La casa es troba al nivell superior d’un marge de força alçària, molt propi del paisatge típic de l’indret. Per aquest motiu adopta decididament una volumetria orientada cap al pendent, emfasitzada per una gran coberta inclinada a la part posterior, que arriba fins al terra. Les principals parts del programa domèstic queden situades a la part frontal, a la vora del marge. La sala d’estar i el menjador, que ocupen dos nivells, creen un gran buit central sobre el qual gravita tota la casa. Aquesta planta es completa amb un estudi a una banda i el dormitori principal a l’altra. Una escala de cargol situada entre el menjador i l’estar porta a una passera que comunica amb els dormitoris dels fills, a banda i banda. El conjunt forma una T que permet focalitzar en la sala d’estar tota la vivència de la casa. Només la cuina i les estances de servei queden en una petita crugia lateral, al marge de la resta de la casa. A la part posterior, la coberta en declivi forma un porxo sobre la piscina. La volumetria de la casa i l’organització de l’espai domèstic presenten una correlació directa amb la seva peculiar posició.

'La Caixa' acquired the Domènech de Canet de Mar estate which was composed of an 18th century country house, a house built by Domènech i Montaner and a garden shared by both. The intention was to locate its bank headquarters there, building a pavilion in the garden and adapting the modernist house, leaving the restoration of the country house for a future intervention. Later, however, it was ceded to the Canet de Mar Town Hall and became the Domènech i Montaner House - Museum. The project is mainly based on the creation of a new pavilion that relates the Domènech House and the old country house in a different way. The relationship with the modernist house is based on two basic considerations: respect for the building's architectural uniqueness and the conservation of the character of the house's enclosed garden, which formed an overall image of a strong urban presence. To achieve these two objectives, it is proposed to build a closed volume that faces the Riera, respecting the height of the garden wall and that connects coherently with the exterior balcony with which Casa Domènech ends over the Riera.

The Picasso promenade was one of the first actions of the Barcelona City Council in the democratic period. It was about rehabilitating an area damaged by the trucks that served the old Born market. The study includes the rehabilitation and reuse of the Fontseré porches, the development of the avenue in two lanes corresponding to vehicular and pedestrian traffic and the opening of a new gate to the park. On the transversal axis of the promenade that visually connects the Born market with the magnificent building of the Umbracle we can find the monument: a 5m-edge glass cube that floats on a lake, housing the old furniture pierced by iron beams, according to the allegory imagined by Antoni Tàpies. Long stretches of water protect the petanque courts and the benches in the pedestrian area where the missing banana trees are replanted. Palm trees are planted in front of the Park’s Restaurant by Domènech i Montaner, on an existing grass bed, relating to the exposed brick from the Castle of the Three Dragons.

The definition of the building as an autonomous architectural element is expressed by three basic regulatory parameters: the defined base plan of 40x40m; an access from Joan d'Àustria Street; a maximum building height of 22m from the street and a maximum building capacity of 3,360m2 from the base. The simultaneous application of these three parameters results in a proposal that satisfies architectural, urban and functional requirements. A threshold with a 40x40m base, which is 8m high and 15m from the street, creates a space that can be understood as a door. The perforation of the roof of this arrangement, in order to give light inside the courtyard, acquires a great importance, also noted by the forging treatment of the metal structure. Finally, the building avoids becoming a visual obstacle from Joan d'Àustria Street towards the sea, due to its orientation, the building is always in the shade, and on the other hand, raising it with respect to the street allows the view of Icària Avenue.

The Montaner i Simó publishing house, belonging to the architect Domènech i Montaner, is the first building in the Eixample to integrate typology and industrial technology in the city centre. Like many buildings in the initial Eixample, the publishing house had a height corresponding to three floors, being boxed with respect to the cornice line of the consolidated Eixample corresponding to five floors. The most important intervention of the project is to solve the effect of the two large partition walls of the neighbouring houses, fully respecting the current state of Domènech i Montaner’s façade which corresponds to a finished building composition. The effort to make the contemporaneity of the action compatible with the respect for the modernist building and the need to solve the problem of the reduced height of the building, suggested the treatment of the upper part of this achieving the profile of the current Eixample based on extending the structure that supports the sloping roof with long beams that support sheets of metal mesh. For this reason, a series of eight semi-transparent panels is created, perpendicular to the façade, which in a foreshortening view hide the partitions and reconstruct the cornice line of the Eixample. This treatment has the advantage that, seen from the front, the edge of the eight sheets practically disappears floating on the façade. This metal set supports the intervention of Antoni Tàpies. Internally, the project tries to exploit the spatial quality of the old publishing house (slender six-metre pillars, arrangement of slabs uneven with respect to street level, and zenithal light). The lighting of the large exhibition halls led to the modification of the existing central skylight and the roof system by creating the typical north-facing shed. This substantial modification produced a unitary roofing solution that combines perfectly with the roof of the library, of which the original structure of wooden hangers and the shelves of the old printing house are preserved.

L’escola se situa a l’extrem de ponent del carrer Canyeret, en un solar amb un fort pendent, allí on el carrer es fon amb el teixit del nucli antic. L’accés és al nivell superior, a través d’un gran porxo situat al punt culminant del Canyeret, amb una gran visió panoràmica sobre la ciutat. El programa queda repartit en tres nivells. Al nivell de l’accés hi ha tres aules. Al nivell intermedi n’hi ha quatre més, amb sortida a una terrassa pròpia. Al nivell inferior, que enllaça amb un carrer, hi ha la sala d’actes i els vestidors, connectats per una rampa i un túnel a la zona poliesportiva, situada a l’altra banda del carrer. La composició de l’edifici es basa en la forma del solar i la seva orientació, per tal d’adaptar-se al terreny i al sistema de murs ja existent.

La torre esbossada pel mateix pla, situada sobre les finques d’una empresa cafetera, era esvelta (17 nivells) i cilíndrica i fou engruixida pels promotors i per un indocumentat debat polític. Els autors inventen una planta el·líptica, exfoliada en facetes que s’obren a migdia, fent-hi contrastar el formigó dels «fulls» i el vidre de l’espai interior que s’hi obre pas. Construcció preformada en plafons que no eludeix riscos, com ara l’escala principal suspesa. Assoleix l’objectiu de polaritzar l’entorn obert, contraposant-se al viaducte sense interferir en altres peces estimables de l’entorn, i no tant el de crear un basament sensible al lloc. Al peu de la torre, un generós pàrquing soterrat, de bona dimensió i de voluptuosa i incontinent emergència urbana.

Morfològicament l'edifici es configura com un "alter ego" dels seus veïns, quant al front que dona sobre el talús verd de contenció del riu, mentre la façana del Campus s’adequa a les condicions específiques d'edifici final de l'agrupació de facultats. Els dos accessos des del carrer Jaume II i Campus, venen indicats en façana, per unes grans obertures que ajuden a configurar el sentit circulatori del Hall. La forma corba del bloc corresponent als Departaments (més del 50% de la superfície), té una doble justificació: Per una banda els despatxos s'obren i ocupen el màxim perímetre orientat al Sud. Per altra banda, la concavitat interior afavoreix la concentració de les comunicacions verticals així com l'agrupació de la resta del programa i, exteriorment, la integració volumètrica amb l'edifici complementari veí, acabant la seqüència de les facultats del front de riu i ampliant l'espai en relació a la peça allargada de la residència d'estudiants ja construïda.

L’edifici és el resultat d’una actuació urbanística global sobre el barri del Canyeret, en el marc del Pla del Centre Històric de Lleida. L’estudi detectava la desconnexió entre el barri antic —amb el seu eix principal, el carrer Major— i la Seu Vella, a causa de l’abandonament i la despoblació del vessant de la muntanya ocupat antigament per aquest barri. El projecte es proposa revitalitzar la zona d’aquest vessant i restablir la connexió entre la ciutat vella i la Seu. Els estudis geotècnics varen recomanar l’establiment d’un mur de contenció tot al llarg del vessant, on s’hi podia recolzar una nova edificació amb façana a dos carrers amb cotes diferents. D’aquí neix un edifici longitudinal, adossat a la pantalla, que l’oculta i presenta una nova façana. El factor de connexió té lloc per mitjà d’una torre de comunicacions que permet accedir a tres nivells: el nivell de la base, proper al carrer Major; el carrer situat al coronament de la pantalla, i, finalment, l’antiga porta de la muralla de la Seu. La forma corba de la pantalla permet diferenciarla de les traces de la muralla de la Seu Vella i, a més, és la més adient per adaptar-se a la topografia natural del vessant.

The project seeks to restore the typological and morphological values of this Renaissance Palace, locating the Archive’s services of dissemination and attention to the public. The action determines a remodeling of the area of some old houses where the nucleus of vertical communications and the public services are placed with the general control on the ground floor of this nucleus. The exhibition area, which has a public access which is independent from the rest of the archive, is located on the useful ground floor cracks. The assembly hall is located on the main floor, with a foyer that takes advantage of the existing coffered ceiling room and the representative offices. On the second floor, the crucibles are left clean, open to various didactic and administrative uses, and an ambulatory is enabled over the courtyard lodge to ensure traffic. Internal services are placed on the third floor. The action tends to value the building as a public facility, emphasising the function of the courtyard as an open space in the city, with double access from Plaça del Rei and Comtes Street.

The facilities are located on a perimeter plot of the Torregirona Garden, the headquarters of the UPC’s Rectorate. The land presents a strong downward slope in a N-S direction, and Dulcet and Til·lers Streets have a difference in elevation at the ends of the plot of 6m. The proposal is made for two different uses, the first of which will be a student residence to be carried out in a first phase and then an office building with an auditorium will be projected. The layout of the residence is executed in three wings, responding to issues of orientation and urban morphology, but also due to the need to respect the existence of a provisional pavilion of the UPC, located in the S-E part of the site, where the offices and auditorium will be placed. Wing A is aligned with Dulcet Street, in accordance with the continuity criteria of the curved building in Güell Square and the enclosure of the site. Building C is arranged according to the orthogonal relation to the Rectorate building, and building B pivots according to the dynamic view from the curve of Til·lers Avenue. Buildings A and B exhaust the permitted height of PB+3, while building C is maintained with two floors to avoid volumetric impact with the garden and the Rector's pavilion. Buildings B and C have a flat roof, while Building A has a curved roof that contains the central heating and air conditioning installations, the south-facing solar energy collector panels that produce domestic hot water and the heating. The three types of rooms form three wings joined for a central communications core, although a complementary elevator for students is planned for practical reasons. The office building is designed as a morphological complement to the residence to deal with a "staircase" problem in the Torregirona garden and the entire Pedralbes district. Its main pedestrian access to the interior level of the Campus will be related to the landscaped path that surrounds the Rectorate and where the entrance to the existing residence is also located. Here, they come together in two entrances, sharing the porch, which would provide a good entrance into the auditorium, an important piece of the program for the new equipment. The new block rotates in plan, so that, volumetrically, it has an imperative visual relationship with the one with the same number of floors of the residence, leaving triangles of green plot. With this solution, the new construction integrates compositionally with the existing one and maintains a coherent relationship with the Rectorate's garden and with the rest of the neighbouring constructions. The study of the program indicates that the four upper floors have equal surfaces and are flexible in terms of internal distribution. The building grows on floors 0-1 by locating the auditorium, changing rooms, access control and storage/archives. The location of the program underground allows the use of passive energy in terms of insulation. The composition of the constructive section of the façades is thought from acoustic and thermal comfort and, in this sense, a ventilated façade solution with solar protection on the windows is thought of, which will condition the architectural language, which once again interprets the morphology of the façades of the existing residence.