The building houses the museum space of a recently formed city, on a plot between partitions located on the main street, which is the one that gives access and exit to the city. The location of the various rooms (for permanent exhibitions, temporary exhibitions, catering, conferences) leads to the insertion of a square mesh of concrete pillars into the plot, divided into three parts on each side, so that there is a small gap in the façade band and a larger space in the interior. This structure frees the partition walls and the façade from their load-bearing functions, and allows a specialised programme to be placed on each of the six floors. The stairs and elevators are outside this square grid, in a remaining part of the site. The altimetry of the slabs is separated from the street by means of access on a mezzanine floor, which allows the conference room to be located in the semi-basement.

The Granollers Museum was born as an initiative of civil society in 1932. It would occupy several locations until, in 1979, it moved to the new building designed by Bosch, Botey and Cuspinera. The building constitutes one of the few examples of new museum facilities in the 1970s in Catalonia, and is also unique for its unusual brutalist style that refers to German or English examples of the time.

The location is decisive in the conception of the building: a privileged L-shaped plot with a double façade: open to one of the main commercial arteries of the city and a perpendicular street made up of small single-family homes between party walls. This determines the double character of the building in relation to the public space and the layout of the programme on the ground floor: a volume with administrative offices, auxiliary accesses and service elements in relation to the side street and a representative façade towards the main street. The public façade allows passers-by, through a large glass panel on the ground floor, a view of the exhibition spaces and the rich spatial complexity of the interior, characterised by the delicate use of overhead light through sawtooth skylights. The rest of the façade, composed of large prefabricated concrete blocks with an irregular arrangement, accentuates the public character of the building, avoiding the traditional composition of openings of the residential properties that surround it.

Inside, the spaces are visually and functionally interconnected vertically through the voids, stairs and ramps that run through them. The use of concrete stands out as a practically unique material, with surprising details such as the use of reticular slabs executed with recoverable coffers, a construction typology associated with parking lots or buildings for industrial use.