The Montaner i Simó publishing house, belonging to the architect Domènech i Montaner, is the first building in the Eixample to integrate typology and industrial technology in the city centre. Like many buildings in the initial Eixample, the publishing house had a height corresponding to three floors, being boxed with respect to the cornice line of the consolidated Eixample corresponding to five floors. The most important intervention of the project is to solve the effect of the two large partition walls of the neighbouring houses, fully respecting the current state of Domènech i Montaner’s façade which corresponds to a finished building composition. The effort to make the contemporaneity of the action compatible with the respect for the modernist building and the need to solve the problem of the reduced height of the building, suggested the treatment of the upper part of this achieving the profile of the current Eixample based on extending the structure that supports the sloping roof with long beams that support sheets of metal mesh. For this reason, a series of eight semi-transparent panels is created, perpendicular to the façade, which in a foreshortening view hide the partitions and reconstruct the cornice line of the Eixample. This treatment has the advantage that, seen from the front, the edge of the eight sheets practically disappears floating on the façade. This metal set supports the intervention of Antoni Tàpies. Internally, the project tries to exploit the spatial quality of the old publishing house (slender six-metre pillars, arrangement of slabs uneven with respect to street level, and zenithal light). The lighting of the large exhibition halls led to the modification of the existing central skylight and the roof system by creating the typical north-facing shed. This substantial modification produced a unitary roofing solution that combines perfectly with the roof of the library, of which the original structure of wooden hangers and the shelves of the old printing house are preserved.

The deposit built by Josep Fontseré in 1874 combines the virtues of good construction, the ease of adapting to changing uses and the ability to understand and improve the place where it is located. A great example of good architecture. The building was in perfect physical condition after being used as a pavilion at the International Fair of 1888, and it later housed a hospital, a municipal warehouse, a movie set and also became an important resting place for many migratory birds. The project proposed demolishing all the interior divisions, the central part of the intermediate slab, and opening five skylights in the geometric centre of the roof that balanced the perimeter light and established a visual and kaleidoscopic relationship between the interior and the roof. For safety reasons, the large body of water that had been planned to be stored was never allowed to reach the top edge of the tank and the new proposal replaced it with a thin sheet at the top. This improved the old image of the permanently half-empty pond and solved the problem of vertical loads, seismic actions and tightness by reducing the weight and forming an intermediate security camera between the bottom of the new vessel and the old one. As for the interior, two elaborate prefabricated pieces of concrete, one as a slab and the other as a support, organised discontinuous mezzanines three metres high above the floor of the room. Treated as furniture in the huge space, they increased the area of use, contained all the voluminous facilities that the building needed and gave rise to a great diversity of reading spaces, from some very collected and homely to others with wider views and spectacular heights. With the exception of the new skylights, everything, including the new pond, was delicately superimposed on the building without injuring it. Everything could be dismantled so that the original support appeared intact again. The search for the formal expression of this strategy guided the project in all its aspects. Again, an exercise that reflects the relationship between architecture and decoration.

Refurbishment of the Hypostyle Hall, the square and the perimeter bench. Park Güell was a real estate operation of 60 houses for the Barcelona bourgeoisie that failed, and in 1922 the city council bought it and turned it into a public park. The park has never seen its architecture change. Since the 20s, there have only been some punctual repairs and touch-ups. The vegetation has changed and grown, and that sparse and stony image of slopes and ravines is no longer offered to the eye; immobile and permanent vegetation, pruned into stone. An architectural and abstract garden of a rocky nature; a sculpted bare mountain with stone vegetation quarry. The Hypostyle Room is a Greek-style temple with exaggerated Doric capitals and with a dented ceiling with little domes. It supports a dirt square with a wavy edging-bench; a border of acroteria of wave crests with encrusted crustaceans that bring the sea from the horizon closer to the bare mountain. Restoration works of the Hypostyle Hall and the square. Repair of structural elements in poor condition; waterproofing of the roof, and construction of an efficient drainage system; reconstruction of artificial stone coverings of column shafts, capitals and architrave; replacement of tiles on lintels, domes and perimeter bench.

Office building and public park located in an urban environment presided over by three chimneys that form one of the most memorable icons of the city. The presence of the atmosphere derived from De Chirico's metaphysical painting is present in all the project decisions. A regular structure of exposed concrete, advanced with respect to the plane of the glass enclosure, forms an abstract first skin of the building which, when approaching the various urban environments that surround it, is covered, according to each case, with the morphological elements adequate to achieve a good urban contiguity. Both towers have a central core and are connected to the building below through the third floor and the basement, so that they free up the ground floor as a public space.

This market was inaugurated in 1888 in an area of expansion in the Eixample district. The author of the building is f the architect Antoni Rovira i Trias, and it is a sample of the technological possibilities of the moment: the standardisation and repetition of structural elements of iron and glass. The remodeling of the spaces and the structure is carried out in a building that has been left between partitions in an already consolidated urban area, facing one of the busiest roads in the city. With the rehabilitation, a careful and respectful modernisation of a space in use is sought, in accordance with current spatial and social needs. Rovira i Trias thought of the market as the centre of a fabric that had to collect a series of commercial activities. This idea, which was lost over time, is resumed by returning the original transparency and permeability with this intervention. Glass walls are recovered and incorporated on the two façades of the building and the iron structure and the ceramic roof tiles are remodeled. Two basements are built for parking and for loading and unloading. The refurbishment had to be able to reactivate the block and its commercial function in the neighbourhood. Time seems to confirm this process and the recovery of the market as an element of urban cohesion. The project was also concerned with communicating the building with the contemporary city by improving access and the equipment's ability to act as a public and central space. This confirmation is reiterated 10 years after the completion of the renovation of the market, when the project received the Decade Award in 2008 as the best building built in Barcelona in 1998.