sculpture realized by Victorio Macho. Eduardo Fernández Díaz: The design was one of a neoclassical style with a central cupola. Eugenio Cendoya and Enric Catà: The winning project (see below for more details). Nicolau Maria Rubió i Tudurí, Ramon Reventós and Francesc Folguera: Their design attempted to harmonize with the palaces constructed by Puig i Cadafalch. Curiously, this project and that of Eduardo Fernandez were the only ones which did not feature in the magazine Arquitectura, which published the results of the competition and their illustrations. Ramon Térmens Mauri: One of the most disparate projects presented in relation to that designed by Puig i Cadafalch, it proposed the main façade be on the street of the stadium instead of facing Plaça Espanya. The Great Hall has a cruciform plan, with large vaults and a central dome. Jaume Santomà and Mariano Romaní: The youngest architects of all the entries. Romaní was said to have not yet completed his architectural studies at the time. Their proposal was clearly based on that of Puig i Cadafalch, but with easier construction solutions. They received second prize. The winning proposal was that of Eugenio Cendoya and Enric Catà, with honorable mentions given to Salvador Soteras and Santomà i Romaní. The president of the presiding jury was the then-mayor of Barcelona, Darius Rumeu i Freixa. The winning project also included the collaboration of the constructor Antoni Montseny, and in some publications, the name Pere Domènech i Roura appears, who was already the general manager of construction of the Exhibition. Executive project During 1925 the competition, winners made the implementation plan of their project. One of the most important factors was the guarantee of development of the work in a given timeframe. A mechanism to bring the construction time forward was found in the rationalization of architectonic elements; searching for repetition that would serve to save time during the building process. Three materials served to be most important during the construction; concrete, artificial stone and iron. According to the architects themselves, the artificial stone, manufactured on-site, is T-shaped in order to provide a good grip on the wall structures between which they are applied. A norm was presented by which all walls and framework were to be realized in concrete and the lost formwork in artificial stone, incorporating the visible decoration. The flat roofs were constructed using a system of reinforced concrete and coffering, which formed the