La restauració va adaptar l’antic edifici al gust classicista de l’època. A la façana principal destaquen dues escultures obra de Venanci Vallmitjana.

Edifici entre mitgeres de planta baixa i quatre plantes, amb una façana simètrica i una entrada d’estil neoclàssic. Els balcons i les motllures disminueixen progressivament cap als pisos superiors, tant en longitud com en profunditat. Hi ha tres balcons per pis, excepte al primer, que presenta una balconera correguda. L’edifici es remata amb una cornisa decorada amb motllures. Disposa d’un pati de planta quadrada, amb columnes a l’accés. En aquest pati, hi ha tres finestres per pis a cada costat; al primer pis, aquestes obertures adopten la forma d’arcs amb motllures. Cada planta compta amb dos pisos.

Església d’una sola nau, amb una façana presidida per un rosetó i una arqueria cega utilitzada com a motiu ornamental. El conjunt queda coronat per una cornisa perimetral que reforça la unitat compositiva de l’edifici. Al costat oest s’hi adossa la rectoria.

When, in 1862, the new Eixample district began to be developed, the city council had not yet resolved to supply drinking water to all its dwellings. On the 14th of October of that same year, the honorary intendant of the province of Barcelona, Jaume Safont i Lluch, granted this land to the Societat de Crèdit i Foment de l'Eixample de Barcelona, which in turn hired the architect Josep Oriol Mestres i Esplugas to design a water tower to supply the area. The municipal architect did not initially approve Mestres' project (a hexagonal tower which was 24 m high with a capacity for 730 m³ of water) because it exceeded the maximum height of 20 m permitted in the Eixample. In May 1867, Mayor Luis Rodríguez Téllez signed the building permits, considering that it was not possible to guarantee a good water flow in the tall buildings if the tower was the same height as the tall buildings. This construction formed part of a group of buildings intended for the elevation and distribution of water by means of a 20 hp steam engine (which was later electrified) to raise the water from the lower well to the upper reservoir. With a hexagonal ground plan, the structure of this tower's elevation comprises six levels, the last of which was used as a water tank, and a roof terrace. These levels are visible from the outside through the brick mouldings that mark the presence of the floor slabs. The entire construction is made of exposed brick and the openings are in the form of semi-circular arches without frames. On the first four levels, the flat enclosing walls are evenly connected to the corner pillars. However, on the fourth level, instead of windows, there are balconies resting on lowered arches with brick balustrades forming rhomboids. From this level onwards, the reinforcement walls have a circular plan that is adapted to the building by means of segmental arches and brick corbels. The fifth level has the openings in the form of twinned arches within blind arches. As this was originally the last level reserved for the upper cistern, it has the old crowning of the building, with a cornice decorated with corbels. The sixth level rises above this cornice, which is the result of a later raising, and has a new stucco cornice decorated with corbels and oculi. Ventilation on this level is provided by narrow vents cut directly into the wall. Inside, six radially arranged walls compartmentalise the space and distribute the enormous weight of the upper cistern. Each of these compartments is covered with supporting lowered vaults, except for the compartment containing the staircase leading to the top of the tower.

Construïda l’any 1394 sobre una antiga sinagoga, aquesta església d’estil gòtic conserva de la seva etapa inicial únicament la portalada. L’edifici actual presenta una planta de creu llatina, amb una sola nau dividida en cinc trams i capelles laterals. La profunda reforma dirigida per Oriol Mestres amplià el presbiteri i dotà la façana d’una decoració neogòtica que encara es conserva. A l’interior, destaca l’altar major, una obra gòtica de talla procedent de l’antic retaule major de la Catedral, datada al segle XV.

Edifici entre mitgeres fent cantonada, de planta baixa i quatre plantes, amb un llenguatge neoclàssic. Els balcons presenten balustres que disminueixen d’alçada a mesura que s’ascendeix. La façana està decorada amb escultures, columnes i pilastres adossades, mentre que les impostes ressalten els forjats. L’edifici es corona amb una cornisa i una barana de balustres que rematen la composició.

This project undoubtedly became the most significant achievement in August Font’s career as an architect. The Cathedral of Barcelona was begun in 1298. By the early 15th century, discussions began about how the façade would be designed. A master builder from Rouen, Normandy, named Carlí Galter or Galtés, created a design for the main façade that was never executed, likely due to lack of funds. As a result, the façade remained a simple wall with a doorway, windows, and steps, with no harmony with the rest of the magnificent Gothic cathedral. Similarly, the lantern tower was completed only up to the base of the drum. In the 19th century, there was an urgent need to finally complete the cathedral. The initiative came from the banker Manel Girona, who tried unsuccessfully to secure funding and then decided to finance the works himself. Later, his children, Manel and Anna, did the same for the lantern tower. The selection of the project was highly controversial: Girona himself had drawn the proposed design, endorsed by Josep Oriol Mestres, the cathedral architect and a personal friend. Public opinion preferred the design of Joan Martorell, far more ornate, majestic, and vertically emphasised. However, the Royal Academy of Fine Arts of San Fernando, responsible for settling such disputes, rejected Martorell’s design on rather weak grounds and chose the design submitted by Mestres and drawn by Girona. Inspired by Master Carlí’s original concept, Josep Oriol Mestres began working with August Font, who was his assistant. Construction finally began on 4 July 1887 and was completed on 12 February 1890, the feast day of Saint Eulalia. It should be noted that the façade was not executed exactly as we see it today: originally, it included decoration on the jambs with the apostles, Christ in the main mullion, a tympanum with openwork tracery, archivolts with the 24 elders, angels and prophets, a gable with a lobed rose window, and buttresses on each side adorned with various sculptures crowned with canopies and gables. However, when the scaffolding was removed, modifications were made in response to criticism. Josep Oriol Mestres had passed away, and August Font assumed the role of cathedral architect. He added the two lateral towers and a series of decorative elements to enrich the façade. Manel Girona pledged to fund these enhancements. After the banker’s death, his children financed the lantern tower, with construction beginning in 1906 and finishing in 1912. This work, too, was not free from controversy, as the final result included many elements reminiscent of the Martorell design, which had been highly praised by the people of Barcelona but swiftly rejected by the Royal Academy.