Grans camions arribaven periòdicament des de la central al garatge subterrani connectat amb la caixa forta i d'allí els diners es traslladaven amb muntacàrregues a uns petits garatges a la planta superior des d'on es distribuïa amb furgonetes als diferents bancs locals. Unes petites oficines completaven un programa que generava molt poca activitat urbana i unes estrictes mesures de seguretat exigien que l'edifici estigués totalment aïllat de les edificacions veïnes. El seu emplaçament més adequat hagués estat en un descampat i al costat d'un accés d'autopista. Paradoxalment el solar escollit es trobava en una de les zones de més activitat de l'eixample gironí, formava part d'una illa en edificació tancada i just en un punt singular on el gir de la Gran Via feia que es convertís inevitablement en un important final de perspectiva en el qual destacaven una enorme mitgera i unes descuidats darreres a l'espera que l'illa completés el seu volum previst i les amagués. D'altra banda, davant el solar i a l'altre costat de la Gran Via, estava prevista l'obertura de la gran Plaça de la Constitució i conseqüentment el nou edifici tornava a ser protagonista des d'un altre punt de vista. Un parell de delicades i petites edificacions contigües acabaven de completar un paisatge heterogeni i desordenat, al qual no semblava que un edifici baix i discret li pogués donar resposta adequada. El projecte va proposar augmentar artificialment el volum estrictament necessari que el programa demandava per tal de disposar de material suficient com per manipular-lo i fer front a tots els temes urbans. Un semicilindre amb el seu eix centrat en la prolongació visual de la Gran Via acollia un sobredimensionat pati d'operacions i s'adossava pel seu pla axial a un cos prismàtic de menor altura que seguia les directrius dels carrers secundaris i contenia garatges, oficines i arxius . Una part del semicilindre continuava per sobre del prisma mentre es podia veure des de la Gran Via i una planta d'instal·lacions a la coberta ajudava a augmentar encara més el volum final. Tant la tanca desmesuradament alta i massissa que va envoltar el banc, com el petit local que casava amb els elegants edificis veïns, volien camuflar la seva condició d'edifici aïllat i mantenir les alineacions de l'illa en un intent de no interrompre la definició volumètrica dels carrers . Tota la construcció estava plantejada amb murs portants d'obra de fàbrica per les mateixes raons de durabilitat i economia en el manteniment esgrimides en altres obres construïdes en aquells anys i l'opció escollida es va posar clarament de manifest tant en la configuració dels alçats com en les traces de les plantes.

The initial programme for this project described a building complex that was to house the facilities for the treatment and reception of satellite signals, a telephone exchange and premises for the management and sale of these services. These functions were grouped in the two main buildings: a representative building with offices and an exhibition hall with a small bar, as well as a technical building which is the teleport itself. The programme also included a security control and premises for conventional installations. Of all this, only the technical building and those of installations and control have been built. In the technical building, the importance of the network of connections and its frequent modification due to technological innovations finally led to a square floor plan completely surrounded by a perimeter corridor of access and service. To complete the effectiveness of this corridor and the flexibility of the connections, numerous vertical ducts have been placed that allow the direct passage of the installations from the ground floor to all the others, including the roof. A certain homogeneity in the premises that make up the building, the margin of the surfaces and the security with which an evolutionary programme must be treated led to solving the plan with an orthogonal plot. A circular concrete pillar is placed in each of its nodes, and the partitions are always placed within the lines of this grid. It is therefore a perfectly isotropic porticoed structure, in which the enclosures are totally subordinated to the organisation of the framework. Construction and design problems are concentrated, as always, at the edges. To support the corridor, the perimeter pillars are deformed, hinged from a certain height to support some prefabricated slabs located at the height of the false ceiling of the interior premises. The technical building is surrounded by a light enclosure made up of glass and practicable aluminum carpentry, which accompanies the perimeter corridors on the two upper floors and, through them, provides light and views to the work premises. This closure is interrupted in all corners of the building.

The deposit built by Josep Fontseré in 1874 combines the virtues of good construction, the ease of adapting to changing uses and the ability to understand and improve the place where it is located. A great example of good architecture. The building was in perfect physical condition after being used as a pavilion at the International Fair of 1888, and it later housed a hospital, a municipal warehouse, a movie set and also became an important resting place for many migratory birds. The project proposed demolishing all the interior divisions, the central part of the intermediate slab, and opening five skylights in the geometric centre of the roof that balanced the perimeter light and established a visual and kaleidoscopic relationship between the interior and the roof. For safety reasons, the large body of water that had been planned to be stored was never allowed to reach the top edge of the tank and the new proposal replaced it with a thin sheet at the top. This improved the old image of the permanently half-empty pond and solved the problem of vertical loads, seismic actions and tightness by reducing the weight and forming an intermediate security camera between the bottom of the new vessel and the old one. As for the interior, two elaborate prefabricated pieces of concrete, one as a slab and the other as a support, organised discontinuous mezzanines three metres high above the floor of the room. Treated as furniture in the huge space, they increased the area of use, contained all the voluminous facilities that the building needed and gave rise to a great diversity of reading spaces, from some very collected and homely to others with wider views and spectacular heights. With the exception of the new skylights, everything, including the new pond, was delicately superimposed on the building without injuring it. Everything could be dismantled so that the original support appeared intact again. The search for the formal expression of this strategy guided the project in all its aspects. Again, an exercise that reflects the relationship between architecture and decoration.

The building complex was part of the Urban Plan for the seafront façade of the Barcelona Olympic Village, which rigidly set the volume, type of roof, terraced portico and exposed brick. The project’s concern was focused on giving the maximum possible freedom of use to the space allocated to each flat. Flat concrete pillars embedded in the thickness of the façade, tidy installations and equal and equidistant gaps in the exterior were designed to ease future, inevitable and unpredictable changes.

The Raval district was located between the second walls of La Rambla (1260) and the third and last walls of Les Rondes (1336-1387). The establishments, services and activities that were disrupting the fields, the farmhouse and the guild house coexisted there. Frustrated expectations of growth in the end of the Middle Ages left a large amount of available land that led to the installation of numerous religious buildings as a result of the rise of Catholicism that were typical at the time. The culmination of this long process that turned the Raval into a convent district can be traced between the 15th century and the confiscating action of Mendizábal in 1837. Its enumeration would be too extensive. On the area in which the study focused, few were the transformations that took place during the Enlightenment absolutism and the industrial revolution except for the opening of Joaquim Costa Street and the interesting urbanisation on the old lands of the Convent of the Carmelites built in 1875. The centre of attention of the city moved to the Eixample Cerdà and this area of the Raval district was left as a forgotten centre, with a significant presence of large buildings, many of them disused and located in a typically medieval plot that made its pedestrian and wheeled access hard. A world full of possibilities in the heart of the city and ignored by most citizens. The first Democratic City Council became interested in the neighbourhood and in July 1980 commissioned a study on the possibilities that the Convent of the Angels, the Old Chartiy House and the Old Mercy House, could offer to accommodate new uses that would give them a renewed meaning and act as locomotives for the revitalisation of this whole part of the city. The work also had to propose an arrangement of the free spaces and a proposal of accessibility that the new uses were supposed to demand. The ambiguity of the assignment was beneficial for the development of the work because the objectives of the project and the area of the study itself were specificised and evolved little by little according to its own internal logic. Gradual knowledge of pre-established factors (the patrimonial status of the City Council and the Provincial Council, the rigid and then unbreakable criteria of the General Metropolitan Plan, the list of buildings listed for their historical and artistic interest, the awareness of the origins, the growth and historical importance of the Raval, the evolution of their uses...) were first superimposed on the reforms and extensions of important buildings, their possible new destinations, the new urban emptiness that were to give them a framework, the strengthening and new creation of routes of pedestrians, wheeled accessibility, new car parks... and how to represent all that. In this way, an elongated study area was set up, which, centered on the three large groups mentioned, extended parallel to Les Ramblas, from the Liceu to the Seminary. From the very beginning the project looked at the neighbourhood from afar and understood it as a bas-relief in which a sculptor with a delicate tool would have been making subtle incisions in a compact and uniform mass. These hollows were very varied and had elongated, straight, curved, rectangular, square, regular, irregular, changed in width and length and all of them constituted an extraordinary set. The project was based on the conviction that the protagonist and the indisputable value of the Raval was the richness and variety of these extractions, much more complex and richer than those of the Eixample or those that do not exist in the peripheral suburbs. The boulevards, streets, squares, enclosed gardens, passages and galleries were related to each other, forming a very varied and complex fabric that the project wanted to understand, respect, consolidate and continue. And this richness and variety of public space reached a very high level of exceptional work of art thanks to the essential collaboration of a wise and discreet architecture whose main objective was to define and qualify the gaps it had around, forming with the city an indissoluble whole. The project began with a drawing on a large 1 x 4 m tracing paper in which the chosen area was represented and with special attention all the ground floors of the important buildings. The necessarily slow realisation of the drawing facilitated the gradual discovery of the ways used by the architects of the Liceu, the Virreina, the Romea Theatre... among many others, to manipulate the established academic models and transform them into organisms more complex to the direct service of the urban environment in which they were located. Quite the opposite of what the Tuberculosis Institute (1936) and later the MACBA (1995) represented, conceived as isolated buildings outside the city and incapable of generating a controlled and dignified public space around it. What they actually did was damage it and make countless nooks and crannies, fences, bars, eternal partitions, and shameless visions of block interiors open to streets and squares appear for the first time in the neighbourhood. The most radical and risky action of the project was the proposal to create a large square 130 m long and 52 m wide that highlighted and related the four main protagonists of the district: the old Convent of the Angels, the Old Charity House, the Old Mercy House and the magnificent Carmel urbanisation. It was imagined as an explosion of space and light which was accessed through narrow alleys, bathed by its characteristic zenithal light. A hollow without trees, with a hard pavement and containing inside the testimony of two isolated historic buildings: the Church of the Angels with its adjoining chapel and the beautiful Gothic building of the Old Orphanage. Three large car parks connected by an underground passageway turned the whole area into a comfortable pedestrian area. The first demolition work began and, according to plans, the south corner of the main square was built. Parts of the old convent were recovered and consolidated, and several heterogeneous pieces were juxtaposed, visually covering partitions, rear façades, neighbours' courtyards, avoiding corners and opening new accesses and new pedestrian paths. The most important piece of the set could not be bigger than it ended up being, in fact a very shallow screen that had to accommodate uses that were always imprecise and changing. The project tried to disguise all these circumstances and not forget that its fundamental mission was to help to tighten the large public space in front of it and at the same time give a first reference on the monumental character that was to be given to the future square. Some changes in the Metropolitan General Plan and a gradual concretion in the contents of the buildings allowed in 1987 to advance in the definition of demolition, extensions of buildings and formalisation of the urban spaces around the Old Charity House. The changes were basically two. On the one hand, due to its excessive rigidity, the idea of enlarging the building was abandoned on the basis of continuing its structure of courtyards embraced by equal and narrow crevices, and it was proposed to preserve only the beautiful Patio of Women and give more freedom to future constructions. On the other hand, the change in the rating of the plots between the Old Charity House and the houses of Tallers Street made it possible to propose a new building that would hide its rear façades and define a new public space that would house the Old Charity House with one side of the Mercy complex. Thus appeared a new series of squares of different sizes and types embraced by large buildings and always connected to each other by narrow streets. The new constructions were imagined permeable to pedestrians on the ground floor, following the examples of the Santa Creu Hospital or the Old Charity House itself, magnificent examples of how large volumes do not break the small scale of the neighbourhood and were able to allow alternative routes and offer quiet spaces of great comfort and friendliness inside. Many of these proposals were not followed.

The site where the equipment was to be erected was a leftover cut from a neighbouring football field, and the neighbourhood was a display of heterogeneous constructions navigating disorientated in a chaos crossed by roads. The project can be considered as an exercise in manipulating an established academic model to bring some order to an unstructured environment. The building ended up being configured in a volume that can only be understood from the concern for the definition of the surrounding voids and the highlighting of the entrance to the nearby sports area.

La casa Salvans es va construir en un magnífic hort envoltat per un mur de pedra que de vegades aguantava les terres exteriors, altres vegades les pròpies sobre les veïnes i a la zona més alta girava sobre si mateix i es convertia en un aljub. En l'únic punt on coincidien els desnivells exteriors amb el pla horitzontal interior estava situada la porta d'accés que es va conservar en el projecte. Tot el recinte havia quedat envoltat pel creixement gradual de la vila i el nou edifici volia contribuir a donar continuïtat als plans de façana de les cases entre mitgeres veïnes i que definien amb tanta precisió el buit dels carrers. Incomprensiblement les ordenances obligaven a aixecar un edifici aïllat i el projecte va pretendre superar aquesta contradicció.

Between 1836 and 1840, construction work began on a monumental square designed by Francesc Daniel on the extensive plot of land occupied by the Convent of the Discalced Carmelites of Sant Josep since 1593, and in the area closest to Les Rambles. Molina designed a harmonious and orderly architecture that was superimposed on a strict Ionic colonnade that supported a generously sized terrace. In this dignified and unfinished square, the Boqueria Market was installed, one of the most popular temporary markets in Barcelona and which ended up being covered - for practical reasons - with a permanent metal shed, poorly attached to the surrounding buildings preventing the perception of its magnificent architecture. On the other hand, between the market and the Old Hospital of the Santa Creu, the so-called Gardunya Square was found, which was actually an open field caused by the bombings suffered during the civil war and which was used as a temporary area of loading and unloading. In 2006, the City Council showed its will to start an operation to refurbish and improve the market and its surroundings. The project was oriented towards the formation of three pieces: the square of Dr. Fleming facing Carme Street, the Canonge Colom Square facing L'Hospital Street and the large square formed by the gaps of La Gardunya and Sant Josep. Housing conceived in the manner of those proposed by Francesc Daniel Molina on the one hand and the new headquarters of the Massana School on the other were the new constructions that were proposed to define them. Once the problems of loading and unloading had been solved underground, the main character of the proposal was this huge void (166 m x 84 m), practically three times the size of the Reial Square and partly occupied by the metal shed of the market. The project wanted to emphasise its temporality, its calligraphic character, its character as a shed and its secondary character in relation to the higher order of the surrounding architecture. Following one of the first intentions outlined in the 'From the Liceu Theatre to the Seminary' project, everything possible was separated from the surrounding architecture and it was very much insisted that the Boqueria market was a shed and not a closed building; one of those light sheds with high ceilings to facilitate natural ventilation, without closed façades and with vertical blinds to protect it from the sun and rain. We did not want to lose the character of the Mediterranean market that represented the Boqueria all over the world and that related it so directly to Palermo and Istanbul. The traditional vertical protections were replaced by horizontal tinted crystals hanging from the roof, thus increasing the market's natural lighting and improving the perception of the perimeter colonnade from any point inside. The reduction in sales points implied by these operations was compensated by the proposal for an extension towards the Hospital area, treated as an extension of the old one with the added intention of balancing the very busy entrance from Les Rambles. In order not to weaken the concept of a shed treated in the manner of a pleasant thick, protective, exempt and isomorphic forest that could be accessed from any point of its perimeter, the indispensable service building was built as small as possible and at the point that would be, after the expansion, the geometric centre of the shed.

It was planned to build a large office building of 34,538 m2 and a municipal home for the elderly of 12,000 m2 on the 13,818 m2 plot. The place was influenced by the traces of the Forum, the Cerdà grid, the Diagonal Avenue and the old exit road to France, and the buildings that surrounded it had very different heights and natures. The project wanted to intertwine and give continuity to all these diversities. The answer was a fragmented volume with a broken plan that looked from time to time for those vertical edges that would ensure the visual continuity of the perimeter streets and form an interior square that collected the alleys of the new neighbourhood of low-rise housing that had to be built on the neighbouring plot. Also, in terms of height, the project was attentive to what was happening around it and ranged from 100m in the area closest to the Forum esplanade to 15m when it approached the neighbouring homes. The project felt close to a certain exemplary tradition of other Barcelona towers that renounced being exempted to emerge in exchange for a built mass respectful of the heights and alignments of the nearby city, always with the aim of guaranteeing its continuity and prevent the pedestrian route from being interrupted by uncomfortable uncontrolled gaps. The tall building had a façade made up of an inner glazed leaf and another metal exterior that acted as a sun protector. These two skins were not always parallel and close, the exterior was attentive to the urban logic and the interior to that of the building itself.

The town council promoted an ambitious revitalisation operation in Les Roquetes neighbourhood through the construction of new municipal offices and sheltered housing. With this material, it wanted to revitalise the activity in the area and give continuity to two different and confronting urban fabrics, one on a slope and self-built during the 60s, and another in plan and formed by a more recent extension and with a different type of real estate development that gave it a different scale. The project opted for the creation of a generous square that was defined by a continuous building that embraced it and that contained all the required program. Located on a steep slope, it sought horizontality, managed to avoid the access ramps to the underground car park that always break the ground plan, generating undefined and dark areas, and planted as many bananas as possible. The town hall building was very attentive to the many virtues of the neighbouring self-constructions, especially to their extraordinary richness in the transitions between exterior and interior, usually based on sequences with a great deal of patios, terraces, pergolas, trees or plants. All this influenced different themes and especially the way of entering, which was proposed through a half-hidden courtyard, protected by a large tree and treated as a generous hall from which any room could be accessed. From its gestures in plan so that it was seen from the two main streets that penetrated the adjacent fabrics to the treatment of its volumetry chopped in some areas or treated with more emphasis in others, its general appearance was born from the will to give maximum continuity to the two tissues and to preside over and give meaning to the square.

The main goal was to adapt an old factory as a multipurpose space and meeting room for the Institute of Construction Technology of Catalonia (ITEC). The premises were defined by an orderly succession of eleven reinforced concrete porticos, each of them formed by four pillars that defined three naves that ran its entire length, from the street to the centre of the block’s interior courtyard. The intervention was conceived as a game of minimums, without camouflaging what was already there and taking advantage of and underlining everything that was considered positive, which was almost everything. The most important decision was to create a patio in which adjustable slats, which allowed the sun and light to be controlled at free will, replaced part of the old roof. Large vertical mirrors covered one of its corners, creating an artificial effect that visually quadrupled the space. To facilitate the versatility of the area intended for multipurpose uses, two flashings were made to the pillars that were the most annoying. The movable chairs and platforms could easily be arranged in various distributions following the different coloured markings painted on the wooden floor. This overlay of graphics was reminiscent of fields where various sports are practiced alternately.

The planning responded to a city model radically different from that of a Mediterranean city and the project found no loophole to change its purposes. The plan had set a buildability of 32,940 m2 to be divided between three buildings perfectly defined in their maximum occupations, their required heights and their position on the floor. The project focused on optimising habitability in such a rigid and untouchable framework. In the two towers, the maximum allowable use was taken advantage of because it facilitated the organisation of different sizes and distributions of the houses and the compositional obsession with slenderness was clearly renounced as if it were an indisputable value. Both reached the mandatory maximum height and the excess buildability that would have resulted if all the plants had been equal to the casualties was reduced and adjusted by extractions to the overall volume. Extractions that increased as they gained height and were carried out in areas facing north, in areas without sea views or on the nearest edges between buildings. In the towers and at each core of stairs and elevators a series of bands were defined that completely wrapped them in the large tower and only on three of its faces in the small one. Of these bands the nearest was the access corridor to the houses. The next one, 50 cm thick, was occupied by pillars and installations. In the widest band, 8 m thick, the houses were distributed without any fixed vertical element and with total freedom to decide sizes and distributions. It was followed by another 50 cm occupied again by installations, pillars and glazed enclosures from floor to ceiling that separated it from the terraces run by 3m of cantilever. Due to its size and the protection from the sun, wind, vacuum and other people's eyes, which were provided by sliding shutters with adjustable aluminum slats, they became another room in the house, a new element of communication between all its pieces, in a generous intermediate space between interior and exterior of a very Mediterranean tradition. And all this is thanks to sensible ordinances that did not penalise terraces with loss of buildability. In those faces that arose from the extractions carried out in the general volume and in which terraces could not be built, the same compositional elements were used as in the rest of the façades. Cantilevers, railings and shutters were also present, although with other measures and relationships so that the building did not have a front and a back. The façades of the lower building were treated with the same resources as those of the towers, seeking to confuse and perceive the three buildings as overlapping and perceived as a unique, formless and changing shape.

The homes that completed the perimeter faced how to make use of the roofs, usually large useless surfaces that end up in absolute abandonment. Ordinances were drawn up that, without increasing the fixed buildability, increased the permitted height on one floor, so that it was possible to organise volumes in which each floor was smaller than the lower one, giving rise to the appearance of generous outdoor terraces in most homes. That lost roof was fragmented at different levels and turned into a series of useful and generous spaces not counting as built-up area. From a formal point of view, the resulting scale of the new buildings is a better match with that of the neighbouring buildings. The construction systems, materials, colours, plinths, carpentry and railings were the same both in the sheltered housing and in the Town Hall building. Only the volume and the voids that responded to the large interior spaces distinguished the houses individually.

El nou edifici es va situar prop de el Monestir de Sant Benet de Bages. El riu Llobregat abraçava allà, amb un gest brusc, uns magnífics camps de cereals i vinyes que van acollir l'imponent monestir romànic i després la fàbrica tèxtil Carbó. Dos monuments del passat que testimoniaven amb gran claredat i força expressiva dos moments brillants de país. El nou edifici no va voler erigir-se com un element que desdibuixés els anteriors ni els tragués protagonisme i va buscar allunyar-se de les seves concepcions arquitectòniques, constructives i geomètriques. Ja en els dibuixos inicials van aparèixer uns traços que no feien referència a tipus edificatoris coneguts, sinó més aviat insinuaven formes mal·leables, pastoses, de geometries amorfes que suggerien adaptació i camuflatge. D'aquesta manera el nou organisme va anar respectant amb facilitat antigues parets, tanques, camins, escales, plantacions ... i adaptant-se als canvis constants d'un programa inconcret que el va obligar a anar canviant de mida, ocupació i altura, arribant fins i tot a abraçar la veïna casa dels antics propietaris en una demostració permanent de la seva gran docilitat i flexibilitat. Un sòl tècnic, un cel ras generós i una planta lliure van reforçar la voluntat que pogués acollir l'imprevisible. L'edifici va pretendre que des de l'interior es visqués l'experiència d'estar en un lloc envoltat per la natura, d'estar dins d'ella, de poder veure els arbres, els ocells i la pluja des de molt a prop. Per aquest motiu el pla vertical que separava interior i exterior es va plantejar totalment vidrat. Una superfície que segons les intensitats de les llums era transparent o reflectant, de manera que de vegades el volum edificat desapareixia i en d'altres s'integrava totalment amb l'entorn en reflectir l'exterior com si d'un mirall es tractés. El control del sol, de la llum i de la intimitat es va aconseguir mitjançant una façana complexa d'un gruix variable que oscil·lava de zero a la zona d'entrada a 13m la zona més ampla. Era una banda definida pel pla vertical de vidre que tancava l'edifici per una banda i per una paret de pràcticament la mateixa altura per l'altre. Aquesta paret va aprofitar trossos d'antics murs de pedra que es van perllongar amb nous murs de formigó i en algunes zones se li van obrir grans finestrals que permetien vistes controlades cap al paisatge. Entre aquests dos plans verticals es van instal·lar umbracles horitzontals situats al mateix nivell que el cel-ras interior i es van plantar arbres per garantir la protecció solar i la qualitat de la llum. Aquesta façana gruixuda i d'amplada variable resolia amb facilitat el compromís entre la forma interior que l'edifici necessitava i la forma exterior que el lloc reclamava, i creava a més un espai intermedi tranquil i enjardinat que perllongava visualment l'espai interior i formava amb ell una unitat indissociable. Uns generosos lluernaris verticals orientats a nord equilibraven la llum en les zones de la planta més allunyades de l'perímetre.

L'habitatge estava situat en una urbanització dels anys quaranta de segle passat i envoltada per una atmosfera general d'una qualitat poc freqüent, però amb els mateixos problemes d'arrencada que van haver de fer front la casa Penina, la casa Almirall o la casa Rognoni. A diferència del plantejat en aquells casos en què es van ignorar les obligades bandes perimetrals per cedir-les a allò públic o se'ls van adjudicar usos secundaris, aquí l'habitatge es va apoderar decididament d'elles, integrant-les a l'edificació, qualificant-los i concedint-los un paper protagonista en el resultat final de l'obra. Una tanca de fusta, de la màxima opacitat i alçada permeses per les ordenances va resseguir tot el perímetre de l'solar i també va perllongar a l'exterior les divisions de la casa. Així es van transformar aquelles bandes absurdes en una sèrie de patis, cada un d'ells associat a una dependència interior, i perquè la mútua integració fos la més completa possible es va decidir que les façanes fossin absolutament de vidre. Tots els vidres disposaven d'una cortineta i una cortina opaca enrotllables per controlar la llum a voluntat i unes generoses pèrgoles horitzontals a base de lames mòbils van garantir la protecció solar en aquelles orientacions en que era necessària. Uns lluernaris verticals a nord il·luminaven les dependències interiors. L'edificació tenia una forma prismàtica de 32,4x8m en planta i 3,5m en alçada. La llosa de la coberta es recolzava, com en el projecte contemporani de la Fundació Alícia, sobre uns perfils metàl·lics de 7x7cm col·locats en el seu perímetre cada 1,2m. Una caixa adossada de formigó a l'entrada es va encarregar d'absorbir els esforços horitzontals. Un soterrani de la mateixa mida de la casa i un generós fals sostre resolien les instal·lacions. D'aquesta manera es va aconseguir una planta totalment lliure, fàcilment modificable, en un intent de que fins i tot tractant-se d'un edifici unifamiliar, la proposta no fos una resposta tancada a un programa determinat sinó que donés totes les facilitats per acollir inimaginables activitats en el futur. Totes les divisòries interiors a l'arribar a façana disposaven d'una porta, de manera que en moments determinats tota la casa podia usar-se com un espai únic que es percebia llavors com un biombo lleuger de fusta situat dins d'un prisma de vidre al que no tocava.