Here are some of the design features that came together in his work, which together

can be thought of as "Torres."

The plantilla, the shape of the body: He came up with outlines that are
both visually pleasing and subtle, and that also fit nicely to the physical size
of most guitarists. It is larger than most of his predecessors. The size
proportions between the upper bout, the waist, and the lower bout are still
followed by nearly every classical guitar maker working today.
The body depth: The depth fundamentally determines the air cavity inside
the guitar, which is a major factor in the guitar's voice. It also affects the
comfort of holding the guitar.
String length: The 650mm string length that is commonly accepted today is
near what most of his instruments were. This affects not only the left hand
reaches, but also very importantly affects the tension with which the string
pulls on the bridge and sound board. This is an essential element of tone
production. In Spanish the term for string length is tiro de cuerda, the pull of
the string.
The fan bracing: Torres didn't invent fan bracing, but the way he laid it out
on the sound board just makes so much sense. And maybe it behaves like it's
namesake - abanico - a fan, pulsing air toward the listener.
The thicknesses: Torres worked the wood quite thin. This made the guitar
very alive, although maybe more delicate.
The arching of the top and back: The strength that is gained from this
arching helps enable this extra thinning of these plates.
The bridge: The bridge is an architectural study all by itself. The length,
width and height, the length and thicknesses of the wings, the elevation of
the bone saddle above the slot, the lower elevation of the string tie holes; all
of these details had been grappled with by generations of guitar makers
before, but with Torres things fell neatly into place.
The neck angle: This is one most important points in the engineering of a
guitar. It must take into account the fingerboard thickness, the sound board
arching, bridge height, and the bridge saddle/tie hole differential. The neck
angle determines the string action above the frets and the character of the
sound influenced by the angle of the strings pulling against the sound board.
The materials: He took special care in the selection of the sound board
wood, but didn't seem too concerned about matching, or other cosmetic
issues. Also he used cypress, maple, rosewood and other woods for the back
and sides, without clear preference.
Decoration: He could do the simplest rosettes and bindings, or he could do
the most elaborate, but it was always just right in the context. And probably
just what the client paid for.
Etc.: Every other element counts - the neck thicknesses, nut width, shape of
the neck, carving of the heel, peg head angle, string spacing, combination of
materials, tuners or pegs, finish, etc., etc.