Radio Barcelona was established in 1922 and began broadcasting in 1924 from the Hotel Colón in Barcelona. The station's antennas were located on top of Tibidabo and it was necessary to build a building for the machines, which Rubió i Tudurí was commissioned to do. However, we have to mention a problem with dates. Rubió himself attributes the start of the project in 1922. However, as Antonio Pizza specifies, the plans are dated from 1929. In his book ‘Dialogues on architecture’ from 1927, Rubió introduces the thought of Le Corbusier in Catalonia, a rationalism which is already reflected in this pavilion. The Radio Barcelona station contains machines and transmitters, but also some rooms for visits and receptions that are reminiscent of Fritz Lang's Metropolis. This project and the 1934 Goldwin Meyer Metro building in Barcelona are two projects linked to the audiovisual world that express the modernity of these new technologies. However, throughout his career, Rubió worked interchangeably with various styles, depending on the demands of the assignment. He also developed various restorations and historicist proposals, such as the Monastery of Montserrat and the Convent of Pedralbes.

Isolated house preceded by a garden. The building is made up of different cubic structures. The main one with a quadrangular base has a ground floor and two upper floors, with a tiled, hip roof. The central axis of symmetry orders the composition of the façade, with the second floor featuring a solution of tripartite windows in a rounded point in the style of the attic galleries of rural architecture, of Noucentista affiliation. A tower-like structure is attached to one of the sides, with a structure similar to that of the main body.

The gardens dedicated to the poet Eduard Marquina, also known as Jardins del Turó Park, were built at the beginning of the 20th century, specifically in 1934, where the old Turó Park amusement park was located (1912- 1929), located on an extensive estate owned by the Bertrand-Girona family. The project was the work of the architect, garden designer and urban planner Nicolau M. Rubió i Tudurí, who designed a garden that incorporated the classic character of Mediterranean gardens and the use of vegetation from English gardens, without forgetting the idea of a communal garden. Rubió created a space in which the vegetation and the human being were represented in equal parts. This is why it is a space rich in unique tree species and specimens, which plays with the various sculptures located throughout the garden: that of Apel·les Fenosa, dedicated to Pau Casals; that of Josep Clarà, dedicated to Francesc Viñas; A Bird, by Jean Michel Folan; and, in the meadow, La ben plantada, by Eloïsa Cerdan, a bronze piece that pays tribute to the writer Eugeni d'Ors. Presiding over the axis of the parterre of magnolias, there is the Beam of Font de l'Aurora, by Joan Borrell and Nicolau. In addition, several posters with fragments of poems by Federico García Lorca, Fernando Pessoa, Dylan Thomas, Sylvia Plath, Walt Whitman, Narcís Comadira, Salvador Espriu, Joan Vinyoli and Alfonsina Storni, encourage a poetic journey through the park. The entrance to the park is through Carrer Bori i Fontestà, and right at the entrance, in a small pond, is the sculpture dedicated to the cellist Pau Casals. The piece is located in an oval square at the bottom of which there are three distinct paths leading into the park: a main one in the centre, and on each side two perimeter paths, all framed by more than fifty oak trees. Perimeter paths on the left lead to a large children's play area and a little further to the pond and meadow. The pond is oval in shape and is covered with nymphs. At the top, there is a large meadow presided over by large linden trees. On the right side is Plaça del Teatret, with a drinks kiosk. This space is a clear example of the Noucentista garden, designed taking into account the surrounding buildings and urban planning. It was planned as an English "square" of large dimensions, hence the closure on itself.

Located in the district of Les Corts, the monastic complex of Santa Maria de Montserrat de Pedralbes occupies the entire block bounded by the Carretera de Esplugues and the streets Moneders, Miret i Sans, Ardena and Abadesa Olzet. The main access to the complex is from Carretera de Esplugues. The complex was designed by the architect and landscape architect Nicolau Maria Rubió i Tudurí, who designed a large garden area that complements a group of buildings in the Florentine Neo-Renaissance style, with a strong influence of the architecture of Filippo Brunelleschi. The complex consists of a church in the shape of a Latin cross flanked by two cloisters and a bell tower attached to the presbytery. Attached to the church on the north side are the annex buildings of the monastery, which are now a college. The complex is enclosed by a common masonry wall and is accessed through a wrought-iron gate flanked by two pylons crowned with sculptures of two dogs. The garden, planted with pines, cypresses and palm trees, has a large stone staircase with a central parterre leading to the top of the hill, which is crowned by the monumental façade of the monastery. The exterior walls are entirely clad in white, grey and pink marble, in the Florentine tradition. The main façade facing the garden is divided into three sections: the central section, which contains the portico of the church, and the two side sections, which contain the two adjoining cloisters. These lateral sections have a façade inspired by the Ospedale degli Innocenti, built in Florence by Brunelleschi. Like that façade, the present one is articulated by diaphanous galleries of Tuscan columns supporting semicircular arches decorated with medallions in the spandrels. These façades are crowned by a cornice that includes the gable roof that covers the galleries of the cloisters. The central body of the façade, corresponding to the atrium, was designed following the models proposed by Leon Battista Alberti for the church of Sant Andreu in Mantua, i.e. as a triumphal arch crowned by a triangular pediment. Thus, two pairs of Corinthian half-columns and, above them, two pairs of pilasters of the same order, frame a large moulded semicircular arch supported by two pairs of Corinthian pilasters with fluted shafts. The frieze of the entablature contains the inscription ‘ALMAE MONTIS SERRATI DEIPARAE SACRVM’ and the whole is crowned by a triangular pediment with a medallion in relief of the Virgin and Child. The large central arch gives access, as mentioned above, to the atrium of the church, a rich space covered by a barrel vault with lunettes supported by Corinthian stone pilasters and walls decorated with coloured marble quarters. The highlight of this space is the mural decoration that covers the vault, painted by Josep Obiols. The vault features the Chrismon surrounded by garlands of flowers, while the central lunette shows a monumental Assumption of the Virgin surrounded by angels and cherubs in an exotic garden. The side lunettes show, behind a parapet, the images of Santa Eulàlia and Sant Jordi, patron saints of Barcelona and Catalonia. Access to the church is through a door with a grey marble lintel topped by a triangular frieze and a frieze with the inscription ‘The noble and illustrious Catalan hero Josep Nicolav de Olzina y de Ferret ordered the building of this church and read it for the cult of the Virgin of Montserrat, patron saint of Catalonia, and handed it over to the Archbishopric of Barcelona on 22-VII-1964’. The church has a Latin cross plan with a single nave covered with a barrel vault, interrupted by a dome over the transept and ending in a polygonal apse. The walls and vaults are covered with white mortar, while the load-bearing elements (pillars, arches and entablatures) are finished in grey stone. The pilasters supporting the transverse arches have a Corinthian capital and a classical fluted shaft. In the chancel, the high altar is protected by a large gilded baldachin supported by four Corinthian columns in black marble. The dome of the transept, in the shape of a half-orange, rests on shells adorned with medallions and is directly inspired by the Pazzi Chapel that Brunelleschi built in the basilica of Santa Croce in Florence. However, its external appearance is inspired by the Baptistery of San Giovanni in Florence, an early medieval building covered by a closed dome with an eight-sloped roof and crowned by a narrow white marble lantern. The left arm of the transept leads to a Greek-cross-shaped mortuary space crowned by a dome that appears on the outside in the form of a four-sloped roof topped by a white marble lantern. Attached to the apse is the convent's bell tower, a square building with three sections of decreasing size crowned by a pyramid that is very loosely inspired by the Campanile of the cathedral of Venice. The complex, designed by the architect and landscape architect Nicolau Maria Rubió i Tudurí, was built in 1920 with the aim of establishing a Benedictine monastery in Barcelona, a branch of Montserrat. The construction was financed by the Sabadell industrialist Josep Nicolau de Olzina i de Ferrer and his wife Mercè de Pallejà i de Bassa, Marquises of Montsoliu. Between 1921 and 1924, the couple died without any descendants, but their nephews, Guillem de Pallejà Ferrer-Vidal and Clotilde Ricart Roger wanted to continue with the project. The sponsors of the church wanted a Renaissance-style building, while the monks of Montserrat, for whom the church was intended, wanted a Romanesque church. Faced with this dilemma, Rubió decided to depart from the Tuscan Greco-Roman and continue with Brunelleschi, thus giving relative satisfaction to both contenders. One of his disciples, Joan Mirambell, gave shape to the garden complex. Work on the monastery came to a standstill at the outbreak of the Spanish Civil War, when Rubió i Tudurí had to go into exile. Work was resumed in 1950, when Raimon Duran i Reynals took over the project and Josep Obiols was hired to paint the paintings that decorate the portico. In 1964 it passed into the hands of the Archbishopric of Barcelona, which converted it into the parish church of Santa Maria Reina.

Jardí noucentista situat en un paratge de gran bellesa, a la vora del mar, sobre la platja de Sa Boadella. Enmig d'un esgraonament aterrassat, la diversitat d'espècies de plantes del jardí s'alternen amb petits estanyols i conjunts escultòrics diversos. El protagonisme, però, més que la diversitat vegetal, és la disposició arquitectònica i l'obra de jardineria escultòrica. Pel que fa a les edificacions privades, hi ha la casa original i una de més nova prop de l'entrada principal dels jardins. La casa més antiga és de planta rectangular i destaca per les arcades de mig punt de la planta baixa, una gran terrassa i una torreta de planta quadrada, de tres plantes i coberta a quatre vessants. A la façana sud de la torre hi ha un panell de rajola pintada dedicada a Santa Clotilde i datat de 1930. En total, el jardí fa una extensió de més de 26 mil metres quadrats (2,6 ha) i està situat en una esplanada a uns 50 metres sobre el mar.

En 1920 Rubió i Tudurí fue nombrado secretario de la Sociedad Cívica La Ciudad Jardín, donde colaboró con el arquitecto paisajista francés Nicolas Forestier en la urbanización de la montaña de Montjuïc para la Exposición Internacional de Barcelona de 1929. Como secretario de esta sociedad también diseñó la plaza de Francesc Macià de Barcelona, en 1925, que constituye el primer ejemplo de jardín que sigue los postulados del paisajismo naturalista en Cataluña. Cuando se celebró la Exposición Internacional de 1929 aprovechó para presentar el proyecto «Barcelona Futura», donde potenciaba el crecimiento natural y convertía toda la montaña de Collserola en un parque. En 1932 participó en el Primer Congreso de Arquitectos de Lengua Catalana en la ponencia de política urbanística y ese mismo año la Generalitat de Cataluña le encargó un proyecto de planificación regional (regional planning), que daría como resultado el Plan de Distribución en Zonas del Territorio Catalán. Los jardines Cap Sa Sal son una propuesta que supera los estilos clasicista y naturalista. Son una apuesta mucho más atrevida que se aproxima a los planteamientos pictóricos de Josef Albers y a los jardines abstractos de Burle Marx.