The Harquitectes studio It is experiencing a splendid moment, with six major public projects underway, two of which are the expansions of the MACBA and the MNAC. A few days after to present the MNAC project Harquitectes received the ARA award at the new headquarters of Prodis, the Terrassa-based foundation dedicated to the comprehensive care and support of adults with intellectual disabilities, mental disorders, cerebral palsy, or autism spectrum disorder. For this project, the result of the rehabilitation of former industrial buildings that were part of Vapor Cortès, Harquitectes are finalists for the Mies van der Rohe Award for European Architecture. "The award certainly excites us, especially when I see how excited the people at Prodis are, who have undergone a great transformation with this building," says Roger Tudó, one of the studio's founders, along with Xavier Ros, David Lorente, and Josep Ricart, who is not participating in this interview.

Influenced by his extensive studies of classical and medieval architecture, as well as his passion for heraldry, the work of architect Lluís Domènech i Montaner is distinguished by its use of ornamentation, often exuberant, especially during his Floral period, where ceramics, glass, iron, and wood become works of art. This ornamental richness features elements from real and fantastical bestiaries, which the architect imbued with specific symbolism in each of his projects, allowing for different interpretations depending on the context. To explore this aspect of his work in depth, the Lluís Domènech i Montaner Studies Center (CEDIM) has recently published the book The bestiary of Domènech i MontanerFiguration and Symbolism, by Gemma Martí, is a comprehensive and detailed study that identifies zoomorphic representations in the architect's work and offers a symbolic interpretation.

The legacy of Enric Miralles (1955-2000) is full of powerful yet lyrical gestures: the deceased in the Igualada cemetery are always underground, the pergolas of the Olympic Village evoke a procession of giants and tadpoles, and a former hall of the Círculo de Lector. Later, he incorporated the image of Highland boats into the design of the Scottish Parliament and conceived the roof of the Santa Caterina Market as a sinuous display of the most varied fruits and vegetables. Miralles is considered a brilliant architect, and one of the cornerstones of his career is that he always worked in partnership. Miralles founded his first studio with Carme Pinós, then had a solo studio, and later another with Benedetta Tagliabue. And throughout these times, he worked with a group of younger architects who were captivated by his creative power and bonhomie, both in the classroom and in his studio and on construction sites. As next Thursday marks the 25th anniversary of his death, we spoke with some of them, who remember it all as if they had been part of a very special family. "He was capable of constructing metaphors that go far beyond history, literature, and cinema," says Josep Bohigas, who taught Miralles and worked in his studio. "Enric was very Catalan and very interested in establishing these roots, while at the same time escaping," he explains.

The best religious news of this Holy Week is the possible sainthood of Antoni Gaudí. For him to rise from blessed to saint, it will, of course, be necessary to accredit two "miracles." They will be supervised by a medical committee (they could be a cure) and members of the Church. We're not talking about great miracles, like Jesus Christ turning water into wine (my favorite of all), nor about dazzling miracles, like those that someone like Magician Pop might seem to perform today. We're talking about more contemporary and subtle miracles.