Catch the Barcelona suburban train from Espana station to Igualada station which is the end of the line (6 zones). An enjoyable ride with the view of Montserrat in the distance. From the train station, you could either catch a taxi (probably are ones waiting and just mention cemetery and they would know, especially when you are a foreigner.) You could also walk, it’s not that bad and many people walk it there and back. Alternatively, you could also call for a taxi +34 938 04 53 53. We tried to call during siesta time and no answer.
On the same train line, you could also visit the Llobregat Sport Centre to have a swim in an Alvaro Siza swimming complex. To do so, the same train that goes back from Igualada skip that station so get off at Sant Boi station and catch the L8 train towards Barcelona for 1 stop to Cornella-Riera.

Here is the Google Earth placemark I used to navigate. Train station is clearly visible.

It is in an industrial area and all you see from the top is a large open dirt car parking space.

the gate is made out of rusted reinforcement bars

The cemetery is actually a lot smaller than i originally imagined. It basically have 3 levels. Top is the main 'building' and then 2 terraced levels of tombs for ashes and family crypts.

From the entrance, you have the option of ramp down to the lower terraces or the main building.

In the searing heat, the building is a good place to hide. It was closed when we got there.

Door detail

The spaces are powerful, albeit unfinished. I believe the derelict feel of the place actually adds to the power of the space.

raw and powerful

meditative

note that one of the columns is not even finished

unfinished lights with wire poking out

shafts of light

more

you can actually go on top of the building

the skylight are objects in the landscape

more skylights

the real magic happens when you go down to some of the terraces

see how they have put planter boxes so people don't fall down the stair openings

the first level of the terraces

Looking towards the crypts towards the 'cul-de-sac' end of the cemetery

Here are a couple of occupied crypts. Note the sliding screen doors

looking back up the hill

the 'cul-de-sac' dead end of the cemetery and you can see the lower level

I think these are designed tomb stones but they don't seem to be used except for a few.

Crypt door detail

still on the upper terrace, looking back

The most beautiful thing about the lower terrace is the landscape, the trees flanked by the leaning tombs. The southern tombs leans forward to provide good shading and the whistle of the trees in the wind is very prominent.

another one of that same space

landscape detail

lights detail

stairs to lower terrace

gabion wall and the 'cul-de-sac'

Empty crypts

empty crypt door elevation

sliding crypt door detail

You can see not many people wanted the original design intended by Miralles.
In this picture you can see only one.

I think this is meant to be the entrance to the lower terrace spaces

steel sculptures... I don't think they work as gates though.

steel door to the toilets

last one, steel door detail

Great pics mate, the weather looks beautiful.

The entry and top section looks very weak from what you've shown, and the strong points seem down in the lower areas, where it has gone back to human scale and looks like somewhere you'd like to be.

When you have time you should tell us what you thought in greater detail and have you any more info than what was on wiki (http://en.wikipedia.org/wiki/Igualada_Cemetery)?

Igualada Cemetery or the Cemetery Nou in Igualada, near Barcelona, Spain, was designed by the architects Enric Miralles and Carme Pinós after winning an architectural competition in 1984. Constructed between 1985 and 1994 as a replacement for the old "Cemetery Vell", the cemetery became widely regarded as one of the most poetic works of twentieth century Catalan architecture. Enric Miralles, who died in the year 2000 is buried in one of the tombs.

Miralles and Pinos were concerned, not just to design a cemetery, but to explore poetic ideas regarding the acceptance of the cycle of life to enable a link between the past, the present, and the future.[2]

The project is conceived, in part, as an earthwork that transforms the surrounding landscape and also, in part, as a metaphor for the river of life. A processional "street" descends from the entrance, where crossed, rusting, steel poles doubling as gates and likened to the crosses at Calvary,[3] proclaim the start of a winding pathway towards the burial area. The route is lined with repeatable concrete loculi forming retaining walls and the floor of the path has railway sleepers set into its concrete surface.[1] The intention was to bring the bereaved down into the landscape to a 'city of the dead', an inbetween place where the dead and the living are brought closer together. The spaces are designed to provoke thoughts and memories.

Zabalbeascoa sees Miralles's work in general, and the cemetery in particular, as being architecture "which 'naturally' adapts itself to a given site" but cannot be termed simply Organic architecture. His work is "more than simply interpreting the programme [brief] or observing a site's geographical landscape, however attentively, his architecture explores pre-existing traces in the cultural landscape of each project." The cemetery can thus be considered as architecture of the land that involves a humanisation of the brief and appreciation of the topography - that is, the visible, physical land as well as the memories contained within it. This is seen by Zabalbeascoa in contrast to the particular form of Critical regionalism which prevailed in the Spanish architectural scene of the 1970s which had tended towards a more sentimental or scenographic type of architecture.[4]

"What sort of cultural landscape is it, in other words, that takes up sides with nature against the monumentalist enterprise of culture, especially when it was suppoes to offer visitors an intimation of immortality? ......[it is] one that redefines the terms, such that nature is no longer understod as the unproblematic opposite of culture, death no longer the mere antithesis of life."[5]

Great project, wonderful pics. I like the atmosphere which is projected by them. The terraces give a nice feeling of room, the up and down, good "light scenes" are inside the project. A nice detail- but not "updated - in the meaning of repaired- the artificial lights in post#10.:)

A great report! And almost in real time, as you must have visited this one last saturday. Thanks a lot for sharing it!
Looking at your pictures I get mixed feelings about this one. The rough, unfinished look of the cemetery, almost as if it is a ruin, has a strong symbolic meaning and cuts away from the traditional cemetery architecture in this part of the world. It's very powerful and seems capable of dealing with a certain degree of abandonment and to be able to age well.
On the other hand, it looks too unfinished and too abandoned, and you see people feel a need to add their own symbolic elements, trying to relate with the building in a way that probably isn't the one intended by Miralles and Pinós...
I think besides finishing propperly the building (remove planters blocking stairs, the red net around the openings on the roof, etc.), nature is probably the missing element (it looks too neglected), as the contrast with the built elements would create a strong, interesting counterpoint (as in the trees you've mentioned), with the built elements relating with death and the vegetation celebrating life...

wow..
that building is much greater than i saw in the copy paper i had..
i had ever saw that building on the copy paper which i get from my friend where the picture is too dark so i can see nothing on the picture..
and i never really consider that the cemetry is a quite amazing architecture until i see it on your post..
i like the detail, how the wall is just finish by rock that is stack and covered with metal mess. it just (maybe) could express a rough feeling when we go to a cemetry..
btw thanx for the post..

A quote from a flickr member ;
"The whole cemetery was planned in two phases and due to a lack of money of the local authorities phase 2 never started; and also the level of acceptance at the local population is/was very low. there are still a lot of free graves, and the graves are not looking like it was intended. a uniform plate was designed but it never was used (you can imagine how it looked like if you look at the crypts, this metal plate with a cavity for a stone plate). building time for the first phase was from 1985 till 1994. second phase would double the capacity at least. if you are interested in plan material for the whole thing you can take a look at 'el croquis' No 34+49/50 which covers many works from pinós and miralles. also in 'topos' 1994 Nr. 8 there is an article. the ceiling the picture is showing belongs to the chapel which was also never finished. at least they made the wiring for the light bulps (yeah, that's it what's hanging there)"

From these excelent pictures by bryanboyer in flickr
http://www.flickr.com/photos/bryan/94105960/in/set-72057594057515557/

So creative and audacious! This was being built more than 20 years ago (1984), and many of these ideas must have been in Enric Miralles' mind years before. He was one of the most influential architects of the 21st century, even though his life ended in 2000. So many of today's architectural details were seen here way before our times...

The design concept was so pure that some functional aspects were overseen. It also makes me feel better to see that even the great make mistakes when creating the new.

It is a disgrace the way they are handling these unsolved issues as seen in photos 14, 15 and 16. Such a real problem the way architecture is lost after uneducated clients try to seek solutions without consulting an architect. The safety railing issue could be solved in so many other ways! Placing simple concrete benches, an array of steel spikes, or just some ground vegetation would be simple solutions.

I though there would be more respect in Barcelona than in other places with a less fruitful contemporary legacy. Miralles is a worthy heir of the Catalonian design geniuses that preceded him like Gaudi. Miralles' Mercat de Santa Caterina roof reminds me so much of Gaudi's Park Güell benches.

Thanks for these great photos, wish I could be there.

Sorry everyone, just a short quick reply to this as internet connection is hard to find!

Here in this picture you can see there is only 1 grave plate that is the original design by Miralles and Piños. Can you spot it?? :wondering

The one in the center of the top row?...

The one in the center of the top row?...

Gee... how did you guess??:poke fun:

occupied crypt door detail

We visited last November, I will try to add some new views.

I guess only architects would take their whole family out to visit a cemetery. The keeper seems to be used by now to visits by architects, he just got in a few minutes after we arrived at the desolate open place. The entrance fence detail is fantastic, so simple and crude.

The unfinished chapel natural light wells.

Opening detail.

Looking out to the larger wells.

Rusted metal floor lightboxes in the patio.

Here I am in the terrace walk above the patio level. Photo M Gomez.

Detail of Miralles marble book in his crypt.