The building is located on a plot of land between party walls, with the main façade facing Còrsega Street. It integrates a large building within the urban fabric of the Eixample. To achieve this, we have proposed three different types of façades that respond to different conditions of its immediate environment: the façade on Còrsega Street, the façade in the interior of the block and the façades of the hotel's courtyards. The façade is split into two floor plans, one of glass and the other one of ceramic. On the main façade, the openings are carried out with respect to the façade plan by means of brass boxes, creating a game of light and shadow that reduces the screen effect of the building, achieving a better proportion on a city scale. Following the same principle, the two large galleries recall the "skyline" of the old Bayer factory. At night, these boxes are illuminated, achieving the effect that the boxes float on a black canvas. These mechanisms help to divide the longitudinal view of the façade, which occupies almost the entire block. On the ground floor, the double-height metal portico structure helps to build a foundation that seeks the view of the interior garden and gives presence to the building. The façade here is proposed in reverse, this time with the glass set back, reaching a depth of up to 1 m from the base to its crowning. It is a façade that recognises its visual foreshortening and emerges from this condition with the maximum possible advantage, building a façade with thickness, with shadows, which from its complexity in this case allows simplification to integrate into the environment. The rear façade, with joinery also located on the interior floor plan, generates a game of voids and groups the first two floors into a single opening, to obtain greater verticality. The inner courtyards of the hotel take on a special relevance and not only provide ventilation to some simpler rooms, but open to the interior distribution corridors. To solve the possibility of visual interference between corridors and rooms, a skin of vertical metal tubes in the shape of a diamond has been constructed which, like large curtains, solves this problem. At night, lines of hidden LEDs backlit the tubes, offering an image of the suspension of the light metal element in front of its enclosure or patio façades. One of the main challenges has been the industrialisation of the entire construction solution. It is a very light ventilated façade built from large modules of almost 5x3 metres that were finished at the workshop. This solution has had many advantages, including absolute control over its finish and faster assembly. The fact of minimising the number of different materials (black ceramic panel, glass and structure lined with brass) has allowed to simplify not only its formal solution, but also its construction.

The La Unión Metalúrgica old industrial complex was located in the Poblenou neighbourhood (Sant Martí district), in a block of houses designed by Ildefons Cerdà, bounded by Zamora, Almogàvers, Pamplona and Sancho de Ávila Streets. In 2004, it was largely demolished, and only the entrance pavilions, located on the chamfer of Almogàvers and Pamplona Streets, were preserved. This building, currently isolated, used to give way to the interior of the enclosure. It is a construction parallel to the chamfer, with a simple volumetric ensemble of two floors that rises an additional floor in the central part, all topped off by a passable flat roof. The façade of the building is characterised by the almost exclusive use of exposed brick, incorporating delicate ornamental elements of artificial stone based on medallions and plant motifs. The main façade, facing the chamfer, is divided into three vertical axes, and in the central one there is a higher floor. On the ground floor there are four rectangular windows located on the sides of the access portal to the interior of the factory. This, with a large, angled arch, has its parallel on the rear façade, and creates the axis of symmetry of the composition of openings, very weighted and organised. On the second floor there are three large split windows crowned by thin arches. On the upper floor there is the massive roof enclosure, and in the central part there is an opening topped by a semicircular arch and divided by three handrails. All these elements emphasise the outstanding element of this façade, located under the undulating crowning of this central part. It is a ceramic mosaic with the name of the company, in green letters on a white background. An old metal lantern that illuminates the entrance door is also preserved. This is the only element that remains of the La Unión Metalúrgica factory complex, promoted by Dionisio Bobín Sirot, which has its beginnings in 1889. In 1903 it becomes a limited company to dedicate itself to the purchase, sale and the casting of materials and objects of iron and other metals. Between 1899 and 1906 the company was reported because some of the constructions it carried out were illegal. When these problems had been solved, between 1908 and 1914, the new factory was remodeled with new buildings. It was at this time that the entrance hall was built, signed by the architect Josep Maria Plantada in July 1914. On December 31, 1936, on the Civil War, La Unión Metalúrgica was established as a collective worker destined for the war industry. Two office buildings, an aparthotel, green areas, and sheltered housing are currently being built on the land where the industrial facilities were located.