Time
What is happening under this iconic roof?
and history in the eyes of Els Encants: how its evolution re-defined public space
Abstract: Els Encants plays a significant role in the Plaça de les Glòries, being the most successful building in the square. However, it took five centuries and multiple sites for it to establish the success and prominence it has today on Barcelona’s urban fabric. It is not only a market to buy and sell goods, but it has become an important public space, a landmark in the area that houses it. This article aims to decipher its history to understand what this market’s significance, throughout its lifetime, was to its context, going from the city scale to the individual scale. Additionally, it examines what mistakes were made along the way, to further appreciate the intention behind the building, and how these problems were addressed both architecturally and experientially, with respect to the community that has been a fundamental part of this market’s life, evolution and current success.
Keywords: Public Space, Revitalization, Fragmentation, Flow, Connection
Figure 1. Photo by Duccio Malagamba Authors: Kenan Akhverdiev, Julia Najah Fhaili, Xingyu Zhang, Jing Bai, Daozheng Zhang.Introduction:
“The act of marking is a public act.” -Moore, 2001.
Els Encants is the most successful point in Glories. Glories, as a square, remains massive, almost empty, making it incomprehensible, undefinable. “Space is meaningless without scale, containment, boundaries and direction.” (Huxtable, 1968) The market is the opposite of that, it clearly marks its place, reflects its context, both literallyand figuratively, and respects its long history. Although it is an open market, its space is clearly defined. One can immediately recognize that they are in the vicinity of the Els Encants, when they land in Glories.
Els Encants struggled for centuries to define its space, it occupied numerous sites all over Barcelona and maintained a sprawling character that has made its sites uncomfortable, difficult to regulate, and in certain cases- dangerous, with the peak being when it first moved to Glories in the 20s. However, that all changed with the re-building that took place after 1928 in the Glories Square. To understand the significance and complexity of this space as a public space, one must first ask what is public space?
As defined by the Oxford English Dictionary, the public is a group of people who share a similar interest or are involved in similar activities and space is the area sufficientfor a purpose or action- hence, a public space is one containing the action in which these people are doing simultaneously. The keyword here is containment, something the Els Encants Market lacked until now. Additionally, public space is defined by its ability to serve the public, but if it lacks a historical, social and political background or value, it is in turn lacking as a public space, because one cannot serve the public without full knowledge of what the public desires, what they struggled with and what is the sacrifice they are making, when they accept your help. Els Encants’ history is a long one, its site riddled with complexities and to better understand its monumentality, it is important to search for the answers to these questions: what occurred in the past? What lessons are there to learn from the past? What is needed at present? How will this impact the people and their surroundings? How to maintain or enhance the experiences that formed the foundations of this space in its past lives? That is precisely the lens through which this paper is structured.
On Time: the History and Evolution of Els Encants
Places need time. They need continuing attention to meet the challenge of becoming permanent parts of the landscape. -Moore, 2001
1. A Motley Set of Scenes (Before 1928)
Barcelona’s Encants has centuries of history behind it. It is the legacy of two conjoined markets that hold a long history. The Encants goes back to the 13th century and originated from the custom of auctioning off a deceased person’s goods to pay for their burial, funeral service and debts. The word “encant” derives from the shouting, or "chanting", used for announcing the goods. Although the Fira de Bellcaire, one of the two markets, first appeared at the start of the 19th century, it had a much shorter history than its counterpart. It was set up in the Rambla around 1800, though no one knows the precise date of its birth, nor is there any certainty about the etymology of its name. However, there are two theories about it’s name: one ascribes the origin to a Jewish family of merchants and lenders called Bellcaire; the other to a French town, close to Nîmes, called Beaucaire – "Bellcaire" in Catalan – which used to hold a similar fair.
Figure2. The different occasions over time.
The location of the Encants Market in Barcelona has changed on different occasions over time with the development of Barcelona's modernization process. We can decipher that the Encants was first held under the porticoes of Sant Jaume, a medieval church where Plaça Sant Jaume is now located and the former site of one of the gates to the Call or Jewish quarter. It was moved to Plaça Nova and later on to C/ Consolat, known today as C/ Consolat de Mar, next to the Llotja and the current Plaça del Palau. Afterwards it moved uphillto where the MercatdeSantAntoniand today’s Avda Mistral(previouslyC/ Creu Coberta) were built. Finally, shortly before the International Expo of 1929, it moved to the Camp del Sidral, part of today’s Plaça de les Glòries which were bare fields at that time, crossed by the old Rec Comtal canal and railway lines. It was here, meant to be a temporary site, that the Encants would remain for close to 90 years, until 25 September 2013, when the new site was officially inaugurated as part of the Bosquet dels Encants.
It is interesting to note that the Encants Market was once considered by the public to be a motley set of scenes. The arguments in 1895 in a lecture published against the Encants market states: “And on the moralising sights of the traders on business days, what can we say? There is no doubt that they place the culture of Barcelona on a level that especially honours it. That hideous shouting … consisting for the most part in vulgar and obscene words, coarse insults that they direct at one another, often accompanied by gestures and actions that are by no means edifying and other similar nasty comments, produces a motley set of scenes that run contrary to the morality and decency characterising cities such as ours.”
2. A Place of Clandestine Activity (The intentions of Urbanization, 1928-1973)
“Davis looks at what happens at the bottom, at what happens at the base of City Hall or when the wrong sort of people gather at the monument. And Sorkin proposes a public square, Liberty Square, as the best possible 9/11 memorial, arguing that a space to practice free speech and free movement is the best possible architecture versus terrorism.”
- Lange, 2012, p. 106
On the one hand, If we talk about urban planning of Barcelona, until now Plaça de les Glòries has been the Achilles'heelof the CityCouncil. In just forty years, this space has undergone severalurban reorganisations, withveryhighcoststothe municipalbudget.Thesquarewasinauguratedin1919aspartofareformprogram for the area, but it did not go well. The sanitary conditions of the area were terrible. In addition, the place was crossed by the railroad, showing a dirty and sometimes dangerous aspect. Similarly, when the Fira de Bellcaire (Els Encants Vells) settled there, at the end of the twenties, the atmosphere did not improve as one wouldexpect,fromtheintroductionofapublicspace.Onthecontrary,thisintroductionhadmadeeverything around the square confusing. The market became a "place of clandestine activity", a gathering place for crime and gunmen.
3. A Place of Second-hand Market（Escalèxtric, 1973-1992)
The second reform took place in the 70s. During the time of the Seat 600 and developmentalism, Barcelona experienced an urban revolution that put all public spaces at the service of the car. Many streets and avenues became highways where the role of the pedestrian was relegated to a secondary role, with solutions such as the footbridges that crossed Meridiana Avenue with the sole purpose of preventing cars from having to stop togivewaytothem. Itwasthetimeofthe'Scalextrics'roadways,concretestructureswithoverpasses,tunnels
and connections that took the name of the popular car racing game and appeared in places in Barcelona such as Cerdà, Alfons X and Lesseps squares. And of course, also in les Glòries. At the time, it was considered a panacea for all the problems of the region. However, the reality was contradictory, the two elevated roads branch off, making Les Glòries a much less pedestrian-friendly space, which led to the next point.
4. A Place of Illegal Sales (El tambor olímpic, 1992-2013)
Figure 5. Market before relocation in 2013 (Author’s work based on this clip from Mercats dels Encants i Sant Andreu de Barcelona, Sagarra de Santa Coloma de Gramanet i Palafrugel）
The Olympic pickaxe once again transformed Plaça de les Glòries. The authorities had to develop a radical solution for the Place de la Pride. Traffic planning had to provide a solution for transporting the athletes as the sheer number of cars entering and leaving the city each day could cause traffic chaos. replacing the scalextric with a double raised ring, popularly known as the 'tambor', which distributed the circulation in a more friendly way than the previous structures.
As Charles Moore has said (2001), we do have to pay for public life, but unfortunately, the return of that cost has yet to be seen with Glories. The Plaça de les Glòries Catalanes that the Barcelona Olympics left us with was not actually a very successful project. On the one hand, the traffic problem was solved, but the solutions used were not very different from those that had already been tried in previous decades, but on the other hand, the same was not true for pedestrians. The neighbourhood associations in the area complained that the construction of the ring road had created a series of impediments for citizens. There was no view of the square, as it was only used by cars that used it to leave the elevated ring road. This congested outbound traffic and daily circulation, as private cars, public buses, the tram and cars leaving the ring road to detour through the area converged. The lower part of the central body was used by the City Council as a parking area for cars collected by the tow truck. This deprived the square of a pleasant view of it and, although they had put a metro entrance and gardens in the centre, it was hardly used because it was a problem for the citizens to get there due to the time lost due to the traffic lights and the very small pavements. However, many vendors gradually set up stalls in this closed central circle for better sales, but this quickly turned into a hub for the illegal sales of drugs and stolen goods, trafficking and a shelter for beggars and the homeless.
The market had many lifetimes, until this point, and the complaints were always about its unruliness, but this was the point in its history in which it was alarmingly dangerous, needing drastic re-evaluation and immediate renovation.
Figure 6a. Els Encants markets and El tambor olímpic (1992-2013)
5. A place of potential (Determined Peri-Centre, 2013-now)
Today, more than 150 years later, the landscaping of Les Glòries is closer to the visionary Cerdà's vision of the city centre of Barcelona, who envisioned a better future for its citizens. The Plaça de les Glòries has been landscaped with the last reform in our times, the ring has been demolished and the circulation has been placed again at ground level, in addition to building a tunnel to absorb the vehicles that leave the Gran Vía to the highway. Glories is no longer the drum of last century's car, but the space of the 21st century. There are no longer anyelevated lanes above the square and everything in the cityhappens on the streets. However, with all these renovations to improve the quality of this plaza, an improvement that cannot be denied, it still remains lacking and the placement of Els Encants in proximity is, in our opinion, it's only saving point, from the point of view of being a centre of public life.
Figure 6b. Els Encants markets in 2022
Els Encants market is currently located on a triangular piece of land on the northwest side of the plaza as part of the redevelopment of the area and consists of a multi-story building that provides merchants with an interesting under-roof public space, modern facilities and customer parking. This was the first time in its entire history that the market was to be bound and contained, given a specific dimension on a specific site. Encants Market evolved from an “uncivilised,” temporary installation that was unruly and forced to change its location around Barcelona to one of the most important points in the urban transformation process, and in Plaça de les Glòries Catalanes. Between tradition and modernity, between civilisation and violence, the market has changed and adapted to Barcelona's urban development, serving the city's specific needs for old goods at different times. It became not only a good place for the public to go shopping, but also an attraction
point for tourists, travellers and people who live in Barcelona. If you think of the Plaza de la Pride as the entrance to Barcelona, then the market is the most worthwhile souvenir store in the city. At present, El Encants Vells market has more than 500 suppliers and is full of second-hand treasures, such as ceramic vases, crystal lamps, antique books and antique irons. You can also find new products such as mattresses, electric bicycles, mobile phone accessories and underwear. But you do not have to buy anything to enjoy this new space, the architecture is worth a visit - the sloping golden canopy and reflective ceiling make Els Encants Wells a model of modern design. We have finally gained the profit of investing in public space with this Market.
Figure
Section 2: Els Encants through an Architectural Analysis
“Before we start proceedings, we should consider what the public realm is, or rather, what it might be in California now and during the decades ahead, so that the “monumentality” and the “urbanity” that we seek may be appropriate as functions of our own society and not of some other one.”
-Lange, 2012, p.95.
As a public space, the old flea market has a place in the heart of the Catalan culture which they honour. In the past, unorganised merchant points outdoors on the urban streets were a preview of Els Encants through the years. From 1928, being one of the degraded, moved and unsolved urban design problems, the market place was informally formed along the Placa de les Glories. By 2008, the redesigning of the Els Encants competition was organised for a contemporary market complex that will become permanent. Close to its previous location, a new market complex was constructed as part of the new regeneration plan of Plaça de les Glòries through Meridiana boulevard. The current market was to be re-designed by winners and local architecture studio - b720, who were meant to intervene in a marginalised urban district by formulating spatial experience through the use of “outdoor market”. On the condition that they maintain the openness and street-like character of the old markets, they got to designing a continuous multi-level ramp platform to create a new scene for the cultural atmosphere of the open outdoor market space of Els Encants, establishing a new interpretation of the architectural promenade through a multi-dimensional experience.
When the renovation and relocation of Els Encants took place, the vendors and locals reacted with mixed feelings seeing as this was a generational market with centuries to its name. Knowing that, when the architects redesigned the traditional market, theymade sure to involve the vendors in everystep of the design
process. “We have all visited other cities and found ourselves in perfectlynice, totallydeserted squares. Turn a corner and a much less physically attractive alley will be filled with lights and people and charm. The former was imposed by planners, architects, designers; the latter created by physical consensus. His line of thinking has much in common with that of Jane Jacobs. She too believes that spaces need to be adopted and adapted bypeople to be successful, and that bottom-up planning works better than top-down.” (Lange, 2012, p.108).
Beginning with the site, Els Encants, takes on the shape of its plot, giving back every corner of its plot to the vendors. “The San Francisco City Hall demonstrates skill but no such mastery, so the city is not specifically enriched bythis building’s being here; it could be anywhere. Or almost anywhere.” (Moore, 2001). This was not the case for Els Encants, after centuries of moving around Barcelona, rejected bythe elites, unruly, a hub of danger, it has found its place on this site and it cannot have the same impact were it to sit anywhere else. Additionally,the majorinvolvementofthecommunityinthedesignprocess,theirownpreferencesassellers, and the generational knowledge of what their customers prefered, emphasised Els Encants’ contextuality.
Figure 8. Sloped ramps of Encants.
Encants market was shaped in the form of wide sloped ramps where persistent selling spaces appear. (Fig. 8) Merchant points continue along the route from up to bottom which is directed to the central plaza. In the same manner, all functions including central plaza were shared under a fragmented canopy that reached almost 25 metres high. This shiny exoskeleton appears as a dominant urban figure within Placa de Glories, while presenting the market as a joint venture of commercial and social exchange, it also adds another layer to the openness of the Encants and the way the functions performed within it. Public concourse appears fully visible in the urban scale, with commercial and dining functions distributed along ramped walkways, while the concourse area can be seen from everywhere. Even the people walking along the street are attracted by mirrored reflections of the roof, as if they are already inside. Its polished mirror-finish stainless-steel surface scatters imperfect but complete reflections of the market below, providing a kaleidoscopic projection of the market's bustle and reflection of the city into the market and vice versa. The marginalised activities of the past, thatwere once hidden,are nowestablishedas fullytransparent, whichin turncreates a sociallydynamic market space. Additionally, the canopy acts as fragmented planes that cover the commercial market from
sun and rain. (Fig. 9) One thing was clear: the weather was no longer a deterrent fromkeeping shoppers from shopping, which is totallydifferent fromall previous markets in different locations thathad a huge drawback of not having a roof overhead, something the current Els Encants clearly does not lack. Moreover, a special golden hue of roof canopy appears in the balance of defining volume and its edges to the street. According to the author of the project, “underside faces of canopy reflect indirect light from ground to prevent gloom and glare”, he also defends colouring the reflections by adding “less literal, filtered, as if from another era”. (Cohn, 2015)
Figure 9. Market as a shelter from sun and rain..
Beneath its roof, the building as a system intended to avoid building a pancake stack of several floors that a conventional mall might have. To fit on a site half its former size, the market features a gently sloping ramp that loops over itself on two sides, taking advantage of a drop in the topography at the back of the site. In the same manner, a continuous commercial complex was established with these smoothly elevated surfaces. Over 230 metal kiosks (Fig 10.) for shops and stalls, a restaurant on the lower level, two bars, and kiosks offering "street cuisine" on the topmost deck are all lined up along the ramps. Early-morning auctions are held in a central open space on the main floor. The selling cabin and cabinets appear in a patterned grey colourtoexpressneutralityandtolessenthecontrastwiththegreyfloorthatisbroughtupfromthesidewalks outside the market, all throughout the building. However, these neutral cabins house a series of different and colourful products creating a vibrant atmosphere, similar to the one that is happening on the lower levels. Additionally, although the market area has decreased due to being given strict bounds, the architects maintained the maximum number of vendors from the past, with data proving that nearly 92% of the 315 enterprises registered before the redesign are continuing to carry out activities in the new market with the traditional sales business model and auction activities have been retained.
ElsEncants is nota conventionalcommercialplaza-the newprojectconsists of “multi-layered groundscape” -provokinga“multi-layered conflictratherthancooperationbetweenresidentsandoutsiders(tourists,streetsellers, etc.) and between native and immigrant residents” (Pastore, 2016), creating a lively atmosphere in and around the market, drawing people in. This brings about new challenges and adds a layer of complexity to the square. The market stands out in the plaza as a “morphologic redefinition of the ground as building, …from natural singularity to artificial plurality” (Ruby, 2006), with its intriguing established complexity and the permeability between formal and informal spaces, that creates an interesting, dynamic circulation and flow throughout the project.
Section 3: Els Encants as experienced by the User
“It is a curious experience, for instance, to stand in the towering space under the aggressively magnificent dome and to notice that hardly anyone looks up.”
-Moore, 2001.
This quote is a contradiction to the reality of the Els Encants market, because due to its architecture, the experience is quite different. When it comes to the sense of experience, the first thing that arouses people's curiosity must be the massive, fragmented roof that covers this market. The monumentality of the roof often attracts people from a distance, making them wonder, "what is happening under this iconic roof?". It creates a visual landmark that gives it a distinct identity, makes it visible and attractive in the distance, while denoting the plot boundaries without the use of walls. The rising and falling surface of the canopy is exceedingly uneven, bursting open like a piece of paper that has been wrinkled and ripped along its folds. The breaches occur both at the margins and in the centre, where a series of larger central glazed clerestory holes permit light to the market's lowest regions. The canopy is supported by thin columns arranged in an uneven, triangular grid designed to cross a major subterranean sewer main that runs through the site. The columns come into contact with the swaying canopy at its crests and valleys, which frequently coincide on opposing sides of a clerestory crease (fig. 11).
Figure 11. Sketch-drawing.
Figure 12. The roof of merchants.
The golden, yellowish hue given to the space by the reflection of the light off of this tinted surfaces adds a sense of age to the market, just like watching an old movie.This may echo the history of the marketthough decades have passed, and locations shifted, the function of the market itself (trading and auction has always been respected and this space reflects that.
Figure 13.
Upon entering the market, the movie is brought to life. The structure of the market, different sorts of people and various kinds of goods are displayed more prominently, with the central, sunken square being the most
lively. Old CDs, old comics, antiques, small toys, and much more, are placed on the ground in an orderly manner by the merchants with people passing by admiring these trinkets. As you walk through the space, it is difficult not to continue looking upwards, intrigued by the dynamic scene being reflected, one that you are now a part of. It is inevitable that you would try to find yourself in the reflected commotion, causing you to immerse yourself with the whole market, creating an unforgettable memory.
Figure 14.
Like Barcelona's Ramblas, the ramps can arrange visits as a "paseo"or stroll. Manywell-known flea markets and retail alleys, including the Rastro flea market in Madrid, are built on slopes, as we discovered by examining the merchants' recommendations for the ramps. Perhaps since the commercial impact is higher while moving more slowly, the slopes actually increase business. Additionally, ascending and descending planes provide a perspectival depth perspective of the items on display. In any event, the ramps' design appears to be so subtle that visitors hardly notice it. To the point that, when people go to the second and third floors and start wandering in the market, following the flow set up throughout the building, they will find that they return from the highest floor of the building to the street level, unconsciously. This is due to the successful interpretation of the architect’s intention in architectural form. One does not need to keep the market on street level for it to be part of the street.
Figure 15.
Conclusion: Sacrifices for the Greater Good
“Places need time.” - Moore, 2001.
“For once, the losses, … , are at least being balanced by rational gains.” - Huxtable, 1968.
The redesigning of the Els Encants market, breathed life into a market that was otherwise deteriorating into inexistence. There is no doubt that the new market is the result of the public administration's commitment to defend a business model that, despite its age, is far from obsolete; however, without the involvement of the
sellers and the willingness to maintain inclusivity and honour its tradition, the results would have been much different. As Lange rightfully states (2012, p. 106), “...the power to monumentalize in the hands of the people, not the architects.” At a time when European cities are ravaged by de-industrialization and consumerism, the auction market offers them a democratic and sustainable alternative. It is a civic space open and vibrant to all, a place to meet and exchange. “...It is not at all clear what the public realm consists of, or even, for the time being, who needs it.” (Moore, p.95) In the case of Els Encants, the question of who needs it has changed depending on the time frame it was in and its location. However, all throughout its life, its commercial language contradicts the model of the large shopping centres that close themselves off and empty the streets. It is hoped that the future Plaça de les Glòries, unlike its predecessor, will know how to benefit from the life offered by the new Encants.
While Els Encants is a fascinating, and undeniably successful, individual piece of architecture, at this point it is not clear how much it can contribute to building a cohesive urban fabric for Glòries. On its own it is successful, but why has this success not bled out onto its surroundings? “Urbanity…can occur only when something is given over by people to the public” (Moore, 2001). In the case of Els Encants, a long standing tradition of sprawl was traded in for a more regulated system of existence; however, what is the sacrifice needed to nurture success in the case of the square, in the way Cerda intended?
Uncharacteristically for Barcelona, world-famous in urban design, the city’s actions over the past three decades around the former plaza and future park have muddled its possible consolidation. The flea market joins an accumulation of major public buildings here. Following the Meridiana Avenue past the market, the next two blocks are occupied respectively by Ricardo Bofill’s National Theatre of Catalonia of 1996, and Rafael Moneo’s Concert Hall of 1999, one of his more forgettable projects, where he extends a Kahnian exposed concrete structure with infill panels over a shapeless mass. The three buildings stand, each on its respective city block, oblivious to one another and their still-undefined surroundings.
Bibliography:
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Arquitectura Viva. (2021). Encants market, Barcelona - B720 Fermín Vázquez Arquitectos. Arquitectura Viva. Available at: https://arquitecturaviva.com/works/encants-market (Accessed: 28 November, 2022).
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Chiappini, M. C., Scheerlinck, K., & Schoonjans, Y. (2018). Infrastructures in Transition as Spaces of Collectivities. Glòries Square, Barcelona. In KU Leuven-ETSAB Seminar Preparatory Meeting, Date: 2018/10/03-2018/10/03, Location: Barcelona, Spain.
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List of Figures:
Figure 1. Duccio Malagamba. Els Encants [Photography] In: Arquitectura Viva. (2021). Encants market, Barcelona - B720 Fermín Vázquez Arquitectos. Arquitectura Viva. Retrieved from https://arquitecturaviva.com/works/encants-market
Figure 2. Google Maps (2022) Barcelona. Available at: http://maps.google.com (Accessed: 1 December, 2022).
Figure 3. Encants Barcelona. Available at: https://encantsbarcelona.com/historia/ (Accessed: 30 November, 2022)
Figure 4. El Encants markets and the railway in Glories (1928-1973). Available at: http://cartotecadigital.icc.cat/ (Accessed: 1 December, 2022).
Figure 5. General view market of the Old Flea market. Available at: https://ajuntament.barcelona.cat/mercats/en/content/encants-vells-fira-de-bellcaire-0 (Accessed: 2 December, 2022)
Figure 6a, 6b. Google Maps (2022) Glories Square. Available at: http://maps.google.com (Accessed: 1 December, 2022).
Figure 7. Evolution of Glories square with Els Encants market after 1928. Author’s work based on: Chiappini, M. C., Scheerlinck, K., & Schoonjans, Y. (2018). Infrastructures in Transition as Spaces of Collectivities. Glòries Square, Barcelona. In KU Leuven-ETSAB Seminar Preparatory Meeting, Date: 2018/10/03-2018/10/03, Location: Barcelona, Spain.
Figure 8. Drawing by B720 Fermín Vázquez Arquitectos. Encants market, Barcelona - Available at: https://b720.com/es/portfolio/mercat-dels-encants/ (Accessed: 2 December, 2022)
Figure 9. Drawing by B720 Fermín Vázquez Arquitectos. Encants market, Barcelona - Available at: https://b720.com/es/portfolio/mercat-dels-encants/ (Accessed: 2 December, 2022)
Figure 10. Drawing by B720 Fermín Vázquez Arquitectos. Encants market, Barcelona - Available at: http://arquinfad.org/2014/materialextra/247-MERCAT%20dels%20Encants.pdf (Accessed: 2 December, 2022)
Figure 11. Sketch-drawing by authors. Encants market,Barcelona (Accessed: 2 December, 2022)
Figure 12. Drawing by B720 Fermín Vázquez Arquitectos. Encants market, Barcelona - Available at: http://hicarquitectura.com/2014/02/b720-mercat-dels-encants-de-barcelona/ (Accessed: 2 December, 2022)
Figure 13. Els Encants [Photography] Encants market, Barcelona - B720 Fermín Vázquez Arquitectos.Available at: https://arquitecturaviva.com/obras/mercado-encants (Accessed: 2 December, 2022)
Figure 14. Els Encants [Photography] Encants market, Barcelona - B720 Fermín Vázquez Arquitectos Available at: https://encantsbarcelona.com/ (Accessed: 1 December, 2022)
Figure 15. Els Encants [Floor plans] Encants Market, Barcelona - B720 Fermín Vázquez Arquitectos Available at: https://miesarch.com/work/779 (Accessed: 2 December, 2022)