És un habitatge construït l’any 1962 per a un amic del veïnat. Volumètricament senzilla, la casa s’executa d’una forma racionalment clara i coherent. El cos de la casa s’adapta al desnivell de terreny i aquest queda unificat a través de la coberta plana. L’edificació es forma per plans senzills, blancs i rectangulars, però ràpidament s’identifica l’accés principal pel porxo de perfils i pilars metàl·lics que vola a tres quarts de l’altura d’un mur massís i opac d’obra vista. La porta es troba reculada un metre dins del mur. Tot i que ara l’entrada es produeix a través d’una tanca que la separa del carrer, abans s’hi situava un enjardinament d’inspiració japonesa que establia les circulacions d’accés i la divisió entre l’espai públic i el privat. Encara en podem trobar algunes parts. La planta de la casa es resol en una àmplia planta baixa en forma d’”L”, oberta cap al sud, amb una distribució molt ortogonal. Amb un distribuïdor lineal tot just entrar, a l’ala sud-est hi trobem la zona privada (tres habitacions grans, una de petita i un bany), al nord-oest el nucli de serveis (cuina, safareig, bany i planxa) i al final d’aquest, s’entra, de forma lligada i paral·lela a la façana, a l’estar-menjador. Quan arribem a aquest espai, tant podem estar entrant com tornant a sortir fora. Amb una altra finestra just enfront, dos terços de la façana sud són obertes, amb finestres balconeres corredisses què emfatitzen la sensació de tornar a ser fora. Des de l’espai d’estar es captura la terrassa i s’incorpora com a tancament real del conjunt de l’estar. La coberta plana s’estén en voladís cap a la terrassa, prolongant aquest espai més enllà del límit interior. La voluntat de l’espai de terrassa és tancar-se lleugerament en si, mitjançant el retranqueig de l’ala est, mentre que s’obra envers la vegetació que rodeja la casa. Com en altres casos, l’arquitecte s’aprofita de la topografia i amb només lleugeres adaptacions fa aparèixer una planta semisoterrada pel garatge de vehicles. El pati posterior s’aterrassa en tres cotes diferents: amb petits trams d’esglaons es pot descendir de la terrassa de l’estar a la terrassa prèvia al jardí i d’aquí, al jardí a l’espai natural posterior, ja sense anivellar. Les finestres, com en l’arquitectura racionalista, són regulars i enrasades als plans de façana. Aquesta és llisa i clara, d’on només en destaquen les obertures i els coronaments superiors, pintats de color gris, com els perfils d’acer dels voladissos, fet que emfatitza l’horitzontalitat del conjunt. També trobem l’ús de pissarra en varis punts de la casa, per l’enrajolament de terrasses, sòcols de façana i esglaons exteriors.

This house is mainly a wall, shaped by the movements of the furniture which tries to find its correct position into the room. The interior of a room! The delicate movements of the furniture then enter the garden which forms a continuity with the interior of the house. The back of the house runs on the limit of the urbanistic permission of the piece of land. This limit is the edge used to support the geometry of the house, which finds its place into the strict limitations of the soil. The real façade of the house is in the back, where an important piece of garden grows beneath the perimetral walls of the house and of the garden.

The project is a journey that is expressed as such. It is a matter of moving between buildings - which have nothing particular to do, but which provoke tangential visions of the surrounding landscape - and establish a stable path on the gentle and transverse slope of the terrain. The path is slightly superficial, as human designs tend to be in the face of the natural order of things: it aims to join two extreme points of the Campus with the maximum flatness possible. On the other hand, it is a common situation: the current public space does not present itself with a beginning and an end. It doesn't even allow to stop. Today, the daily violence of the public is a continuous displacement, a transit between work and residence, or between two jobs, or between two leisure areas. The project therefore does not build a "square", but this route without camouflage: the tension between the artifice - walking flat-footed - and the natural, the topography of the place, then appears. To move away from the step is to stand on the natural section, on the sphere of influence of the buildings. After all, it is designed to stop, by anchoring to the ground while the asphalt path flows at the height of our eyes.

The school developed its activities in a small group of towers adjacent to the garden city of Bellaterra. The parents' association, when deciding to build a new plant, proposed a similar model. The project envisages three independent buildings intended, respectively, for primary education, secondary education and services. Each of them is developed in three floors in height, united in its gravity centre by an external passage attached to the retaining wall of the street. They have their own access. Of the proposed buildings, only one is built in the first phase. The following phases would be built by the MORA-SANVISENS Arquitectes Associats studio.

The complex, located on a steep slope, consists of three buildings. The one to the north, carried out by the BACH-MORA Arquitectes studio, was done some time ago, and the project continues the initial approach. Therefore, two more buildings are built that follow the volumes and ideas of the original project, modifying it in order to respond to the current needs of the school. Together, the three buildings express three stages of education (kindergarten, primary and secondary), communicating with each other through a walkway at level -1, which acts as terraces on the outside, porches, of outdoor study place, etc. On this level there are also the common services, and it is the exit level to go to the dining room, the gym, etc. The three buildings create between them, on level -2, the playing spaces or multi-sports courts. Each building has its own space and porch. The buildings formally express, within a unit of materials and forms, their specific internal functions, based on the variation within the same typology. The school group follows the pedagogical line marked by Ramon Fuster, in which architecture must express the evaluation of teaching: boys and girls must experience their educational progression through spatial changes. The school's other philosophy is to live nature (to enjoy the weather: the sun and the rain, the cold and the heat).

The old campus of the Universitat Autònoma de Barcelona rises above the stream bed of the Can Magrans stream. The unique topography of the valley is saved by means of hypostyle structures that support the Plaça Cívica, which, rising above the riverbed, rests on the colonnade. On the west side, where the building we are describing stands, there is a retaining wall and a moat that resolve the passage between the Plaça Cívica and the pine forest, of great value. The above elements make it a unique setting among Catalan universities, since buildings and nature coexist in an exemplary way. The ground floor of the building rises to the same level as the Plaça Cívica. This floor, dedicated to access, control, information and student service, also contains a multipurpose room. The first level is intended for Library Management services. The other three belong to the library and newspaper library. The upper floor, at the level of the pine forest, is a construction open to the vegetation. This is the reason why the building inverts its façade according to the height. The wall opposite the openings is solid and houses the bookstore. Quite the opposite, the lower floors up to Plaça Cívica orientate themselves on the square and take advantage of the wall's blindness to accommodate all the bookstores. In the layout of the spaces, it should be noted that this façade faces north, the most suitable orientation for a library. The building, therefore, is completely turned upside down to give meaning to the different situation on the ground: the Plaça Cívica on one side, and the grove or garden square on the other.

The complex, located on a steep slope, consists of three buildings. The building located in the north side, carried out by the BACH-MORA Arquitectes studio, was done some time ago. The project continues the initial approach. Therefore, two more buildings are built that follow the volumes and ideas of the original project, modifying it in order to respond to the current needs of the school. The three buildings, together, express three stages of education (kindergarten, primary and secondary), communicating with each other through a walkway at level -1, which acts as terraces on the outside, porches, of outdoor study place, etc. On this level there are also the common services, and it is the exit level to go to the dining room, the gym, etc. On level – 2, the three buildings create the playing spaces and multi-sports courts. Each building has its own space and porch. The buildings formally express, within a unit of materials and forms, their specific internal functions, based on the variation within the same typology. The school group follows the pedagogical line marked by Ramon Fuster, in which architecture must express the evaluation of teaching: boys and girls must experience their educational progression through spatial changes. The school's other philosophy is to live nature (enjoy the weather: the sun and the rain, the cold and the heat).

It is not about making a traffic control roundabout a self-referential object, but about inserting it into the UAB Campus, while emphasising its qualities as a place and landscape, and not using them as a background unarmed of an overlapping action. To do this, we rely on the spatial and environmental continuity with the place, which materialises mainly from the qualities of the green, since the UAB Campus is a Campus where nature abounds. Thus, the lines of various species that accompany the traffic are carefully maintained above the roundabout. The tension between these linear geometries and the necessarily circular character of the roundabout's perimeter is resolved by increasing the thickness of the tree traces. The roundabout is presented, then, as a continuity and, at the same time, a compression of the perspective, as an alteration in the outline of a forest, in this case inhabited by men and machines.

Due to its urban character, the building follows the neighbouring hotel’s geometries in order to configure a square. Through the façade open to a green corridor of the Vallès, it takes the shape of a crescent, while opening towards the Vall de St. Domènech. A perforation in the main volume creates a balcony that not only unites the square and the crescent, but also connects the three valleys that make up the topography of the Universitat Autònoma de Barcelona. The materials, colours and various constructive solutions - prefabricated or very manual - do not seek to differentiate themselves, but to integrate with the architecture of the site, even if they can only be discrete. The attention to the place wants to redeem, together, the old and the new.