El programa afronta la ubicació d’un bar-restaurant en un indret caracteritzat pels elements naturals, l’aigua i els arbres. El projecte inventa de cap i de nou una topografia artificial construïda per mitjà de seccions successives i crea una nova edificació que atorga singularitat a aquest punt concret. La concepció del quiosc preveu les activitats de bar i restaurant a l’aire lliure, de manera que els espais tancats són de dimensions molt petites. Les activitats es distribueixen ordenadament en els diferents àmbits creats: el dinamisme de les activitats lúdiques a la façana urbana, i els punts de vista més contemplatius mirant al llac.

Disset apartaments distribuïts entre els baixos i les tres plantes pis, amb soterrani d’aparcament i ocupació de les golfes, sobre una peça d’uns 650 m2. Un encaix laboriós, anterior a regulacions posteriors sobre mida mínima i densificació màxima als blocs gironins. El tema principal del projecte és l’excavació interna d’un contínuum exterior, així com el lligam dels celoberts i de la caixa d’escala en un desplegament orgànic de llum i d’accessibilitat a cada planta. Al carrer, unes galeries-capsa fluctuen pel pla de façana i hi eludeixen la lectura d’eixos verticals.

El projecte consisteix en la construcció de dues plantes d'aparcament subterrànies a l'àrea de l'estació central de Girona. L'excavació permet definir un espai públic per als usuaris del tren i dels mateixos veïns. Aquesta superfície que cobreix el gran buit previ disposa de talls pels quals la llum arriba als espais inferiors i els transforma. El mateix relleu dels lluernaris es transforma en l'espai exterior públic, en un espai de joc i de descans.

No és una casa de cap de setmana, sinó que es resideix en ella tot l'any. La seva situació respecte del poble de Mollet la singularitza estratègicament. La construcció existent, actualment cuina, permetia fixar un moment per al nou projecte. Els murs s'estendrien a la mateixa cota que els existents, o variant aquesta lleugerament, zigzaguejant, a fi d'obtenir els espais necessaris... canviant de cota per assumir la lleu topografia del solar... La construcció seria horitzontal, allargada... recollint el paisatge, movent-se delicadament per a obtenir les millors vistes... o tancant petits espais... redibuixant... i dibuixant. Els murs es comencen a construir entre els pins, i es dirigeixen a la construcció existent, l'envolten... i baixen cap a les oliveres. Construeixen els espais necessaris i es fragmenten en un moment concret per col·locar per sobre de la casa un estudi, un observatori... Es retallen, simplement, les finestres, quan volen mostrar un fragment del paisatge.

La gran superfície exigida pel programa ha donat lloc a un edifici dipositat sobre la topografia i que n’adopta el relleu. L’edifici té una part soterrada que acull el centre de salut i esportiu, i una planta superior de caràcter més social, amb les sales de reunió, el bar i el restaurant. Els espais inferiors queden il·luminats amb lluernes i no formen part del paisatge. El nivell superior queda cobert amb una gran superfície fosca, un llençol dipositat sobre l’estructura portant, de fusta, de manera que deixa veure tot el paisatge, ja que no toca a terra. L’estructura de la coberta queda suportada per un sistema de pilars metàl·lics de secció molt petita. L’edifici no ofereix resistència a la topografia ja existent, sinó que permet contemplar-la en continuïtat amb la nova construcció.

The project was an opportunity to return to the neighbourhood in an interested way; it was no longer a playful visit, a discovery of its people, its bars, its aroma... but rather a revision of the place with the desire to identify what would allow us to reveal its qualities and being able to describe it in a precise way about a project. An attempt, in short, to want to explain a reality, to offer a new and more complete meaning to an architectural project, beyond solving a program, a commission. In the market’s public tender, we already made a collage with some fish by César Manrique, some drawings for children that could contain and explain the joy of these people, their liveliness, their energy, their enthusiasm and, often, many difficulties. The market has always been an element of the neighbourhood’s social cohesion, a reference, sometimes almost secret and only visible to its inhabitants. This condition of density that the market has in relation to the city must have been a condition of the project, so that the building and its immediate surroundings really became a clear point of reference for this small part of the city of Barcelona. It is amazing to see now the photos we took of the market during construction, when the pieces, the bones of this huge animal, were being transported through the streets to their final place. It’s nice to think of the memory of these pieces being transported along the same streets; as a neighbour, a witness in the same way of the building, or at least, some fragment of the market.

The building of the Tibidabo Funicular is a building from 1888 designed as a train station from the lower part of the mountain, in this case the funicular train that gives access to the Tibidabo mountain, and not only to the amusement park; in the past it also gave access to the residents of the mountain. The building has the architectural characteristics of a typical train station. It is a building-lobby on the ground floor of access, with housing on its upper level for the person in charge of maintaining the railway line. Attached to this volume is the gable roof that covers the train and the access platforms to it, as if it were "the train house". Obviously, the building is in a sloping position, given the characteristics of the funicular. The building had been modified over the years, adding small auxiliary constructions, and even painted its façades like advertising posters. These posters gave the building a unique commercial character. The proposal says that this lobby building is what comes before the reality that the public will find in the park, a world of fantasy. This intervention consists of cleaning the building of the added constructions, and freeing both the interior and exterior of unnecessary constructions. The building that covers the platform and the train is dismantled and rebuilt like the previous one, in order to waterproof this whole space, preserving the wooden structures, trusses, and part of the ceramics of the polychrome roof. Externally, all the existing cladding is cleaned and the station is repainted. The commercial paintings that had been done on the walls of the building could not be recovered for budgetary reasons and were repainted with blue lines, on a protective base of these drawings, so that at any time they can be made visible again. The interior space was restored to its initial state, leaving the ceramic ceilings with metal beams exposed. The wrought iron pillars were also recovered, as was the pavement. The lobby space is inhabited with white sheets that will serve as a support for the projections of images of the activity that takes place in the park. While waiting for the train, the public will be able to enjoy the projections on these sheets, built with plasterboard, which allow the existing building to breathe. It is a fragile occupation of space, as if it were a ghost. The soil is preserved, and coloured pieces are incorporated simulating flowers on the ground. These ghosts, the white sheets, are built with wooden slats when these surfaces incorporate closed spaces such as the ticket office or the pergola that covers the arrival platform. The small washroom, lined on the walls and ceiling with curved panels of perfectly reflective stainless steel, reinterprets a room of magical warping mirrors. The windows are recovered and protected with sheet metal, like a skin of fish scales, fragmenting in its opening movement, inviting the public to enter, as if this new building were another attraction of the park. Natural light filters gently through these metallic curtains. The intervention also included the painting of the two old trains in the manner of two large colourful caterpillars that move slowly up and down the forest, and the sheet metal portal that closes the trains at night and that in the backlight is a metal forest which gets confused with the real forest that surrounds it.

The historic Tibidabo Amusement Park building has been occupied for years with different programs, with multiple and different compartments. The intervention we propose allows the central space of cast iron pillars and lattice beams to be recovered, to make it compatible with the incorporation of new spaces for public use. We let the historic building breathe, freed from all its compartments, false ceilings and overlapping floors. The new program of this building consists of incorporating a new puppet theatre, a party hall, a new souvenir shop and an auditorium, as well as new accesses to other attractions. We treat the proposal as large animals that have incorporated the program by defining new living spaces, and stealthily occupying the large open space. Animals that have been slowly built, from their first skeleton, still visible in some of them, to later be covered, as we would do with the puppets themselves. An imaginary landscape, or simply an invented place; the references are no longer in the real world, but in the world of dreams, of the dreams of its inhabitants: children.

El CEIP Annexe-Joan Puigbert és el nom que rep el centre escolar que ocupa un edifici de la primera meitat de la dècada dels 50 en forma de T, amb un volum principal al llarg del carrer principal i un edifici perpendicular a aquest en un punt més o menys central. L'edifici es troba en una posició topogràficament estranya atès que el terreny presenta un pendent molt important i aquest es troba encastat en aquest desnivell en el sentit del mateix pendent. L'edifici que construeix el carrer estava totalment en ús, contràriament a l'edifici perpendicular, que estava en una situació d'enorme deteriorament, sobretot estructural. El programa proposat pel Departament d'Ensenyament de Catalunya era d'ampliació d'aules ordinàries i aules específiques amb els seus serveis corresponents, amb un gimnàs o sala polivalent. El projecte proposa la demolició del volum perpendicular de manera que pugui donar continuïtat a l'espai exterior, des de la pineda en la seva cota superior al pati a la cota inferior. En aquesta topografia, i en la seva secció longitudinal, s'incorpora l'espai de sala polivalent o gimnàs. La coincidència d'aquest espai incorporat a la secció del terreny, amb el nucli principal d'accés, escala interior de l'edifici, permet definir i descobrir un nou espai de relació entre l'edifici existent, el nou espai lúdic i esportiu del gimnàs, i el mateix pati exterior. L'escala existent es deixa, doncs, suspesa, alliberant-la dels forjats que l'envoltaven, i s'incorpora a un nou espai vertical, que té continuïtat amb la sala polivalent i el mateix pati. El programa d'aules especials permet reorganitzar la proposta del Departament d'Ensenyament, de manera que en lloc d'incorporar al nou edifici aules convencionals i altres especials, es reorganitza l'existent amb la totalitat de les aules convencionals i s'especialitza el nou edifici amb les especials. Aquest nou edifici d'aules especials, tecnologia, biblioteca, informàtica, música, etc., s'adossa a la mitgera veïna, i no a l'edifici existent per a no negar el seu protagonisme i personalitat, connectant-se a aquest de manera puntual. El nou volum serà la nova entrada al centre, amb escales i ascensors, a més d'entrada natural al pati. Aquest plantejament o proposta d'accedir per aquest nou edifici es reforça per l'existència d'una petita plaça arbrada a la part davantera, que fa les funcions de vestíbul a la exterior de l'escola. El trasllat de l'accés a aquest punt, facilita així mateix el funcionament del centre sobretot per deixar i recollir els nens. També permet que aquest nou edifici pugui funcionar de manera independent de la resta del centre i pugui oferir servei nocturn, o un servei més general al públic. Tots dos edificis es dissenyen a partir d'un esquelet metàl·lic estructural clar, el qual es revesteix amb materials i sistemes constructius industrials. En realitat, l'estructura metàl·lica permet una gran rapidesa d'execució i la incorporació de tancaments industrialitzats, panells prefabricats metàl·lics, tant opacs com vidrats a l'interior de la seva geometria. En certa manera, podem parlar d'una intervenció quirúrgica. Tant en el volum de la sala polivalent, previ retallada de l'edifici existent al punt de màxim compromís, és a dir, l'escala principal, deixant-la en l'aire; com a l'edifici d'aules especials en la seva connexió amb l'existent.

Rubí local market is in a central urban position. It is in a triangular plot, which gives the market the same shape. In the northern side, before the intervention, there was an excavated inbuilt and residual space which was not used. The project proposes building an underground two-storey parking, connected to the existing one. Over the new parking, the enlargement of the market is built. The project includes the refurbishment of the lower floors in order to integrate them into the parking, installing refrigerators and waste processors. This new square, over the underground parking, will be the new outdoors hall of the market. Its geometry tries to make the slope walkable and suitable as a public space. In addition, it is an extension of the commercial activities inside the market, giving enough space for fairs and occasional outdoor commercial events. With this project the market changes its orientation, having the main entrance in the square. So then, this extension is almost like a façade-building, with new city hall and market administration offices, which lies on the northern side of the plot. This building, then, occupies the frontal area, growing higher than the existing market so that it becomes something like a three level placard. In the ground floor, the building has commercial spaces related to the existent market activity, and the main access to the market and to the underground parking. “In fact, projects have always a secret thinking or a hidden beginning which allows thinking about the place and working in it… and this is something which is normally not explained. They are personal interests, certain ideas that were born in an intense work moment, which happen to be important for the logical development of the project. We have built a sort of urban beach, where people would lie and sunbathe, wander, play… It is a new topography made of sand and pavement that landmark a water building, something like a wavy front. This is a transparent blue building, where foam is still shining. It is almost a marine landscape, made of blue and grey, like the roof of the market, where water would be the main character too…”

The building is made up of two parts which correspond to its different functions: a lower one which is semi-underground and made of exposed concrete, and the other is spherical and made of glass, floating in the landscape. Taking advantage of the unevenness of the plot, the lower platform contains the logistics warehouse, the car park, the showroom, the auditorium, the theatre, a presentation room and the facilities. All these environments need darkness to be able to experience and expose the artificial light. The upper surface of the platform is a wired outdoor technical floor, made up of a series of movable panels of different finishes, which allow the necessary flexibility to be able to set up various configurations of the outdoor showroom. Above the platform, the most representative part of the complex emerges in a dynamic balance, with a spherical shape. The offices, management offices and research areas are located there. The office building is built around a patio that develops as a complex structural system made up of five metal structures. When reaching the top, this pillar is joined by traction cables with ten other vertical elements that hold the building's perimeter.

The Plug-in building is located at the beginning of Pere IV Street, in the 22 @ area of Barcelona. The blocks designed by Ildefons Cerdà, and initially occupied by workshops, industries and some residential blocks, have been partially demolished, maintaining only those buildings that, due to their architectural singularity, deserved to be preserved. New office, residential, hotel and service buildings have occupied the empty spaces between which they have been preserved. The irregularity of the block also makes it possible to make sense of the crossing through the building from one street to another. For this reason, the building is organised from an optimal crux for the use of offices, resulting in three crossed volumes, from Pere IV Street to Pujades Street. The final volume is that of a fragmented building with vertical spaces between the volumes, the streets-courtyards, which give spatial complexity as well as communication and access.

Una seqüència de places organitzen l'àmbit de casc antic deBanyoles; de la Plaça dels Turers, a la Plaça Major, a la Plaça dels Estudis, de la Font, de Teatre, de l'església de Santa Maria, i de l'Monestir; espais tots ells que deuen el seu nom a l'edifici a què s'ofereixen com a vestíbul. En aquest moment, un àmbit de circulació rodada molt deteriorada pel temps. En aquesta seqüència de carrers i places, les sèquies de de l'estany de Banyoles, que s'utilitzaven per regar els horts estaven en desús i funcionaven com clavegueram en comptes de transportar aigua neta, com en el seu origen. El projecte planteja la recuperació dels espais públics i al mateix temps recuperar els canals en els seus recorreguts originals per la ciutat. Les sèquies es tornen visibles en els seus recorreguts a tot el nucli antic, quedant-se obertes i reconstruint la seva secció per on circula. A uns espais ja de per si interessants, s'incorpora una nova qualitat visual i també el que suposa la incorporació de el so i la percepció de l'aigua. Tot l'àmbit es pavimenta amb pedra de Banyoles, el travertí, pedra calcària que s'ha format al subsòl i amb la qual fossin construïts tot els edificis principals, esglésies, cases medievals i monuments.