Es tractava de resoldre el programa d'un "francfort" en un local comercial tipus d'un edifici convencional. Un local comercial – tipus: una planta inhòspita, profunda i estreta (3,90 m.) inadequadament alta (3,90 m.), il·luminada exclusivament a través de tota la façana. Resoldre el programa d'un “francfort”: inserir al local bàsicament el conglomerat de maquinàries en la millor disposició de relacions que el bon funcionament aconsella. La idea central del projecte ha estat dissenyar un objecte globalitzador del pes específic del programa funcional, dotar-lo d'autonomia formal i dipositar-lo al local, tractant epidérnicament els elements restants com un fons. La façana intenta protegir l'interior del fort sol a què es troba exposat, per mitjà d'un "brise soleil" enllistonat que manté el plànol de façana, dins de la pràctica i el repertori de tecnologies utilitzades històrica i amb freqüència, aculturalrnent pels industrials del país.

Can Sumarro is a country house located in the historic core of L’Hospitalet de Llobregat, in an area still characterised today by other country houses adapted for civic uses and by streets of old two-storey terraced houses arranged in rows. The urban axis of the area is Carrer Xipreret. Can Sumarro, whose oldest part dates from the 16th century, is the only house that still preserves a significant portion of its surrounding fields and orchards, which remain undeveloped. Donated to the city by its last owner, Dr Prats, and transferred by the City Council, the building has been converted by the Generalitat into a public library within its network, with capacity for 180 readers and 36,450 volumes. The complex originally consisted of two separate building volumes organised around a closed courtyard. The main two-storey building was itself composed of two parts: a central nucleus from the 16th century, oriented, as in all country houses, towards the south and opening onto a courtyard that provided access to the house —a sheltered, sunny space enclosed by a wall covered in vegetation and flowers— and a later elongated side wing, likely used in its ground floor as storage. The secondary building, a single nave of double height with a structure of two arch-like trusses, was undoubtedly the house’s former barn and granary. The intervention has consisted of: - Preserving, within the oldest part of the house, the two central rooms on both floors, the staircase and the rooms at the south-west corner, maintaining them as a memory of the original building. - Transforming the courtyard that connected the two building volumes into the main access area of the library (thereby radically changing the traditional entrance to the farmhouse from its southern façade) and into the heart of the complex. To achieve this, a new bay has been added to each building —parallel and identical in structure and configuration—forming an open south-facing porch in the case of the former barn, and a glazed gallery in the extension of the side wing of the main building. - Converting the barn into a children’s library, restoring its roof (following a reed/cane structure) with curved tiles, and introducing a linear skylight along the ridge to filter natural light. Its capacity has been increased with two balconies for shelving and reading, running along both longitudinal façades. - Assigning the country house itself to the adult library. The new courtyard bay contains a two-flight ramp that allows the spatial organisation of the upper floor to replicate that of the ground floor. The two storeys of the side wing, cleared of obsolete and irrational elements that previously fragmented it, have been transformed into two open reading rooms. The upper floor retains its small historic windows, while the lower level opens radically onto the courtyard through a long structural support spanning almost its entire length (18 m). In this way, the planted courtyard becomes visually integrated into the interior space. The northern bay, on both floors, is used for specialised reading rooms. - The interiors have been treated with maximum respect for recoverable elements, and the library areas have been organised according to the standard systems used in the library network, fitted with specifically designed furniture, flooring and lighting.

In order to give formal expression to the informal, conversational atmosphere of the invitation, a dialogue of spatial tension was constructed between a very clearly defined occupation of the arena —through a carpeted surface made up of multiple rugs— and a combination of three lighting levels, balanced through the relationship between light intensity, colour temperature and colour, and their reflection on horizontal planes. The interplay between the indirect light from the dome of the Palau, modulated by the dimming system, and the focused lighting —filtered and directed exclusively towards the buffet areas and groups of candles— made it possible to resolve the challenge of reconciling a space conducive to the intimate ambience of conversation with a large-scale space that is open, dense, and equally capable of being admired and discovered. The rectangle of the large carpet defines the spatial occupation of the Palau, establishes the conversational area, helps to balance the architectural density of the visual environment, and frames the atmosphere of the more intimate spaces into which it is subdivided. Above all, it brings the proportions of each area–group–table closer to a progressively more comfortable and domestic scale, without diminishing the admirable grandeur of the Palau. Moreover, the simplicity and forcefulness of the Canal+ “plus” sign, together with the geometric patchwork of television test cards, allowed us to construct an open compositional framework within which to organise the functional programme and to explore a formal repertoire ranging from symbolic abstraction to geometric reinterpretation and irony. At the same time, this approach made it possible to identify the chromatic and formal image of the channel while dispensing with the usual cliché of the logo. The environmental elements that complete the more domestic aspects of the presentation include floral arrangements crowning the candles, the ritualised movements of the formally dressed hostesses and waiters, and the accompaniment of a musical quintet, combined with images on the video walls that discreetly mark the timing of the presentation-invitation and its moments of exchange.