An internal street, perpendicular to Montcada Street, traces the access road to the back garden and the annex building, thus reinforcing the public character of the ground floor, turning what could be a simple interior transformation into an urban operation. The new building houses the "Picasso Museum Barcelona study centre", with complementary activities that allow the Museum to be more closely connected with its surroundings. The main façade facing Sabartés Square defines a new composition plan, independent of the current Museum as a whole but with a close relationship established by proximity. A large glass protected by an overhang opens it over the city. In addition, this allows for visual continuity between the Museum's garden and the square, highlighted in a unitary manner. The other two façades, the one on Flassaders Street and the Picasso garden, are more hermetic due to the private world created inside the volume. All the shapes, the openings, of the same size as the existing ones in the Picasso Museum, allow the view and the relationship with the street and the garden. Two materials ensure the permanence of the building in its urban environment, thus adding to the complexity of its vision: the stone on the ground floor and the stucco on the upper floor.

The new building is dedicated to a single activity: creative, abstract and solitary, as the painter explained to us. This inclined us to solve the volume in a compact way with a uniform exterior – insulating layers and clear stucco in expressive continuity of walls and roof – to establish relationships of a familiar nature, without stridency with the natural environment. Within the green, the object becomes a screen on which the shadows of the trees are projected in continuous variation. The interior is a fluid and multiple concrete cavity, a direct consequence of the monolithic structural concept of the construction and the search for severe and bare spaces at the service of the artistic work carried out there. On the sloping site, with an abundance of trees, on the northern side of Tibidabo and adjacent to the house where the painter lives, the small building is composed of a painting studio, the largest and empty one possible on the upper floor and on the lower floor, the result of the meeting of the prismatic volume with the terrain, a workshop for sculpture and a warehouse. The volume of 12m x 13.5m and two floors has a total surface of 335m2. The study is a space without views and receives light from the roof with a large skylight located at the meeting of the four inclined planes, which irregularly define the space from the horizontal line crowning the walls of the 5m periphery of height. The skylight has been moved depending on the south orientation and the position in which the painter is usually placed to work. A staircase, placed discreetly on one side, so as not to break the unity of the study, leads to the lower floor in which the rear space closest to the soil retaining wall is used as a construction store and the area in front of the sculpture workshop. This opens completely from the front, with a large torn fissure of landscaped proportions, towards an outdoor work terrace and views towards the site's own greenery. The construction system used for this project was conceived in a compact way as required by the final image of it, both interior and exterior.

The joint project of the Europa-Fira, Parc Logístic and Mercabarna stations on Line 9 aims at a proposal that, with a minimum of resources, makes the most out of the conditions that are typical of an underground construction. We want a more geological space than a built one, following the classic logic that the "place", in the deepest sense of the term, is fundamental in the resolution of any architectural program. Therefore, it is proposed to use as few materials as possible, preferably taking advantage of those already present in the civil-structural work, such as screen walls, construction struts, prefabricated slabs, etc. The materials involved in the work are: the exposed concrete slabs, the apparent installations, the large frames of acoustic material attached to the slabs, the screen walls, the sheet metal coatings, the porcelain floors, industrial-artistic lighting that takes different forms: linear, punctual ..., metal railings and glass lifts, prefabricated benches, TMB's own furniture: ticket machines, tariff barriers, signposts. Another topic of the project revolves around the requirement to close the doors of the platforms with doors. This fact is integrated as a positive element for the overall composition of the proposal. The closure is complete and the project also becomes an exercise in façades, whole facades that seek an absolute mastery of the sections. In short, a space control strategy: accesses, lobbies, platforms and subway enclosures. The convoy arrives through an interior that is connected to the platforms of the public at the precise moment of being parked. Care has been taken to ensure that natural light enters the stations as far as possible. The set aspires to be timeless, not subject to fashionable figures and materials, of good aging and easy maintenance, which maintains a certain aspect of great space-emptiness even if there are many users.

The project takes place in the former sugar factory integrated in the ‘Compañía de Industrias Agrícolas S.A.’ on a site popularly known as ‘Pasaje del azúcar’. In accordance with the Special Plan we drew up in 2002, which included the entire former factory on both sides of the passage, in 2008 we converted the former industrial buildings on the north side into unconventional housing or lofts. In the meantime, an area on the south side of the passage remained unbuilt, which has been the subject of the new-build office project realised in 2019. The office project continues the urban design of the old volumes, so that the whole defines a coherent ecosystem, with its streets and buildings, a kind of more porous widening, for which a variety of volumes of different heights and floors have been built. This layout means that open and closed spaces, public or semi-public and private, old and new, coexist flexibly, like a small city within the city. With a more abstract architectural language, the new offices create continuity with the old refurbished buildings, with a similar materiality, similar shape and arrangement of the windows on the façades, thus preserving the industrial identity of the Poblenou district in a harmonious way.