The entire facade was depressed, forming undulations. It was covered with lime mortar, a layer of multi-colored fragments of broken glass, and circular pieces of ceramic. Gaudí personally directed the placement of these crystals, from the sidewalk.

At the top of the building, two attics were built on opposite sides, for the laundry and water tanks, with bricked-up parabolic vaults. On the outside, they were covered with pieces of tile on the rear facade and large, multi-colored ceramic scales on the main facade. These scales, together with the sinuous shape of the roof, remind the viewer of a dragon’s back.

On the rear part of the facade, there are various chimneys, each crowned with a cowl and a ball. These balls are copies of the originals which broke and were replaced for a time with concrete balls.

The covering of the rear part of the facade was made with "trencadís" of all colors and tiled with fragments of mosaic from Reus. This tiling is currently of simple fine brick because the original was ruined by the humidity.

In general, the weight-supporting walls were not touched, but the distribution of the flats was totally changed.

An altar, which could be closed off with a door, was built in the parlor of the main flat. It contained an image of the Sacred Family engraved by Josep Llimona, a "Cristo de la Cruz" (Christ of the Cross) by Carles Mani, candelabras by Josep Maria Jujol and a shrine drawn by Joan Rubio. This altar is now in the house of Mr. Battlló’s son, in Madrid. The parlor was decorated with a high-relief spiral shape on the ceiling.

The dining room was located at the rear facade. Gaudí designed a table, various chairs and a bench – which can now be seen in the Museum-House of Park Güell – for this room.

In another bedroom, there is a beautiful embedded chimney, with a bench at each side, covered with ceramic.

The plans which were presented at the Barcelona City Hall, as well as some magnificent drawings by Gaudí of the main facade, his sketch of the rear and some section details are preserved. But, as in other projects, Gaudí preferred a plaster model – which in this case was the facade of the original building – which evolved until the project ended.

In 1970 the main facade was cleaned. In 1981 the interior of the attic was restored, and the chimneys were under restoration until 1984.