The building consists of a white elemental prism placed gently on the ground and open to the outside through a porch that covers the entire width of the façade. The topography of the land is slightly inclined, so that the building, while maintaining the horizontal level, does not touch the ground. This arrangement summarises the symbolism that goes with the project: the position that levitates the prism and the large opening of the porch refer to a conception of death as a journey, as a starting point, a conception that moves away from the expression "here they rest" to adopt the expression "from here they have parted". The program is organised around a water courtyard that separates and distributes the three main packages: the wake rooms, the oratory and the cafeteria. The passage from one room to the other always takes place through the patio, which acts as a decompression chamber. The conception of each interior space combines artificial light, natural light and the view of the sky, grading the lightness or darkness of each piece depending on its use.

On a long and narrow plot with access from two streets, the house is conceived as an object, a box placed on the lawn, closed on its long sides due to the proximity of the neighbours, and completely open on the short sides, where the garden has more depth. The interior is organised by means of a patio that separates the pieces of non-continuous use from the rest of the house, conceived as a single space that flows around two pieces of light wood furniture. Exceptional views suggest that the house rises at a point that remains explicit on the façade, setting up a diagonal section of the living room.

A simple scheme of three bars with the court offices separated by courtyards is blurred by a uniform skin of vertical white concrete lamellas that embraces the building like a sheet. The slats, with different inclinations and distances, generate an image that presides over the new square with a heavy building, sober and opaque from a distance, and transparent from the inside. The arrangement of the slats suggests that of the books in a library.

The school is divided into two parts: the classroom and a lower body intended for the dining room and gymnasium. The auditorium is formed by a bar located between partitions and aligned with Roger de Flor Street. This body is closed to the street and opens to the interior through patios that allow natural light to be controlled and build a series of empty volumes of three floors, used for children's leisure. A linear staircase connects these three floors and builds the interior space, uniting the three floors in a single volume that receives filtered light through rhythmic vertical openings. The façade thus emphasises the opacity of this body, while on the ground floor there is a displacement that widens the sidewalk and gives rise to independent access to the children's school. The main access takes place from the main courtyard, through a porch that joins the classroom with the services body and, at the same time, naturally divides the courtyard between the area intended for the children's school and the area designated for the primary school.

El programa es desenvolupa en planta baixa, excepte algunes peces privades que es col·loquen en planta primera. Una sèrie de patis organitzen els paquets de consultes i garanteixen la llum natural. La proposta pretén dur al límit l'arquitectura prefabricada i industrialitzada i es planteja com un exercici d'estil sobre aquest tema. Tota l'estructura, tancaments de façana, tancaments interiors, fals sostre, etc. s'entén com un acoblament de productes de catàleg que es basen en una modulació estricta. Això podria permetre en un futur una sistematització en la construcció d'altres equipaments de la mateixa tipologia amb retallades en temps d'execució i en costos. La imatge, rotunda, és la d'un prisma brillant molt opac a l'exterior per garantir la màxima privacitat, en contrast amb un interior inundat de llum natural provinent dels patis . La col·locació de les finestres a la part més alta per a les consultes i en la part més baixa per a les sales d'espera permet evitar vistes creuades.

The old Poble Nou district, the productive engine of the city of Barcelona, was mostly built for industrial sites without any architectural interest. The few exceptions that the heritage catalog decided to keep may create the wrong picture of what this place was like. The fact is that most of the constructions were very precarious, with no other interest than the merely productive ones and constructed through a continuous process of addition of bodies with very heterogeneous construction techniques. Can Framis can be a sample of this type of construction and does not want to make up the texture of its old and damaged skin which acts in contrast to the high technology displayed around it. The contemporary intervention consists of cauterising the wound by consolidating the testers and constructing a new building that connects the two existing naves and that had to coincide itself with the layout of another old nave. In this way, the three buildings form a courtyard that becomes the lobby of the future museum and space for multipurpose activities. All these interventions are materialised in a coarse concrete that melts with the pavements. A layer of gray paint protects the existing walls and makes their details transparent (brick, stone, arches, scars from old windows, etc.), forming a contemporary collage of textures, holes and walls that reflects the different strata and interventions that the building has undergone over time. Inside, you take the elevator from the entrance and the visit begins at the highest level, to get a continuous walk, downhill and without interruptions of the exhibition route. The required high exposure density leaves the only formal scores for this route for the stairs. The garden highlights the unusual level where the museum is located, a metre and a half below the level of the Cerdà plot, the product of its previous location and rises within its limits to hide wheeled traffic. The ivy that will cover the entire pavement and the poplars will offer a melancholy and decadent image that will enhance the contrast with the smell of new surroundings.

Renovation of a mezzanine in Barcelona. The height of the buildings and the leaves of the trees let through a light that is too pale and cold, very similar to that of the Nordic countries. In these countries, the use of wood and candles seek to build a warmer domestic space. Wood on the floor and ceiling. Like a slice of ice cream. We use the natural warmth of light wood to modify the perception of light by bouncing, in the same way that lamp shades make the light of a light bulb much warmer and more pleasant. Villa Mairea by Alvar Aalto showed us the way. We stay a step behind. The conviction that this type of intervention must give prominence to its inhabitants, the furniture and their possessions, which will grow over time, advises us to work with the minimum possible resources. That is why the project is built with only two materials: maple wood and the colour white. In some places, the doors or the wooden paneling of the walls connect with the flooring and the wooden covering of the ceiling, thus enveloping the interior with a gesture that aims to be an affectionate and protective embrace.

The demolition of an old factory between two streets gives rise to a new urban space near the sea: Plaça Ovidi Montllor. The new equipment will make up the square together with a new municipal building facing it. The façade of the building overlooks the new square and, by separating from the neighbouring buildings, generates a courtyard that serves as access to the building, separated from the square by a porch characterised by the sculptural pillar that supports the volume. The piece, built with ceramic lattice (which refers to the old factory) to materialise the impact of the sun, gives privacy to the use and builds an abstract volume that rests on a black terrazzo plinth and the unique pillar.

The building explores the limits of industrialization in order to fulfill economy and simplicity requirements. Using a precast concrete structure and an industrialized modular system for the envelope the works costs result cut down. In addition, integrating the sports hall to the building´s first floor, though retaining a direct access to the schoolyard, contributes to achieve a compact layout. This decision allowed to minimize the building footprint hence, reducing costs on foundations and envelope. Other construction details aiming for simplicity include an external envelope made of light weight modular panels lined with insulating material and plastered, zinc composite panel roofing and a window solution based on repetition and dimensioned according to the minimum requirements. Regarding the brief, the core space to the project is the central hall, an indoors multi-level space with interchangeable uses. Heart and soul of the school, this is a working area, an exhibition space, a social zone and the connection point to all the classrooms. Finally, the school unifies and dignifies the simplicity and diversity of the construction details and materials chosen extensively using one paint colour. This chromatic uniformity confers character and personality to the building.

Alta Diagonal is one of the most important business centres in Barcelona. With eight office floors, 22,000 m2 and a community of users of almost 200 people, this building stands in the heart of business to accommodate the most influential companies on the national and international scene, and places Barcelona among the best cities in the world. Alta Diagonal is the benchmark of the most prestigious companies in the city. The refurbishment of the building demonstrates its commitment to architecture and design, sustainability, and innovation and technology. Alta Diagonal proposes a new concept of workspace in which the outdoor spaces play a decisive role and allow the building to have a dialogue with the city. The architects designed the lobby as an outdoor space, so that Diagonal Avenue entered and crossed the building to the back garden. These two spaces, which invite you to enjoy the building, are one of the main contributions to the city of Barcelona and build an environment of peace and silence amidst the hustle of the city. The rehabilitation carried out by BAAS arquitectura aims to connect the building with the city, provide it with greater light and improve its energy performance. Some of the interventions have consisted of the construction of a large entrance pole in front of the building to give it more visibility and a new personality, in the arrangement of the rear garden expanding it with the incorporation of the old parking area and in the empowerment of the accesses with the creation of two cantilever canopies that identify the entrances in an easier way.

Some former stables are transformed into a nursery school. The most unusual and characteristic element of the existing building are parallel transverse walls every two metres that work as diaphragms. The project proposes to cut the walls to 2.20m and keep them as a succession of white screens that diffuse the natural light from the skylights. Under this repetitive and orderly structure are the classrooms, while the collective space is concentrated in a space of great formal power that builds a cross that is completed with a new access body that protrudes from the built perimeter of the building and organises the yard. The new will blend with the old, letting the building itself tell its past life by showing the pasage of time, superimposing the new performances as another layer that will merge with the previous ones.

The journey of this project has been complex and strange, a true reflection of the convulsive times in which it has been developed. The original project, the result of a competition called by the Barcelona City Council, was drafted in 2019 but the economic crisis forced its pause. While it was not possible to undertake the rehabilitation, it was decided to make small occasional investments to repair the roof and close the windows with provisional plastic to stop the deterioration of a factory that, due to its curious morphology of a central nave and two lateral naves and due to its strategic position on the so-called Pere IV axis, it deserved to be preserved. The project has been adapting with a realistic and positive attitude to the economic reality in which it has had to live, and to chain those small provisional interventions that gradually build the final project. A project that is no longer the original, thought of in one go, but that in its own precariousness and disorder builds a certain way of rethinking this type of action, very contemporary. Halfway through, once the original architecture has been consolidated and suitably protected, it is decided to open it to the public with a temporary exhibition, which far from being ephemeral, strives to gradually build the facility. Some fundamental ideas are still preserved from the original project. The nave, which was part of an old factory built in 1920, contained some fascinating interior brick textures, probably more interesting than some of its exterior façades, which, having historically had other volumes attached to them, lacked interest. From the beginning, the project proposed not only to recover, but also to highlight those textures of the past, and to do so, it tried to centrifuge everything that could damage them. A ring-shaped, searchable underground gallery allows for all the installations that are necessary both now and in the future, and any element that is necessary for the proper functioning of the museum is attached to the outside of the nave: the elevator, which in its verticality reminisces the chimney that the factory never had, linear evacuation stairs, temporary bathrooms and even a large porch that opens to the park without modifying the original architecture. There is also a certain idea of materiality already raised in the competition phase which tries to solve all the pieces with a single material: the galvanized iron sheet. In an effort to relate the iron -the protagonist of the time in which it was built the building- with today, giving the material a new, somewhat surprising appearance. One more phase is currently being worked on, which will not be the last, and which builds a staircase to access the loft, an elevator and the porch. Each of these pieces is resolved from belonging to a set but attending to a certain design independence that accumulates objects in the intervention. Once the old warehouse had been properly consolidated and protected, while the works to build the new MUHBA headquarters were not resumed, it was decided to open the site to show it to the public. To do so, temporary bathrooms were built and an exhibition was prepared that should be a sample of what will be seen in the future. The project solves the intervention with a single gesture and proposes a large hanging lamp in the middle of the space, drawing a ring of light that separates the outer perimeter, dedicated to housing an exhibition on the city of Barcelona, from the interior space intended to host events and presentations. The large lamp is a large element on the scale of the building that enhances the richness of the interior textures and the basilica section of the enclosure.

En un emplaçament al límit de la ciutat en un entorn encara poc definit, es proposa un únic volum clar i pur, amb un pati interior protegit del vent com a protagonista de l'intercanvi cultural i de relacions entre els alumnes. El projecte aprofita el salt topogràfic existent en el solar minimitzant el moviment de terres i repenja el volum a la plataforma superior volant respecte la pista esportiva per crear un porxo i unes grades. Tot el programa docent es resol en una sola planta amb accés directe des del carrer principal i les aules de Primària i Infantil ocupen els costats nord i sud del pati. En la planta inferior, en contacte directe amb les pistes, es disposa el gimnàs i els vestidors. L'edifici es construeix a partir d'una estructura regular i un mòdul constant que organitza tota l'escola. Els materials escollits i els colors volen connectar amb la manera tradicional amb la que sempre s'ha construït al lloc.

The intervention aims to improve not only the market itself but also its setting through different transformations. First, the creation of new vehicle accesses independent from the pedestrians’, second, a new lift to connect the market with the Carmel neighborhood, and finally, the transformation of Trueba St into slow-traffic pedestrian-friendly street. On the other hand, the loading/unloading area moves to a lower level and the space occupied by it on the street level is used to extend the market surface. The project includes a large vegetable garden on the roof connected to a small restaurant. A new envelope will wrap the market volume providing it with an updated image.

Located at number 180 Carrer Pallars, in the Poblenou district of Barcelona, this project seeks to give continuity to the block and dialogue with the pre-existent buildings. Carried out by the Catalan office BAAS, led by Jordi Badia, the office building presents a morphology of traditional architecture, combining with a contemporary language materials, colours and textures that connect with its historic industrial context. The characteristic chamfered corner of the Eixample, which is gradually disappearing in Poblenou, is maintained.

The project originates from the desire to qualify the interior space and to integrate naturally into the scale of the surroundings. The entire programme is located at street level, in a scheme of two rows of consulting rooms framing a higher room that receives light from the north through a tall window. It consists of a classical volume with three naves, in the manner of a chapel, where the gaze is directed towards the sky. From the outside, the building gives very few clues about its interior space and is shielded from the road by its opacity, responding to the needs of privacy of the equipment. The access route is gradual, inviting calm. A porch welcomes the visitor in a welcoming gesture, extending the street, where a long bench allows the visitor to rest and breathe fresh air in the shade. At the end of the route, a sloping wall leads you into the nave, accompanying you gently, to discover the richness and light of the interior with some surprise. The materials used are the traditional ones of the place: ceramic brick for the walls and the back, concrete in its most austere state and varnished pine wood. All of this was built by local craftsmen with the clear intention of lasting over time. Inside, the material and thickness of the walls favour thermal inertia which, as has always been the case in traditional architecture, favours a more temperate climate. The building is protected from the sun and ventilated naturally by opening the tall windows to the north, cooling and renewing all the air inside.