Enric Sagnier’s cosmopolitan Modernisme—inspired, like much architecture at the time, in French Rococo—was most successful when it cast specific models aside and sought the logic of free shapes. On the facades, the curve of the ornamentation takes over the composition as a whole and, in this case, even dictated the shape of a structural element like the central tribune. The carving on the ground floor fuses the vegetable decoration with the architectural outlines of the openings with a coarser treatment of the stone, roughly hewn in the lower courses of the facade. The convex sills of the mezzanine windows were a happy invention on Sagnier’s part, which he was to use again on other buildings erected in the first decade of the century.

The vestibule tempers this character a little, although there is no lack of the ornament (on the iron railing, the sculpted details or the scratchwork on the wall) which was often applied to such semi-public areas.

Additional storeys have been added to the original building. The tribune consisted of four levels topped by a cupola, and a crowning frieze of fleurons on either side. The fifth storey under the eaves and the last apartment are testimony to the densification of the city, although we can be thankful that they respect the overall character of the building in terms of the shape of the openings and the decoration.