The building volume is part of one of the new metropolitan plans of the city of Barcelona along with the opening of a new street and the widening of another. The volumetric proposal of this building is solved in an organic way by dividing the building into two parts separated by a free space between the blocks. This decision allows to optimise the passage with eight-meter-deep lights in its corresponding façade and to ventilate all the rooms to the outside. The fit of the building in the free space between blocks in the longitudinal direction allows a turn to the chamfer that collects the double façade of the building, emphasising the volumetric fracture, and thus lightening the frontality of the building. In this way, verticality is again achieved with an organic image of a bicephalous building. On the ground floor, access to the premises also takes place from the space between the two blocks and also from the streets. The car park is distributed in three basements occupying 100% of the gauge and is accessed through a ramp located next to the dividing wall with access to Riera de Vallcarca Street, which is the lowest point of the site. The accesses to the houses are made through four gates located two by two in the North and South façades respectively. The façades offer a set of fixed shutters and metal sliding windows that open and close the terraces and allow a better integration of the interior and exterior spaces that dim the natural light. The shutters are made up of stainless-steel uprights and pearl grey lacquered tubular crosspieces and are framed by thin steel handrails forming a grid where the verticals set a rhythm and the horizontal ones sharpen the edges of the slab. These lattice façade plans, together with the glass interior plan, are woven around its perimeter, creating interstitial spaces, places of transition between the city and inhabited interior space, a legacy of the Mediterranean architecture of Coderch. The building, together with the Joan Fuster Library, stands as an icon of the new Lesseps Square.

The Llucmajor station remodeling project essentially tries to get the most out of its spaces by connecting them to each other, removing barriers, both traffic and vision, and emphasising the height that the platforms and tracks already have, to thus enlarging and dignifying the station. The project basically opts for the use of a single material, terrazzo, and a single colour, white, as a covering for all the facings in all areas of the station. Only in ceilings and some specific facings steel will be chosen, vitrified in vertical faces and galvanised in ceilings, which will help to close these spaces to achieve permeable ceilings with a feeling of dynamism and luminosity.

Already in the first steps for the conception of the institutional headquarters of ROCA or Roca Barcelona Gallery, the architectural project is understood as a tool for the dissemination of a brand and a company. The building is planned based on the communication strategy, another way to spread the values, history and challenges of the company and a transmission channel to attract the interest of the public towards the values, the product, the projects and concerns of a company with more than 80 years of history such as Roca. The commission envisages the realization of a complex program in which the institutional headquarters, a museum of the brand and a platform for events of a social nature and from the business world mix and coexist. The architectural project was based on two essential ideas. Its shape and external appearance and the experience of the space lived inside. The building, surrounded by multiple taller buildings, aims to show itself to the city by understanding its own scale. Due to its urban context, the building is surrounded by the adjacent volumes and is distinguished by its smaller scale and its purity of form. Without resorting to the speculative forms typical of an architecture that seeks to realise itself through the show, the building, while discreet and elegant, manages to differentiate itself from any other. As the main objective, we researched and worked to conceive a façade that, being observed with a minimum of attention, would not leave anybody indifferent and would try to arouse curiosity. Also, from the beginning, the possibility of creating a "skin" for the building that could perhaps offer a showy effect towards the outside, but which on the other hand had no relationship or apparent consequence to the building’s interior, was given up. It was sought, therefore, to work as much as possible under these premises. Finally, after testing different possibilities, we came up with a solution for the façade based on the arrangement of a single material, the succession of multiple glasses arranged perpendicular to the axis of the façade. Thus, based on tests and prototypes, we were able to verify how new effects such as diffraction, reflection and refraction of light are produced, resulting in the distortion, translation and superimposition of the image across the façade. It was the light, both natural during the day and artificial at night, which then became the protagonist. Thus, we obtained a completely ambiguous façade that was shown both as an element of solid character by day and liquid by night, both heavy and light, both rough and smooth and in which it is sometimes difficult to recognise if its character is transparent, translucent or opaque. Thus, from the outside, when we look inside the building, the façade offers us an ambiguous (distorted) view of its interior, making it necessary to enter in order to really discover it; once inside, if we look outside, towards the city, we will observe a whole series of visual effects as if it were a game, where nothing is really where it should be. Some light rays pass through in a straight line while others are reflected the other way around, producing something similar to an image overlay. Others, at the same time, diffract to show themselves in all the colours of the rainbow. From the inside, we observe streets where there were none before, buildings are duplicated, and we see pedestrians walking by thinking they are where we see them but, in reality, they are in a different physical place. Our objective was met since we were looking for the realisation of a façade that, whenever looked at carefully, offered a plausible but subtle prescriptive effect at the same time. Just as a building projected outwards is conceived, a world, a space and a unique atmosphere are sought inside. Once inside, through the use of light, audiovisuals, materials and exhibition elements, an attempt has been made to generate an interior space very different from a usual exhibition space, where the visitor lives an intense and unique experience with the building. The interior space, therefore, is conceived as a personal and sensory experience in which the user or visitor interacts with the building thanks to presence detectors, directional speakers, light changes, projections, projected characters that interact with visitors and plasma screens that project moving objects. At the same time, all these elements are inserted as if floating in an indivisible and continuous space. The application of a slightly reflective and experimental pavement made of ceramic, a false ceiling in stainless steel and the walls of foam tetrahedrons, make up the three main materials in its interior. All of them are continuous materials: three planes that due to their condition of continuity recreate a weightless space, marking the horizontality and without spatial or formal references turning the physical space into a sort of virtual space. The technology applied to construction, to audiovisuals and to the way of explaining the brand and its product, are essential to convey the commitment that the company has to its future. The project for Roca Barcelona Gallery echoes the most advanced technologies in terms of lighting, materials such as ceramics, glass and steel. For all this, it has been necessary for ROCA and the OAB architecture team (Borja, Lucía and Carlos Ferrater) to have another team of experts in different fields such as communication, construction, lighting, audiovisuals and many other specialists of excellence who have made the creation of a flagship building and emblem of their brand possible.

The house is located on a rectangular urban plot and is born from a grid that modulates the structure both in plan and in volume. It is separated from the ground, perceiving it as a suspended body in which the pillars and the gables can be seen on the outside, delimiting the façade planes and forming the volumes. The placement of the building close to the street allows a garden area with a swimming pool to be freed towards the interior of the block. The volumes are articulated according to the needs of the program and the configuration of the interior space to emphasise the relationship with the exterior spaces, which is the objective of the project. Each area of the house is extended with an outdoor garden space, generating a perimeter route in which the vegetation is the protagonist; thus, visually entering the interior spaces. The structural profiles delimit and stress the façade planes that are composed of solids and voids brought to the limit of the perimeter. This game of the façades and the volume allows the light to fall in an intentional way on the interior, receiving a game of changing lights and shadows throughout the day. The use of white limestone in the blind facings and the large glass windows made by Vitrocsa are solved with a structure in minimal enclosures that provide it with a light character.

After twelve years of searching for a plot of land, the Evangelical Church of Terrassa, an institution almost a century old in the city, finds its place in the Can Tusell neighbourhood facing Avinguda Béjar, one of the main streets of access to the city and communication with the industrial area. The building, which occupies a third of the plot and is located in its lowest part with access from Avinguda Béjar, combines specifically religious uses (it holds worship every Sunday morning) with social uses resulting from an agreement with the City Council. The complex manifests itself as a large monolithic base that gradually decreases in height due to the slope of the land formed by steel plates in the form of cladding and fence on which two bodies are suspended. In a central and larger position, a modulated cube with edges rises, covered with a new material of recycled aluminum, pressed and injected and which, thanks to its brightness, gives an emblematic character to the piece that houses its interior - the room for worship. The other body of lower height and close to Carrer Tramuntana is suspended and stands out. In this case, the edges frame corrugated and perforated aluminum planes that act as a lattice like a second skin for the nursery programme. While the façade on Avinguda Béjar presents itself as a tense, rigorous and continuous plan that hides its access, the two side façades show its friendlier side where the vegetation masks a fence that acts as a second façade. This makes the plane of the glass retract with respect to the limit of the plot and all the perimeter spaces enjoy light and ventilation, as well as privacy and security. Since the nursery is accessed via a higher and separate level, the functional programme, both religious and social, takes place all on the ground floor with the exception of a loft suspended over the double space of the worship hall. A reception area allows passage and distributes the administration area on one side and, on the other, a corridor facilitates access to twelve classrooms and the worship room at the front, the central piece that organises the entire programme of needs around it. The worship room is oriented perpendicular to the axis of access so that thanks to a system of movable partitions they establish a direct relationship with the adjacent spaces which in turn are related to the outside through a courtyard. While the compositional criteria of the interior respond to functional criteria, the exteriors respond to the situation, the orientation and, above all, to the desire to be a discreet and contained building from a short distance but at the same time a reference piece of evangelical worship from the farthest distance.

The tugboat building, a master builder's construction, dates from the beginning of the 20th century and for years has endured low-quality renovations. That is why the proposed refurbishment, added to the fact that it is located at the end of a front of buildings with the same port colonial character, proposes a reconstruction operation of its central part (the most damaged structure), arrangement of the lateral towers and only raises a new cover, where the maximum height is maintained and collects a large skylight in its upper crowning as well as large windows on both sides of the promenade and the port. The two-storey building houses a shop, a showroom and bathrooms on the ground floor, while on the upper floor there is the office, warehouse, meeting room and a large multi-purpose room for to the different institutional acts. The refurbishment of the building is understood from the point of view of the set of buildings that follow on this same front, all of them subject to a subsequent one that will be carried out in the port of Barcelona. The solution of the roof of the central body, without varying the height or the configuration of the roof with two gables, responds to an idea of a rib through which natural light penetrates and is reflected during the day while at night it is projected as a big lighthouse. Constructively, a system of panels for the façade, beams, slabs and pilasters, all prefabricated, make up the central body reconstructed faithfully to the pre-existing structure. Above this a structure in the form of ribs guided by steel plates rises, and between which the glass surface folds allowing the entry of vertical and zenithal light. The rigorously reformed lateral towers adapt with their voids and interior spaces to the new program. Finally, the broken white melts throughout the building so that only the game of reflections, lights and shadows of the new intervention takes the spotlight.

Situada la badia de Port de la Selva, a la costa nord del Parc Natural del Cap de Creus, davant del mar i la tramuntana. La casa, una construcció entre mitgeres, recull l'herència cultural del lloc i pren com a referència les cases Villavecchia de F. Corretja i A. Milá i la casa Senillosa de J.A. Coderch, ambdues ubicades a la població veïna de Cadaqués, i són exemple del respecte per allò tradicional, tot incorporant-hi comoditats i elements moderns. Construïda en una parcel·la profunda i estreta entre dos carrers: el passeig de la Platja i el carrer Selva de Mar, i té edificis molt propers i de major altura. La secció resol els condicionants de la normativa del casc antic per mitjà d'un escalonament de la secció a mesura que s'aproxima al carrer posterior, millora les condicions d'assolellament i ventilació i adequa les alçades, com les façanes tradicionals dels patis protegits. Atesa la proporció allargada de la parcel·la, l'orientació solar al nord, els difícils condicionants meteorològics i la falta de privadesa, la casa planteja un pati aïllat i protegit en un lloc central obert a la casa, que es converteix en un espai de relació i estar, que participa del dia i la nit, i que es protegeix de la calor, el fred, la pluja i el vent. Aquest és el lloc de relació entre els habitants i el seu espai íntim imaginat per a una vida no amenaçada. L'interior de la casa es distribueix en tres nivells. A la planta baixa, hi ha un accés pels dos carrers; hi ha un accés posterior al garatge i un accés per als vianants a la part del davant, per la qual s'accedeix directament a l'espai de cuina-menjador-pati, mantenint així la tipologia de casa de pescadors. A la primera planta hi ha els dormitoris, als quals s'accedeix per dues escales; una interior i una altra exterior. En aquest nivell el pati és un atri de distribució a través d'una galeria penjada que genera un contínuum centre de la vida domèstica. Finalment, al segon nivell hi ha la biblioteca, l'estar i una terrassa protegida que mira cap al mar. Constructivament, la casa es resol economitzant mitjans i reconeixent la lògica estructural interna dels seus materials, que, gràcies a la incidència de la llum, manifesten els aspectes més sensitius del seu interior. El rigor, l'austeritat i la materialitat defineixen els espais que connecten l'escala domèstica de la casa amb el pati o domini figurat, que, en transcendir allò domèstic, construeix una escala major en la qual l'imaginari enriqueix la forma d'habitar.

The project was about transforming an office building into a new residential one. The building had been designed by the architect Roberto Terradas Via in 1962, and it was considered a Site of Urban Interest with protection level C in the Barcelona Heritage catalog. After consultations with the author's children and with the need to adapt it to current regulations and the criteria of the technical code, the rehabilitation of this modern heritage is done with great respect towards the original proposal. Respecting the compositional criteria of the façade on Rosselló Street and the façade in the Palau Robert gardens, materials such as white limestone, grey granite and coloured ceramics are restored, incorporating locksmithing and new steel joinery. Preserving the original trace, a set of pivoting windows with a vertical axis with a glass sill is created that incorporates adjustable shutters with horizontal slats inside its glass, solving issues of security, tightness, ventilation, insolation and insulation, as well as the cleaning of the glass from the inside thanks to the three opening positions of the window, 10, 30, 90 cm. The closure of the ground floor respects the original recessed solution by adapting it to the new use of the building, emphasising the riveted iron pillar, reconstructing the old canopy and creating a new lobby with a double scope of access. The common spaces, such as the hall, landings and interior patio, are treated with period materials such as paving stones, ceramics, wood and iron respecting the formal ideology of the Roberto Terradas Via project. Inside the flats, the proposed distribution allows a certain flexibility and the view from the main area of the unitary set of the four windows. The penthouses, porches and spaces between terraces, as well as the community technical installations, are arranged following a criteria of respect for the old building and the environment.