a rationalism with Miesian and Bauhausian roots were Francesc Mitjans and Francisco Juan Barba Corsini.[349] The former was the author of the La Colmena building (1950-1952), the Vallmajor housing complex and Soler Roig Clinic (1950-1954), the CYT office building (1953-1959), the Tokyo building (1954-1957), the Hotel Barcelona (1955-1962), the Seida building (1955-1967, with Josep Soteras) and the Harry Walker office building (1959). Barba Corsini built the Miter building (1959-1964) and the attic apartments of Casa Milà (1955), in the style of the study houses of Los Angeles.[350].
One of the youngest members, but who stood out quickly, was Oriol Bohigas, architect, critic, professor and politician,[351] defender of a pragmatic and functional architecture based on efficiency and profitability, with respect for traditional architecture and a special value given to materials, as denoted in his staunch defense of brick.[352] He worked in association with Josep Martorell since 1951; His works are: the Escorial housing group (1952-1955), the housing building at 215 Roger de Flor street (1954-1958), the building at 301-319 Pallars street (1955-1960), the headquarters of the Mutua Metalúrgica de Seguros (1955-1959) and the Milans del Bosch housing group (1962-1964).
In these years, a series of unique works emerged that deserve special mention: the Municipal Sports Palace (1953-1955), by Lorenzo García-Barbón and Josep Soteras, with brutalist aesthetics,[353] presents a tunned volume with a series of bays of parabolic arches, with two large rectangular screens as a brise-soleil on the walls;[354] the Camp Nou (1954-1957), by Lorenzo García-Barbón, Francesc Mitjans and Josep Soteras, a stadium with a reinforced concrete structure with capacity for 90,000 spectators,[355] with three superimposed stands arranged with a layout of four lowered curves to facilitate the proximity of the spectator to the playing field, which is located below street level to provide better access to the upper levels; Gustavo Gili (1954-1961), by Joaquim Gili and Francesc Bassó"), located inside a block in Ensanche, presents a glass façade covered by brise-soleil, with an open structure full of natural light thanks to side patios;[357] the SEAT complex (1954-1960), by Manuel Barbero"), César Ortiz Echagüe"), Rafael Echaide Itarte") and Rafael de la Joya"), a set of dining rooms, warehouses, laboratories and offices with aluminum profiles;[358] the headquarters of the College of Architects of Catalonia and the Balearic Islands (1958-1962), by Xavier Busquets"), an eight-story tower with a metal structure in a curtain wall and a trapezoidal lower body, decorated with sgraffito by Picasso;[359] and the Faculty of Law (1958-1959), by Guillermo Giráldez, Pedro López Íñigo and Xavier Subías, with a structural grid of rectangular bodies and interior patios, with glass enclosures and prefabricated white stoneware walls, of neoplasticist influence.[360].
In the 1950s, religious architecture opened up to new avant-garde architectural languages, always respecting its particular idiosyncrasy as buildings intended for faith.[361] Examples of this would be the Hogares Mundet church (1954-1957), by Manuel Baldrich, which denotes the influence of Alvar Aalto, with decoration by the sculptors Josep Maria Subirachs and Eudald Serra; the church of San Gregorio Taumaturgo (1954-1963), by Bartomeu Llongueras"), with a circular plan and classicist façade; the church of Santa Cecilia (1957), by Jordi Vidal de Llobatera"), which surprised with its bell-shaped and slightly inclined interior nave.[362].
With regard to urban planning, in 1953 the Regional Plan emerged, an attempt to integrate the city with the neighboring municipalities in order to satisfy the strong demand for housing in the years of massive immigration arrival, while trying to stop real estate speculation and improve the urban environment.[363] Although it was not carried out in its entirety, various partial plans emerged from its initial approach, especially those referring to the areas of Besós and the Diagonal limit: in the First, the new neighborhoods of La Verneda and Besós were created, while in the second, the University Zone was planned and the neighborhoods of Les Corts and Collblanc were expanded.[364].
On the other hand, in 1952 Barcelona hosted the XXXV International Eucharistic Congress, which allowed the urbanization of a new neighborhood known as Congrés, with a housing complex designed by Josep Soteras, Carles Marquès") and Antoni Pineda"). Enric Giralt i Ortet").[366] On the other hand, the housing deficit to accommodate the new immigration led to the promulgation of the Social Emergency Plan of 1958, which led to the construction of large blocks of social housing in peripheral neighborhoods, such as La Verneda, Torre Llobeta, Polvorín, Can Clos, la Trinidad and Verdún "Verdún (Barcelona)").[366].
Josep Lluís Sert, author of the residential complex Les Escales Park (1967-1973) and the Joan Miró Foundation (1972-1975), also returned, a unique building built with concrete and prefabricated plates and formed by the access tower with an assembly room, bar and library, from which a set of patios are configured that articulate the various exhibition rooms, arranged in a closed circuit.[375].
Other constructions of the time outside the scope of the School were: the Hispano Olivetti office building (1960-1964), by Lodovico Barbiano di Belgiojoso, Enrico Peressutti and Ernesto Rogers, with a glazed curtain wall façade with bodies projecting in a staggered manner towards the central part, in imitation of the typical balcony windows of the Ensanche;[376] the Banco Atlántico (1966-1967), by Francesc Mitjans and Santiago Balcells"), which denotes the influence of the Pirelli skyscraper "Torre Pirelli (Milan)") in Milan, by Gio Ponti; truncated pyramidal.[378].
The new school was led—especially in the theoretical field—by Oriol Bohigas, who in 1962 formed the MBM firm with Josep Martorell and David Mackay. In an article published in Serra d'Or in 1962, Towards a realistic architecture, Bohigas pointed out the crisis of rationalism and how new times had to adapt to the sociocultural and economic reality, with an architecture that respected traditional forms.[369] Some of his works in these years would be: the social housing on Avenida Meridiana 312-318 (1960-1964), the Pati house (1961-1964), the building at 87-89 Conde Borrell Street (1963-1966), the building at 99-101 Entenza Street (1964-1967), the Augusta Clinic (1968-1975), the Bonanova residential complex (1970-1973) and the Thau school (1972-1975).
Among the new architects, those who most revealed the Italian influence were Federico Correa and Alfons Milà, authors of the Atalaya tower (1966-1970) and the Monitor building (1968-1970), the latter inspired by the Velasca tower by Lodovico Barbiano di Belgiojoso, Enrico Peressutti and Ernesto Rogers, with a brutalist appearance and a structure based on modulations of tall and narrow openings combined in different variations.[379].
Ricardo Bofill founded his Taller de Arquitectura in 1963, a multidisciplinary experience that combined architecture with mathematics, poetry, philosophy, economics, advertising and photography.[380] He followed the guidelines of the School, but distanced himself by the treatment of the plan and volume, to which he applied a certain component of formal experimentation, while introducing technological features. This was accentuated in the late 1960s, when it denoted a strong influence from the British group Archigram.[381] In these years he was the author of the buildings on Johann Sebastian Bach 28 (1962-1963), Johann Sebastian Bach 2-4 (1962-1963) and Nicaragua 97-99 (1962-1965).
Studio PER was created in 1964 by two pairs of architects: Òscar Tusquets and Lluís Clotet, and Josep Bonet and Cristian Cirici. In their work they denote the influence of pop-art and Robert Venturi, a fact that led them towards postmodern architecture.[382] In these years, the Tusquets-Clotet tandem were the authors of the Fullà house (1967-1971) and the building at 36 San Mario Street (1969-1971); and the Tokyo building (1972-1974) by the Bonet-Cirici couple.
Albert Viaplana and Helio Piñón began their work in the city with the Can Bruixa building (1974-1976), although they immediately distanced themselves from the School and delved into conceptual and abstract art, influenced by the Five Architects group.[383].
Esteve Bonell was the author of the Frégoli building (1972-1975), a duplex residential building in a rationalist style, with various layouts that combine symmetrical and asymmetrical lines, and that create an irregular façade marked by galleries of interrupted volumes and balconies of vertical continuity.[384].
Special mention deserves Enric Tous and Josep Maria Fargas, who, outside the Barcelona School, are enthusiasts of new technologies and followers of the high-tech style, while denoting the influence of Mies van der Rohe, Richard Neutra and Craig Ellwood.[385] They are authors of the Banca Catalana building on Paseo de Gracia (1965-1968), with a façade designed with alternating prefabricated modules and glass ceilings;[386] and the office building of the Industrial Bank of Bilbao on Diagonal Avenue, current headquarters of the Planeta group (1969-1973), a set of three octagonal towers covered with vegetation.[387].
At this time, religious architecture, although not as frequent as civil architecture, showed signs of a desire to survive and renew. The Second Vatican Council favored the use of new stylistic and structural forms, in line with the international currents prevailing at the time.[388] Some examples would be: the church of San Odo (1958-1960), by Francesc Salvans") and Emili Bordoy; the church of Santa Tecla (1958), by Josep Soteras; the church of San Medin (1958-1960), by Jordi Bonet i Armengol; and two churches from the Martorell-Bohigas-Mackay group: the parish of Redeemer of Gracia (1957-1963) and the church of San Sebastián del Verdún (1958, rebuilt in 1965).[389].
The urban planning of the Porciolist era (1957-1973) stood out for its speculative debauchery, although some attempts at urban reorganization arose, such as the Master Plan for the Metropolitan Area of Barcelona (1966), which sought to make profitability and urban construction compatible, although its indicative nature did not imply a practical realization; and the so-called Plan 2000 (1970), a somewhat utopian attempt to set criteria for the future city, where the importance given to infrastructure predominates, while at the same time acquiring a realistic commitment to the disorderly nature of urban growth.[390].
• - Modern tradition: they are situated between eclectic rationalism and neo-modern architecture, influenced by the International Style; Its main values are functionalism and spatialism. The couples Jordi Garcés / Enric Sòria and Lluís Domènech / Roser Amadó can be placed along this line.[397].
Rafael Moneo held the Chair of Elements of Composition at the ETSAB for eight years (1972-1980), from where he exercised a notable teaching over the new generation of Barcelona architects. He was also on the editorial board of the magazine Arquitecturas Bis (1974-1985), together with Oriol Bohigas, Federico Correa and Helio Piñón, from where they promoted interest in international architecture.[398] In Barcelona he was the author of the Illa Diagonal building (1986-1992), together with Manuel de Solà-Morales i Rubió, a "horizontal skyscraper" by sober and elegant façade;[399] and the Barcelona Municipal Auditorium (1988-1994), a parallelepiped-shaped building with a concrete structure covered with metal panels.[400].
Esteve Bonell and Francesc Rius were the authors of the Horta Velodrome (1984), cylindrical in shape, with alternating brick walls and screened pillars, covered by a cornice in the shape of a horizontal sheet; At its entrance there is a "visual poem" by Joan Brossa.[401].
Jaume Bach and Gabriel Mora have developed an eclectic and decorative style, with designs designed for the small scale of the domestic environment: schools on Garcilaso Street (1979-1982); reform of various squares in the Gracia district (Sol, Virreina, Trilla, Diamant and Raspall, 1982-1985); Josep Maria Jujol school (1984-1987); Gracia sports center (1988-1989).[402].
Josep Llinàs has evolved from an essentialist rationalism towards contextualism and expressionism, influenced by the functionalism of Alvar Aalto and Jørn Utzon, a certain tendency towards austerity inspired by German and Dutch rationalism, while showing Gaudinian traits or the expressionism of Hans Scharoun or Frank Gehry. This multiplicity of influences generates an ambiguous work, located between visual purity and organic exuberance, and which translates into a mixture of elegance and neutrality: Library of the UPC School of Engineering (1987-1990), residential building on 55-57 Calle del Carmen (1989-1994), extension of the Faculty of Law (1996).[403].
Josep Lluís Mateo makes a conceptual treatment of architecture, questioning the idea of traditional beauty and assuming the ugliness of peripheral architecture, as reflected in the conversion of the Can Felipa factory into the Pueblo Nuevo Civic Center (1984-1991) and in the multifunctional complex on Joan Güell Street (1989-1993).[404].
The members of Studio PER have had divergent trajectories: Òscar Tusquets and Lluís Clotet worked together until 1983, in an eclectic and mannerist style (La Balsa restaurant, 1978-1979); Triomf, 1992-1993),[406] while Clotet did so with Ignacio Paricio, initiating a new classicist and monumentalist style (remodeling of the Convent of Los Angeles, 1984-1990; UPF Library, 1989-2000).[407] For their part, Cristian Cirici and Josep Bonet have continued to collaborate (remodeling of the Museum of Zoology, 1989),[408] although they have also carried out solo works: Cirici el Vapor Llull Lofts in the Pueblo Nuevo (1997);[409] Bonet the reform of Plaza del Universo (1983-1985).[410].
Ricardo Bofill practices scenographic, colorful and evocative architecture, without conventions, with a certain degree of superficiality, giving value especially to the image.[411] He has developed most of his work abroad, although in Barcelona it is worth highlighting the National Theater of Catalonia (1987-1997), a classic temple, with a portico with a single glazed intercolumn, which shows the combination of old and new elements in a mixed language and innovative.[412].
Santiago Calatrava is an internationally famous architect and engineer, specialized in large structures, with a style that denotes diverse influences, from Antoni Gaudí to Jørn Utzon and Fernando Higueras. Between 1986 and 1987 he built the Bac de Roda bridge, formed by two twin steel arches that branch when they touch the ground, from which four series of cables hang that support the bridge.[413].
The Elías Torres / José Antonio Martínez Lapeña team has developed a conceptual style influenced by traditional Mediterranean architecture and architects such as José Antonio Coderch, Federico Correa and Alfons Milà.[414] They were the authors of the gardens of Villa Cecilia (1985-1986), with a somewhat labyrinthine structure, which seeks to enhance the various small squares that dot the grounds, and with urban furniture in which the benches stand out, resembling large brightly colored scooters, and the streetlights, with shapes similar to trees.[415].
Another tandem was formed by Albert Viaplana and Helio Piñón, who practiced a conceptual and minimalist architecture, with a tendency towards dematerialization and compositional rigor, with oblique and broken geometries that brought them closer to deconstructivism,[416] with the influence of Peter Eisenman.[417] They were authors of the Plaza de los País Catalanes (1981-1983), a space located in front of the station. Sants, resolved with a pink granite pavement on which a series of metal elements of a more sculptural than architectural design are located, and which turned out to be the paradigm of the "hard plaza" developed in those years in Barcelona urban planning, although in this case justified by the underground presence of the station.[418] Other works of his were the Santa Mónica Art Center (1985-1989) and the Hilton Hotel (1986-1992).
Enric Miralles trained with Viaplana and Piñón, with whom he worked between 1973 and 1985; Between 1983 and 1991 he partnered with Carme Pinós, and since 1993 with Benedetta Tagliabue. Anticonventional, with strong expressiveness, it moved between organicism and expressionism, with fluid and dynamic forms close to sculpture, which were expressed in the taste for the use of elements such as pergolas, overhangs, curved and inclined walls, ramps and platforms.[419] From the mid-1990s it approached deconstructivism.[420] In these years its Archery Pavilion stood out. "Olympic Archery Field (Barcelona)") of the Hebron Valley (1990-1992), long, narrow structures arranged in a fan, made with prefabricated concrete pieces.[421].
Carlos Ferrater received the initial influence of Coderch, to later evolve to a certain organicism, with a relevant role of geometry and the relationship between technique and material, with juxtaposition of volumes and use of wavy and fractal shapes.[422] He was the author of the Hotel Rey Juan Carlos I (1988-1992), the Núñez Mallorca-Calabria-Rocafort building (1990-1991) and the blocks of the Can Torras gardens (1990-1992).
Lluís Domènech i Girbau—great-grandson of Domènech i Montaner—and Roser Amadó moved in a line closer to traditional rationalism. They were the authors of the reconversion of the Montaner i Simón publishing house into the Antoni Tàpies Foundation (1986-1990), as well as the new headquarters of the Archive of the Crown of Aragón (1990-1993).[402].
Jordi Garcés and Enric Sòria are defenders of the artistic nature of architecture, which is why they place special emphasis on the creativity of their works.[414] Among them are: the conversion of the old Santa Lucía Asylum into the Science Museum (1978-1980), the Pi i Molist residential complex (1978-1981), the Picasso Museum (1981-1987), the Plaza Hotel (1989-1992) and the Rubió i Balaguer agora of the UPF —which includes the secular chapel designed by Antoni Tàpies— (1994).
On the other hand, the Martorell-Bohigas-Mackay team continued its work independently, these years with the incorporation of Albert Puigdomènech: Palau Nou de la Rambla building (1990-1993, with Carles Buxadé and Joan Margarit), expansion and new facades of El Corte Inglés in Plaza de Cataluña (1990-1994, with Elías Torres and José Antonio Martínez Lapeña), facade of the Claris Hotel (1991).[423] Federico Correa was in charge with Javier Garrido Lagunilla") of the reconversion of the Can Serra building by Puig i Cadafalch into the headquarters of the Barcelona Provincial Council (1987), with a new semi-detached building with a glazed curtain wall façade.[424] Lluís Nadal") continued his work with works of simple volumes, discreet and homogeneous groups and traditional techniques and materials: Rio de Janeiro residential group (1978-1981).[425] Josep Emili Donato") practiced a purist expressionism based on geometric shapes: Eduard Fontserè school (1978-1982, with Uwe Geest"), Baró de Viver housing group (1985-1988), Teixonera nursing home (1988-1992).[426].
In these years, religious architecture continued to show signs of renewal, with buildings that went beyond their religious function to become multifunctional constructions that combined the liturgical aspect with the social and welfare aspects:[427] church of the Sant Martí industrial estate, by Joan Cusidó i Cabanes; San Juan Bautista de la Salle, by G. Sáez Aragonés and J. Santana Grajera; sanctuary of Our Lady of Mount Carmel (1985-1988), by Francesc de Paula Daumal") and Miquel Campos Pascual").[428].
The arrival of democracy favored the creation of new green areas in the city. At this time, gardening was closely linked to urban planning, with a concept that combined aesthetics with functionality, as well as recreational aspects, sports facilities and services for certain groups such as children or the elderly.[429] Numerous parks emerged converted from former municipal facilities, such as the park by Joan Miró (Antoni Solanas"), Màrius Quintana, Beth Galí and Andreu Arriola), built between 1980 and 1982 in the site of the old central slaughterhouse of Barcelona; or in industrial areas (Parque de la España Industrial, 1981-1985, Luis Peña Ganchegui, Antón Pagola") and Monserrat Ruiz"); Parque de la Pegaso, 1982-1986, Parque del Clot, 1982-1986, Daniel Freixes and Vicente Miranda")) (Sant Martí park, 1985, Antonio Armesto"), Carles Martí&action=edit&redlink=1 "Carles Martí (architect) (not yet written)") and Miquel Sodupe"); Estación del Norte park, 1988, Andreu Arriola, Carme Fiol and Enric Pericas). The Creueta del Coll park was also established on the site of an old quarry (1981-1987), in Martorell-Bohigas-Mackay.[208].
In urban planning, the General Metropolitan Plan was created (1976), an attempt to stop speculation and rehabilitate the most degraded urban spaces, placing special emphasis on social, healthcare and cultural facilities. "Areas of new centrality" were then sought, for the sake of a more polycentric and better connected city.[430] From this plan arose the current administrative division of the city into ten districts, the majority coinciding with the old municipalities added to Barcelona.[431] A good part of the municipal actions consisted of the acquisition of urban land, a fact favored by the relocation of factories and industrial complexes that were moved outside the city. This policy was favored by the socialist council that emerged from the 1979 municipal elections, which appointed Oriol Bohigas as delegate of Urban Planning, which began a period of strong public investment in the city that led to a radical change in the urban physiognomy and a new projection of Barcelona at an international level, whose launch took place with the 1992 Olympic Games.[432].
The Olympic Games also involved a process of creation, restoration and conservation of the city's parks and gardens: in Montjuic, the epicenter of the games, a new 14-hectare Botanical Garden was installed, dedicated to Mediterranean plants from around the world, the work of Carlos Ferrater and Bet Figueras, and the Sculpture Garden was established attached to the Joan Miró Foundation. Other actions related to the games were the Mirador del Migdia parks (Beth Galí, Jaume Benavent") and Andreu Arriola), the Hebron Valley park (Eduard Bru")), the Poblenou park (Manuel Ruisánchez") and Xavier Vendrell")), the Carlos I park (Pep Zazurca") and Juli Laviña")) and three designed by the Martorell-Bohigas-Mackay firm: the Cascadas park, the of the Olympic Port and that of Nueva Icaria.[440].
On the occasion of the Games, the old port (Port Vell) was also remodeled, with a project by Jordi Henrich") and Olga Tarrasó. The new space was dedicated to leisure, with the creation of the Maremàgnum leisure center (Helio Piñón, Albert Viaplana, Jordi Mir"), Rafael Coll"), linked to land by the Rambla de Mar, a pivoting bridge designed by Piñón and Viaplana; the Imax cinema is also located in this space (Jordi Garcés / Enric Sòria) and the Aquàrium (Esteve") and Robert Terradas") The World Trade Center business center, by Henry Cobb, was also built (Pei, Cobb, Freed & Partners).
Another urban action was in the El Raval neighborhood, which was remodeled with a project by Jaume Artigues") and Pere Cabrera"), which consisted of the opening of the Rambla del Raval and the adaptation of the surroundings of the Plaza de los Ángeles as a cultural center, where the Center for Contemporary Culture of Barcelona (1990-1993) and the Museum of Contemporary Art of Barcelona were located. (1987-1996).[442] The first arose from the conversion of the old Casa de la Caridad, with a project by Piñón y Viaplana, where the enclosure of the patio stands out with a glass wall that is inflected in its upper part.[443] The second is a new building designed by Richard Meier, formed by two bodies connected by a cylinder-shaped structure, the largest of which has a glass façade that overlooks the street.[444].
Finally, it should be noted that on the occasion of the Games, the city's road structure was significantly expanded, especially with the creation of ring roads, arranged in a ring road along the entire urban perimeter. Carried out between 1989 and 1992, their general planning was carried out by Josep Acebillo, technical director of the Municipal Institute for Urban Promotion, and Alfred Morales), transport and circulation coordinator of the Barcelona City Council. Hernández"), from the Heritage area of the City Council.[446].
• - Montjuic telecommunications tower (1991), by Santiago Calatrava.
• - Eurocity 2-3 (1989-1992), by Albert Viaplana and Helio Piñón.
• - Central Telefónica (1989-1992), by Jaume Bach and Gabriel Mora.
• - Center of Meteorology (1990-1992), by Álvaro Siza.
• - Center for Contemporary Culture of Barcelona (1990-1993), by Albert Viaplana and Helio Piñón.
• - Museum of Contemporary Art of Barcelona (1987-1996), by Richard Meier.
• - Balcones of Barcelona (1992), Barcelona get pretty campaign.
The last years of the century have been marked by the search for a more sustainable architecture based on ecological criteria, especially regarding the use of photovoltaic solar energy cells in architecture. This new awareness of environmentalism was also reflected in urban planning, with the search for public spaces adapted to the environment and designed for residents, with special emphasis on community facilities and services. These criteria were especially defined in the Sustainable Barcelona Civic Forum, held in 1998.[447].
Among the works of recent years, it is worth highlighting: the RACC building (1990-1996), by Enric Batlle, Joan Roig and Francesc Ribas i Barangé");[448] the renovation of the National Palace "Palacio Nacional (Barcelona)") (1990-1996), by Gae Aulenti;[297] the Nexus building (1992-1995), by Lluís Nadal");[449] the Gabriel Ferraté Library (1992-1996), by Ramon Sanabria") and Ramon Artigues");[450] the “Blanquerna” Faculty of Communication Sciences of the URL (1994-1996), by Daniel Freixes, Vicente Miranda"), Vicenç Bou and Eulàlia González");[451] the CEMIM (Marine Research Center and Environmental Studies), by Pere Riera"), Josep M. Gutiérrez"), Josep Sotorres"), Montserrat Batlle"), Bartomeu Busom") and Franc Fernández") (1996-2001); (1996-2002), by Jordi Garcés;[454] the Theater Institute (1997-2000), by Ramon Sanabria") and Luis Comerón;[455] the reform of the Santa Catalina market (1997-2004), by Enric Miralles and Benedetta Tagliabue;[456] the Arcadias ensemble (1998-2000), by Jaume Bach and Gabriel Mora;[457] and the Heron City building (1999-2001), by Juli Capella").[458].