From there, we identified some compositional elements of these places: the axes, the axial routes, the volumes, the sky, the trees, the use of natural materials, and we incorporated them. In the case of the walls, were discovered them to configure a similar atmosphere to the one of these squares so that the market attendees felt in a familiar, easy and natural place.

Everything Antique with architectural value would be rescued, and the new would formally and materially have a different nature: a White and defined nature that would demonstrate its own presence, and its own historical and conceptual moment. With this, we would try to achieve a balance between the new and the old.

A tree-lined central avenue was drawn, flanked by two White longitudinal volumes. On each of these, two other transversal volumes were assembled in the form of an inverted "L", which serve to cover an area of tables at the bottom and create terraces at the top. However, its most important function is to frame, without exclusion, the different layers of architectural history left over the centuries. Also, it is meant to intersect light and space in a way that their presence is emphasized, and they become intangible protagonists of the place.

It was gratifying to discover how these simple elements frame the architecture of the sixteenth, nineteenth, twentieth and twenty-first centuries: the jacaranda, the ash, the sky, the cathedral towers, the wall of the back wall, a pigeon that crosses eventually, and some balloon that escapes a child in the church. Without trying to be exaggerated or melodramatic, it seems that everything fits within these frames; the whole universe allows us for expression.