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Floresta 5, located in northern Bogotá, Colombia, sits adjacent to the lot of Floresta 3, directly in the foreground of the latter's primary view. Built in 1986, it is an exemplary residential design within a housing development, conceived in dialogue with the preexisting building next door, which was also designed by Baresch.

Wladimiro Acosta built a series of residences that stand as canonical examples of modern architecture in Argentina. One prominent case is the Miramontes House, designed in late 1938 and completed in early 1940 as a vacation home for a couple and their two children in the city of La Falda, in the hills of Córdoba.

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The Monterrey Museum of Contemporary Art (MARCO) –located on a key corner of the Macroplaza and flanked by the Cathedral and the Municipal Palace– was designed to integrate into the urban landscape, drawing on the traditional layout of Mexican houses structured around a central courtyard surrounded by arcades that lead to the galleries.

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Built in 1983 in the Eastern Hills north of Bogotá, the Floresta 3 house was the first of Baresch's residential projects to feature exposed adobe. To achieve this level of supreme craftsmanship within the building system, the adobe blocks were manufactured on-site, honoring the natural context of the project, where earth and vegetation take center stage.

What first strikes you about the Cultural Heritage Institute is the enigmatic uniqueness of its headquarters. Affectionately known by Madrid locals as the “crown of thorns,” the building comes into view at the entrance to Madrid from the La Coruña highway. To the right, guarding the Moncloa Palace, stands this timeless artifact; boldly resting on Madrid’s University City, entirely detached from the rationalist architecture of its surroundings. An expressive formal hybrid, the result of combining the features of a fortress, a bullring, and a spaceship. It does not go unnoticed, nor does it seek to. It surprises and impresses us, unsettling to a certain extent, yet always carrying the intuition that this is an important work—an architecture that deserves, at the very least, our interest.