Final Exhibition

Biblioteca de Jaume Fuster

Biblioteca de Jaume Fuster
2001-2005
Presented by Chris Legatt

Designed by Josep Llinas and Joan Vera in Barcelona, the Jaume Fuster Library was awarded the 2006 FAD Architecture Prize, the most prestigious contemporary design prize to receive in Spain. The project was honored for its delicate implantation in the urban context and the way it opens up new perspectives on the plaza on which it is situated. The expressive volume of the exterior and de abundance of its interiors is richly appreciated. It is one of the most modern and biggest public libraries of the city with an auditorium, amphitheatre, exposition room and special kids-spaces. According to the magazine Descobrir Catalunya the Jaume Fuster library, the Gas Natural headquarters, the Fórum building and the Torre Agbar by Jean Nouvel are some of the new symbols of Barcelona architecture. Even though this public project is highly praised, some critics do say that "the human scale of the irregularly faceted library seems out of step with its urban context". Llinas work forcuses on what has been described as the permanent renunciation of the finished and rounded architectural object. When describing the internal environment Llinas recalls how light and sounds were prioritized in order to balance transmission between areas with natural and artificial light.

Centre Internacional de Convencions de Barcelona

Centre Internacional de Convencions de Barcelona
2000-2004
Presented by Michael Vetter

This is one on the largest Convention Centres in Europe, capable of accommodating 15,000 delegates in an architecturally innovative space facing onto the Barcelona coastline. The main hall in the building is at once structure and abstraction; the outside block speaks to the sea and the sky. The flows, of people and less diverse flows, the forms and the architecture which appears and often disappears among them.

Edifici Fòrum

Edifici Fòrum
2001-2004
Presented by Melissa Trueblood

The 2004 Forum Building was designed by the Swiss architects Jaques Herzog and Pierre de Meuron. It was considered by some to be the icon for the "new Barcelona". Controversial is another term used to describe the Forum Building. It is a triangular building measuring 180 meters on each side and 25 meters tall. The blue concrete triangular building was designed to resemble a sponge that is saturated with water blending into the sky and Mediterranean Sea. The structure is lifted off the ground creating a permeable public space where the entrances are located. The way in which the series of courtyards intersects creates unique views and sunlight patterns upon the site. As well as, each courtyard has a different amount of reflective material in them to enhance the sun patterns and experience at ground level. The exterior glazing reflects the sky linking the water covered roof with the water -like soffit below. Water flowing from the roof keeps the roof cool during the hot Barcelonan summers. Located in the blue triangle is the exhibition space, and below grade level is an auditorium space that can seat 3,200 people. This building is a great addition to Barcelona and its cultural influences.

Torre Agbar

Torre Agbar
1999-2004
Presented by Alexander Engle

The Torre Agbar, or Agbar Tower is a contemporary high rise located in the Poblenou neighborhood of Barcelona. The Tower was designed by the French Architect Jean Nouvel, and was completed in 2004. The Building’s inauguration was held September 26th, 2005 and was attended by both the King and Queen of Spain.
Nouvel drew inspiration from Montseraat, a mountain near barcelona, and from a geyser shooting into the air. The building is the third tallest in Barcelona standing at 474 ft. The tower is named after the Agbar Group a major company in Barcelona. The tower houses the company’s offices, and also features conference spaces and a restaurant.
One of the most defining features of the building is it’s facade, which contains over 4,500 LED lights that illuminate the facade in red, blue, pink and yellow. The tower also employs sustainable technology with temperature sensors that adjust the glass blinds on the building’s exterior to control air cooling, and reduce the need for air conditioning.

Mercat de Santa Caterina

Mercat de Santa Caterina
1997-2004
Presented by Fernando Bales

Built on the site of a monastery believed to have begun in 1241, this market was a project taken on by the firm of Enric Miralles and Benedetta Tagliabue. The focus of the project was to rejuvenate the neighbourhood of Ciutat Vella. A site that had become too congested and in dire need of a renovation.
The market has three floors including loading docks underground and a organic waste depository for the Santa Caterina and La Ribera neighborhoods.
The waving roof becomes like upturned boats held up by massive steel beams that resemble tree like structures. The colorful rooftop was designed to give the future residents of the adjacent buildings something more than just another rooftop to look at.
The sensitivity that the Architects had towards not only their building but the affects that their Architecture would have on the citizens is something to be admired.

Fort Pienc Street Block

Fort Pienc Street Block
2001-2003
Presented by Marcie Franklund

An irregular triangle shaped block in the l’Eixample was transformed in 2003 by Joseph Llinas. The block is bordered by the streets Ali Bei, Sardenya, Sicília and Ribes. A market, primary school, library, and civic center occupy the ground level. The upper floors are comprised of student and elderly housing.
The design for the residences is based on the ideas of calmness, simplicity and ample open space. The units, elevated and turned inward from the street, provide an escape from the busy city below. The interior courtyard provides a link for the many activities and uses supported by the complex.
Circulation throughout the site was inspired by the natural movement observed from both pedestrians and vehicles moving across. The movement flows seamlessly from outside to inside; relating the routes of movement.
The variety of building uses link smoothly together as a result of Llinas’s use of consistent elements of light and rhythm throughout the site.

Torre de Gas Natural

Torre de Gas Natural
1995
Presented by Thomas Adamietz

The area around this site is quite unique in the sense that it is located in a housing district with smaller buildings in the area, not a high rise skyline. To address this the building is broke down into four volumes addressing singularity and establish a dialogue with the elements around it such as the housing district, the twin towers and the freeway. The glass façade reflects each part of the building into each other and picks up the shadows of its neighbors in an interplay of reflections that seems to have the building weave together and dematerialize its edges. The façade is made of 5 different types of glass as to distort and discolor the surroundings reflecting upon so that it would disappear into the fabric of the city and the sky.

Museu d’Art Contemporani de Barcelona

Museu d’Art Contemporani de Barcelona
1988-1995
Presented by Michael Vetter

Located in an area that was previously a monastic enclave, this museum establishes a rigorous dialogue between the area’s historic urban fabric and the contemporary art within. The nature of the site’s existing paths and routes is reflected in the building’s organization, most notably in the main entry, which is paralleled by a pedestrian passageway between the museum’s public Sculpture Garden and a newly created plaza in front of the Museum, the Placa dels Angels. This paseo joins the existing pedestrian network running through the old city.

Centre de Cultura Contemporània de Barcelona

Centre de Cultura Contemporània de Barcelona
1991-1994
Presented by Kara Braaten

In 1989, the councils of Barcelona set up the Barcelona Centre for Contemporary Culture. The architects Helio Piñón and Albert Viaplana, along with Ricard Mercadé, were commissioned for the renovation of this historic building and courtyard, which once housed the Conciliar Seminary and Casa de Caritat but had been vacant for the past 30 years. Work began on the 15,000 m2 modern arts centre in 1991 and was completed in 1993, officially opening in February 1994. The major design element consists of a mirror-like façade which replaced the north wall of the courtyard. This façade is entirely glazed, split in half visually with two shades of glazing, one half slightly darker than the other. The glazing moves vertical reaching the height of the existing wings and then reaches beyond, bending forward, suggesting a covering gesture. However, its the reflections that truly make this courtyard special. This façade reflects the existing historic wings, bringing back references to the past of the building. The mirador above reflects the urban landscape of the city into the courtyard below, showing how important Barcelona is to this space. Today, the CCCB is one of the most visited museums in Barcelona, hosting temporary exhibitions, cinema, concerts, and other cultural events.

Vila Olimpica

Vila Olimpica
1989-1992
Presented by Mathias Fitzer

After winning the bid to host the 1992 Summer Olympic Games, Barcelona needed to construct a number of new facilities to house athletes, competitions, and accommodations for spectators. At the same time, the city desired a stronger connection to the sea and new business opportunities. The firm Martorell, Bohigas, and Mackay designed the master plan for the project, which was to host both the temporary functions of the Olympic Games as well as the permanent functions of a city. The architectural centerpiece of the final design is "twin" towers with a shopping center, restaurants, a casino, and a fish sculpture by Frank Gehry at their base. One tower is a concrete office building and the other is a steel-framed hotel, and both are the tallest buildings in Spain. The project also encompasses many blocks of residential structures, which served as housing for athletes during the games and were sold as apartments afterward. The beaches of Barcelona were expanded, bringing more people to the sea and increasing economic activity in the neighborhood. Some athletic facilities were built along the beach, which are used today as public recreation facilities. This project was highly successful in hosting the Olympic Games and created a new neighborhood in the city that connects it to the sea.

Torre de Comunicacions

Torre de Comunicacions
1991
Presented by Amanda Kohn

Right beside the Palau Sant Jordi stands Monjuic’s communication tower by Spanish architect Santiago Calatrava. Although not part of the original plan for the ring, the Telefónica company constructed the tower from 1989-1991 to broadcast coverage of the games. At 150 meters tall, its unique circular platform encloses the microwave dishes, replacing the normal clutter of the satellites with a serene, white arch. It is composed of steel and concrete with a base in recognition of Gaudi. The tower ascends at the same angle as the earth’s axis causing its center needle to act as a sundial on the surrounding plaza. The design is based on a sketch of a kneeling figure making an offering and is reminiscent of an athlete receiving their medal or the Olympic torch. Today it has become an important landmark to Montjuic and surrounding Barcelona.

Palau Sant Jordi

Palau Sant Jordi
1988-1990
Presented by Amanda Kohn

When the Olympics came to Barcelona in 1992, Montjuic gained several new buildings, not the least of which was the Palau Sant Jordi, or Saint George’s Palace. Designed by Japanese architect Arata Isozaki in 1990, the stadium, intended for the gymnastics competition, holds up to 20,000 people. It has been used for everything from swimming competitions to big name music concerts. The floor is a simple concrete oval with a connecting auxiliary pavilion. The structure is concrete clad with traditional materials such as ceramics. Every corner has a white portico in alliance with the design by the Olympic Ring Designers Correa and Milá. The crown of the building is the turtle shell roof. It is a concave, non-symmetrical dome, designed by Japanese engineer Mamoru Kawaguchi. This pantadome, constructed of more than 1500 spheres, 3200 bars, and 600,000 metal-gray sandstone tiles, was assembled on the ground then lifted to its current height of 45 meters using cranes and hydraulic lifts. The lifting process itself took ten days to complete. The Palau’s unique skylights and versatility make it the true gem of the Olympic ring even today.

Pont Felip II-Bac de Roda Bridge

Pont Felip II-Bac de Roda Bridge
1986-1987
Presented by Micah Deitz

After regenerating the urban fabric of the city coinciding with Barcelona’s preparations for the candidature for the 1992 Olympic Games, the city started building bigger projects. It is said that the Bac de Roda Bridge was the starting point for all bigger inerventions. The steel and concrete bridge, with its twin, pristine white, inclined and split arches, helped to unite two working-class districts at the northern part of the city that were separated by train tracks. Still, what the City Council wanted was something more than just a bridge, they wanted a symbol or an icon of Barcelona. Calatrava, though he had never built a bridge before, was chosen for the new structure. People who know about bridges say that it is much more complex than what would have been necessary -like many other Calatrava bridges around the world- but the real purpose of the project, its social impact, succeeded and the bridge became an emblem of the pre-Olympic architecture of the city. It won the FAD Prize in 1987 in the category of Architecture (the first time an engineering work won this prize) and was a finalist for the I Mies van der Rohe Pavilion Award for European Architecture in 1988.

Moll de la Fusta-Paseo de Colón

Moll de la Fusta-Paseo de Colón
1983-1987
Presented by John Holten

The Moll de la Fusta is a name given to a stretch of port boardwalk that reaches from Portal de la Pau and the Plaça d’Antoni Lòpez. The Moll de Bosch i Alsina, which runs directly parallel, is linked to it by two railroad bridges and has been turned into a spacious promenade with seats, restaurants and an underground parking lot. This diverse and encompassing area was designed by Ignasi Solà-Morales Rubió; It has been an ever-changing stretch of land that serves as a border of the city and the sea.
Ignasi Solà-Morales Rubió was professor of Architectural Composition at the Higher Technical School of Architecture in Barcelona. He also taught at the universities of Princeton, Columbia, Turin, and Cambridge, among others. Ignasi Solà-Morales is also commissioned with the reconstruction of the German Pavilion of the International Barcelona Exhibition of 1929, and the reconstruction and expansion of the Liceo Theatre, also in Barcelona.
The initial draft proposed the conversion of an important and historical port combined with a new structure capable of solving the local traffic demands. The major obstacle was to avoid the formation of a road barrier between the city and the sea.

Plaça Països Catalans

Plaça Països Catalans
1981-1983
Presented by Mathias Fitzer

This plaza, by Enric Miralles, Helio Pinon, and Albert Vaiplana, was the first major public space project after the Franco era and was intended to erase negative association with the late dictator. Many critics will say that, by doing so, it has erased all association with anything. The Project for Public Spaces lists this plaza on their Hall of Shame, calling it an "empty, useless disaster of a space." A description of the elements that make up the plaza are "fountains that bring to mind rows of stylized dripping faucets; tables and seating suitable for a post-apocalyptic picnic; a covered walkway that offers no protection from sun and rain; nighttime lighting so bright it could foil prison escapes." However, where the plaza fails, one could say it also succeeds. The plaza sits as an entrance to the city from the Sants train station, whose train platforms are concealed beneath its surface. Its emptiness offers a break between the stress of traveling and the activity of the city, just like it offers a break between the architecture of the Franco dictatorship and the more democratic architecture of the present. Its current state is run-down and a majority of its patrons are on skateboards, but the plaza serves its purpose as a release of pressure in both a historical context and from the perspective of a traveler.

CEAC Fundació Joan Miró

CEAC Fundació Joan Miró
1972-1975
Presented by Amanda Kohn

On Montjuic in Barcelona, just a short walk from the site of the 1992 olympics lays the Fundació Joan Miró. It was designed in the 1960’s by Miró’s close friend Josep Lluís Sert. Miró donated his own work on the condition that the museum not become a mausoleum for him but an open space for creative investigation. The Centre d’Estudis d’Arte Contemporani, as it is formaly known, opened on June 10th, 1975. The architecture is a reflection of Mediterranean design in a rationalist style. The different spaces are organized around two central patios and uses Sert’s characteristic skylights to indirectly illuminate the plain white walls. Diffused light in the exhibition floats through the barrel vaulted ceilings. Direct light on the roof terraces shows off Miró’s sculpture and frames views of the city, and compressed light in the basement room offers a space for young artists to experiment with their art. An octagonal tower, resembling a gothic bell tower, interrupts the regularity of the floor plan and holds an auditorium, library, and exhibition spaces. Additions to the building were made in 1988 and 2001 by Jaume Freixa, a pupil of Sert. Today it holds one of the largest collections of Miró’s work, as well as an everchaging temporary exhibit. It is a space of Catalán and artistic pride for the city of Barcelona.

Walden 7

Walden 7
1970-1975
Presented by John Holten

The complex known as "Walden 7" was constructed in 1974 under the design specifications of Ricardo Bofill and his firm Taller de Arquitectura. Ricardo is a Barcelona native born in 1939; he studied architecture in Geneva Switzerland where he received his philosophical insight to design. The Taller de Arquitectura started design work on Walden 7 in 1970.
This project came about for a number of reasons based in historical events coinciding. The first is the site; Walden 7 is nestled among remains of a disused cement factory. Second was the dictatorship of General Franco. The city of Barcelona was growing in size and needed a place to expand. The nearby suburb of Sant Just Devern was the perfect location. The stage was set for Walden 7. The main buildings of Walden 7 get their interesting shape from the design and construction. The two towers are composed of 1,100 cubes measuring 5.3 meters (two floor heights). These are stacked 8 high corbelling first out and then in to create unique shape of the buildings. This stack effect creates walkways on the interior and then on the exterior as they stack inward. This unfolds to reveal a 3-d labyrinth of walkways, stairwells, and paths that are named like city streets.

Pavelló Alemany

Pavelló Alemany
1929
Presented by Maria Sauvageau

The Barcelona Pavilion was designed by Mies van der Rohe. It was constructed between 1928 and 1929, and was opened on May 27, 1929. It was created for the 1929 International Exposition in Barcelona. It was subsequently demolished in 1930, at the conclusion of the exposition. It was reconstructed though in 1959, staying true to the original design and site.
The Pavilion is constructed of 8 steel posts, one flat roof, curtain glass walling, and partition walls which are created from different types of marble, such as onyx, green marble, and travertine. The Barcelona Chair within was created specifically for this Pavilion.
His design ideas were based on an intention to pioneer a new sort of design which complimented the new materials and abilities particular to the age he found himself in. Mies strived for a simplification of form in his designs, which eliminated all ornament.
This Pavilion is therefore one of his best examples of simplicity and clarity. Every piece is placed in a particular way, one in which always serves more than one purpose. Planes seem to slide past each other, jutting the visitor from one space into the next.

Temple de la Sagrada Familia

Temple de la Sagrada Familia
1884-1926
Presented by Jon Thomas

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Casa Planells

Casa Planells
1923
Presented by Dane Kinney

The building is the result of a succession of different programs, all proposed by the contractor, Eveli Planells. The first proposal consisted in a single-family dwelling, where Jujol recreates the forms of La Pedrera to turn the building into a plinth for a large-scale statue of the Blessed Virgin Mary. The second commission was also for a single-family dwelling, in this case for a doctor, but the contractor finally decided to sell part of the plot and build an apartment building on the rest. A duplex system is employed to offset the plot’s small surface area and increase the dwelling’s by a third. Jujol’s project incorporated a penthouse for Planell’s brother, with a strip of galleries in the façade supporting a dome decorated with the Marian anagram. The building that was ultimately constructed, up to the second floor, is more in keeping with the rhetoric of emerging rationalism than with the forms handed down by Modernisme.

Park Güell

Park Güell
1900-1914
Presented by Fernando Bales

The park was an attempt to create a community for the bourgeoise elite in a overly crowded city. Eusebi Guell being Gaudi’s patron chose the site for its distance from the heart of Barca, and its commanding view of the sea, the city, and the sky. Guell described the project like this..."it has been designed as a park, in which the avenues, roads and linking paths will serve as thoroughfares, and in which the houses will be scattered around, each one detached from its neighbours and surrounded by a garden, and with its own avenues and roads. Its name will be Park Guell." -1904. The initial idea was to sub divide the 37 acre estate into 60 smaller triangular-shaped plots. Only two houses were ever built out of the 60 that Gaudi had envisioned. Upon entering the park from the main gate one is fronted with 86 Doric columns that create the open air piazza above, and the outdoormarket space beneath. Below the market a cistern sits where water is collected. Moving through the park one encounters covered walkways, constructed from stone, held up by columns embodied with refrences to palm trees, coral, crustaceans, even bodily limbs. The sea is evident here, how the piazza opens up to the sky like a wave washing up on shore. This is a masterpiece in the fusion of the land with the built form.

Hospital de Sant Pau

Hospital de Sant Pau
1902-1912
Presented by Dane Kinney

Domènech i Montaner created a concentrated basement structure that occupies nine street blocks and avoids the functional dispersion of the pavilions, much criticized by experts in hospital construction at the time. It comprises 46 pavilions laid out around an axis running diagonally through the street block. Domènech thereby presented an open, innovative take on the model street block of the Cerdà grid. The structure of the pavilions comprises modular elements supporting brick vaults, allowing the wall system to adapt to the functionality of each pavilion.
The axis formed between the hospital and Gaudí’s Sagrada Familia by Avinguda Gaudí represents a unique monumental complex, at the ends of which stand two almost antithetical conceptions to the meaning of the new Modernisme architecture and its function in the context of the social needs of the time.

Casa Milá-la Pedrera

Casa Milá-la Pedrera
1905-1910
Presented by Maria Sauvageau

Casa Mila was designed by Antoni Gaudi, and was built between 1906 and 1910. The exterior is made out of limestone and is often called "La Pedrera", which means the Quary in Catalan. The building is divided into three sections: apartments, attic, and rooftop. The apartments are based on a free-plan. This is possible because the building is structured around beams. It is described as being structured like clusters of lily pads with steal beam veins. The walls of the apartments therefore carry little to no structural value and could be placed as the owners desired. The attic was created as a buffer zone for the apartments. It would keep them warm in the winter, and in the summer the windows would open and allow cool air to come in. Gaudi also intended this space to be the communal area for the tenants, where laundry and drying facilities would be placed. The rooftop gets its shape from the parabolic arches below, therefore it is created with a series of steps which undulate over these arches. The rooftop contains 30 chimneys, which are often grouped together in groups of threes or fours.They are called the "espantabruixes", or witch-scarers.

Palau de la Música Catalana

Palau de la Música Catalana
1905-1908
Presented by Matt Arndt

Barcelona is a city with great cultural diversity that extends into all forms of art. This concert hall was designed by architect Lluis Domenech Montaner who practiced in the style monternista. This is a style that was in its high during the era of Gaudi and his works and Montaners could be seen as the same style, however, unique in their own.
Originally this building was commissioned by a group called Orfeo Catala which was a choir society that needed a concert hall. It is interesting to note that this is soley a building for concerts because the ornamentation around the stage and large pipe organ would make it a bad venue for a play or performance.
Being a concert venue solely it can seat 2,200 people and has seen everything from string quartets to full scale orchestras performing. In the center of the ceiling there is a large inverted stained glass window that was designed by Antoni Regalt. Because of its enormous size this entire space in completely only uses natural light during the day making it the only concert hall in Europe to do that.

Casa Batlló

Casa Batlló
1904-1906
Presented by Marcie Franklund

Antoni Gaudí was commissioned by wealthy industrialist Joseph Batlló. He was asked to renovate an existing building on Passeig de Gracia for his family’s residence. Situated on the "Manzana de la Discordia" or the "Block of Discord", Casa Batlló was among several very different interpretations of Catalan Modernisme.
The very simple existing structure was completely transformed, acquiring names such as "The House of Bones" and "The House of Yawns" among many others. Both describe Gaudí’s imaginative use of nature and human form. Inspiration is thought to have come from a variety of sources, the Mediterranean Sea, the mountains of Montserrat, and Monet’s water lily paintings.
The design incorporates the senses; walls and staircases curve and bend into organic forms moving through the spaces. Walls do not just meet the ceilings; instead they blend together, pulling the movement from each plane. Color and pattern fill and bring life to the spaces. Railings, knobs and handles fit to the hand.
At the height of Gaudí’s "Period of Maturity" in design, he successfully creates a place where in each space, the body and mind are fully engaged.

Palau Güell

Palau Güell
1886-1890
Presented by Drew Olson

The Palau Güell, or Güell Palace, located in Nou de la Rambla street in Barcelona, was built by the architect Antoni Gaudí i Cornet (Reus 1852-Barcelona, 1926). It was commissioned by the wealthy industrialist, landowner and politician, Eusebi Güell i Bacigalupi (Barcelona, 1846-1918), and his new home. The building was completed in 1890. It remained a private residence for the family until 1936. During the Spanish Civil War (1936-1939) the Palau was confiscated and turned into a barracks. After this period, the Palau was in such a poor state of repair that the then owner, Mercè Güell i López (the daughter od Eusebi Güell), decided to donate the building to the state. In 1945, on May 25th the Palau was officially handed over to the Diputació de Barcelona (Barcelona Council), which became the formal owner and titleholder. In 1969 the Spanish State declared the property an Historic Artistic Monument. November 2, 1984 was an important date for the building when the Palau Güell was declared a World Heritage site by the UNESCO. In 2002, the 150th anniversary of the birth of the architect Gaudí, the Palau Güell was used for the celebration of the events with an exhibition and several events under the heading of "Gaudí and Güell: two men and one project".

Mercat de Sant Antoni

Mercat de Sant Antoni
1876-1882
Presented by Jon Thomas

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Universitat de Barcelona

Universitat de Barcelona
1863-1882
Presented by Kara Braaten

The University of Barcelona, what was once known as the General Study of Barcelona, was established on November 3rd, 1450. This educational institution’s current location began construction in 1863, designed by architect Elies Rogent in the style of eclectic. This historic building was one of the first buildings to be raised outside of the ancient city walls during the new development of the city. It is also one of the only buildings to take up more than one city block. Construction lasted for almost twenty years, finally being completed in 1882, however lessons were taught here as soon as 1871. The tower clock and iron bell were installed in 1881. In 1970, it was declared a national monument of historic and artistic interest. The design includes three main entries comprising the front façade, leading into the main vestibules of the building. The monumentality is showcased within these halls through its Noble Stair and the structural columns located every ten feet between each civic Gothic arch. The auditorium is placed at the center of the university in both location and importance. Much of the original structure of the library was designed by Rogent and has still been preserved today. Two interior courtyards and large outdoor gardens imply a design towards the importance of an inward educational focus.

Teatre del Liceu

Teatre del Liceu
1844-1848
Presented by Drew Olson

Founded in 1847, Gran Teatre del Liceu is an opera house that has retained its role as a culture and arts center throughout its history and one that represents one of the symbols of the city. Today, it is a publicly-owned theater – by the Catalan Regional Government, Barcelona City Council, Barcelona Provincial Council and the Ministry of Culture. The first building opened on 4 April 1847, was constructed according to the plans of architect Miquel Garriga i Roca, soon assisted by Josep Oriol Mestres. On 14 April 1861, a fire broke out and the reconstruction took just one year, and the theater reopened on 20 April 1862. On 7 Nov. 1893, during the opening act, two bombs were thrown by an anarchist into the stalls of the opera house. Only one of the two bombs went off, leaving 22 dead and more injured. During the Second World War, Spain’s neutrality had allowed Catalan textile industry to amass great wealth. Bringing forth many prosperous years and establishing itself as a world renown opera house. Ticket sales decreased easing into the 1970’s and on January 31, 1994 another fired doomed, destroying nearly everything, leaving a major impact on Catalan society. This brought forth the question of its own existence. In 1999 the theater was rebuilt, expanded and reopen as one of the largest in Europe.

Parc del Laberint d’Horta

Parc del Laberint d’Horta
1793-1804
Presented by Micah Deitz

Joan Antoni Desvalls i d’Ardennes, sixth Marquess of Llupià, was a landowner and Catalan scientist. As a cultured man and having great artistic awareness, had the park built in 1791, on his farm in the leisure district of Horta, the garden known as Labyrinth de Horta. The concept of this garden, influenced by Greek mythology, is based on a design made by the Desvalls in collaboration with the Italian architect Domenico Bagutti. Near the entrance of the park the old palace of the family is found, building with elements of style neoárabe and neogótico. classical garden and a romantic garden. All over sculptural pieces are found, some with motives of the Greek mythology and as well as a great number of pools, spouts and rapids of water. The neoclassical garden extends for three terraces: In the lower terrace the vegetable labyrinth is found that gives name to the park, formed by 750 meters oftrimmed cypresses. The zone landscaped of the park is surrounded by an extensive Mediterranean forest.

Palau de la Virreina

Palau de la Virreina
1772-1778
Presented by Alexander Engle

The Palau de Virreina, or "Palace of the Viceroy’s Wife" is a French Baroque/ Rococo palace located on La Rambla in Barcelona. The residence was designed by local architect Joseph Ribes for Manuel de Amat y Juniet, a distinguished figure on the Spanish political scene who was among other things, a Viceroy of Peru. The Palace was completed in 1778 and occupied by the Viceroy and his wife until his death, only a short time later in 1782.
The Palace stays in the Amat family until the year 1944 when it is bought by the Barcelona City Council. Through the years the Palau de la Virreina has housed numerous functions including the Museum of Decorative Arts, the Cambo Art Collection, the Postal Museum, and the Numismatic Office.
Today the palace is home to the City Council Department of Culture and features two seperate gallery spaces; the Espai 2 which exhibits contemporary mixed media exhibits and installations and the Espai Xavier Miserachs, which features photography exhibits.

Santa Maria del Pi

Santa Maria del Pi
14th-15th Century
Presented by Chris Legatt

The Església de Santa Maria del Pi is a 14th-century Gothic church that stands at the heart of three little plazas in Barcelona. Santa Maria del Pi is in the Placa Sant Josep Oriol, this is considered one of the prettiest of the three squares in the area. It is filled with an artists’ market on the weekend and the outdoor tables of the Bar del Pi the rest of the time. The church is named for the pine tree (pi in Catalan) that once stood nearby. According to traditions undocumented, but accepted by some historians, there used to be a small Paleochristian church stood on this site in 413 A. C. What is certainly a historical fact is that in 987 A. C. There was a small Romanesque church here, "outside the wall of Barcelona", consecrated to Santa Maria del Pi. Its pure Gothic style is evident in the single nave, almost devoid of ornaments. The interior is plain but features some beautiful stained glass windows. The middle of the main façade boasts a large rose window of 10 m. in diameter, very much in keeping with the church’s Gothic style. In 1940, the rose window was entirely rebuilt after being destroyed by fire during the Spanish civil war during the year of 1936. The Belfry (type of medieval siege tower or bell tower).This is one of the most characteristic features of the Pi church and of Barcelona.

Drassanes

Drassanes
14th-15th Century
Presented by Matt Arndt

In the evolution of Barcelona it is impossible to overlook the fact that it has a strategically important advantage over most cites due to its proximity to the Mediterranean. This, in short, is why the shipyard has had a huge impact on the stance and importance of Barcelona and is the reason why this 750 year old building is still in existence.
This building was of pure function to the Crown of Aragon so that it could build and maintain military galilees that would sail the Mediterranean. It consisted of large barrel arches of stone that supported a wood timber roof. These large spaces were excellent work areas for the shipwrights and craftsmen of the era.At the height of this building in the 16th century there were over 2,000 workers that took 7 years to build 32 galleys.
Today this building features a full scale replica of Don Jauns galley that was made in 1970. Barcelona has a history that can be seen in this museum and it will continue to support this city into the future.

Santa Maria del Mar

Santa Maria del Mar
1329-1384
Presented by Melissa Trueblood

The Church of Saint Mary of the Sea is located in Placa de Santa Maria. The site location was just outside of the 1st-4th century Roman walls. At that time it was on the water’s edge. Santa Maria del Mar was build for and by the major seafarers with the money that they accrued from their oversea ventures. On July 18, 1936, nearly all of Barcelona’s churches were set on fire as retaliation against the alliance of army, church, and oligarchy. This rebellion let Spain into a civil war, as well as, left Santa Maria del Mar in its present state after burning for 11 days. The interior was stripped of its ornate side chapels, organ, and choir stalls. It was then restored at the end of the Spanish Civil War by a group of Bauhaus-trained architects, whom understood the original design. The church is not obnoxiously overdone, and with the help of the fire, the current state of the interior is fairly simple and clean. The symmetry found in the details of the construction includes the medieval numerological symbol of the Virgin Mary, the number 8. For instance, 16 octagonal pillars, rib vaulting arches at a height of 16 meters, and the keystones at the apex of the arches are 32 meters from the floor. The exterior details include a dominant, strong, yet sober shell.

Palau Reial Major & Saló del Tinell

Palau Reial Major & Saló del Tinell
14th Century
Presented by Chris Anderson

The Palau Reial was the royal residence in Barcelona. Inside you will find the Salo del Tinell banquet hall which is an example of Catalan Gothic architecture. Initially the complex was the palace of the earls situated on the Roman wall. The cathedral and its associated buildings aside are the most concentrated batch of historic monuments in the Barri Gothic. The square was once the courtyard of the rambling palace of the counts of Barcelona, and across the courtyard, stairs climb to the great 14th century Salo del Tinell, the palaces main hall. It was on the steps leading from the Salo del Tinell into the plaza del Rei that Ferdinand and Isabella stood to receive Christopher Columbus on his return from his famous voyage of 1492. Columbus would advance in procession with the monarchs to the palace where he presented the Queen with booty from the new world including exotic birds and sweet potatoes. The hall itself is a great example of secular Gothic architecture with interior arches spanning 17m. At one time the Spanish inquisition met here taking full advantage of the popular belief that the walls would move if a lie was spoken. Now a days it hosts temporary exhibitions while concerts are held outside in the square.

Sant Pau del Camp

Sant Pau del Camp
10th-13th Century
Presented by Chris Anderson

Since the early times of the foundation of Barcino, an urban inhabited nucleus was formed. There was a vast, crop-oriented plain called El Camp, in the Montjuic side of the outskirts of the city. The history and documentation about the Monastery of Sant Pau del Camp is very limited and extremely confusing. It was founded between the years 897 to 911 by the Earl Guifr’e Borrell according to his gravestone found in January 1596, which at the moment is attached to the wall in the left arm of the church underneath the transept. There have been no written documents about the monastery since its foundation until the moment of being looted by the Al-Mansur’s troops, which was suffered in the year 985. The monastery remained as a simple church, which didn’t shelter any community until its second foundation. The old church was completely restored towards the XIII century with a type of construction based on a Romantic nave, with transepts, three apses and a dome. Worked stone was used in the noble and outstanding parts of it including the main front as well as the highest part of the façade. This type of work can also be found in the blocked arches over the eaves overhang that surround it in the walls and apses of the frontage as well as in the interior part of the nave.

Barcelona Exhibition

We completed our final Barcelona critiques and exhibition April 8th-9th, with a closing reception following Thursday evening. Along with Stephen Wischer, our professor for the semester, we had an amazing group of guest critiquers for our presentations. Wednesday's guests included Joy Henderson of ARQUI-TRAD-ES, graduate of the University of Waterloo with a Master of International Cooperation in Architecture and Juan Carlos Sánchez Tappan of *, graduate of * with a Masters of Architecture and professor of architecture in Barcelona, Spain. Our guest Thursday was Criss Mills, a professor of Architecture at Clemson University in Atlanta, Georgia and traveling professor of their international design studio her in Barcelona. Our seminar professor Rafael Gómez-Moriana, graduate of the University of Waterloo and Berlage Institute-Amsterdam, attended both days to give us wonderful insight into our studio project designs.

We had a wonderful time in Barcelona, as well as the rest of Europe. We constantly kept busy with projects, traveling, and simply learning the culture of the city. It was an amazing experience which I wouldn't trade for anything, and I hope it continues for future years because it is truly worth it! Please look forward to a final exhibition in Fargo this coming fall...